Denna uppsats ämnar att analysera genderswap tekniken i Stephenie Meyers bok Life and Death: Twilight Reimagined ur ett genusperspektiv. Uppsatsen förhåller sig till Lena Gemzöes bok Feminism där genusproblematiker diskuteras. Uppsatsen avser att jämföra Life and Death: Twilight Reimagined med original boken Twilight för att undersöka om det finns könsskillnader mellan huvudkaraktärerna Bella och Beau och hur genderswap påverkar detta. Analysen visar att via genderswap lyckas man framhäva skillnaderna mellan Bella och Beau i förhållande till våld, familjesfären och manliga privilegier. Via ett genderswap visar Meyer på hur den kvinnliga stereotypen fortfarande präglar Bella som kvinnlig karaktär och hur Beau som Bellas respektive manliga version framhäver existerande problematiker inom berättelsen. Jag argumenterar att analysen om genderswap driver till diskussion om hur könsroller gestaltas i Meyers två böcker och skapar utrymme för vidare diskussion inom ämnet.

My project explores the possibilities of shaping space using lightweight textile-based elements. The focus is on the transformation of surface patterns into three-dimensional forms, using analogue parametric design with laser-cut beds as a main testbed. The result is a smorgasbord of prototypes: spatial configurations that divide and define space. Each design is a permeable three-dimensional form that projects a unique pattern of shadow and light. The basis of my project comes from an initial investigation of Uppsala public libraries’ needs for flexible solutions. The libraries have housed many civic activities that I have experienced in recent years since moving to Uppsala in 2018. With their requirement of multiple types of use, I propose using fabric infrastructure as configurable room dividers. I use discarded textile (used carpets, fabric remnants) as the starting point for each prototype. The material itself imposes certain restrictions on the work. Each new piece of fabric acquired a problem waiting for a solution. In this sense, the finished prototype constitutes a solved puzzle. One key objective is to create designs that are flexible while still being robust enough to be portable. Another key objective is to create inviting and organic designs. While I used laser cutters to cut the fabric into precise patterns, I allowed gravity and light to create an imperfect and organic end-result. However, the outcome of my experimental exploration is a system and a technique for making use of discarded textile materials to create atmospheres and spaces.

I have always been very interested in typography and type design and I have long harbored a desire to create something that could benefit my home country Zimbabwe, Afrika and the rest of the world through creativity. I imagine what my language might have looked like if it weren't for the Latin or Roman alphabet. During my childhood, I often encountered individuals who belittled my native language, chiShona. My educational experience at an all-girls, private Catholic school reinforced the notion that speaking English was socially desirable, and those who spoke their native language were subject to ridicule and derogatory labels such as gwash or ghetto. Despite this, I found great joy in speaking my mother tongue, which is widely spoken in my urban community. The chiShona written language is plagued by a number of problems, such as the lack of a consistent way of spelling words across all dialects. The current orthography does not accurately represent the spoken form of the language, making it difficult for writers and speakers to convey their ideas effectively. In this publication I explore typography of a Zimbabwean language and reimagine what chiShona may have looked like if it had not been colonised. As a speaker of chiShona, my mother tongue, I am fascinated by the possibility of developing a written language for my language and finding effective methods of teaching it.  This was done with the help of collaborators Rutendo Shannon Goneso and Pule kaJanolintji.