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In this thesis the animated tv series She-Ra and the Princesses of Power and the representation and the character development within it is researched and analyzed.  In television and media, representation has a history of being narrow. But in 2018 the animated tv series She-Ra and the Princesses of Power came and showed how broad representation could be done, and how it can be done by creating characters who are allowed to develop. Our aim with the study was to study the character development and the representation, with a focus on queer identities and themes.  With the series She-Ra and the Princesses of Power as a case, and through visual analysis and character analysis we approached our study and this subject. Our study resulted with the conclusion that queer representation does not have to be direct or in your face. With focus on the characters own developments, and letting them exist in a non-heteronormative world, they got to emerge as their own persons with complex identities which are not relying on their sexual orientation or gender identity. The show instead shows that it's possible to provide broad representation where everyone can exist in a world that does not abide by the norms that are found in real society. It also became clear that the series real aim was on the importance of friendship, love and acceptance, rather than the storyline which was a mere entertaining excuse for this deeper meaning.

This dissertation examines how transgender feelings and gender variation emerged as a vital motivator for scientific and aesthetic explorations of human personhood and social experiences of marginality in German-speaking culture in the early twentieth century. My research illustrates how concepts of gender variation served as a generative problem for modernist practitioners of sexual science and as a creative impulse and figural resource for modernist literary and artistic innovations. The feedback between these fields allowed for novel social categories to develop in a period where designations like “transgender” or “transsexual” were not yet in use as stable public identities or diagnoses, but nevertheless circulated in response to experiences of embodied difference and social alienation. By reading for “transgender feeling” as a heuristic that unites multiple historical categories of gender and sexual variation, I argue that transgender phenomena were instrumental for the development of German modernist movements at large. Building on affect studies, trans and queer studies, and German literary and cultural studies, my project intervenes in limited contemporary understandings of transgender history and identity as a minority political and diagnostic discourse. Instead, I argue for a more expansive, “democratized” notion of transgender feeling that encompasses diverse historical forms of gender variation, some of which have disappeared or become “obsolete,” and show how narratives of gender intermediacy and incongruence are essential to modernist aesthetic practices. Chapter One examines theories of sexual intermediacy in the sexological work of Magnus Hirschfeld and Otto Weininger, who both suggested that a transgender condition underlies “normal” human sexual development. I show that trans feelings cut across Hirschfeld’s sexological categories and, in particular, his deployment of the case genre, troubling stable taxonomies of sexual affect and allowing for promising forms of coauthorship and “trans genre writing” to emerge in sexology. Chapter Two takes up Rainer Maria Rilke’s writing in The Notebooks of Malte Laurids Brigge and Das Stunden-Buch, as well as his early childhood experience, to argue that dysphoria and intermediacy are key to understanding the social alienation that Rilke expressed in his modernist work alongside personal attachments to femininity and a feminine poetic voice. Chapter Three on Else Lasker-Schüler illustrates how trans feelings, the masculine persona of Jussuf and appropriations of racial and ethnic difference significantly frame the novel Mein Herz and become enduring features of Lasker-Schüler’s literary and artistic production. I highlight how scholarly reception of Rilke and Lasker-Schüler’s work have intentionally disavowed these expressions as transgender and argue for a reassessment of trans feeling as a creative impulse in German modernism through their texts and images. My last chapter explores how modernist periodical media served as a vital tool for crafting trans intimate publics in the Weimar period and for negotiating the shared norms of gender and social participation for a novel class of gender-variant people under the category of transvestism. In my conclusion, I turn to the unfinished business of sexual and gender definition that continues to frame LGBTQ politics in Germany and abroad today, and I link contemporary questions of trans aesthetics to modernist dynamics of gender and sexual multiplicity.

