This thesis explores the history and current condition of contemporary young adult literature. It looks at why the genre has been marginalized, especially in relation to education and scholarly critique. Chapter one places Hawthorne's The Scarlet Letter alongside the contemporary fiction of Hilary Jordan, When She Woke. The discussion of Jordan's work points out the importance of the contemporary work and how it can be used to enhance learning and appreciation for it's canonical predecessor. Chapter two looks at the ghost story as written for the younger range of young adult literature, the crossover novel, and adult literature. Lisa McMann's Cryer's Cross explores how death and ghosts affect those left behind after a trauma and is targeted to a young adult audience. Laura Kasischke's novel The Raising addresses ghostly existences when a college student is supposedly killed by her boyfriend. This book bridges the gap between young adult literature and adult literature. The Lovely Bones by Alice Sebold looks at death and loss from the vantage point of the dead and it's subtlety puts it in the group of adult literature. All three novels help their targeted audiences in differing ways and allows for self-exploration of beliefs and values.

I den här studien analyseras företaget Gillettes visualisering av maskuliniteter i deras reklamfilm We Believe: The best men can be. Undersökningen utgår från hur företaget förhåller sig till genus efter rörelsen #metoo som slog igenom 2017. Genom en kvalitativ semiotisk analys, studeras utvalda klipp från reklamfilmen för att få en förståelse över symboler i reklamfilmen. De har sedan analyserats med hjälp av storytelling, representations teori och teoretiska begrepp, såsom maskulinitet, toxisk maskulinitet och woke-washing. Utifrån undersökningen ska en förståelse nås om Gillette som globalt företag har förändrat sin visuella kommunikation efter #metoo. Resultatet av studien är att Gillette inte skapar någon normbrytande gestaltning av maskulinitet. Istället visualiseras två olika former av maskuliniteter i reklamfilmen We Believe: The best men can be. Den första är en toxisk maskulinitet som Gillette tar avstånd från. Den andra är en traditionell hegemonisk maskulinitet, som bygger mycket på att en man ska beskydda och vara en förebild.

