263,228 research outputs found
Storia e memoria in Yo el Supremo di Augusto Roa Bastos
No full textYo el Supremo è uno dei romanzi che meglio hanno definito i decenni durante i quali l’America Latina ha visto susseguirsi al potere dittatori e regimi militari. Argomento principale del romanzo è la ricerca del potere assoluto da parte di Gaspar Rodríguez de Francia, uno tra i dittatori più longevi della storia dell’America Latina, capo assoluto e indiscusso del Paraguay dal 1814 al 1840. L’analisi proposta vuole mettere in risalto le caratteristiche del romanzo nei suoi rapporti con la ricostruzione della storia e della memoria tanto paraguaiana come collettiva di tutta l’America Latina. Il testo si compone di tre capitoli: il primo è interamente dedicato a presentare la figura dell’autore e ad approfondirne certi elementi che ne caratterizzano la narrativa. - See more at: http://www.ledizioni.it/prodotto/sara-carini-storia-memoria-yo-el-supremo-augusto-roa-bastos/#sthash.2gYEvYWn.dpu
Re-descriptions of Isospora ameivae Carini, 1932 in the teiid lizard Ameiva ameiva and Isospora hemidactyli Carini, 1936 in the gecko Hemidactylus mabouia, with particular reference to their endogenous stages
No full textRedescriptions are given of the mature oocysts of Isospora ameivae
Carini, 1932, from the teiid lizard Ameiva ameiva, and Isospora
hemidactyli Carini,1936 from the gecko Hemidactylus mabouia, in north
Brazil. The endogenous stages of the two parasites in the small
intestine are described. Those of I. ameivae are intracytoplasmic,
whereas those of I. hemidactyli are intranuclear
Re-descriptions of Isospora ameivae Carini, 1932 in the Teiid Lizard Ameiva ameiva and Isospora hemidactyli Carini, 1936 in the Gecko Hemidactylus mabouia, with Particular Reference to their Endogenous Stages
No full textRedescriptions are given of the mature oocysts of Isospora ameivae Carini, 1932, from the teiid lizard Ameiva ameiva, and Isospora hemidactyli Carini,1936 from the gecko Hemidactylus mabouia, in north Brazil. The endogenous stages of the two parasites in the small intestine are described. Those of I. ameivae are intracytoplasmic, whereas those of I. hemidactyli are intranuclear
Tra mediazione e incomprensione: la ricezione editoriale e le letterature straniere. Il caso delle Meduse latinoamericane in Mondadori
No full textSe i “processi di trasmissione” del testo (Tanselle) sono, insieme alla traduzione, parte integrante del processo di adeguamento del testo di un’opera a un nuovo contesto culturale e letterario “in traduzione”, le tracce di mediazione editoriale conservate negli archivi delle case editrici più in apprezzate del Novecento conservano importanti indizi utili a capire quale fosse la percezione culturale e letteraria che il mondo editoriale – nel nostro caso italiano – ha avuto nei confronti di contesti culturali e letterari stranieri. Nel caso della letteratura latinoamericana gli archivi dimostrano come la mediazione editoriale abbia dovuto superare molti ostacoli: logistici, di tempo, ma anche disguidi causati da incomprensioni letterarie o culturali. Nello specifico il presente intervento si propone di delineare quello che fu l’approccio editoriale di casa Mondadori – e più nello specifico di Vittorini – nella diffusione di opere provenienti dall’America Latina, dimostrando come l’apparato editoriale e intellettuale che si occupava della mediazione editoriale per la Medusa degli Stranieri sia stato l’artefice di notevoli successi ma anche di clamorose sviste che, in qualche modo, hanno influito sulla percezione totalitaria della letteratura ispanoamericana in Italia
The body and ritual healing in Samanta Schweblin's "Fever Dream"
No full textLiterature is able to give a new significance to clinical facts by revealing the potentiality that its signifiers acquire through time and the evolution of social groups. In this study I propose an analysis of the metaphoric function of the concept of the body (in its meaning of the social body) and ritual healing in Fever Dream by Samanta Schweblin. The aim is to study how these elements contribute to contextualizing the environmental denouncement of the use of toxic chemicals described by the author
Il "faticato peregrinaggio" di Isidoro Carini negli archivi e nelle biblioteche di Spagna (1881-1882)
