Den här studien ämnar att undersöka hur fyra nyhetsmedier: Aftonbladet, Expressen, Svenska Dagbladet och Dagens Nyheter, framställer det vita snuset och kopplar resultaten med hur det kan påverka trender bland ungdomar. När det vita snuset lanserades 2016 ingick inte det i lagen om tobaksprodukter vilket innebar att snuset kunde marknadsföras och säljas till personer under 18 år väldigt enkelt. Resultatet blev en explosionsökning av snusande ungdomar. I augusti 2022 kom ”lagen om tobaksfria nikotinprodukter” till vilket innebar en förändring i samhället i form av marknadsföring och försäljning. Hur skriver nyhetsmedier om det vita snuset idag? Sammanfattningsvis belyser studien efter en kvantitativ och kvalitativ innehållsanalys att nyhetsartiklar idag framställer och gestaltar nikotinsnuset som mestadels hälsofarligt och är ett pågående problem för dagens ungdomar.

<p>The purpose of the study was, with initial position from two particular youth homes, to survey the staff’s experiences regarding different youth cultures that might occur at the institutions and how they react to them. The question formulations were as follows: What kind of youth cultures might occur at the institution and how are they being expressed, according to some of the staff members? How do the same staff members, individually, see their role and prospect to influence the type of youth culture that is developing on the institution? Earlier research in the field were used as theoretical starting positions as well as the concepts of “looking-glass self“, “the generalized other” and ”the overtaking of roles” in the symbolic-interactionism. Qualitative research interviews were carried through with three of the employees at the two youth homes and the results of the study evinced that both positive and negative youth cul-tures develops at both of the institutions, concluding the fact that youths affect each other both ways. The results of the positive culture is that the youths identifies themselves with other youths, support each other and by comprehending more might change their attitude toward different matters. The negative culture might be expressed with youths who bring their trou-bles to the institution, youths who discuss divergent subjects within the group, exposure to bad influence which leads to negative behaviour. Henceforth, the personnel considered that they have a propitious potential to influence the youths and the conditions between them. It was deemed crucial that the personnel group acted alike and kept a jointly approach toward the youths.</p>

<p>This thesis describes how the punk movement was started in Sweden and how it continued to grow in the late 70's. The main questions are: How was the punk movement regarded in Sweden?; How did punk reflect the society? and What does the term punk represent?</p><p>The study is based on journalistic texts in newspapers and magazines from the period of the breakthrough of punk. The work is based on a methodical review of the material and is organized thematically under topics like opinions, gigs, clothing and music. Initially, punk lead to misunderstandings and misperceptions since few people knew what punk was all about. The study reflects society in its time and is therefore more than just a caption of history.</p><p>Punk attracted much attention in Sweden in 1977 and in its wake came a number of misunderstandings due to the punk look and the ‘punks’ alleged views. During 1978, the punks got their own Swedish identity and a lot of the misconceptions started to disappear. In time, ties were tied between the former rivals, the punk, and the Swedish music movement (Musikrörelsen). The situation changed by the principle of 'Do it yourself' (DIY) in the punk when more young people started doing something for themselves rather than being passive.</p>

The purpose of the study was, with initial position from two particular youth homes, to survey the staff’s experiences regarding different youth cultures that might occur at the institutions and how they react to them. The question formulations were as follows: What kind of youth cultures might occur at the institution and how are they being expressed, according to some of the staff members? How do the same staff members, individually, see their role and prospect to influence the type of youth culture that is developing on the institution? Earlier research in the field were used as theoretical starting positions as well as the concepts of “looking-glass self“, “the generalized other” and ”the overtaking of roles” in the symbolic-interactionism. Qualitative research interviews were carried through with three of the employees at the two youth homes and the results of the study evinced that both positive and negative youth cul-tures develops at both of the institutions, concluding the fact that youths affect each other both ways. The results of the positive culture is that the youths identifies themselves with other youths, support each other and by comprehending more might change their attitude toward different matters. The negative culture might be expressed with youths who bring their trou-bles to the institution, youths who discuss divergent subjects within the group, exposure to bad influence which leads to negative behaviour. Henceforth, the personnel considered that they have a propitious potential to influence the youths and the conditions between them. It was deemed crucial that the personnel group acted alike and kept a jointly approach toward the youths.

Young people’s recreational activities are based on, contain or are framed by music, where by choosing music and applying knowledge about styles they construct their identities and lifestyle projects. This study explores the relationship between music activities at school and in leisure time, how young people use and perceive music in these two environments and in what way they interact. Theories and research on late and post modernity, social construction, media, youth culture and music education are utilized in this study. Concepts such as authenticity, individualization, reflexives, aestheticization and makeability are concerns in the processing of the empirical data. The study is based on a survey, observations and interviews where three musical environments in two different upper secondary schools were investigated. 83 third-year pupils completed the survey, out of whom I interviewed 29 pupils. Music is pictured as an activity and a positioning of the individual in a social context, or as a construction of identity, as I prefer to put it. Emotions are essential in music, and according to the pupils emotions are created by the musician, mediated in music and interpreted by the listener. It is important to be authentic and to have a unique identity, which is possible to achieve in music. In the study pupils equal music to emotions and emotions to the self, which I define as Music = feelings = I. Music symbolizes cultural affiliation, lifestyle choices and ethical standpoints described in stereotypes which young people gather from various attributes and combine personally depending on the time and cause. It seems important to be open-minded and creative, which can be promoted by music activities according to the pupils. Music as a characteriser of identity seems to be at stake both in leisure time and at school. Based on the notion that young people’s behaviours are seismic readings of tendencies in society, this study implies that upper secondary school music activities are cultural investments in identity and in the students’ life projects.

