Between 2018 and 2021, the amount of young snuff users increased drastically. The same year, 2018, Velo, a tobacco free nicotine snuff, was launched on the Swedish market. They made themselves known through organizing big events and by engaging in influencer marketing. Due to Velos product being tobacco-free, the company is not covered by the Swedish Tobacco Act. As a result of this, they are able to engage in different marketing strategies than its peers that sell snuff containing tobacco. This new possibility of marketing is unique and gives the company a competitive edge and broadens its marketing possibilities. A loophole in the legislation enables new and effective communication strategies for the addictive "All White" snuff. Through this, Velo can market its products on social media and use influencers to entice their followers to start consuming the highly addictive product The purpose of this study was to investigate which visual resources Velo chooses to present and which group belonging this creates. Since images carries signs, this makes the images a central part of the exchange of meaning between sender (Velo) and receiver (young target group). It is therefore essential to look more deeply at how visual resources are used to possibly attract a young target group. The essay aims to answer the two research questions: "What visual resources are used in Velo's Instagram feed to attract and influence a young target group?" and "How does Velo use visual resources to create a sense of group identity for its target audience?" The theoretical frameworks on which the thesis was based were primarily semiotics and social semiotics. Additionally, the semiotic concepts denotation and connotation were used to identify the underlying meaning of the signs in Velos images. To be able to answer the research questions, theories such as Goffman's self representation theory and Bourdieu's take on social fields and capital were used. Previous studies regarding the identity shaping of young adults and teenagers, communities and its creation of groups belonging online as well as influencers persuasion on social media was applied. By using denotation,connotation, theoretical frameworks and previous research we were able to unravel repeated patterns, similarities and themes in Velos images. The study was conducted using a qualitative semiotic content analysis where 143 photos from Velo's Instagram account were selected between a certain time frame. The material was demarcated and resulted in 41 images. From the remaining pictures, three themes were found which were "Accessory", "Image of person" and "Social context". Then nine posts from each 4theme were randomized, which resulted in a total of nine images that became our final analysis objects. After analyzing the nine analysis objects based on denotation and connotation, the theoretical frameworks were applied to the analysis. The result showed that the analysis object contained various symbols for a certain social and cultural capital that could be interpreted as a desirable habitus for the target group. The capital that Velo presented could be seen as common interests and a contributing factor to create a sense of group belonging. The interests could be seen as requirements for identifying with the group affiliation. Group belonging is important for the formation of identity of young people. Influencers as opinion leaders with characteristics as reliable and authentic contributed to a natural recommendation of the brand. Influencer's associations were naturally transferred to Velo. In summary Velo uses signs to build an attractive lifestyle which it invites people to be a part of. The result concluded that visual resources such as influencers, signs of social context, high cultural and social capital and the transfer of positive associations were contributing factors to an attractive group identity to target a young audience.

Detta är en studie av åldrande och minne i Sigrid Combüchens trilogi Värme, Korta och långa kapitel samt En simtur i sundet. Det övergripande syftet med avhandlingen är att visa hur skönlitteratur kan bidra till forskningen om åldrande, och hur litteraturanalys som metod kan utveckla det forskningsfält som i huvudsak har ägnat sig åt frågeställningar om åldrande utifrån ett skönlitterärt material, det vill säga litteraturgerontologi. Syftet är även att problematisera hur man gör litteraturstudier om åldrande och synliggöra antaganden om åldrande i skönlitteratur. Litteraturgerontologer har i stor utsträckning intresserat sig för två företeelser i skönlitteratur: det ena är gestaltningar av äldre huvudpersoner och det andra är gestaltningar av ett liv i olika faser, vilka ofta har analyserats som antingen en positiv eller en negativ utveckling. Forskningsinriktningen har drivits så långt att det finns anledning att fråga sig om det finns ett slags ”kronologisk mall” för gestaltningar av åldrande. Den kronologiska mallen gör sig gällande på tre olika sätt. För det första har huvudpersonens ålder fått stor betydelse för om en roman ska komma ifråga i en litteraturanalys om åldrande. För det andra ska romanens struktur ge illusionen av att huvudpersonen ser tillbaka på sitt liv för att erfarenheter av att åldras ska synliggöras. Och till sist, gestaltningen av huvudperson och tidsmönster ska följa en utvecklingsordning som leder fram till resultatet åldrande. Analysen av huvudpersonen i Sigrid Combüchens romaner visar att denne inte kan göras till föremål för en viss tidsmässig mall. Gestaltningarna av Göran Sager-Larsson syftar inte till att framställa en individ vars liv liknar en verklig människas, utan Göran Sager-Larsson är framför allt ett tidsexempel som återkommer i tre romaner. Gestaltningarna av Göran Sager-Larsson i trilogin synliggör olika samtider och tidsuppfattningar, bland andra åldrande och minne. Analysen av Göran Sager-Larsson visar att analyser av åldrande inte nödvändigtvis måste kopplas till en viss ålder eller en viss fas i livet, utan är något som kan analyseras i skönlitteratur med huvudpersoner i olika åldrar. / This is a study of ageing and memory in Sigrid Combüchen’s trilogy Värme, Korta och långa kapitel and En simtur i sundet. The overarching aim of this dissertation is to show how the literary arts can contribute to the study of ageing, and how literary analysis as a method can contribute to the development of a field that primarily uses literary material to shed light on issues of ageing – that is to say, literary gerontology. A further aim is to problematize the process of literary study and make visible the assumptions about ageing that are present in literary works. The direction of the research has led to a point where it has become necessary to ask the question of whether there is a chronological pattern for the representation of ageing. This pattern is emergent in three ways: Firstly, the old age of the main character has become an important criterion for a novel to be considered for the study of ageing. Secondly, it is taken that the structure of the novel should present an illusion of reminiscence, in order to make the experience of ageing visible. Lastly, the representation of the main character and the presentation of time should appear cumulative and leads to a result we recognize as ageing. The analysis of the trilogy shows that the function of the main character, Göran Sager-Larsson, is a temporal one. The narration of Göran Sager-Larsson is not an attempt to imitate a flesh-and-blood individual. Rather, he is a temporal example, or to be precise, three such examples in the trilogy. As such, the different narrations of Göran Sager-Larsson make it possible for us to notice other understandings of time and the present, among others ageing and memory. Furthermore, the analysis of ageing need not be tied to specific ages or a specific life stage. The analysis of Göran Sager-Larsson shows that ageing in literature can be analyzed using protagonists of all ages.