Made available in DSpace on 2015-05-14T12:23:03Z (GMT). No. of bitstreams: 1 parte1.pdf: 1819589 bytes, checksum: 9d38fdf3f81dfd4b754055dcc7d3dc02 (MD5) Previous issue date: 2011-06-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is linked to the History Teaching and Historical Knowledge research line of the Graduate Program in History at the Federal University of Paraíba, which has Historical Culture as area of concentration. Our goal was to analyze, in a comparative study, the approaches on previously selected issues of History textbooks, produced in the 1980s, 1990s and 2000s, concerning a specific subject: the war in Paraguay. Considering the debate about this theme carried on the academic level and in the light of new historiographical studies, we emphasized two moments for the analysis of textbooks, the first of which falls on those whose authors (Nelson Piletti and Joana Neves & Elza Nadai) wrote at least since the 1980s, submitting to periodic reviews their works which were published and used until the late 1990s meaning that these school textbooks have passed through the period of the so-called revisionism and neorevisionism regarding the historiography of the Paraguayan War. We stress that, precisely because of the comparative character of the study, we used the 1980s and 1990s editions of the these works. The second stage of analysis investigates the book of the professor Gilberto Cotrim, in editions of 1999 and 2005. In the 1990s, when the first edition of Cotrim was published, the discussions about the Paraguayan War between the so-called revisionist and neorevisionists were intensified. Therefore we attempted to correlate such subject in the selected textbooks, in its various editions, with the bibliography and academic production of the time, and observe the historiographical influences for its production, noticing if there were changes in the concepts of the text and in the interpretation of the authors of textbooks, as a consequence of the historiographical renewal and revisionism, especially of those concepts which concern the causes of conflict. For this purpose, we discussed various aspects that support this objective, such as the transformations in the very materiality and design of textbooks over the issues analyzed, without, however, having the intention to deepen or focus on this latter discussion. / Este trabalho dissertativo está vinculado à Linha de Pesquisa Ensino de História e Saberes Históricos, do Programa de Pós-Graduação em História da Universidade Federal da Paraíba, cuja Área de Concentração é Cultura Histórica. Nosso objetivo foi analisar, em um estudo comparativo, as abordagens em edições previamente selecionadas de livros didáticos de História, produzidas nas décadas de 1980/90/2000, no que concerne a um assunto específico: a Guerra do Paraguai. Levando em conta o debate que se travou a nível acadêmico acerca dessa temática e à luz dos novos estudos historiográficos, privilegiamos dois momentos para as análises dos livros didáticos, em que o primeiro enquadra-se naqueles cujos autores (a saber: Nelson Piletti e Joana Neves & Elza Nadai) escreviam desde pelo menos a década de 1980, passando suas obras por revisões periódicas e sendo publicadas e consumidas até o final dos anos 1990. Isso equivale a dizer que esses livros escolares atravessaram o período dos chamados revisionismo e neo-revisionismo no que se refere à historiografia da Guerra do Paraguai. Destacamos que, justamente por se tratar de um estudo comparativo, usamos as edições das décadas de 1980 e 1990 dessas obras. O segundo momento de análise investiga o livro do professor Gilberto Cotrim, nas edições de 1999 e 2005. Na década de 1990, quando da publicação da primeira edição do livro do professor Cotrim, intensificaram-se as discussões entre os chamados revisionistas e neo-revisionistas sobre a Guerra do Paraguai. Assim, buscamos relacionar o referido conteúdo nos livros didáticos selecionados, em suas diferentes edições, com a bibliografia e produção acadêmica da época e observar as influências historiográficas para sua produção, percebendo se houve mudanças na formulação do texto e interpretação dos autores dos livros escolares a partir da renovação historiográfica e dos revisionismos, especialmente ao que concernem as causas do conflito. Para tal, procedemos a reflexões sobre variados aspectos que corroboram com esse objetivo, a exemplo das transformações na própria materialidade e concepção do livro didático ao longo das edições analisadas, sem, contudo, ter a intenção de aprofundar, ou mesmo se deter nesta última discussão.

The present study addresses what happens when historical feature film is used in history education. The purpose of this thesis is to develop new knowledge of historical film literacy through a study of the feature film's didactical potential in an educa­tional context. This is carried out through an analysis of the historical meaning making among upper secondary students when viewing historical feature films, and special attention is paid to the importance of emotions in the students' meaning making through historical feature film. A focus of the study is the didactical dilemma, previously addressed in historical film research, that arises in the use of feature film in history or social studies education, in relation to educational context, film experience, and historical understanding. The present thesis is an independent continuation of my licentiate thesis History as Fiction (2014). The empirical material consists of interviews with students and teachers from two upper secondary schools in Sweden, as well as documentation from students' assessments and selected scenes from feature films experienced by the students as they were used in history class. The theoretical framework for the study takes an interdisciplinary approach. It is based on Jörn Rüsens under­standing of historical meaning and histo­ri­cal culture, as well as on transaction theory described by John Dewey and Louise M. Rosenblatt. Film reception theory is equally important, represented by theories from David Bordwell and Carl Plantinga. The main research question focused on how the concept of historical film literacy could be developed theoretically. Historical film literacy is understood in this thesis as an advanced consciousness of how historical meaning making is created through the individual's transaction with film's narration in a specific context, and how meaning making ideally links historical disciplinary thinking with practical orientation in life. The core of theoretically developed historical film literacy is an understanding of the individual's emotional and aesthetic experience of historical feature film, and elaborated theoretical knowledge about the close relationship between the affective response and the more distanced cognitive activity during and after watching a film. Also crucial for historical film literacy is an under­standing of the historical film's representation of the past as a conflation of facts and fiction. The knowledge of history that students' gain from historical feature film should be constructed in a synthesis of an aesthetic and an efferent stance in the transaction process. This is because the feature film has the capacity to stimulate both a feeling of empathy and of nearness in the viewer as well as a movement of the viewer away from the narration and towards more distanced cognition. This movement helps the viewer to analyze and interpret the historical meaning making from a critical perspective, when the experience of the feature film is transformed to a reflected experience.