This thesis describes how the punk movement was started in Sweden and how it continued to grow in the late 70's. The main questions are: How was the punk movement regarded in Sweden?; How did punk reflect the society? and What does the term punk represent? The study is based on journalistic texts in newspapers and magazines from the period of the breakthrough of punk. The work is based on a methodical review of the material and is organized thematically under topics like opinions, gigs, clothing and music. Initially, punk lead to misunderstandings and misperceptions since few people knew what punk was all about. The study reflects society in its time and is therefore more than just a caption of history. Punk attracted much attention in Sweden in 1977 and in its wake came a number of misunderstandings due to the punk look and the ‘punks’ alleged views. During 1978, the punks got their own Swedish identity and a lot of the misconceptions started to disappear. In time, ties were tied between the former rivals, the punk, and the Swedish music movement (Musikrörelsen). The situation changed by the principle of 'Do it yourself' (DIY) in the punk when more young people started doing something for themselves rather than being passive.

På Nationaldagen år 1992 utnämndes steelpan till Trinidad och Tobagos nationalinstrument. Världens yngsta akustiska instrument har på några få decennier gjort en klassresa. Syftet med denna uppsats är att utifrån de gällande teorierna om subkultur analysera steelbandkulturens ursprung och dess utveckling från en gräsrotskultur till en representant för en hel nation. Vilka faktorer bidrog till subkulturens uppkomst? Hur var det möjligt för steelbandkulturen att inta en så framträdande position i ett multikulturellt samhälle där den europeiska kulturen värdesattes högst av alla? Och vad händer med en subkultur som blir accepterad av resten av samhället?

Den snabba samhällsutvecklingen har lett till nya möjligheter, men också nya utmaningar för ungdomar som står på tröskeln till vuxenvärlden. Livet för unga människor idag är i stor utsträckning präglat av val där idéer hämtas från den globala populärkulturen och digitala sociala forum, där detta tjänar som inspiration till att individualisera den egna livsåskådningen och identiteten. De myter och berättelser som varit förbehållna religiösa eller kulturella sammanhang och som gett upphov till tro och reflektion över livets stora frågor, behandlas under uppväxten till stor del genom populärkulturens filmer, tv-spel, datorspel, serietidningar och böcker i vår avtraditionaliserade samtid. (Partridge 2004, ss. 137–138) Historiskt och i traditionsorienterade samhällskulturer, har ceremonier och riter använts för att markera när en ungdom anses redo att ta del av vuxenvärlden. Det är ett sätt för samhället att uppmärksamma och vägleda ungdomen in i nästa livsfas och ett sätt för ungdomen att få bearbeta de utmaningar och det ansvar som kommer med den vuxna identiteten. Denna uppsats syftade till att undersöka hur en populärkulturell film skulle kunna tolkas som en modern övergångsrit utifrån Arnold van Genneps teori om övergångsritens gemensamma meningsskapande funktion och förstås genom Thomas Ziehes analyser om modern ungdomskultur. Detta gjordes genom en tematisk analys. Resultatet visar att handlingen i filmserien DET av Stephen King kunde tolkas som en reflektion av de utmaningar som framställs i forskningen om ungdomskultur och att bli vuxen. Genom att använda de meningsskapande aspekterna av övergångsritens tre faser utvanns en fördjupad förståelse för den sociala gemenskapens roll för processen att hitta sin identitet och sitt sammanhang. Filmserien DET symboliserar en fantastisk bild av vänskap och mod, men samtidigt en bild av en vuxenvärld som står utanför den känslomässiga livsvärlden som tillhör ungdomstiden.

Through questionnaires answered by the institutions and through searches on their various websites, an image is developing that shows that subcultures are not always given room in the cultural heritage sphere. Even though the Gothenburg sound plays a big part within the metal world, and despite the fact that it has given Gothenburg international recognition within the metal community, it remains more or less invisible in Gothenburg’s institutionalized world, both as a subculture and as a cultural heritage. With this essay, we are trying to create a perspective where an eventual explanation for this absence can be given, and where we can raise and problematize these questions. We are trying to illustrate the dominance of the mainstream society compared to subcultures, but also the institutions influence in what qualifies as a cultural heritage. We want to gain an understanding if the Gothenburg sound can be seen as a cultural heritage and if the genre should be made more visible within the institutions. In the end though, the question remain whether it would benefit the subculture to be made visible in the mainstream arena as they through such an uplifting also risk to lose their subcultural identity.

<p>Uppsatsen beskriver tiden kring 50-talet för att genom detta visa den ungdomskultur som då uppstod. När filmen Ung rebell hade premiär 1955 var den en föregångare inom filmbranchen genom att gestalta ungdomskulturen på ett nytt sätt. Uppstasen analyserar denna film, Sista natten med gänget (1973), samt Grease (1978) för att visa vilka verktyg som används för att visa ungdomskulturen under denna tid. En del av analysen är att påvisa bilens roll i ungdomskulturen i film gesaltad under och strax efter 50-talet.</p>