The purpose of this essay is to examine how different textbooks present World War I. Both the causes of the war and who got the blame are examined as well as how the different textbooks present these issues. To be able to study these issues four different periods of time were examined through four different textbooks that all has been used in Swedish secondary school. The overall view from the textbooks was that the general disturbances in the Balkans and the current alliance politics were the reasons for the emergence of the war. All textbooks agree that Germany alone was, through the treaty of Versailles, blame for the whole war. The textbooks are all influenced by the current curriculums and the prevailing society, reasons why they may differ. Despite this, the study shows that the differences are not that big.

Denna uppsats undersöker bilden av Tyskland under det första världskriget utifrån tre aspekter: objektivitetskravet, läroböckernas forskningsanknytning och problematisering och hur läromedelsgranskning och styrdokument har påverkat den bild som förmedlas.           Den undersökta litteraturen är huvudsakligen ämnad för gymnasiet och studien sträcker sig mellan åren 1920 och 2009.           Huvudsyftet är att undersöka hur och om bilden, i läroböcker, av Tyskland förändras under de år som studien fokuserar på och vad som har varit de bidragande orsakerna till denna förändring.

I föreliggande uppsats har jag genomfört en undersökning där påve Benedikt XV och hans försök att få ett slut på Första världskriget står i centrum. Under sommaren 1917 skickar påven ut en så kallad not till de stridande länderna där han uppmanar dem att sluta fred. Undersökningen tar avstamp i begreppet sekularism och jag vill med undersökningen visa att 1900-talets realpolitik ersatt påvens tidigare makt över kontinentens politik. Undersökningens huvudsakliga material är artiklar och telegram publicerade i Hallandsposten under 1917.

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<p>Jag har i denna uppsats gjort en kvalitativ analys av strids- och våldskildringarna i Hallandsposten från första världskrigets västfront. Utgångspunkten har varit en teorimodell som delar in materialet i kategorier som spänner från de krigsromantiska skildringarna i början av kriget till det mer realistiska under krigets senare år. Resultatet av undersökningen är att det sker en förändring av det publicerade materialet under krigets lopp. Denna förändring visar sig i att det förekommer allt mindre krigsromantiska skildringar ju längre kriget fortskrider. Däremot så ökar de mer realistiska skildringarna och dessa blir allt mer närgångna i sin karaktär och kan mot slutet av kriget ses som fördömande.</p>

<p><p>The thesis presents a study on how the First World War is recounted in a few</p><p>different textbooks for secondary schools. There are similarities, but the books</p><p>also focus on different things. In some of the books, events are even told in</p><p>different ways.</p></p>

The thesis presents a study on how the First World War is recounted in a few different textbooks for secondary schools. There are similarities, but the books also focus on different things. In some of the books, events are even told in different ways.

Jag har i denna uppsats gjort en kvalitativ analys av strids- och våldskildringarna i Hallandsposten från första världskrigets västfront. Utgångspunkten har varit en teorimodell som delar in materialet i kategorier som spänner från de krigsromantiska skildringarna i början av kriget till det mer realistiska under krigets senare år. Resultatet av undersökningen är att det sker en förändring av det publicerade materialet under krigets lopp. Denna förändring visar sig i att det förekommer allt mindre krigsromantiska skildringar ju längre kriget fortskrider. Däremot så ökar de mer realistiska skildringarna och dessa blir allt mer närgångna i sin karaktär och kan mot slutet av kriget ses som fördömande.

The aim of this study has been to contribute with insight into how content about the First World War is presented in eight textbooks intended for use in lower secondary school. These eight textbooks were written at different points throughout the 20th century, with the first one being published in 1918, and the last one in 2013. This selection was necessary in order to enable a diachronic approach in regard to the textbooks. Not only did the study want to provide insight into what content is presented, but also how the presentation may have changed from book to book, together with how the different curricula may have influenced the authors. The presented content also needed to be structured in a relevant way, which was achieved by applying a model presented by Niklas Ammert. His categorization divided the content into four themes, where the ascertaining and explanatory content were most prominent.   In order to better understand the study’s diachronic focus, and the correlation between the past, present and future, Reinhart Koselleck’s conceptual history proved to be an adequate stepping stone. He believes that there is a rich purpose in studying concepts and their meaning due to the ambiguity of concepts. The ambiguity can be described on the basis that a certain concept contains several meanings, you apply a context of meaning. The connection between the past, present and future was also further specified with the help of Koselleck's past future and future past.   The study resulted in several conclusions, mainly that the content about world war one is structured through causes, course of events and consequences, mostly connected to Ammert’s ascertaining and explanatory categories. Furthermore, Koselleck’s thoughts contributed to the conclusion that world war one is often understood in close correlation to World War Two, as well as the textbook authors often displaying expectations on future generations.

The First World War had a definite impact on all of Europe, not to say the entire world. The domain of art was no exception. In Zürich, neutral Switzerland, a group of young creative intellectuals who shared a hostile approach towards the structure of the bourgeois society, with its non-democratic rulers and current nationalism which lead up to the war, united under the artistic movement we today call Dadaism. After the war Dadaism sprung up in several cities throughout Europe, among those Berlin. In Berlin Dadaism became a socialist weapon of propaganda, with its norm breaking artistic manifestations, against the camouflaged conservative government of the new Weimar republic. Their political and artistic struggle lasted until the mid-twenties, after that the gradually disintegrated. Reading the history of Dadaism some thoughts came to my mind. Dadaism emerged as a rebel against First World War and those responsible; still the movement lives on after the war had ended. What was the connection between Zürich-Dada and Berlin-Dada? Can you trace the First World War in Berlin-Dada expressions years after the end of the war? Examining three different works of art by major Berlin-Dadaists George Grosz, Hannah Höch and Raoul Hausmann, I hope to respond to those questions in a satisfactory manner and during the process draw some essential conclusions.