The present study addresses what happens when historical feature film is used in history education. The purpose of this thesis is to develop new knowledge of historical film literacy through a study of the feature film's didactical potential in an educa­tional context. This is carried out through an analysis of the historical meaning making among upper secondary students when viewing historical feature films, and special attention is paid to the importance of emotions in the students' meaning making through historical feature film. A focus of the study is the didactical dilemma, previously addressed in historical film research, that arises in the use of feature film in history or social studies education, in relation to educational context, film experience, and historical understanding. The present thesis is an independent continuation of my licentiate thesis History as Fiction (2014). The empirical material consists of interviews with students and teachers from two upper secondary schools in Sweden, as well as documentation from students' assessments and selected scenes from feature films experienced by the students as they were used in history class. The theoretical framework for the study takes an interdisciplinary approach. It is based on Jörn Rüsens under­standing of historical meaning and histo­ri­cal culture, as well as on transaction theory described by John Dewey and Louise M. Rosenblatt. Film reception theory is equally important, represented by theories from David Bordwell and Carl Plantinga. The main research question focused on how the concept of historical film literacy could be developed theoretically. Historical film literacy is understood in this thesis as an advanced consciousness of how historical meaning making is created through the individual's transaction with film's narration in a specific context, and how meaning making ideally links historical disciplinary thinking with practical orientation in life. The core of theoretically developed historical film literacy is an understanding of the individual's emotional and aesthetic experience of historical feature film, and elaborated theoretical knowledge about the close relationship between the affective response and the more distanced cognitive activity during and after watching a film. Also crucial for historical film literacy is an under­standing of the historical film's representation of the past as a conflation of facts and fiction. The knowledge of history that students' gain from historical feature film should be constructed in a synthesis of an aesthetic and an efferent stance in the transaction process. This is because the feature film has the capacity to stimulate both a feeling of empathy and of nearness in the viewer as well as a movement of the viewer away from the narration and towards more distanced cognition. This movement helps the viewer to analyze and interpret the historical meaning making from a critical perspective, when the experience of the feature film is transformed to a reflected experience.

This essay explores how and why the memory of the Baltic extradition in 1946 has been shaped and used in relation to the social democratic Swedish identity, trough the theory of cultural history. The method utilized is a qualitative content analysis of the 71 articles in Aftonbladet that discuss the term “baltutlämningen” between 1947-2022. Here, a theoretical and methodical device is presented and applied. The device outlines the Swedish identity by examining how the articles negotiate guilt to avoid shame, thus preserving the self-image.       The findings show that the remembrance of the Baltic extradition serves to cement an image that upholds the identity of the social democratic group as rational, humanitarian, and anti-fascist. Consequently, when Aftonbladet brought the memory to life in 1966 it was shaped to avoid anything that would cause shame by contradicting those values. Thus, the narrative came to portray the political right as guilty for the extradition, and the Balts’ unnecessary suffering during it. Later, the memory was used to reinforce the progressive and humane self-image by being used as a cautionary example, legitimizing current social democratic stances regarding questions of asylum, international relations, and war crime policies.           In the 2000’s a new discussion emerged alongside the previous narrative, as historians started questioning the facts and reassessing the feelings of guilt and shame. With the admission that fascist sympathizers may also have infiltrated the social democratic group, the historian debate joined the European narrative: promoting the international cause for democracy, through national self-evaluation, to combat intolerance and fascism globally. Thus, the memory of extradition of the Balts has come to connect the Swedish cause to the European one, maintaining the rational, humanitarian, and anti-fascist self-image.      From an identity perspective the recurring guilt-shame complex shows that the humanitarian and democratic values are desired, but not innate, aspects of Swedish identity. Furthermore, the study shows that guilt and shame have consistently been used as educational tools to shape the Swedish people, inside and outside the classroom.

This dissertation is a study of the possibilities and processes of constructing strong Chinese brands in the global marketplace. It investigates conceptual and strategic relationships between brands and cultures, focusing specifically on the issue of the unprivileged position of Chinese brands vis-à-vis that of other famous global counterparts. Accordingly, it deploys three illustrative cases from the Chinese context – Jay Chou (a successful Chinese music artist), the 2008 Beijing Olympics opening ceremony, and Shanghai Tang (a global Chinese fashion brand). In so doing, it moves away from the general trend to study the managerial aspects of Western brand building in Chinese contexts, and instead examines how Chinese brands express cultural aspects of their own well-known brand development models in the global marketplace. In short, this study uses a Chinese vantage to examine the emergence of cultural branding (using historical culture and global fashion systems to develop global brands), and its capacity to function as a useful complement to existing models of brand globalisation and global brand culture. The function of the three cases is illustrative and analytic. Collectively, they serve as a lens through which to study Chinese brand development in the global marketplace and examine global brand culture. Each case was fleshed out through various multi-sited ethnographic studies, which consisted of interviewing and observing consumers and managerial workers, the results of which shed light on several important but under-studied aspects of global brand culture. These include Chinese cultural branding in the global context, the cultural approach to branding among various brand actors, and relationships between brands and cultures across branding cultures. Drawing on these examinations, this study not only demonstrates ways in which brands and cultures circulate and construct each other in global brand culture. It also uses these insights to argue for the development of Chinese culture or Chinese-ness into a global brand resource by Chinese brand builders.