Pop, identitet och genus i Kamratposten och Julia

Sammanfattning: Abstract In this essay I am examining the representation of popmusic with particular focus on gender and identity in two youth magazines called Kamratposten and Julia. Using the method of Norman Faircloughs critical discourse analysis I have studied ten interviews with popmusicians from each magazine based on the theorys of representations, discourses within popularmusic and queer theory. The intention with this study was to examine how popularmusic is represented in youth magazines. If the magazines were reproducing femininity and masculinity in the interviews with the musicians, and in the representation of popmusic in the magazines. And also if there were any differences and similarities between the magazines regarding the representation of popmusicians. The analysis lead to the conclusions that how popmusic is represented in the magazines depends on what the magazines wan´t to represent on the basis of their target groups and ideologies. The magazines have different target audiences and ideologies which make them represent different kinds of popmusic and artists. Julia is targeted towards girls and Kamratposten is targeted towards both girls and boys. The gender classification on the magazines have an impact on what kind of popmusic they represent. Popmusic is often targeted towards different target groups in order to sell the music to specific groups of people. How popmusic is represented in the magazines also depends on the image of the artist but also on what kind of popmusic they make. Music is like many other things affected by power structures. Genres in music can be seen as gendered. Music that is associated with masculinity is often also associated with authencity within the music. Masculin and therefore authentic music often features characteristics like: anti-commercial, originality, music based on instruments, serious lyrics etc. While music that is associated with femininity features characteristics like: commersialism, is based on vocals, seen as shallow, music you can dance to and joy. In Julia there were more popacts that was referring to femininity within the music while in Kamratposten the representations of popmusic was more broad. The similarities I found was that they wrote similar about the popmusic that referred to the same style within popmusic. I also found that the gender identity of the popmusicians, in som cases, contributed to different representations in the written text. In the closure I conclude that to specify the target group to a specific gender in a magazine that draw upon gender stereotypes, reproduces gender stereotypes but also the reference that music targeted towards girls often maintain a heteronormative perspective. It can also maintain the fact that certain music is seen to be feminin and masculin and therefore more or less authentic and is therefore also representated in different ways. How popmusic is representated also depends on the gender identity of the artist. And also how you need to continue challenging the gender stereotypes and deconstruct power relations between gender. Nyckelord: kritisk diskursanalys, diskurs, diskurser inom populärmusik, populärmusik, ungdomstidningar, representationer, queerteori, genus, kvalitativ innehållsanalys, femininitet, maskulinitet, Kamratposten, Julia. Keywords: critical discourse analysis, discourse, discourses within popularmusic, popularmusic, youth magazines, representations, queertheory, gender, qualitative content analysis, femininity, masculinity, Kamratposten, Julia.