No full textITALIANO: Attraverso la Relazione di Isidoro Carini sulla missione negli archivi e nelle biblioteche spagnole nel 1881-1882 e dallo studio delle vicende della pubblicazione dei suoi risultati si ricostruisce l’avvio dell’utilizzazione delle fonti iberiche per la storia medievale siciliana e nazionale e il contesto della storiografia sulla Sicilia medievale alla fine dell’Ottocento. / ENGLISH: The Relazione by Isidoro Carini about his research mission in Spain (1881-1882) and the events of its publication allow to reconstruct the beginnings of both the use of Spanish sources for the
Sicilian and Italian medieval history and the context of the Sicilian medieval historiography at the end of the 19th Century
To Patricia F. Carini: A Dedication
No full textWhen I first visited the Prospect Center in North Bennington, Vermont in 1984 and met Pat Carini, there were several things that struck me right away about the setting: The children were active and engaged in making things; the Center was a lively community of thinkers involving children and adults in a variety of ways; and I was welcomed as an active participant from the outset. It was a bustling place in which to observe and listen and contemplate. At that point, Prospect was two decades old; it had already matured into an organization with a recognizable philosophy and outlook; it had published descriptions of itself and the collaborative inquiry processes that are a hallmark of its legacy. I spent the next seven years working and studying at Prospect, where I was a fortunate benefactor of the thought and work of many contributors over that early time period, but the primary and consistent influence throughout was Patricia Carini
Simona Carini
No full textSimona Carini is what I would call an Extreme Cook. Her recent experiments have led to cheese-making and she has traveled to the east coast to take an advance class. She is a free-lance writer and has written articles for the food section of the North Coast Journal and Edible East Bay. Her blog Briciole began as a effort to help people who struggle with pronunciation with Italian words (mostly food related) but has blossomed to include instructions and photos of her latest food adventures
Oral History Interview with Rose Carini, January 23, 1991
No full textRose Carini, a native of Sicily, immigrated with her mother to Milwaukee in 1907 to join her father, who was already living in the Third Ward. In her interview she discusses the work that Italian immigrants were engaged in, her father’s employment with the Northwestern Railroad Company, and her mother working as an embroiderer for the Boston Store. She also talks about her schooling in Milwaukee and the pressure to learn English and to help her mother and father learn. Daily life for Italians in the Third Ward is also discussed, including descriptions of religious activities at Our Lady of Pompeii Church, Italian owned businesses, and Italian societies like St. Joseph's Society.AN ORAL HISTORY
OF
THE ITALIANS IN MILWAUKEE
May, 1991
Subject: Rose Carini
LAWRENCE BALDASSARO
DIANE VECCHIO
Department of French and Italian
College of Letters and Science
University of Wisconsin-Milwaukee
Funded in part by the Wisconsin Humanities Committee
and
The State of Wisconsin
The narrator is Rose Carini. The interview is taking place
at the Italian Community Center of Milwaukee on
January 23, 1991. The interviewer is Diane Vecchio.
Interviewer.
Narrator.
Rose, can you tell me a little bit about your
family background in Italy, where your mother and
father were born?
My parents were born on the island of Sicily,
province of Palermo, a town called Bagheria. My
father was working in the quarries and my mother
was a plain housewife.
I. Did you have brothers and sisters?
N. Yes, I did have brothers and sisters, but in Milwaukee.
When we came to the United states, my father and mother, we
had a family, my mother and father had a family.
I. Tell me a little bit about your mother and father's reasons
for leaving Sicily.
N. To make a better living, that's the reason. We had to come.
I. Do you know what year your mom and dad left?
N. 1907.
I. Did they leave together?
N. No, my father was here in the late 1800s and he was here for ·
a few years and went b~ck to Italy to get married. He
married my mother. My dad came back to the United States
and my mother stayed in Sicily. I was born there and when I
was two years old my mother came to America with me.