The purpose of this dissertation was to provide knowledge of how issues of social work policy and practice are being raised in the responses to the Scottish Government’s public consultation ‘Review of the Gender Recognition Act 2004’ from 2017. Further, the purpose was to understand how sex and gender were described in the responses, and how these descriptions may relate to concepts of power and discourse in regards to social work practice. The dissertation is based on the 32 opposing organisational responses to the public consultation. The material was processed through a qualitative content analysis, generating ten categories that this dissertation labels as (1) sex as a biological reality, (2) on the post-structuralist view of gender, (3) gender mainstreaming, (4) the magnitude of the decision and regret,(5) diagnosis criteria as a quality assurer for trans care, (6) trans people without gender affirming surgery, (7) the challenge for professionals, (8) biological males, single-sex spaces and the risk for exploitation, (9) cis women’s rights and (10) cis women’s vulnerability. The categories were later condensed into three themes labelled as (1) understanding gender identities and self-declaration, (2) the shift towards self-declaration and (3) the threat to cis women. The themes and categories were analysed through the theoretical framework of Judith Butler’s queer theory. The analysis was followed by a discussion that integrated the theoretical framework with previous research, aiming to enhance the applicability of the findings to the dissertation's purpose and the future of social work research. The findings of the dissertations show that the opposing organisation’s often described sex and gender using biological essentialist discourse, perceiving sex and gender as an innate biological feature that cannot be changed. Further, the findings show little mention of issues of social work in the organisation's responses to the public consultation. Drawing from previous research, the dissertation critiques this by arguing that civil society organisations should pay attention to discourse around legal gender recognition and its implications for the shaping of social work since they are key stakeholders for the development of social work policy and practice. / Syftet med denna uppsats var att bidra till kunskap om hur frågor kring socialt arbete lyfts fram i remissvaren till den skotska regeringens remiss ‘Review of the Gender Recognition Act 2004’ från 2017. Syftet var vidare att förstå hur begreppen kön och genus beskrivs i remissvaren, samt hur dessa beskrivningar relaterar till begreppen diskurs och makt i förhållande till socialt arbete. Uppsatsen baseras på 32 remissvar från de organisationer som motsatte sig den skotska regeringens syn på juridisk könstillhörighet. Materialet bearbetades genom en kvalitativ innehållsanalys vilket genererade tio kategorier som i denna uppsats benämns (1) kön som en biologisk verklighet, (2) om den poststrukturalistiska synen på genus, (3) genus-mainstreaming, (4) beslutets magnitud och ånger, (5) diagnoskriterier som kvalitetsgaranti för transvård, (6) transpersoner utan könsbekräftande kirurgi, (7) utmaningen för yrkesverksamma, (8) biologiska män, separatistiska utrymmen och risken för exploatering, (9) ciskvinnors rättigheter och (10) ciskvinnors sårbarhet. Kategorierna kondenserades sedan till tre teman som i denna uppsats benämns (1) förståelsen av könsidentiteter ochsjälvbestämmande, (2) övergången till självbestämmande och (3) fara för ciskvinnor. Temana och kategorierna analyserades med hjälp av Judith Butlers queerteori. Analysen följdes av en diskussion som integrerade det teoretiska ramverket med tidigare forskning, med avsikten att öka tillämpbarheten av resultaten för uppsatsens syfte och den framtida forskningen inom socialt arbete. Uppsatsens resultat visar att organisationerna ofta beskrev kön och genus med hjälp av en könsdeterministisk diskurs, som förstår kön och genus som inneboende biologiska egenskaper som inte kan förändras. Resultatet visar vidare att frågor kring socialt arbete lyfts fram i låg utsträckning i organisationernas remissvar. Uppsatsen kritiserar detta genom att argumentera för att civilsamhällesorganisationer bör uppmärksamma remissen simplikationer för utformningen av socialt arbete i relation till frågan om juridisk könstillhörighet eftersom civilsamhällesorganisationer är viktiga aktörer för utvecklingen av socialt arbete.

