The purpose of my study is to find out how a preschool teacher look upon children's culture and learning. have preschool teachers' understanding and work with children's culture been impacted by this initiative? To highlight this I have asked the following questions: How are preschool teachers' attitude towards Kultur i ögonhöjd? And where do learning fit in into preschools active undertaking with culture? I use qualitative interviews with a low degree of structure as a method to collect empirical data. The survey was conducted with a group of six preschool teachers where everyone works as culture delegates, a roll where they are ultimately responsible for preschools development in its undertaking of culture. I analyse the results with the help of Vygotsky and his theory of the proximal development zone. The proximal development zone is the potential for learning that go beyond what a child can reach on its own and to which a child can reach by help of others or artefacts. In this essay I divide children's culture into three categories. Culture for children is created by adults for children. Culture by children are when children themselves create without adult influence and culture with children when children and adults interact in the cultural process. Some of preschool teachers were positive about the venture presented by the city of Stockholm since it meant more opportunities for cultural experiences for children. They only showed prof of actively working with culture for children. A major part of the preschool teachers were disappointed in Stockholm's initiative as they considered that it only focused on culture for children. They felt that the culture by children and culture with children was pushed aside. When it comes to culture and learning processes, there are four main tracks. The adult conveys learning by making use of a cultural product, this is culture for children where the children reproduces what the adults presents them with. The next track is when adults tries to inspire by the means of culture for children, so that the children themselves become creators of culture by children. Now the idea is that what the adult presents will lead the children to become creative. The third track is when the adults captures what the children are exploring and gives the children challenges, artefacts and discusses with the children so that they canmove forward in their processes. This is a form of culture with children. The last way is to create environments that are built for the children to explore and be creative in. The adult will be documenting the children´s behaviour so that they later can reflect over how they can challenge the children to help them forward in their learning process. This is a form of culture with children.

Children meet adults dressed out in costumes in various situations. One of these characters is Skogsmulle in Friluftsfrämjandets outdoor education. Since the mid-1950´s Skogsmulle has been part of Swedish childhoods, and the concept has also spread to other countries around the world (C. Lindgren, 2021). The last decades forrest kindergartens and other kinds of preschools with focus on outdoor education flourishes around the world (Alme & Reime, 2021; Sobel, 2014), and some of them provides Skogsmulle activities. The purpose with the Skogsmulle outdoor activities is to learn about, and how to take care of nature in a playful way, and create opportunities for the children to bond with nature and strengthen their biophilia (Yılmaz m.fl., 2020; Änggård, 2009a). The aim of this study is to create knowledge about how children can experience situations when adults dress out as fictional characters, and what characterize their encounters with Skogsmulle in the forrest. Reception theory (Iser, 1980b; Rosenblatt, 2002) is used together with the concept of realunreality (A.-L. Lindgren m.fl., 2015) to explore what preschool children express and analyse the aesthetic response of the children. The method is qualitative case studies inspired by ethnographic design with observation and interviews. The result shows that children´s interpretation of fiction and reality is complex, and their encounters with Skogsmulle can be seen as an example of realunreality where the boundaries of real and unreal mingle (see A.-L. Lindgren m.fl., 2015). The children also becomes co-creators of the Skogsmulle story through their interactions, and creators of children´s culture (see Sparrman, 2011) as a response to the culture that the adults offers the children.

The aim of this essay is to examine how boys and girls between 9–14 years old are portrayed in pen pal ads from the latter part of the 20th century. The source material consists of pen pal ads published in the newspaper Expressen during the years 1976–1977 and 1986–1987. With a qualitative content analysisas selected method, and an intersectional perspective with focus on gender and age, the content of the pen pal ads has been studied and analysed. The result shows that themes like sports, music, idols, and animals are a part of the descriptions in almost all the ads. Based on the content of the ads, the themes and other descriptions, different ideals have emerged for boys and girls. The ideals shift between the different periods. For example, the boys’descriptions during 1976–1977 shows that sports are an interest that belongs to an ideal for boys. Not only do they mention sports more often than girls, they also, to some degree, mention different sports than girls. During 1986–1987 the result shows that the girls have increased their interest in sports, and the boys have developed a greater interest for music and idols. The girls also start to mention sportactivities that previously almost only were mentioned by boys. During both periods there are both girls and boys who go against the ideals of their own sex and mentions interests that belong to the ideal of the opposite sex. Age may have had an impact on who within the different sexes that breaks the ideal. There are also some areas within the different themes that are of more interest to a boy or a girl of a certain age. However, gender is the strongest factor, which create the biggest differences between how boys and girls are portrayed in their pen pal ads.