<p>“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)</p><p>This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.</p><p>In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.</p><p>In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.</p><p>A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.</p>

Syftet med den föreliggande undersökningen är att få kunskap om hur undervisning kan förbättra elevers lärande vad det gäller elevers historiemedvetande. Metoden som under- sökningen använde sig av är en learning study, ett kollektivt samarbete mellan historielärare som riktar fokus på elevers lärande. Genom utvärderingen av det samlade datamaterialet besvarades undersökningens frågeställningar Vilka är de kritiska aspekterna för att elever i årskurs 8 ska kunna utveckla en högre grad av historiemedvetande, och Vilka centrala punkter i undervisningens upplägg gör positiv skillnad för elevers lärande? Resultatet visar att de deltagande pedagogerna identifierade tre kritiska aspekter som anses vara avgörande för en undervisning med målet att utveckla elevers historiemedvetande: 1. Eleverna behöver integreras i undervisningen som deltagande berättare. 2. Undervisning behöver skapa en meningsfull förbindelse mellan elevers vardag, de historiska händelserna och elevers föreställning om framtiden. 3. Undervisning behöver involvera elevers närmiljö, såsom den lokala historien eller elevers egen släkthistoria. När det gäller undersökningens andra frågeställning, visar resultatdelen att pedagogerna identifierade två centrala punkter i undervisningen som skulle kunna göra positiv skillnad för elevers lärande: Undervisningen som genomförs på ett varierat sätt skapar intresse bland eleverna. Detta anses som grundförutsättning för all lärande. Dessutom höjer en inkludering av elevers närmiljö elevers förståelse för ämnet genom att relatera abstrakta händelser till elevers vardag. / The purpose of this study is to gain knowledge of how teaching can improve pupils’ understanding of historical consciousness. The theoretical method that is used in this study is a learning study, which is the mutual co-operation of history teachers with the focus on pupils’ learning. An evaluation of the collected data answers the following questions used in this study: Which teachings are critical for pupils’ in grade 8 to improve their historical consciousness and Which main aspects in teaching situations can create a positive difference to pupils’ learning? This study shows that the participating teachers identified three critical aspects which are key for an education with the focus of improving historical consciousness: 1. Pupils have to be involved in teaching situations as participating narrators. 2. Teaching situations have to create a meaningful connection between pupils’ everyday reality, historical events and pupils’ imagination of the future. 3. Teaching situations have to involve pupils’ own living environment, for example local history or the history of pupils’ own relatives. If it comes to the second question the study shows that the teachers identified two main aspects in teaching situations which can create a positive difference to pupils’ learning: Teaching situations that are performed in a varied way generate more interest among pupils.This is regarded as essential for all forms of learning. Furthermore, an inclusion of the pupils’ own living environment enhances the pupils’ understanding for the topic because abstract events then relate to the pupils’ life.

The essay represents the projector principle, on which, as the essay’s author believes, the narration of The Summer Lightning and Other Stories by Olive Senior is based. The projector principle illustrates the idea that little details and images in the text serve big purposes, for example, reflect the emotional state of the characters or how the characters construct their identity. The literary analysis of the present essay aims at exploring a complicated identity construction in the context of Jamaica with its half-lost indigenous and half-remained colonial legacies through the identity construction of adolescent Jamaican protagonists of the short stories.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

The goal of the present dissertation is to display the reconstruction of the concept of understanding which has down through the history of philosophy been used as the synonym of knowing. Hence, my main intention is to focus on the Heidegger&rsquo / s and Gadamer&rsquo / s critique of epistemological conception of understanding and their reevaluation of this concept in terms of ontology. Finally, I will try to examine the similarities and dissimilarities between the philosophers and try to call attention to their emphasis on finite and historically conditioned human understanding. To fulfill the task I put forward, I shall apply to early Heidegger&rsquo / s magnum opus Being and Time (1927) and Gadamer&rsquo / s most influential book Truth and Method (1960).

