Uppsatsens syfte är att undersöka och analysera hur manliga svensklärare gör och ogör kön i sin yrkesroll genom att antingen göra motstånd mot, eller anpassa sig efter rådande könsnormer och förväntningar. Syftet är också att bidra med ökad kunskap om hur manliga svensklärare förhåller sig till att vara i minoritet och om varför de valt svenskläraryrket. Uppsatsen bygger på sex intervjuer med nyblivna svensklärare och för att kunna förstå och analysera materialet har jag använt mig av tidigare forskning om män i kvinnodominerade yrken, genusteori, maskulinitetsteori och organisationsteori. I undersökningen framkommer det att männen inte uppfattar sitt yrkesval som könsöverskridande. Lärarna ogör kön genom att tona ned könsskillnaderna och ta avstånd från den hegemoniska maskuliniteten. I motsats till vad tidigare forskning om män i kvinnoyrken visat så upplever inte de manliga svensklärarna att deras maskulinitet har hotats av deras minoritetsposition i yrket eller att de i egenskap av sitt kön förväntas bidra med något som inte kvinnor kan ge.

This essay aims to study if, and how, The Matrix (1999) can be read with a queer perspective and how to use it in a classroom setting to further upper secondary school students to discuss transgender issues and develop their own identity. By analysing the film using a hermeneutic method and a queer perspective the results show that much of the lines, cinematography and costume can be viewed as an expression for transgender and queer. The theoretical framework is mainly related to Judith Butler’s research on doing gender and Malin Alkestrand’s concept of didactic potential. The essay shows the didactic potential of the Matrix (1999) and gives concrete examples of lines, cinematography and costume that can be used to begin conversations in the classroom related to gender, sexuality, norms, and performative gender.

This essay focuses on a comparative analysis of costume and makeup presented in the two drag queen road-movies To Wong Foo, Thanks for Everything Julie Newmar! (1995) and The Adventures of Priscilla, Queen of the Desert (1994). These movies have similar settings with a group of three drag queens traveling across the country to participate in their big show. The primary main focus of this essay has been to analyze the costumes and makeup that are worn by the three main characters in their drag in each film and what it can say about gender and performativity presented in each film. A semiotic analysis was used as a method to analyze selected sequences and Bordwell and Thompsons (2017) segment about costume and makeup as a part of mise-en-scene was used. The results from each movie were later compared. Other theories that were applied were Judith Butler’s theory (2006) about gender performativity, Richard Dyer (1999) on stereotypes and Laura Mulvey's theory (1999) about the male gaze. The results show that Too Wong Foo focuses more on conforming existing women's gender roles with costumes that could be connected to luxury brands in the connotation, while Priscilla has a more exaggerated approach that was likened to shows on Broadway in the connotation.  The individual project was based on a folder from Samiskt informationscentrum (SIC) and resulted in two short animated movies about Sámi in Sweden and Sápmi.