This dissertation presents an interdisciplinary investigation into the construction of gender-transgressive supernatural voices in Gothic media, drawing on works in queer and feminist theory, voice studies, and performance studies. Spanning two centuries and case studies including Gian Carlo Menotti’s The Medium, art and popular song including Franz Schubert’s “Erlkönig” and Kate Bush’s “Leave It Open,” literary works by Charles Brockden Brown and Vernon Lee, and the Spiritualist séances of Louisa Ann Meurig Morris and Jesse Shepard, I argue that these gender-transgressive voices offer a striking alternative theorization of the “disembodied voice” that, in direct contrast to techno-determinist narratives, is created in performance through unsettling the voice-body-gender relationship. I locate the origins of the connection between gender-transgressive and supernatural or disembodied voices in the early nineteenth century, where rapidly changing ideas about of gender and the body collided with a parallel retheorization of voice as both an important locus for understanding social difference and a site of identity formation. The Gothic became an important mode to explore and destabilize the relationship between voice, body, and gender, particularly for voices that did not conform to increasingly rigid gender expectations; high male and low female voices are consistently used to mark alterity in Gothic media across genres, as are other queer-coded vocal acts. This context sets the stage for what I term performed disembodiment; moments in which a voice is understood as being disembodied, despite the visible presence of the vocalizer. My work argues that some forms disembodiment can be produced not by making a performer’s body absent, but precisely through marking the body’s presence and setting the performing body at odds with the voice through gender-transgressive techniques. One of the primary methods of effecting this performed disembodiment is through “cross-gender vocalization,” wherein pitch, timbre, and articulation are manipulated resulting in, for example, female bodies that appear to produce “male” voices. My dissertation thus argues that “disembodiment” can be produced not only via technologies but through contextual strategies of performance, involving both performers and audiences in the creation of the disembodied voice

This thesis is an intersectional reading of William Faulkner’s novels The Sound and the Fury (1929), As I Lay Dying (1930) and Sanctuary (1931). This paper employs theories of masculinity and queer theory to examine the masculinities in the novels and their connection to blackness. It proceeds from Judith Butler’s book Bodies that Matter. The thesis focuses on the mixture of race, class, gender and sexuality in the novels. I claim that race sometimes is a mask for gender, class and sexuality in these texts. I argue that certain white characters are depicted as Afro-Americans because of their unmanly behavior and/or queer sexuality or low class. For masculinity theory I have used Jørgen Lorentzen and Claes Ekenstam’s concept of manly and unmanly, described in the anthology Män i Norden Manlighet och modernitet 1840-1940. I have also used Craig Thompson Friend’s Southern Masculinity: Perspectives on manhood in the South since Reconstruction and WJ Cash’s The Mind of the South. For the queer theory, I have used Judith Butler’s theories described in Gendertrouble and Bodies that Matter. / Den här uppsatsen är en intersektionell läsning av William Faulkners romaner The Sound and the Fury (1929), As I Lay Dying (1930) och Sanctuary (1931). Den här uppsatsen använder sig av maskulinitetsteori och queerteori för att undersöka maskuliniteterna i romanerna och deras förbindelse till svarthet. Den utgår från Judith Butlers bok Bodies that Matter. Uppsatsen fokuserar på blandningen av ras, klass, genus och sexualitet i texterna. Jag påstår att ras ibland agerar som en mask för genus, klass och sexualitet i de här texterna. Jag menar att vissa vita romanfigurer skildras som afroamerikaner på grund av sitt omanliga beteende och/eller queera sexualitet eller låga klass. Till maskulinitetsteorin har jag använt mig av Jørgen Lorentzen och Claes Ekenstams begrepp manlig och omanlig, beskrivna i antologin Män i Norden Manlighet och modernitet 1840-1940. Jag har även använt Craig Thomson Friends Southern Masculinity: Perspectives on manhood in the South since Reconstruction och WJ Cashs The Mind of the South. Till queer teorin har jag använt Judith Butlers teorier beskrivna i Gendertrouble och Bodies that Matter.