Cette thèse s’intéresse à l’évolution du rapport à l’histoire et de la conscience historique dans la société canadienne de la première moitié du XIXe siècle et propose une analyse métahistorique de deux principaux corpus de sources : le matériel pédagogique employé dans les collèges classiques, ainsi que les ouvrages historiographiques et politiques marquants pour l’élite canadienne, des réflexions du politicien Denis-Benjamin Viger au Rapport Durham et aux écrits de William Smith, Michel Bibaud et de François-Xavier Garneau. En analysant ces sources à la lumière d’un outillage théorique issu de l’historiographie de la représentation du temps, je propose une relecture de la constitution d’une conscience historique nationale au Canada français. Je démontre que la « nationalisation » de l’histoire est un phénomène graduel qui s’est échelonné sur l’ensemble des trois premiers quarts du XIXe siècle. Si l’histoire nationale a mis du temps à s’imposer, c’est parce que la conscience historique du monde intellectuel canadien au tournant du XIXe siècle était modelée sur les principes philosophiques universalistes de l’humanisme et du christianisme. Loin d’être spécifique aux Canadiens, cette mutation de la représentation de l’histoire s’insère dans un large mouvement occidental qui a été abondamment observé et commenté par l’historiographie. Enchevêtrées dans une histoire commune avec la « disciplinarisation » de l’histoire, la catégorisation des peuples et leur projection dans le temps n’est ni une évidence ni une nécessité, mais plutôt le produit d’une évolution culturelle partagée à travers le monde atlantique. / In this thesis, I discuss the evolution of time experience and historical consciousness in Canadian society of the first half of the nineteenth century and propose a metahistorical analysis of two main corpora of documents : the educational material used in classical colleges, and a number of significant historiographical and political publications for the Canadian intellectual elite, from Denis-Benjamin Viger’s reflections to the Durham Report and to the writings of William Smith, Michel Bibaud and François-Xavier Garneau.By analyzing these historical documents with the use of conceptual tools inspired by the time representation historiography, I suggest a reinterpretation of the advent of a national historical consciousness in French Canada. I demonstrate that the “nationalization” of the past is a gradual phenomenon that spawned over the first three quarters of the nineteenth century. If national history was not prominent around 1800, it is because Canadian intellectuals interpreted the past with the theological principles of Christianity and the universalist philosophy of intellectual humanism. Unspecific to Canadians, this historical representation evolution was observed and commented upon by a rich occidental historiography. Entangled with the disciplinarization of history as a historical phenomenon, the categorization of the Nation and its projection in the past is neither a certainty, nor a necessity, but rather the product of a cultural evolution shared in the Atlantic World.

A consciência histórica é a manifestação do processo ontológico da interpretação, no qual o passado que afeta o presente se manifesta enquanto uma alteridade, ampliando o horizonte do intérprete. A produção de uma consciência histórica não é uma possibilidade apenas da ciência histórica. A literatura, mais especificamente a obra Levantado do chão do escritor português José Saramago, também pode produzi-la. A realização dessa empreitada, entretanto, não segue os procedimentos e protocolos da historiografia, tampouco almeja se enquadrar ou produzir um discurso semelhante. É através da articulação das dimensões temporais mudança e permanência pela narrativa que a consciência histórica é construída no romance. / Historical consciousness is the manifestation of the ontological process of interpretation, in which the past that affects the present manifests itself as an otherness, enlarging the horizon of the interpreter. The production of a historical consciousness is not a possibility only of historical science. Literature, more specifically the work Levantado do chão of the portuguese writer José Saramago, can also produce it. The realization of this work, however, does not follow the procedures and protocols of historiography, nor does it seek to fit in or produce a similar discourse. It is through the articulation of the temporal dimensions change and permanence by the narrative that historical consciousness is built on the novel.