I. So your father came first. Do you know where he came when
he first arrived in America?
N. Where he came? To the Third Ward.
I. He came right to Milwaukee in the Third Ward? What made him
choose the Third Ward of Milwaukee. Were there other people
who had come before him?
N. Yes, my father had two friends that were going to come to
the United States. One was going to New Orleans and one was
coming to Milwaukee. So my father chose Milwaukee because
that was the first offer.
I. What was it in Milwaukee that drew these men to the area?
Was there a particular industry or jobs that they had hoped
to get?
N. Well my father knew a friend and he said if I find work for
you I'll send for you. So, yes, he found work at the
Northwestern Railroad Company.
I. Was that located right here in Milwaukee?
N. Right now. The coach yard. This is the coach yard. This
is where my dad worked.
I. So the new Italian Community Center is located in the coach
yards?
N. In the coach yards, yes.
I. So, he was working here several years before he called for
your mother?
2
N. Yes, he was working here some years before he called for my
mother and in 1907 my mother always would say we arrived
October 12.
I. October 12, 1907. And you made the trip with your mother
alone?
N. Yes, my mother and I.
I. You came by ship?
N. Yes. And my mother used to say that we stopped at Ellis
Island and then of course we took the train and my dad met
us in Chicago.
I. Great. Now, you were too young obviously to recall any of
the voyage. Do you remember any of the stories that your
mother told about coming here on the ship?
N. Well, she said that the ship wasn't that great. There were
a lot of people. A lot .of people got seasick. She didn't
talk too well about the voyage.
I. Right. Something she probably wanted to forget.
N. Yes.
I. Then your father met you and your mother in Chicago and
brought you to Milwaukee. Where in Milwaukee did you first
settle?
N. What street, I think it was on Chicago Street.
I. So, Chicago Street in the old Third Ward.
N. My father had rented a low duplex and the house when my
mother and I came to Milwaukee was already furnished. There
were two bedrooms and furniture.
3
I. So he had saved his hard earned money and already had a
place provided for his family.
N. Yes, he did.
I. Do you know if the neighborhood at that time on Chicago was
primarily Italians?
N. No. It was a mixture of Irish and German.
I. So there were not all Italians but a mixture of immigrant
groups.
N. A mixture, because I went to school with a lot of Irish
children and German too because we knew that it was a
mixture.
I. What are your earliest recollections of life in the Third
Ward in Milwaukee. Going to school probably?
N. I went to the kindergarten. My mother one morning told me I
had to go to school. She said this is our home and we're
not going back to Italy. Of course I was about four years
old at the time and she said now you have to 90 to school.
This is our home and you have to learn how to read and write
and then we're going to go to school if we can to learn the
language because seeing that we're staying here, we're going
to be here for always and we're going to be citizens of the
United States. My mother took me to the kindergarten one
morning and when we got to the kindergarten they registered
me and I cried. I did not want to leave my mother because
first of all I didn't speak English. My parents didn't
either. So my mother told me you have to learn the language
4
/ so we can speak English too. So my mother left me in care
of the kindergarten teacher. I cried. I remember that much
that I cried but at 10 o'clock when they had the recess I
saw all the children in the backyard, in the backyard of the
school, we were all supposed to go out for recreation and I
went home.
I. You left?
N. Yes, I left.
I. And you knew the way home?
N. I knew the way home. We just lived a couple of blocks away
from school. So then my mother, when she saw me she said
what are you doing home? I said, well everybody went out in
the backyard and I came home. My mother said that was the
time that you have to play. You have to go back. Well of
course I didn't want to go back and I didn't, but the
following morning my mother got me out of bed and said, "now
you have to start to school and no running away, alright?"
So that was fine. So I had to go to school. But I remember
too now when. I used to come from school when I was maybe in
the second or third grade I used to try to teach my parents
how to read.
I. Is that right?
N. I did. That I remember.
I. So you learned English in kindergarten? Did you have
trouble learning the language?
