This thesis concerns the changing predispositions and conditions for contemporary meaning-making in school education. From a socio-cultural perspective, multimodal theory formation is used to find suitable tools and concepts for developing teaching and learning. The overall aims are to investigate and conceptualize meaning-making in school in the frame ofmultimodal theory. Firstly, the research questions are concerned with how teachers work with written; paper-based, expository texts, and secondly, with students' meaning-making, working with meaning-offerings from different modes and media. This is followed by questions surrounding the predispositions for a multimodal view in the Swedish curriculum outline. Finally, the consequences for the role of fiction in education, using multimodal theory formation as a framework are addressed. The thesis presents two empirical studies which investigate meaning-making in upper secondary education, followed by critical discussions of the cmTiculum outline and the role of fiction. The empirical data was collected using methods inspired by ethnography in classes taking social sciences and media courses. The analyses were inspired by multimodal research, and the main analytical tools consist of a discourse framework and model inspired by Roz IvaniC, the Leaming Design Sequence developed by Staffon Selander, the wheel of multimodality and the pedagogy of multiliteracies, both developed by the New London Group and Bill Cope and :Mary Kalantzis. The first study focuses on the teachers' perspective in trying to develop students' meaning-making through written, paper-based expository texts. Analyses within the discourse framework and design layer model are used to describe the teachers' practical theory. The wheel ofmultimodality is used to differentiate the meaning-offerings used in class, and the pedagogy of multiliteracies is used to describe and analyze the discussions in groups and with the teacher. Results highlight three major possibilities for working with written, paper-based expository texts: a vvider view on meaning-making, meaning-offerings encompassing several modes and media, and the teacher's modeling ofthe reading through discussion. The second study describes and analyzes meaning-making and design in learning \vith meaning-offerings from different modes and media from the students' perspective. The analytical tools are the wheel of multimodality, the Learning Design Sequence and the further-developed pedagogy of multiliteracies. Results show a similarity in meaning-making regardless of mode and media, staiiing with the visual mode and with the students focusing their efforts on comprehending the meaning-offering. This can be explained by lack of clarity and lack of guidance which are seen as obstacles for learning. The discussions surrounding the curriculum outline and the role of fiction show that, in using a multimodal theory formation frame, the curriculum does not explicitly support a multimodal view on meaning-making and that fiction can not be seen as unique due to neither mode nor media. The results suggest that multimodal theory formation gives access to tools that are useful in developing students' meaning-making according to the predispositions and conditions oftoday, in which reading development is viewed as part of developing meaning-making as a who lei and that meaning-making in school should be based on a non-hierarchical and inclusive view on modes and media to create a readiness and a flexibility to meet demands of a rapidly-changing society. As a consequence, the curriculum outline needs to be reworded and the role of fiction in education needs to be problematized.

Cette recherche porte sur l’activité de prescription de l’encadrement de proximité d’une entreprise horticole appartenant à un groupement de producteurs national. Celle-ci compte une vingtaine de permanents à l’année et accueillant autant de saisonniers durant la pleine saison. Dans cette structure où le travail est peu formalisé et l’organisation de la production pas toujours planifiée en amont, et dans un environnement où tout bouge tout le temps (élément naturel, produits vivants, variabilité industrielle), il est impossible, voire contre-productif de vouloir tout pré-écrire. Dans ce contexte, nous considérons que l’encadrant est un concepteur qui développe son activité en s’appuyant sur des cadres pour l’action préexistants dans la situation de travail et composés en partie de cadres primaires (naturels et sociaux) qu’il interprète, grâce à des ressources qu’il s’est construit sur son expérience, et en interagissant avec ses collègues. Pour organiser le travail à faire et à faire faire, et pour agir de manière efficace, l’encadrement va concevoir de l’organisation et de la prescription, dans et par l’action, en se confrontant en permanence à la réalité de la situation. Prescrire revient alors à concevoir des cadres d’action (cadres pour agir et cadres pour faire agir) en conduisant en simultané des microprojets quotidiens et des microprojets occasionnels ainsi que de séquences de conception, aux empans temporels différenciés. Lors du processus de conception de la prescription, l’encadrement transforme donc les cadres primaires en cadres secondaires, aboutissant ainsi à une succession de cadres transformés dont certains peuvent se cristalliser sous la forme d’artefacts (matérialisés ou oraux). Nous montrons que pour ce faire, l’encadrant procède à des actions de cadrage (microprojet quotidiens), de recadrage (microprojets occasionnels) et de co-cadrage (microprojets occasionnels et séquences de conception).Vue sous cet angle, l’activité de prescription aboutit à une stratification de cadres d’action. Et elle requiert non seulement une activité de conception complexe, mais aussi et surtout, une réelle créativité de l’agir de la part de l’encadrement. / This research focuses on the prescription activity for the supervision of a horticultural company. This company is owned by a group of national producers, with around twenty permanent staff and around the same number of temporary staff during the peak season. In this organisation in which the work is not formalised, the organisation of the production is not always planned ahead and where everything is in flux (natural element, living products, industrial variability), it is impossible, even against counter- productive to try to pre-write everything.In this context, we consider that the supervisor is a designer who develops his activity based on the existing frameworks for action in the work situation. These frameworks are made up of pre-existing primary frameworks (natural and social) that he interprets using the resources that he has built up based on his experience and by interacting with colleagues. To organise the work to do and to be done, and to act efficiently, the supervisor will design the organisation and the prescription (during the action and by the action) by constantly facing the reality of the situation. Prescribing then comes down to designing activity frameworks (frameworks for behaving and frameworks to drive behaviours) by simultaneously driving daily and occasional micro-projects as well as design sequences with differentiated temporal spans. During the design process of the prescription, the supervision therefore transforms primary frameworks in secondary frameworks, resulting in a succession of transformed frameworks some of which may crystallise in the form of artifacts (materialised or oral). We show that for this to happen, the supervisor conducts framing actions (daily microprojects) and re-framing actions (occasional microprojects) and of co-framing (occasional microprojects and design sequences). From this perspective, the prescription activity leads to a stratification of policy frameworks. And it requires not only complex design activities, but also and above all, real creativity of action on the part of the supervisor.