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This study analyzes a commercial by Gillette (2019) and a commercial by Pepsi (2017), which are based on the movements Me Too and Black Lives Matter. The purpose of the study is to examine the commercials with a multimodal critical discourse analysis (MCDA) and with the help of associated semiotic resources analyze communicative and visual performances that appear in the commercials. Through MCDA, the study aims to find underlying messages, portrayals and representations that may indicate to a performative brand activism or Woke Washing in each commercial. The study is based on theories about representation, brand activism, Woke Washing and gender studies. The results of the study indicate that Gillette's commercial has two themes that stand out. The first theme concerns masculinity and ethnicity. The result is that they almost exclusively portray white men in their commercial. The second theme concerns masculinity and women at a disadvantage, and the result is that they try to include themselves in the Me Too debate, which mainly concerns the female gender, while they are at the same time portraying women who are treated badly by men in the commercial. In their commercial, Gillette tries to sell a lifestyle rather than their own products, and this means that there is no performative brand activism occurring in the commercial. What indicates to Woke Washing in the commercial is that they have not done a consistent job to counteract the macho culture and its effects on the male and female gender.  In Pepsi's commercial, two themes were identified. The first theme concerns representation and ethnicity. The result is that they are more intersectional in the representation of different social groups in the commercial. However, they have made the choice to give Kendall Jenner, who is a white woman, interpretive precedence in a demonstration that has connections to Black Lives Matter and concerns black people. The second theme concerns representation and commercial framing, and the result is that, through their brand colors and soft drinks – Pepsi makes a consistent commercial framing throughout the whole commercial, and this means that a performative brand activism thus occurs. What indicates to Woke Washing in the commercial is the fact that they commercialize on an expression taken from a socio-political aspect. / I den här studien analyseras en reklamfilm av Gillette (2019) och en reklamfilm av Pepsi (2017), som tar avstamp i rörelserna Me Too och Black Lives Matter. Syftet med studien är att granska reklamfilmerna ur en multimodal kritisk diskursanalys (MCDA) och med hjälp av tillhörande semiotiska resurser analysera kommunikativa och visuella utföranden som ter sig i reklamfilmerna. Genom MCDA, ämnar studien att finna underliggande budskap, skildringar och representationer som kan indikera till en performativ varumärkesaktivism eller Woke Washing i respektive reklamfilm. Studien utgår från teorier kring representation, varumärkesaktivism, Woke Washing, genus och maskulinitet. Studiens resultat pekar på att Gillette’s reklamfilm har två teman som sticker ut i mängden. Första temat berör maskulinitet och etnicitet, där resultatet är att de nästan uteslutande skildrar vita män i sin reklamfilm. Andra temat berör maskulinitet och kvinnor i underläge, där resultatet är att de försöker inkludera sig själva i Me Too debatten som främst berör det kvinnliga könet, samtidigt som de skildrar kvinnor som blir illa behandlade av män i reklamfilmen. Gillette försöker i sin reklamfilm att sälja in en livsstil snarare än deras egna produkter, och det medför till att det inte förkommer en performativ varumärkesaktivism i reklamfilmen. Det som indikerar till Woke Washing i reklamfilmen är att de inte har gjort ett genomgående arbete för att motverka machokulturen och dess effekter på det manliga respektive kvinnliga könet.  I Pepsi’s reklamfilm identifierades två teman. Första temat berör representation och etnicitet, där resultatet är att de är mer intersektionella i representationen av olika samhällsgrupper i reklamfilmen. Däremot har de gjort valet att ge Kendall Jenner, som är en vit kvinna, tolkningsföreträde i en demonstration som har kopplingar till Black Lives Matter och berör svarta personer. Andra temat berör representation och kommersiell inramning, där resultatet är att de, genom deras varumärkesfärger och läskedryck, gör en genomgående kommersiell inramning under hela reklamfilmen, och det medför till att en performativ varumärkesaktivism således förekommer. Det som indikerar till Woke Washing i reklamfilmen är det faktum att de kommersialiserar på ett uttryck taget ur en sociopolitisk aspekt.

The aim for this study is to research Oatlys advertising campaign Help Dad from the perspective of how their values concerning sustainability are shown through the campaign. Based on the findings and result of the analysis, a discussion is held on if and how Oatly create discussions within society. The empirical material for the study is the Help Dad campaign which consists of four television commercials and an editorial piece from The Guardian. To examine the material, the critical discourse analysis along with the multimodal critical discourse analysis is applied. Interdiscursivity, theories in framing, semiotic theories and concepts in brand communications are used to understand Oatlys campaign, to deepen the discussion on how they market their values. The results show that Oatly equip a type of woke branding and even some “woke-washing” aimed to make a statement and seemingly influence young people to discuss sustainability with their parents. Parents are portrayed as unaware of social and political struggles in the world, while youths are portrayed as clever and strong. Oatly uses different techniques to build a loyal and friendly relationship to their young audience, while trying to convince them to take on more power within their family. They also send a strong message which shows their negative views on dairy products, by comparing drinking milk to alcohol abuse. Lastly Help Dad is criticized for capitalizing on difficult issues and because of the polarizing rhetoric used throughout the campaign. Even though the campaign has gotten a lot of negative reactions, Oatly won a prestigious marketing prize for the commercials. Since this campaign can be seen as polarizing and capitalizing on vulnerable groups, it sets a tone that doesn’t seem like the direction marketing should strive for.