N. I don't think so.
5
I. You were young enough so that it came fairly easily?
N. Because ·the children that I played with all spoke English,
in my neighborhood. So we, I learned right away.
I. Do you remember if the teachers were helpful, encouraging to
you?
N. Yes, they were. My kindergarten teacher was named Miss
Culligan, one of them, and one was named Miss Walsh. We had
two teachers in the kindergarten and in the second grade I
had Miss Rose Riley. We have a picture, a class picture of
that when we were in the second grade, we still have it.
I. So you went home then and taught your mom and dad how to
speak English?
N. Well, my mother and dad, I used to try to help them as best
I can but then when we got in the older grades, one day the
principal of the school came in the class and said the.
school board allows your mothers and fathers to come and
learn how to speak English. Well, my father couldn't come
because he was working, but my dad told my mother, now you
go. You go to school and learn how to speak English, to
read and write. Well, my mother started with about thirteen
or fourteen women from the surrounding area and I'll tell
you, after a few years my mother went shopping on her own,
she didn't have to have anybody. She did. And she was
reading, not the best, but enough to understand.
I. Right. And other women went along with her to learn the
language?
6
N. Yes, they did. A lot of them made fun of them, but they
didn ' t care~.
I. But they learned. That's great.
N. My mother learned. She didn't .have to have anybody to go
shopping with her.
I. How many sisters and brothers did you have once you were
settled in Milwaukee?
N. Well, my mother came here. After we were here a few years I
guess my mother had a little girl and a boy, but my little
sister died 2-1/2 years old and my little brother eight
months old. There was an epidemic. Now, I don't remember
if it was the measles or scarlet fever, but they died I
think in 1912.
I. Oh, dear.
N. My mother lost two children within hours. My little sister
died in the late afternoon. My little brother died during
the night.
·I. Oh, dear, how awful. So you're the only living child?
N. Well, I was the only one at the time but then my mother had
three more children. She had two girls and one boy.
I. Now, the years that you were growing up, Rose, did your
mother remain at home taking care of the family or did she
ever feel the need to go out and 'work?
N. Well, no. My father wanted to buy a home and naturally with
just his allo~ance that he was getting at work it wasn't
enough so my mother was brought up in the convent where she
7
did embroidering. So one day while we were at school
someone asked if they knew if there was anybody that knew
how to embroider. So I raised my hand up and I told her
that my mother knew how to embroider. So, they gave me a
little slip to go to Gimbels and to be interviewed and to
bring a little sample of what my mother did. So I went with
my mother and my mother was on the spot. She was hired on
the spot. So then my mother worked for, she went to T. A.
Chapman's and the Boston Store and my mother did work for
them in the embroid'ering room. They used to bring the
samples, like big tablecloths, or initials from men's shirts
that they put the initials on the pockets. Well, then
another time a woman came again to the school board down the
ward and they wanted some women if they knew how to
embroider little bonnets for babies' bonnets and little
dresses, and so my mother was hired. Yes, because as I said
she was raised· in the convent and she was beautiful.
I. And they learned, young Italian women learned those skills?
N. Yes, my mother had a skill when she came. And so did my
father, only that there was nothing here for my father, but
my mother used her skill in embroidering. And with my
mother's help and my two uncles that came from Italy they
bought a house.
I. That's great. Now, did your mother work at home or did she
actually work within these stores doing the embroidery work?
~. My mother worked at home.
8
I. She did. So she was given the work at home to do and then
it was sent back to the Boston Store or to Chapman's?
N. I used to pick the work up. I used to go and pick the work
up ·and I used to bring it back when it was all finished.
I. So after school you would go pick it up?
N. Yes, after school.
I. I see. So she did this for several years then?
N. Oh yes. My mother did that for a long time. I can't tell
you how long, but a long time.
