When is it acceptable to make fun of religion, and when does it become disrespectful? On January 7, 2015, the headquarters of the French satirical news paper Charlie Hebdo was subjected to a terrorist attack that claimed the lives of 12 staff members, due to the publishing of Caricatures picturing the prophet Muhammed. The reactions that followed the attack circled around two perspectives; the importance of freedom of expression and the obligation to show respect for certain institutions and traditions in society. How come the Caricatures can elicit such completely different reactions? This is the question that this thesis uses as a starting point for the examination of the subject Caricatures and satire.

The aim of this study is to analyze the discussion on the publication of twelve Caricatures of the prophet Muhammad, in two Swedish newspapers ? Dagens Nyheter and Sydsvenska Dagbladet. The Caricatures were originally published in the Danish newspaper Jyllands-Posten, in September 2005. Even though the violent protests and attacks against Danish interests gained major media attention in Sweden few ? if any ? major Swedish newspapers published the Caricatures.Using Fairclough?s Critical Discourse Analysis (CDA), a theory and a method that critically examines the relationship between text, the discourse practice in which text is produced and consumed, and the wider social practice, this study examines why Swedish newspapers chose not to publish any Caricatures.The study concludes that the relationship between orders of discourse continuously affect, and is also affected by, Swedish media content.

The aim of the paper is to explore the dominating perception of the Other after the conflict regarding the Danish Mohammed Caricatures. How Swedish newspapers have portrayed Arabs, which role they have been given in society and what problems they are struggling with is going to be the focus of this thesis.As methodological approach I chose discourse analysis, since it presents a view where language defines and structures our understanding of reality. Through the study of various Swedish newspaper articles, this essay tries to illustrate the implicit yet existent negative image of the Arabs as a group and potential alternative ways of understanding the Other.The perception of Arabs is a product of a necessary imaginary foe, a mirror image of the bad and strange in contrast to the idyllic and safe Swedish nationality. The rhetoric?s of the discourse are therefore constructed between a politics of acknowledgement and a will to culturally dominate the Other.

Abstract: The purpose with this study is to analyse the political debate about freedom of speech in Sweden and Denmark, after the Caricatures of the Islamic Prophet Mohammed that the Danish newspaper Jyllandsposten published in September 2005. For this debate four political parties have been chosen. These are: Socialdemokratiska Partiet and Moderata Samlingspartiet in Sweden and Socialdemokraterne and Venstre in Denmark.An idea analysis has been chosen as method, and dimensions as an analysing tool. The overall result of the analysis is that right- and left political parties in Sweden and Denmark are more alike, than different in their political debate about free speech. They all wish for total freedom of speech, and see that as the foundation of the democratic society.

In this essay I analyze Karin Boye?s first novel, Astarte, focusing on her views concerning norms,ideals and female liberation. The novel is written in a tone of irony, allowing for many of thecharacters to be viewed as Caricatures. The theories and methods I use are drawn from genderstudies and queer theory. Queer theorist Judith Butler, and the concepts of performativity, interpellation, genealogy and the heterosexual matrix, are of central importance for my analysis.

This paper investigates the representations of Africans in the Swedish comic press around the time 1880-1920, with the purpose of establishing how Africans were depicted and how these representations can be explained. The sources consist of four comic magazines: Kasper, Söndags-Nisse, Strix and Naggen.Results show that images of Africans in the late 19th and early 20th century Swedish comic press highly conform to international representations. Traditional stereotypes and overall Caricatures are widely applied, mediating racial difference and black subordination. The comic strips and jokes can be divided into categories, defined by their main theme: 1) Exotic animals and nature 2) Skin colour 3) The unintelligent or uncivilised savage 4) Cannibalism 5) The civilised African 6) Imperialistic overtones. The use of international stereotypes indicates that some comic strips might have been directly copied from foreign publications, and incorporated into Swedish contexts.Several theories, likely interacting, can be considered in explaining the imagery.

I meet in my work as art teacher many students of different descent, were they, or their parents, have different school experience than the Swedish. This, in combination with therecent discussion after the Muhammad Caricatures about the banning of images in Islamic religion, made me curious to study what art education in a Muslim country looked like. I went to visit the Maramra Egitim Köyü school in Istanbul, Turkey, and especially their art classesfrom grade five to eight, which are the same age of students that I have been working with thelast ten years. This was my first visit to Turkey.The question I ask is: What does the practice of Turkish art education look like, using the Marmara school as an example. Which discourses can I identify in the art teacher practice? What surprised me the most was the frequent visual exposure of the founder of the Turkishstate, Kemal Atatürk.

I meet in my work as art teacher many students of different descent, were they, or their parents, have different school experience than the Swedish. This, in combination with therecent discussion after the Muhammad Caricatures about the banning of images in Islamic religion, made me curious to study what art education in a Muslim country looked like. I went to visit the Maramra Egitim Köyü school in Istanbul, Turkey, and especially their art classesfrom grade five to eight, which are the same age of students that I have been working with thelast ten years. This was my first visit to Turkey.The question I ask is: What does the practice of Turkish art education look like, using the Marmara school as an example. Which discourses can I identify in the art teacher practice? What surprised me the most was the frequent visual exposure of the founder of the Turkishstate, Kemal Atatürk.