<p>Syftet med denna uppsats är att undersöka vad och hur tv/datorspel förmedlar om historia och hur tv/datorspel kan kopplas till historiedidaktik genom att visa vad man kan lära sig av det. Med historia avser jag inte en korrekt återgivning av gångna handlingar. Jag inriktar mig istället på hur tv/datorspel använder sig av historiebruk för att motivera spelarens normhandlande.</p><p>Den huvudfråga jag ställer i detta arbete är:</p><ul><li>Vilken koppling finns det mellan historiebruk i spel och spelarens historiemedvetande?</li></ul><p> </p><p>För att besvara denna fråga tog jag hjälp av två underfrågor. Jag börjar med att besvara den första underfrågan:</p><ul><li>Hur mobiliseras ett historiemedvetande i tv/datorspel? Kan man utveckla ett historiemedvetande genom att spela tv-datorspel? </li></ul><p>Min analys visar att historiemedvetandet mobiliseras genom berättelsen, berättartekniken och <em>gameplay:en</em>. Berättelsen innehåller olika tidsaxlar, vilka spelaren måste förhålla sig till, samtidigt som berättartekniken och <em>gameplay:en,</em> som består av interaktion med olika tidspuzzel, tvingar spelaren att tänka i banor som ”dåtid”, ”nutid” och ”framtid”. För att lösa tidspuzzlena och komma vidare i spelet, måste spelaren således reflektera över berättelsens innehåll och hur sammanbandet mellan de olika tidsaxlarna ser ut. Detta gör att spelaren övar upp och utvecklar sitt historiemedvetande. Jag upptäckte att musiken, ljuden, grafiken och kameran fungerar som ett pedagogiskt hjälpmedel för spelaren, så att han/hon lättare ska kunna följa med i berättelsen.</p><p>Den andra underfrågan:</p><ul><li>På vilket sätt är spelet handlingsnormerande? </li></ul><p>Spelet åskådliggör med sin berättelse och interaktion, att enskilda individer med sitt normhandlande kan förändra ”verkligheten”. Vi som människor är aldrig ”fängslade” av historien och samhället, utan vi har alltid möjlighet att förändra vår tillvaro och därmed skapa vidare på vår egen historia. Berättelsen visar också, att det förflutna bygger på mänskligt handlande och att det finns intentioner bakom handlandet. <em>Shadows of Memories</em> visar att människor i alla tider varit mer lika än olika varandra. Detta gör att det blir lätt att förstå människorna och deras intentioner.</p><p>Kopplingen mellan historiebruket i spelet och spelarens historiemedvetande är således den historiska berättelsen, interaktionen mellan de olika tidsaxlarna för att lösa puzzeln och berättartekniken, vilka låter spelaren normhandla och förändra ”dået”, ”nuet” och ”framtiden”. Det är dessa element tillsammans som ”triggar” spelarens historiemedvetande och därmed också utvecklar det.</p><p>Tv/datorspelet<em> Shadows of Memories</em> kan inte lära spelaren något om det förflutna, men det kan bidra till ett utvecklande av historiemedvetandet, öka självinsikten och därmed bidra till identitetsutvecklingen, åskådliggöra samband mellan ”nu” och ”då” och visa spelaren hur normhandlande kan påverka ”nutid” och ”framtid” samt levandegöra det förgångna och få elever intresserade av historia.</p> / <p>Abstract<strong> </strong></p><p>The aim of this essay is to investigate how TV and computer games convey history also, how it can be connected to didactics by showing what can be learnt by playing TV and computer games. In this essay I do not focus on history as a correct reproduction of an event. Instead I concentrate on how TV and computer games use history to motivate the player’s actions.</p><p> </p><p>The main question of this essay is:</p><ul><li>What is the connection between the use of history in TV and computer games and the player’s historical consciousness?</li></ul><p> </p><p>In order to answer this question I have also used sub-questions. The first one being:</p><ul><li>How is historical consciousness illustrated in TV and computer games? Is it possible to develop historical consciousness through TV and computer games?</li></ul><p> </p><p>In the analysis I show that historical consciousness is created through the story and the narrative techniques as well as the game play. The story contains different time lines that the player has to relate to, furthermore, the narrative techniques and the game play contain interactions and time puzzles that force the player to relate to past, present and future. In order to solve the time puzzles the player has to reflect on the story and the different time lines and how they are connected to each other. As a consequence the player develops his/her historical consciousness. I found that music, sound, graphics and the camera’s movement work as learning aids in order to make it easier for the player to follow the story.</p><p> </p><p>My second sub-question is:</p><ul><li>How are intentions behind an action explained in the game?</li></ul><p> </p><p>With its story and its interactions the game shows that individuals can change reality by taking action. People are never forced by history and society, we always have the power to change our reality and create our own history. The game’s story also tells us that the past is built on people’s actions and that every action has an intention. <em>Shadows of Memories</em> illustrate how people of all times have been alike, consequently, it is easy to understand people’s intentions.</p><p>To conclude, the connection between the game’s use of history and the player’s historical consciousness are the historical story, the interaction between different time lines and the narrative techniques that allows the player to act and change the past, present and future. These elements work together to trigger and develop the player’s historical consciousness.</p><p>The TV and computer game <em>Shadows of Memories</em> cannot teach the player anything about the past, however it can help develop the player’s historical consciousness, increase self-perception, hence, contribute to identity development, visualise the connection between present and past and show the player how an act can influence the present and the future and also make the past more alive and thereby increase the student’s interest in history.</p>

