In this paper I will examine the five Pussy Riot music videos that the group has published online on their official You Tube website. I will examine them through a ?gender lens? looking at their visual representations of gender vis-à-vis the hegemonic gender discourse in Russia. In addition I will examine their potential effects and if/how these visual representations can be understood as resistance.In my study I will take on a constructionist approach and the main theories being used to understand and analyze the Pussy Riot music videos are discourse- and representational theory including deconstruction, performativity and the social construction of gender as well as ?in-between? and deviant representations.

The purpose of this essay is to examine how theory and practice intertwines through theactivism of the feminist punk performance collective Pussy Riot. I have also focussed on the political tools with which the activism is performed. Within the academic context of gender studies, I believe there is a need for research that aims to reduce the gap between scholarly and activist feminism. The theoretical framework for the analysis in this essay consists of material feminist theory and postmodern theory. The empirical material is a diversified assemblage of images, court excerpts, newspaper columns, interviews, lyrics and videos.

Syftet med min undersökning har varit att undersöka receptionen kring det ryska konstkollektivet Pussy Riot. Jag har försökt att finna svar på vad det är för omständigheter som ligger bakom uppmärksamheten som gruppen har fått internationellt och i Sverige. Detta har jag gjort genom att utgå från ett genusperspektiv med en speciell inriktning på feministisk konstteori. Med hjälp av internationella artiklar och svensk dagspress har jag gjort en övergripande analys av receptionen kring Pussy Riot och deras konst. Genom materialet har jag kunnat undersöka olika kontexter som Pussy Riots konst har skapat reception inom.

Syftet med min undersökning har varit att undersöka receptionen kring det ryska konstkollektivet Pussy Riot. Jag har försökt att finna svar på vad det är för omständigheter som ligger bakom uppmärksamheten som gruppen har fått internationellt och i Sverige. Detta har jag gjort genom att utgå från ett genusperspektiv med en speciell inriktning på feministisk konstteori. Med hjälp av internationella artiklar och svensk dagspress har jag gjort en övergripande analys av receptionen kring Pussy Riot och deras konst. Genom materialet har jag kunnat undersöka olika kontexter som Pussy Riots konst har skapat reception inom.

This research paper aims to show how racism, power, social representations and identity are created and reproduced through the media. The research paper will analyse newspaper articles presented about Cronulla riot in The Sydney Morning Herald, The Daily Telegraph and The Sunday Telegraph using Fairclough?s critical discourse analysis, CDA, as a theory and method. The research paper aims to demonstrate how inequality in the Australian society is reproduced by the media through the use stereotypes and certain social representations and how knowledge and awareness about this is relevant to social work of today..

The aim of this study is to describe and analyse how young men who have participated in a riot describe their life-situations regarding to their relations to the police, their neighbourhood, employment, the background to the riots and how they use hip-hop as a resistance to subordination. The study is conducted through three semi-structured qualitative group interviews and to some extent field studies. The theoretical points of departure are Slavoj Zizeks theory of violence, which is divided into subjective, symbolic and systemic violence, and subcultural theory. The results of the study show that the young men in their daily life are exposed to by both systemic and symbolic violence, feel secure within their neighbourhood and find themselves harassed by the police. A major finding is that the riot primarily can be understood as an act to get society conscious of their situations, while they found themselves marginalised, lacking employment and youth club.

This essay is an introduction to the intentions and purposes of the british play writer Sarah Kane (1971-1999). Her own voice is presented both via quotations linked to her work and by an explanation of her connections to the surrealist poet and actor Antonin Artaud. The main focus is on Kane?s second play, Phaedra?s Love, first performed in 1996. The play is analyzed in co-relation to La volonté de savoir, the first volume in Michel Foucault?s trilogy Histoire de la sexualité.

Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér?s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ?skev? ? a hybrid of queer that examines normativity not strictly tied to sexuality ? and gulesque theory ? a mix of feminism, cuteness, the grotesque and riot grrrl ?, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch.

