The way in which humanity’s past is categorized has a considerable impact on people’s perceptions of history. Hence, it is crucial for history professors to reflect on and be aware of how various periodizations may affect their teaching. This paper comprises an overview of research concerning periodization and its potential influence on history teaching. Our aspiration is that professional educators will greatly benefit from the information presented. The majority of the research has been found by utilizing the databases ERC, ERIC and SwePub. Remaining material have either been introduced to us during previous courses at Malmö University or been encountered as cited sources in previously chosen research articles. All relevant information has been utilized in the construction of this overview, and there has been no valuation regarding researchers’ potential standpoints on the matter. Our investigation has made visible that periodizations, regardless of their design, tend to be exclusionary and misleading. The eurocentric periodization in particular has been repeatedly criticized by historians due to its evident glorification of the Occident. The eurocentrism frequently tied to periodization often impinges on history teaching materials; something which is bound to affect pupils’ perceptions of the past. In an increasingly globalized world,diverse ideas of history have come to collide in heterogeneous classrooms. Therefore, it is imperative for teachers to discuss various understandings of bygone days with their students. In spite of its apparent flaws, research indicates that periodization is a necessity after all. The division of the past into manageable chunks constitutes a vital foundation most requisite for pupils’ learning. Surprisingly, a deficient amount of research has been conducted regarding periodization and its relation to history teaching. Needless to say, the subject deserves further recognition, as periodization is a historiographical tool used almost everywhere.