I denna studie har jag undersökt hur historiebruket i form av reproduktion av kulturarv ser ut i populärkulturen, närmare bestämt HBOs populära tv-serie True Blood och kopplar samman detta med hur vi ser på det föränderliga förflutna och därmed utvecklar vårt historiemedvetande. Uppsatsen står på tre ben och vilar på perspektiv där det första behandlar att man genom att se på reproduktionen av kulturarv kan finna samtidens idéer kring vad som är viktigt (meningsbärande), hur populärkulturen imiterar och återanvänder myter och därför kan anses vara en historisk källa värd att fokusera på samt historia som identitetskapande. Det teoretiska ramverket består av Judith Butlers teorier kring den heterosexuella matrisen och performativitet samt Gayle S Rubins teorier om sexualitet som någonting historiskt konstruerat. Uppsatsen ämnar öka kunskapen om betydelsen av hur historia som kulturarv i form av historiebruk förmedlas via populärkultur, närmare bestämt i tv-serien True Blood och hur detta hör ihop med hur vi uppfattar det föränderliga förflutna. Undersökningen tar fasta på hur stor del av rollfigurernas beteende i tv-serien True Blood som härstammar från deras historiska bakgrund och hur detta spelar in i utformandet av deras personligheter som tolkas ur ett genusperspektiv. Metoden har varit en karaktärsanalys. För att kunna undersöka mitt syfte har jag några frågor som hjälper mig i mitt sökande. Dessa är: • Vilket samband finns mellan bruket av historia, det kulturarv som förmedlas i populärkultur och den form av historiemedvetande som mobiliseras via tv-serien True Blood? Dessa frågor operationaliseras genom att se: • Huruvida en koppling mellan kulturarvet som förmedlas och karaktärernas identiteter i tv- serien True Blood hör ihop med deras rollbeteende. Mina resultat visar att den historia som brukas i tv-serien värderas utifrån karaktärernas rollbeteende. I serien används historien för att i samtiden skapa genus som passar in i den heterosexuella matrisen där serien får stå som perfomativitet i detta genusgörande. Sexualiteten och begäret som visas är moraliserande genom historiebruket och heteronormativt och stämmer in på Rubins teori om viss sexualitet som godkänd. Ett historiemedvetande kring hur vi blir bättre och bättre (Framsteg) samt att en viss typ av mänsklig essens alltid finns hos människor som naturlig visas upp.

The Middle Age Period in Eight Juvenile Novels. This study investigates how the Middle Age is presented in literature for youths. I have taking four questions into consideration: How are the different groups or class in the Middle Age society are presented in terms of their housing, clothing, work assignments and leisure activities? What work assignments, leisure activities did children had and their relationship to adults? How was the religious life of monks, nuns and of the people in general? How are the people in the Middle Age described? The study focuses on youth literature written by Swedish authors. Eight books were read and compared. The results of this study shows that there were four kinds of housing during the Middle Age period: housing in cities or villages, housing on the country side and farms, housing in fortresses and housing in monasteries. The difference between housing conditions of the rich and the poor is that the rich could afford bigger houses, fancier building materials and interial details. Most of the garments were worn by both men and women in all the society classes. The biggest difference in the people´s clothing was the one between the rich and poor. The clothes of the rich were made in the fancier materials silk and velvet. Their clothes also had more ornaments. The work assignment between women in the different society groups differs less than the work assignments between men in the different society groups. Children most often took over their parents work. The leisure activities for children were about the same between the society groups. The relation between adults and children was strainous and the children were totally submissive to the adults. The religious life of the people consisted of actions done daily, weekly, annually and once in a life time. There were also actions that were done once in a while. Monks and nuns religious life was different from the rest of the people. They dedicated their lives to prayer and singing for God, and also to assist their fellowmen. The most common description of the people in the Middle Age period is that they did and thought things that were typical for that time period in question and that can seem strange for today`s readers.