Submitted by Edinalva Aguiar (dinaguiar@gmail.com) on 2014-02-05T11:11:32Z No. of bitstreams: 1 Tese Edinalva Padre Aguiar.pdf: 3669776 bytes, checksum: ca4c774f42a825af98cac40ee44ab570 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2014-02-10T13:51:02Z (GMT) No. of bitstreams: 1 Tese Edinalva Padre Aguiar.pdf: 3669776 bytes, checksum: ca4c774f42a825af98cac40ee44ab570 (MD5) / Made available in DSpace on 2014-02-10T13:51:02Z (GMT). No. of bitstreams: 1 Tese Edinalva Padre Aguiar.pdf: 3669776 bytes, checksum: ca4c774f42a825af98cac40ee44ab570 (MD5) / Este trabalho insere-se no campo da educação histórica, cuja preocupação fundamental é compreender a construção do pensamento histórico e o desenvolvimento da consciência histórica de crianças e jovens. Tem como objeto de estudo o processo de ensino e aprendizagem de História e sua relação com a consciência histórica. Seu objetivo principal foi analisar se os alunos utilizam o conhecimento histórico como instrumento de construção de sentidos de orientação temporal em suas vidas práticas. A conceituação de consciência histórica aqui assumida é do teórico alemão Jörn Rüsen (2001, p. 58-59), para quem ela é o “[...] modo pelo qual a relação dinâmica entre experiência do tempo e a intenção no tempo se realiza no processo da vida humana.” Os dados foram coletados em 2011 por meio da aplicação de instrumento escrito, constituído por questões de respostas abertas. Os sujeitos foram alunos matriculados no 2º ano do ensino médio em duas escolas (uma pública outra privada), localizadas do município Vitória da Conquista-BA. A abordagem teórico- metodológica pautou-se na pesquisa qualitativa e o tratamento dos dados utilizou o método da análise de conteúdo. Os dados da pesquisa empírica demonstraram que os alunos atribuem importância à disciplina História e julgam agradável seu estudo. Mas, comparada a outros espaços e formas de aprendizagem, a história escolar é considerada enfadonha, discursiva e de memorização. Embora afirmem utilizar o conhecimento histórico na vida cotidiana, seja para formar opiniões, compreender ou explicar para outrem fatos/acontecimentos ou tomar decisões, as narrativas evidenciam pouca relação entre conhecimento histórico e vida prática, já que são marcadas por um fraco repertório desse conhecimento e pouca referência a ideias metahistóricas. Diante desses resultados, podemos afirmar que há um hiato entre o ensinado e o aprendido e que os alunos pouco atribuem sentidos ao conhecimento histórico, comprometendo o desenvolvimento da consciência histórica e sua função de orientação temporal na vida prática. / ABSTRACT This work falls within the field of historical education, whose primary concern is to understand the construction of historical thinking and the development of historical consciousness by children and youths. Its study object is the process of teaching and learning history and its relationship to historical consciousness. Its main aim was to assess if students use the historical knowledge as an instrument for the construction of meanings of temporal orientation in their practical lives. The conceptualization of historical consciousness adopted here is that of the German theorist Jörn Rüsen (2001, p. 58-59), to whom it is "[...] the way in which the dynamic relationship between the experience of time and the intention in time takes place in the process of human life." Data were collected in 2011 by means of the application of a written instrument, consisting of questions with open-ended answers. The subjects were students enrolled in the 2nd year of the secondary education in two schools (one public and one private), located in the municipality of Vitória da Conquista-BA. The theoretical- methodological approach was based on qualitative research and data processing used the method of content analysis. The empirical research data showed that students give importance to the subject of history and consider its study as being pleasant. But compared to other spaces and forms of learning, school history is considered boring, discursive and based on memorization. Although they claim to use the historical knowledge in everyday life, either to form opinions, understand or explain to others facts/events or make decisions, narratives show little relationship between historical knowledge and practical life, since they are characterized by a weak repertoire of such knowledge and little reference to meta-historical ideas. Given these results, we can state that there is a gap between what is taught and what is learned and that students attribute meanings to the historical knowledge, implicating the development of historical consciousness and its role of temporal orientation in practical life.

This thesis by publication contains an introductory summary chapter and three papers. The first paper presents a study of how the concept of historical consciousness has been defined, applied, and justified in Swedish history didactical research. It finds that there is consensus regarding the definition of what a historical consciousness is, but that there is variation in how the concept is applied. It is suggested that this variation makes historical con­sciousness a complex and vague concept.      The second paper uses the results presented in the first paper as a point of departure and from thence argues for a broadened understanding of the concept of historical consciousness that incorporates its definition, applica­tion, development, and significance. The study includes research about his­torical consciousness primarily from Sweden, the UK, the USA and Canada. The paper presents a typology of historical consciousness and argues that level of contextualisation is what distinguishes different types of historical consciousnesses and that an ability to contextualise is also what makes his­torical consciousness an important concept for identity constitution and morality.      The third paper proposes a methodological framework of historical con­sciousness based on the theory of historical consciosusness presented in the second paper. It presents arguments for why the framework of historical consciousness proposed can be useful for the analysis of historical media and it discusses how aspects of the framework can be applied in analysis. It then presents a textbook analysis that has been performed according to the stipulated framework and discusses its results regarding how textbooks can be used to analyse historical consciousness and its development. / Forskarskolan Historiska Medier (ForHiM)