I. Did a lot of other Italian women do that as well?
N. Ye~, well I'll tell you, other women some of them had the
same skill my mother did and others that were tailors, they
inquired in some of these tailor shops that they had on
north Water Street. The~e were a lot of tailor shops around
there. Especially the widows, they used to go and inquire
and they used to work, some of them worked in the factory
and some that had children they would bring the work at home
for them. A neighbor of ours was doing that. She used to
get the work from the tailor company and then she would work
at home. She had the children and there was no delinquency
either, believe me. Everybody was alright.
I. Sure. What are your recollections of growing up in the
Third Ward?
N. It was beautiful.
I. Was it?
9
N. It was beautiful. I live where I live now for 46 years and
I don't know anybody except my brother across the street.
And down in the ward we were one family.
I. So there was a real sense of neighborhood in the old Third
Ward?
N. Yes. I remember that my mother had her little girl, my
little sister Mae, and the neighbors came to help. They
were there. One of them did some of the cooking and they
used to help my mother wash clothes and it was beautiful.
I. Everyone helped everyone else?
N. Everybody helped everybody else.
I. Were there a lot of Italian grocers and bakeries in the old
Third Ward?
N. Groceries, well of course where we lived now, the section
where we lived there was a couple of them, but then the big
meat market was Mr. Frinzi and Mr. Agnello and then there
was another one on Detroit Street. I don't recall the name
of it. There were a couple of th.em.
I. What about bakers? Any Italian bakers?
N. The Italian baker, Joe Tocco, Mr. Tocco. He was on Van
Buren Street. And Scalisci.
I. So did your mother bake her own bread or did she get these
things from the bakery?
N. No, my mother baked her own bread. Yes, she baked her own
bread.
10
I. So in addition to going to Italian bakers and Italian
grocers were there other services within the old Third Ward
provided by other Italians?
N. In what way?
I. Stores, or •..
N. Yes, there was Mrs. Maniaci, she had a dry goods store. She
sold earrings and gold and dry goods. That's all. She's
the only one we had.
I. Like a forerunner of a department store.
N. Yes. She had a big department store in her living room.
I. Ok, great! Were there places that the older people went to,
to socialize like neighborhood saloons or restaurants that
were owned by Italians. Do you recall anything like that.?
N. Well, that much I don't know because those days who went
out? You know?
I. Right. What about fraternal organizations or benevolent
associations, the kinds of organizations that Italians
establish to help each other?- Do you recall anything about
those?
N. Yes. My father belonged to the st. Joseph's Society and
that was a society originated from Bagheria where he left,
so a few men, my father's home town, Bagheria, organized the
society of st. Joseph in Milwaukee. Well, they couldn't get
too many people, too many men from the home town so they
invited all the other people if they wanted to join and they
did.
11
I. They did. And was it continued to be called St. Joseph's?
N. st. Joseph's Society. So they pay their monthly dues and in
case of an accident or in case of death they would get so
much allowed.
I. Right. In addition to providing these kinds of benefits for
their members, do you know if they also had social
activities?
N. No.
I. No social activities? Because I know that there were some
organizations that not only provided benefits in case an
accident or something happened to a member, but they also
provided dances and banquets may be one or two times a year.
N. Well, that much I don't know. See, my father didn't
socialize too much because later on then my father got two
jobs, one during the day and then at night.
I. What was he doing at night?
N. Well, at night he was working too for Northwestern and he
used to go to Butler. From the coach yard they take the
train, they provide transportation and go there for about
five or six hours.
I. Now what did he do at Butler?
N. I dontt know.
I. So he was a hard working man. He was working two jobs.
N. My father, yes. Until they paid the house, of -course, until
he retired.
I. Right. What about church? Did you belong to the ...
12
N. Our Lady of Pompeii Church. Yes. We were members of Our
Lady of Pompeii Church. All my mother's children were
baptized there. Well then I received communion there. I
was married there, at our Lady of Pompeii Church.
I. So your whole history of the family was tied to that church?
N. Yes, it was. Especially when the archbishop provided the
nuns to come from Italy we had it beautiful down there. The
children went to the nursery and they used to have maybe two
to three times a year they would have plays. All the
children would be involved. Naturally that meant everybody
would go, buy tickets and help out.
I. That's great. How did you and your family feel when the
church was torn down?