In this qualitative thesis I have studied the process of street-naming in Budapest. I have done this primarily through examining legislative and street name records in Budapest in order to define a distinctive use of history. In an attempt to concretise public opinion, I designed and distributed a succinct questionnaire and used newspaper articles to create a clear view of the political milieu. Furthermore, I have utilised a typological method to summarise the use of history and elucidate the results. I came to the conclusion that a moral and, to some extent, ideological use of history is dominating the street-naming situation in contemporary Budapest. My analysis also showed a discrepancy between decision-makers and citizens regarding the handling of odonyms. / I denna kvalitativa analys har jag undersökt processen kring gatunamnsbyten i Budapest. Främst har jag studerat lagstiftning och gatunamnsregister i Budapest för att finna ett centralt historiebruk. Jag har sekundärt även skapat en mindre enkät och gått igenom ett begränsat antal tidningar för att få fram en folklig opinion i relation till beslutsfattningen. Jag har operationaliserat en beprövad historiebrukstypologi för att kunna konkretisera resultatet. Jag kom fram till slutsatsen att ett moraliskt och, i viss mån, även ett ideologiskt historiebruk dominerar hanteringen av gatunamn i dagens Budapest. Analysen visade också att det råder en diskrepans mellan beslutsfattares och invånares syn på hanteringen av odonymer.

This thesis aims to explore and investigate the use of the cliché ‘68 in a contemporary Swedish debate. The sixties and especially 1968 is a historically significant year,and it is marked by political murders, protesting students and political energy. InSweden one of the most notable happenings was the occupation of the student union’s headquarters in Stockholm. The occupation, which was held by the students, lasted for three days and was initiated during a meeting to discuss a parliament proposal of regulated courses of studies, known as UKAS. In 2008, during the jubilee forty years after the occupation, a seminar was arranged by the cultural conservative forum Axessat the very same address where the student union’s headquarters once had been. The seminar is characteristic for the research material: It exemplifies how the leftist symbol ‘68 is used and transformed by participants who do not define themselves as left-wing. The purpose of this paper is to show how ‘68 as a cliché is used not to challenge thepolitical situation of today, but to present the discoursers and their political views asneutralised or natural. The hypothesis of this study is that ‘68 serves as a hegemonical gap, where leftist political values can absorb a minor part of the debate — just to bemarked off as something caused almost biological by youth, and placed in a largerscheme where the participants in forums, such as the seminar arranged by Axess, are acknowledged as judges of society both now and then, and as su neutralised. The cliché ‘68 can be positioned in the debate concerning the post-political society. Part ofthe cliché is the historical narrative where society evolves from immature to mature,from radical leftist to non-socialist and right-wing stands.

My purpose is to analyses Forum för levande historias (FFLH) portrayal of the Soviet Union during the time period of 1918-1953. My reason for doing this is to find out what nuances of the Soviet Union FFLH finds important to present to the public, but also, to teachers and student in the Swedish education system. My source material consists of historian Klas- Göran Karlssons text Crimes against humanity during communist regimes and I’ve applied a critical discourse analysis, along with several marxist theories of how language, ideology and ideological reproduction manifests in society. However, since this is an essay focused on the didactical aspect of history, I’ve also used theories that explains how ideologies use, and reproduce history as a way to repress ideologies that doesn’t conform to a capitalist reproduction of a society. The questions that I’ve asked are: How are the periods in the Soviet Union during Lenin and Stalin’s chairmanship portrayed in the material? How does the material portray the historical processes in the Soviet Union? And: Which types of ideological naturalizations can be found in the text? I’ve come the conclusion that FFLHs text, focuses on: 1) A strong connection between Soviet politics and a discourse around “ethnic cleansings”, and that ethnic groups where persecuted by both Lenin and Stalin. 2) Soviet politics, and especially Stalin, is connected to a anti-Semitic and anti-Jewish ideology. 3) Soviet politics, in general, is portrayed as lacking “legal basis” and is often ridiculed or rejected without a proper explanation as to what the soviets wanted to achieve. 4) Historical processes and phenomenons are often portrayed without a context, and also without different sides arguments, choices and opinions. 5) The text is at some times prone to make speculative accusations, to enhance an ideological agenda. I’ve also concluded that, based on all of the remarks above, that FFLH material should be used cautiously in an educational situation, since the material is ideologically biased, leaves out certain aspects of the historical processes, and in doing so, to vilifies the soviets. Futhermore, I’ve concluded that the vilification of the soviet union, and the anticommunist agenda, has gone from a portrayal focused on “judeo-bolshevism”, where every communist is a Jew, and every Jew is a communist, to the exact opposite – now the bolsheviks are actively seeking out Jews in their midst, in order to persecute, and/or execute this specific ethnic group.

