This essay investigates the results of participation by teenage girls in feminist groups, the so called girl groups. These groups are descendants of the awareness-raising groups of the 1970?s feminist movement. The essay assumes the relevance of theories of heteronormativity and Performativity, as well as theories surrounding two different ways to organize girl groups. It is done either through the Pippi-feminism, named after strong independent book character Pippi Longstocking, or through the collective empowerment feminism.

This is a study of the novel Mes mauvaises pensées (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal Les mots pour le dire (1975), the David Lynch movie Mulholland Drive (2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in Mes mauvaises pensées. The melancholic subject mourns a Thing which is the unrepresentable archaic mother.

The aim of this thesis is to model my artistic practice on an adaptation of Joseph Campbells monomyth and, using this model, investigate challenges of Performativity in art (in public spaces). The overall themes are personal, aesthetic and ethical sovereignty and an uncompromising search for a deepening of the artistic practice. More than anything else it is a map and a story of an artist?s expansion out into an artistic field that is little developed in Sweden. It is my hope that this thesis, by using a thoroughly subjective tone, will contribute to the milieu of performative arts in Sweden as well as widen the ?how? regarding the making of a written thesis..

In this essay, I interview six users from the website darkside.se, which is an internet community for BDSM practitioners. I?m using Judith Butlers theorys about Performativity and heteronormativity, Gayle Rubins model the charmed circle; of which sexualities is regarded as approved and which is not, and Fanny Ambjörnssons explenation of queer theory. With the interviews as my material, I investigate how sex and gender is produced and used in BDSM and at Darkside. I discuss trans, heteronormativity, sexism and hierarchies of power related to sex and gender, in BDSM and at Darkside.

In this essay, I interview six users from the website darkside.se, which is an internet community for BDSM practitioners. I?m using Judith Butlers theorys about Performativity and heteronormativity, Gayle Rubins model the charmed circle; of which sexualities is regarded as approved and which is not, and Fanny Ambjörnssons explenation of queer theory. With the interviews as my material, I investigate how sex and gender is produced and used in BDSM and at Darkside. I discuss trans, heteronormativity, sexism and hierarchies of power related to sex and gender, in BDSM and at Darkside.

In this essay, I interview six users from the website darkside.se, which is an internet community for BDSM practitioners. I?m using Judith Butlers theorys about Performativity and heteronormativity, Gayle Rubins model the charmed circle; of which sexualities is regarded as approved and which is not, and Fanny Ambjörnssons explenation of queer theory. With the interviews as my material, I investigate how sex and gender is produced and used in BDSM and at Darkside. I discuss trans, heteronormativity, sexism and hierarchies of power related to sex and gender, in BDSM and at Darkside.

The study analysis Anaïs Nin's work, Henry & June from a queer theoretical perspective. The purpose is to show what the work makes with text and how it produces ambivalence with sex and gender and thereby demonstrate the queer leakage in heteronormative performativities. The first part analyzes how it is working with self-representation in diary form. In order to view the work historically and linguistically the work has been related to analyzes and essays by other researchers mentioned in the analysis. The analysis shows that the writer Anaïs Nin has a clear agenda with her work.

The Barbie doll is an icon filled with meanings; this thesis discusses the Barbie doll and herfeministic potentials and subject positions using a discourse analysis. The thesis analyzeswhat sort of femininity Barbie portraits in magazines, web series and films about her.Theories being used originate mainly from gender and queer studies, where the focus is on theperformative constructions of gender and femininity. Since the material mostly consists ofmoving images some influence is taken from feminist film theorists and semiotic theory,which focuses on signs and their meaning. The thesis centres around the questions: how isBarbie?s femininity challenged, strengthened and constructed in different types of mediaabout her produced by Mattel? And is there any feminist potential in Barbie?s subjectpositions in these media forms?.

Violence is put in a specific context when the police are the perpetrator of violence rendering violence possibly legitimate through sovereignty. The possibility of legitimization of police violence raises important questions of how such violence is legitimized and how resistance is conceived of and defined. I have interviewed seven people in Sweden from different backgrounds, all of whom share the experience of having been subjugated to police violence, including threats, harassments and physical violence.This paper analyzes the Performativity of police violence through the relations between police violence, power, sovereignty, subjectstatus and resistance, in order to understand how police violence is being legitimized and to understand its consequenses with respect to those subjugated to it. I?ve also analyzed if this violence is being politicized and, in that case, how politicization is made possible.

Violence is put in a specific context when the police are the perpetrator of violence rendering violence possibly legitimate through sovereignty. The possibility of legitimization of police violence raises important questions of how such violence is legitimized and how resistance is conceived of and defined. I have interviewed seven people in Sweden from different backgrounds, all of whom share the experience of having been subjugated to police violence, including threats, harassments and physical violence.This paper analyzes the Performativity of police violence through the relations between police violence, power, sovereignty, subjectstatus and resistance, in order to understand how police violence is being legitimized and to understand its consequenses with respect to those subjugated to it. I?ve also analyzed if this violence is being politicized and, in that case, how politicization is made possible.

The aim of this master thesis is to study the reliefs of a Romanesque tombstone from 1130 AD, with the intention to form a plausible understanding of their meaning. During the course of the investigation, my main focus will be on collecting materials of an iconographical and historiographical nature, as they appear in previous studies. I will also use performative analysis when examining the tombstone. Consequently this thesis can be seen as a survey of history and place; early Christian iconology as well as the experience of the viewer. As a result, the 900-year-old tombstone will not only be seen as a memorial in this text, but also as a performance of one man?s faith and as representing the core message of the early Christian church.The tombstone is a rarity in Swedish art history and well worth a closer examination.

This essay examines Finnish artist Iiu Susiraja?s self-portraits in relation to Western traditions and tropes of the genre from the 20th century until today. I use an iconological/iconographic model to describe and to further interpret the images. The purpose is to find out which norms and conventions, within the art sphere and society as a whole, that Susiraja?s images reproduce or revolt against.

I have examined the conditions for participation in an opera masquerade. Theoretical support has been found in Michail Bachtin, Richard Schechner and Judith Butler. The main study object has been a masquerade organised by the workers of The Royal Opera of Stockholm in 1925. The masquerade is examined as a social practise with distinct aesthetic framing. The analysis shows that the opera masquerade share some characteristics with the medieval carnival culture as described by Bachtin, but differ in many ways as well.

This essay concerns dance as an exhibition object by examining the permanent exhibition at The Museum of Dance in Stockholm, Dansmuseet. Due to its dependence on the temporality and movement of the lived body, dance does not easily lend itself to being exhibited in a traditional exhibition display; and since the live dance performance itself is ostensibly absent at the exhibition display, other means of representation must be relied upon in order to evoke the exhibition visitors? experiences of time and movement as well as the feeling of dance. Starting from a phenomenological first-person perspective, as an exhibition visitor, I present three ways in which such experiences may come about. The cross-section of the experience evoked and the means that trigger them are intermedial, spatial, and performative taking their departure in the visitor?s pre-understanding of dance..

This essay analyzes three Swedish cartoon artists: Elias Ericson, Lisa Ewald and AmandaCasanellas. The aim is to examine how they construct feminist strategies through their workand how they convey this visually. The issue of whether these Swedish cartoons can be seenas a part of a bigger political platform is central. Through semiotics and post-colonial andqueer feminist theory, some answers to these questions are searched for.The result shows that all three of the artists can be seen in a bigger activist context, even ifthey work in and through different platforms. Casanellas questions the racism in Swedenand how we should prevent it.