This essay focuses on the press coverage of the riots in Gothenburg 2001. The questions it aims to answer are, How is it that although the media was gender-neutral in its news reports, the lasting memory is one of rioting men, and why did the media simultaneously exaggerate and minimize the importance of the riots?The material consists of articles and photographs from Swedish mainstream newspapers. The method is text analysis, with a heavy influence of discourse theory. The conclusions are that since the hegemonic discourse on gender does not allow women to be active and violent, all bodies in the riot automatically become men, no matter how female they seem to be in other contexts.

Sweden has an active and growing culture of feminist comic book artists that use comedy as a mean of disseminating political ideas and critic. In this essay I do a reparative reading of Sara Granér?s comic book All I Want for Christmas is planekonomi in order to find out if it advocates alternative orders and/or ways of expression. By exploring what the comic book does to me as a reader and how, using the term ?skev? ? a hybrid of queer that examines normativity not strictly tied to sexuality ? and gulesque theory ? a mix of feminism, cuteness, the grotesque and riot grrrl ?, I show that the comic book, through the use of comedy, works as a trojan My Little Pony, reclaiming the girly franchise, while challenging several so-called dichotomies, such as: femininity/masculinity; youth/adult; high art/kitsch.

This study aims to examine young peoples? attitudes towards crimes related to riots. It also examines if there?s a difference in attitudes to different crimes and if there is a connection between these attitudes and friends experience of crime, gender, socioeconomic position or residential area. There is a lack of research in this area, most of the studies on riots focus on the reasons and driving forces leading to riots.

On subsequent days, the 18th and 19th of December 2012, large groups of young people gathered to protest in the centre of Gothenburg. The gatherings mainly occurred outside two high schools: Plusgymnasiet and Framtidsgymnasiet. The reason behind the gathering has often been explained by the young people?s reaction to an Instagram account, on which offensive pictures and comments of and about young boys and girls had been published. As a reaction to the protest, police force including helicopters and mounted police, was sent to the streets.

A large part of the Iranian population resented the west, in particular USA and Great Britain, during the Islamic revolution in Iran 1979. The people were also resenting the adverse effects of the trumped up frame made in Iran. The last shah of Iran, Mohammad Reza Pahlavi was detested by many in Iran for its west-oriented regime. The resentment among many Iranians is a consequence of the violations of e.g. the lack of political and civil rights, there were no existing legal security in the society, there were no economic distribution and the regime of Mohammad Reza Shah violated the human rights.The resolution from an Iranian perspective for riot is not new, during the last centuries the abomination against the despotic kings have been existing varyingly and big riots have been raised.  The Islamic revolution in 1979 was new because the revolution added adverse effects of west, the population detested west and expressed it by protesting through demonstration.  The significance of the revolution in 1979 was also attributable to Islam.

A large part of the Iranian population resented the west, in particular USA and Great Britain, during the Islamic revolution in Iran 1979. The people were also resenting the adverse effects of the trumped up frame made in Iran. The last shah of Iran, Mohammad Reza Pahlavi was detested by many in Iran for its west-oriented regime. The resentment among many Iranians is a consequence of the violations of e.g. the lack of political and civil rights, there were no existing legal security in the society, there were no economic distribution and the regime of Mohammad Reza Shah violated the human rights.The resolution from an Iranian perspective for riot is not new, during the last centuries the abomination against the despotic kings have been existing varyingly and big riots have been raised.  The Islamic revolution in 1979 was new because the revolution added adverse effects of west, the population detested west and expressed it by protesting through demonstration.  The significance of the revolution in 1979 was also attributable to Islam.

Musikgenren punk är nu över 30 år gammal. Och syftet med denna uppsats är att se likheter och skillnader mellan ett par tidiga brittiska punklåtar och ett par tidiga svenska punklåtar. Och ta reda på vad som kännetecknade det musikaliska i musikgenren. Frågorna som ställs i uppsatsen är: Vad var det i det musikaliska som kännetecknade musikgenren? Och vilka musikaliska likheter och skillnader hade den tidiga brittiska punken och den tidiga Svenska punken?För att få svar på dessa frågor så har fyra stycken musikaliska verk analyserats: Sex Pistols ?Anarchy in the UK?, The Clash ?White riot?, Ebba Grön ?Ung & sänkt? och P.F.