Film is a popular media with many impressions and messages. The message can, among other things, be conducted through various historical uses within the films. As a viewer, it is important to have the knowledge of how to analyse these messages and the use of history. The essay makes an analysis of the use of history of six different films based on Japanese culture. The analysis is made by categorizing the films within the different history uses. This is done through a narrative film analysis of the samurai as a symbol in the films and the characteristics shown by the samurai. The result of the analysis is, that the samurais characteristics is shown in several different ways, for example as a strong and loyal warrior, but also as a spiritual character who is interested in writing and reading poems. Some of the films also show the humanity of the samurai, where themselves fail to live up to the ideal of the samurai. The films create a complex image of the samurai who do not always adhere to the ideal depending on what the film aims to show the audience. The samurais were in the earlier films shown to be loyal to the nation but in the later films the direction of the loyalty changed towards the family. The categories used by the films are five out of seven: ideological, political-educational, existential, non-use and commercial. Political-pedagogical and commercial history was the two most common categories and was present in all films, while non-use was the third most popular category and was clearly relevant in five of six films. The result also shows that the time has influenced the film's production both filmically and through messages.

In the end of 1860 Japan faced a bloody civil war. The 200 year old Tokugawa Shogunate lost its power to the emperor and the Meiji period started. Before that the land was draw in to a civil war. Ronin samurais from all of Japan was gathering in the capital. Some of the were shouting for heaven's revenge and with it the ment the emperor´s. On the other side was the samurais still loyal to Tokugawa. One of the Shoguns loyal soldier’s history still echoes, the Shinsengumi or newly selected corps. These soldiers are still being used in movies, manga and anime to tell about a dark time in Japan's history. This essay will discuss how anime is using historical persons and their historical period. Also, why they are choosing to create a character with traits and talents. Also try to understand the purpose of historical use in anime. The discussion about manga and animes purpose have been on topic before, but not in combination with how they use historical facts. Cecilia Trenter and Pelle Snickars book with theories in how movies are taking parts of history and make new use out of it. Anime and manga are a big part of Japanese culture and the theories about them are important to understand this study. To do that i used Mark. W. McWilliams and Thomas Lamarres and their discussion about the importance of see through the layers of this creations.

The aim of this study is to examine how national identity is expressed in popular history books for children. The source material consists of five popular history books from between 1962 and 1993. The books have been analysed using the method of conceptual history. This method is based on the assumption that language will always reflect the cultural, political and social world, which is why it's well suited for an analysis of the presence of an idea (the nation) in text. The chosen concept for this study is "the Swedes". The concept's synonyms, opposites and associated words are identifed. This is followed by a discussion based on the theoretical framework and historical background. The essay concludes that expressions of national identity are present in all five books, but in different forms and to varying degrees.

Ernesto Che Guevara förknippas med mystik, frihet och politik. Ernesto Che Guevara (i fortsättningen kallad endast Guevara) är idag för många ett prydligt ansikte som associeras med rock’n’roll och frispråkighet. Historiskt är han en kommunistisk gerillaledare som inte lät något eller någon komma i hans väg. Den populärkulturella bilden av honom ser något annorlunda ut från den historiska. Hur har människor använt sig utav historia och till vilket syfte? Studien undersöker vilka bilder av Guevara som framställs i olika populärkulturella arenor och till vilket syfte.   Studiens titeln, ¡Hasta Siempre Comandante!, är titel till en låt skriven av den kubanska kompositören Carlos Puebla. Låttexten är en av de mest kända som handlar om Guevara och har kommit att ha stor betydelse för hans anhängare. Låten diskuteras vidare under studiens resultatdel.