N. My heart went with the church. Will never forget it. That.
church was our life.
I. Yes. And it was also the center of the Italian community.
N. That was. Because they had a beautiful hall down there.
For us it was beautiful. They had wedding receptions down
there and christenings or whatever. Meetings. It was a big
meeting room and a banquet room. One room was for
everything and it was beautiful.
I. That's too bad.
N. Very bad. That's why we have this today. Because they know
they •.•
I. Lost a very important part of the community. sure.
N. They shouldn't have.
13
I. Rose, tell me a little bit about yourself now. Growing up,
how did you meet your husband? Did you go to work?
N. Yes, I was working. I went during the summer vacation. We
had to be fourteen. Just for a month and a half I worked at
Phoenix Hosiery. That was just for a month and a half I
said and that's it. And then I quit school because all my
friends living around me all quit. They were a little older
than I was and we had to walk from Chicago and Jefferson
Street to Knapp and Jefferson Street School and that was a
long way to walk. There were no buses or streetcar.
I. And how old were you at the time?
N. I was about fifteen.
I. So you quit school when you were about fifteen.
N. Yes.
I. And then what did you do? You went to find a job?
N. Then I went to find a job and I worked for Mobridge's Lamp
Shade making lamp shades .sewing them by hand.
I. And where was that located?
N. That was located on Chicago and Broadway.
I. How did your father feel about you quitting school and going
to work? Was he in favor of it?
N. My father and mother were very against it. Very, very
against it. But you know, in the winter mornings when I had
to get up and go alone all that way, that was quite a way.
I just didn't like that idea. I just didn't want to go
anymore. I told my mother I'm not going.
14
I. So how long did you work in the lamp shade factory?
N. About three years.
I. Did you? And then what?
N. Then I met my husband.
I. And how did you meet him?
N. A friend of ours became a doctor and they had a big banquet
for him at one of the hotels on Kilbourn and Third Street
and we were sitting down next to each other. That's it, I
don't know.
I. And that started a spark, hey?
N. That did.
I. ~at year was that, do you remember?
N. 1925. I was married in 1927.
I. So you were married in 1927 and then you had three children,
right?
N. Five.
I. Excuse me, five children.
N. I had four girls and one son. One daughter died two years
ago with cancer and I have a son that's a teacher and the
one that died was a teacher and another one is, I sent her
to Chicago to the Reborg School of Design. She made fur
hats; coats, whatever. And then the other one is a
secretary.
I. So all of your children became educated and professional
peqple?
N. Oh, yes.
15
I. You encouraged your children to go to school?
N. Definitely. I sure did.
I. When did your husband pass away, Rose?
N. He passed away 11 years ago. He used to work for a plaster
contractor. So one day his friend said, Steve, you're an
expert at that. He said, how about getting in business?
Well, my husband said, well how can we be in business? I
don't know anybody, these big contractors. He said don't
worry, let's see what happens. Well, the first job that
they had was this young man's father had a push cart and
they put their pails and equipment on the push cart for a
few months until they started to get work. And that's how
they started. They started, I think, well in 1925 was when
I met him, I think they started in 1924.
I. Was he also born in Italy?
N. No, my mother-in-law and father-in-law were born in Italy
but they were married in Milwaukee. My husband was born in
Milwaukee.
I. So your husband's family was also from the Third Ward?
Lived in the Third Ward?
N. Yes. Three houses away from the church. The same block.
Yeah, he was a native of Milwaukee. He had an accent and I
didn't. So everybody thought that I was, I was born there
but two years old you don't know what.
16
I. - Reflect on your life in Milwaukee, Rose, and maybe your
parents' life. Was it the right decision for them to come
to this country?
N. Oh, sure it was. But my mother always reminisced about the
town she left and then I was lucky enough with my husband to
go in 1950 to see his parents, his mother with the brothers
and sisters and when I got to the home town where I was born
I said why did my mother come to America? Because it was so
beautiful, the weather was just perfect.