This paper studies how the new phenomenon of being woke is framed in cultural journalistic articles inswedish newspaper media from January 2017 to May 2021 (present day). Although the subject ofwokeness is rarely explored in academic articles, this study provides a basic knowledge about how thephenomenon is talked about in the Swedish context. With a qualitative content analysis connected totheories of framing, agenda-setting and cultural journalism, it provides new knowledge in the field.Results show how the use of the word and, in that respect, the agenda setting of the word started in 2019and increased during 2020. Also, the results in 2021 could indicate further increase during the rest ofthe present year. Mostly, cultural articles mentioning woke held a neutral approach, although therelatively high number of negatively approached articles could also be connected to frames of woke asleft political spheres, censur, identity politics, radicality and as destroyers of good quality art. Positiveframing of woke often tends to use the term as “something you should be” and the neutral frames oftenmention woke with an acceptance by mentioning it in passing or with a describing frame.

I dagens läge vill konsumenter se varumärken ta ställning i politiska och sociala diskurser och därför tenderar varumärken ofta navigera för att kunna representera sig själva som brydda om olika aktuella politiska frågor. När man ser till hur varumärken försöker ligga i linje med idéer om social rättvisa är det viktigt att notera kapitalismens roll i samhället, där det som är moraliskt ofta är bestämt eller påverkat av det som har ekonomiskt värde. Den här uppsatsen ämnar undersöka musikplattformen ColorsxStudios underliggande politiska budskap med hjälp av Roland Barthes teori om Myten. Uppsatsen dsikuterar även huruvida marknadsföringen plattformen bedriver är etiskt hållbar och förenlig med deras underliggande budskap och ideologi. Detta görs med hjälp av begreppet woke washing.

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Marketing is crucial to the success of any company, and in line with an increased emphasis on sustainability, many companies now include sustainability issues in their communications. The clothing company Lindex's campaign ”Reinvent the Model” aims to reshape the female ideal and promote diversity in their marketing. They do this, among other things, by including different skin colors, ages and bodytypes in the marketing. The study ”Advertising for what, clothes or bodies?” examines Lindex's campaign and its portrayal of beauty ideals. Through a qualitative multimodal critical discourse analysis, based on Fairclough's three-dimensionalmodel, the campaign is analyzed with a focus on lexical choices, denotation, connotation, interdiscursivity, ideology and hegemony. The concepts of discourse andcommodified feminism also form the basis of the study's theoretical perspective. The results show that Lindex portrays beauty ideals as problematic and negative. The campaign mixes marketing, body positive, feminist and documentary discourses to challenge prevailing beauty ideals within the fashion industry. The body positive and feminist discourse is emphasized by ordinary women sharing their experiences around beauty ideals. Quotes in the campaign create a negative view of the female body as bodily flaws are discussed. The hegemonic view of beauty ideals is questioned in the campaign, but the result of making a comprehensive campaign about women's appearance means that the female body continues to be scrutinized and used as akind of marketing material. The conclusion is that, from an ideologically critical perspective, the campaign partially challenges the hegemonic view of beauty but at the same time maintains and commodifies norms around the female body.

The purpose of this study is to examine, based on a qualitative semiotic image analysis, how feminist aspects are used by companies for commercial purposes. The starting point for the study is a critical feminist perspective with a theoretical background in the complex discussions about postfeminism, commodified feminism, femwashing and femvertising. Of which an in-depth study of postfeminist discussions of individualism, girl power and empowerment. The study will examine the razor blade company Estrid's two campaigns: Shave and misbehave (2019) and Save. Shave. Whatever (2020). The aim of the study is that in a tripartite analysis consisting of; body hair, shaving and the environment show how today's neoliberal society often uses political and social issues for a capitalist and commercial purpose. Based on the campaigns, analyze how Estrid portrays women, body hair and feminism in relation to their products. The result that emerged from the analysis showed that Estrid strives to break stereotypes and express feminist values within its brand strategy. This is because it repeatedly shows normalization around body hair. The conclusion also showed that as a brand, it is difficult to produce a genuine brand strategy, with feminsit values. Estrid's focus on feminist statements in their campaigns is influenced by postfeminist discussions, with messages such as individualism and empowerment, where new expectations of women are created instead of focusing on criticizing gender structural inequalities.