I. Unlike Milwaukee.
N. That's it. My mother loved America and so did my father and
he encouraged my brother. My brother is a teacher and they,
all of them, went to high school. They graduated, but my
brother graduated from Spencer College.
I. If you had to just wrap up in one -sentence what being an
American has meant to you and your family, what would you
say?
N. Oh, beautiful. I can't express the joy of being an
American.
I. And the joy of living here in Milwaukee. It sounds like you
and your family have had a wonderful life here.
N. Yes, we did have a wonderful life. My father was a hard
worker. My mother was a good mother. We would come from
school. We'd have a lunch on the table. We'd come from
school after school and there was always a little snack
17
until supper time. our home was always lit up with my
mother around.
I. That's wonderful. Rose, do you mind if I ask you how old
you are?
N. I was 85, December 18, a week before Christmas.
Imane Khelif vs Angela Carini: Beyond the Ring : A qualitative content analysis of news articles in the Swedish press about Imane Khelif and Angela Carini during the 2024 Olympics
No full textDenna studie analyserar den svenska mediegestaltningen av de kvinnliga boxarna Imane Khelif och Angela Carini under augusti 2024. Syftet är att undersöka hur Khelif och Carini gestaltas i svensk tidningspress samt om aspekter som kön och etnicitet har en betydande roll i deras gestaltning. Studien genomfördes med hjälp av kvalitativ innehållsanalys som metod och teoretiska ramverk såsom gestaltningsteori, genusteori och intersektionalitet. Studien bygger på 30 artiklar från tre svenska tidningar och syftar till att synliggöra potentiella normer och maktstrukturer som formar den mediala gestaltningen. Resultaten visar att två genomsyrande teman kunde hittas bland alla artiklar, teman som ”andra ska få bestämma vad en kvinna är” och ”framgång överskuggas av kontrovers”. Dessa två teman beskriver Khelifs och Carinis gestaltning. Slutsatser som kan dras är att kön och etnicitet har en betydande roll i deras gestaltning men i olika stor utsträckning. Carinis gestaltning präglas av könsnormer och ett nästan stereotypiskt framställande. Khelifs gestaltning är väldigt centrerad runt kön och hur hon inte är en typisk kvinna. Khelifs algeriska etnicitet nämns även mer än Carinis italienska etnicitet vilket kan bero på att vithet är normaliserat och anses vara idealet vilket gör att det kan få existera utan att nämnas. Studien belyser hur svensk tidningspress både förstärker och utmanar normer genom ordval och vinklingar. Khelifs gestaltning tenderar att överskugga hennes framgångar, medan Carinis gestaltning förlitar sig på stereotyper och könsroller. Detta påvisar en tendens att svensk tidningspress förminskar kvinnliga atleters prestationer. This study is an analysis of the Swedish media framing of female boxers Imane Khelif and Angela Carini during August 2024. The aim is to investigate how Khelif and Carini are framed in the Swedish press and whether aspects such as gender and ethnicity play a significant role in their framing. The study was conducted using qualitative content analysis as a method and theoretical frameworks such as framing theory, gender theory and intersectionality. The study is based on 30 articles from three Swedish newspapers and aims to highlight potential norms and power structures that shape the media framing. The results show that two major themes could be found among all articles, themes such as “others should be allowed to decide what a woman is” and “success is overshadowed by controversy”. These two themes describe the framing of Khelif and Carini. Conclusions that can be drawn are that gender and ethnicity do play a significant role in their portrayal, but to different extents. Carini's portrayal is characterized by gender norms and an almost stereotypical framing. Khelif's portrayal is very much centered around gender and how she is not a typical woman. Khelif's Algerian ethnicity is also mentioned more than Carini's Italian ethnicity, which may be because whiteness is normalized and considered the ideal, which means that it can exist without being mentioned. The study highlights how Swedish media both reinforces and challenges norms through choice of words and different angles. Khelif's framing tends to overshadow her accomplishments, while Carini's portrayal relies on stereotypes and normative gender roles. This demonstrates a tendency that shows that Swedish media diminishes the achievements of female athletes through their framing.
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