<p>Proces tranzicije i projekti modernizacije u<br />većini postsocijalističkih dru&scaron;tava u Evropi,<br />samim tim i na Balkanu, realizovani su u formi<br />deformisane imitativne modernizacije ili<br />kontramodernizacije. Romi su i dalje<br />periferija, ali ovoga puta Evropske unije. Pred<br />njima je neizvesna budućnost u liku alternativa:<br />perspektiva postmodernog totalitarizma sa<br />tehnokratskom diktaturom, ili formiranje<br />čovečanstva kao zajednice ravnopravnih<br />građana i naroda u duhu modela socijaldemokratske<br />globalizacije sveta sa respektom<br />bogatstva kulturnih različitosti sveta, sa<br />globalizacijom razumevanja i solidarnosti među<br />narodima Dakle, i na nama savremenicima je<br />velika odgovornost kakav će oblik, lik i su&scaron;tinu<br />imati budućnost čovečanstva &ndash; da li će se ono<br />razvijati u ključu humanizacije dru&scaron;tva i<br />emancipacije čoveka, ili pak novih oblika<br />socijalnog, političkog i kulturnog porobljavanja.<br />Upravo iz tog razloga, izučavanje specifičnosti<br />stvarala&scaron;tva Roma u kontekstu evropskog<br />sistema kulturnih vrednosti ima veliki značaj.<br />U savremenom svetu, Romi kao etnička grupa<br />sve če&scaron;će postaju predmet interesovanja<br />naučnih istraživanja. &bdquo;Simbolika likovne<br />umetnosti Roma i evropski sistem kulturnih<br />vrednosti&rdquo; pokazuje se u dana&scaron;nje vreme krajnje<br />interesantnom temom istraživanja, s obzirom na<br />njen teorijski i na praktični aspekt. Reč je o umetnostje u svojoj formalnosti dugo vremena<br />bivala mimikrijska, zahvaljujući simboličkoj<br />vrednosti njenih artefakata. Mi je<br />multidisciplinarnim uvidom sagledavamo u<br />obrisima. Likovna umetnost Roma ima svoj<br />korpus koji je dugo bio zatočen u nacionalnim<br />predstavama izbegavajući oznaku romski.<br />Identitet Roma, kao i njihov imidž u Srbiji i<br />Evropi, sveden je na ovu marginalizovanu<br />dimenziju kulture, a kulturna tradicija Roma<br />podvrgnuta je IRONIZACIJI I<br />VULGARIZACIJI od strane većinske i drugih<br />manjinskih zajednica. Romska kultura,<br />artefakti, umetnici formalno su nevidljivi i<br />nemaju prepoznatljivost u dru&scaron;tvu. Ovaj rad je<br />doprinos osvetljavanju aspekta valorizacije<br />romskog kulturnog korpusa.</p> / <p>Transition processes and modernization projects<br />in most post-socialist societies in Europe,<br />including Balcans, have been realized in the<br />form of deformed imitative modernization or<br />counter-modernization. Roma people are still at<br />periphery, but this time at the periphery of<br />European Union. They are facing uncertain<br />future, with alternatives of postmodern<br />totalitarianism with technocratic dictature, or<br />humanity as community of equal citizens and<br />ethnic groups in the spirit of social-democratic<br />globalization, with respect for cultural<br />differences and understanding and solidarity<br />among nations. Contemporaries bear<br />responsibility for what form and essence the<br />future of humanity will have &ndash; whether it will<br />develop in the course of humanization of<br />society and emancipation of people, or its<br />develepment will be directed toward new forms<br />of social, political and cultural oppression.<br />Therefore, the researh of specificity of Roma&rsquo;s<br />creative work in the context of European system<br />of cultural values is of great importance.<br />In contemporary world, Roma people as ethnic<br />group are becoming the subject of scientific<br />research more and more frequently. &bdquo;Symbolics<br />of Roma&rsquo;s fine arts and European system of<br />cultural values&ldquo; turns out to be very interesting<br />topic for studying, considering its theoretical<br />and applied aspects. This thesis is<br />interdisciplinary study with both theoretical and<br />broader cultural relevance, for this topic yields<br />the possibility for the analysis and dialog of<br />different culturological value dimensions which<br />are built in centuries-long history of Europe.<br />Study deals with a &bdquo;specific illumination&ldquo; of<br />unlit aspects of Roma people and the field of<br />fine arts, their possible history, developmental<br />paths and actuality. Today, this issue is<br />significant for plenty of reasons, since this<br />problem is shadowed by many ephemeral studies which yielded modest results. This work<br />is based on scientific analytical-synthetic<br />paradigm. The main research problem addressed<br />in this study is the question: whether the<br />symbolics of Roma&rsquo;s fine arts exists in the<br />European system of cultural values, or whether<br />symbolics of Roma&rsquo;s art reflects in European<br />culture. Descriptive, hermetical and<br />comparative historical methods were used in the<br />study under the framework of synchronic and<br />diachronic approach. Because of the specificity<br />of the research subject, thought experiment was<br />used as well, as logical principle of aesthetical<br />analysis.<br />In this research, aesthetical discussion, evidence<br />of visible and invisible Roma&rsquo;s art has been<br />developed, as well as evidence of elements of<br />symbolics in the fine arts of Roma people in the<br />context of European system of cultural values.<br />Roma&rsquo;s fine art has been mimicric for a long<br />time, because of the symbolic value of its<br />artefacts. Using multidisciplinary approach, we<br />recognize its contours. Its corpus has been<br />detained in national notions, by avoiding label<br />Romani. Roma&rsquo;s identity, as well as their image<br />in Serbia and Europe, has been reduced to this<br />marginalized cultural dimension, and Roma&rsquo;s<br />cultural tradition has been exposed to<br />ironization and vulgarization by national<br />majority and other national minorities. Roma&rsquo;s<br />culture, artefacts, artists are formaly invisible<br />and unrecognized. This work contributes to<br />illumination and valorization of Roma&rsquo;s cultural<br />corpus.</p>

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

La présente étude traite de la problématique liée à l’expérience de l’étranger dans trois romans de José Saramago, Le Radeau de pierre, L’Aveuglement et La Lucidité, trois de Christa Wolf, Christa T., Trame d’enfance et Médée ainsi que trois de Vassilis Alexakis, La Langue maternelle, Avant et Les Mots étrangers, en examinant les aspects culturels, linguistiques et poétiques. Saramago, Wolf et Alexakis font l’expérience de l’étranger de manières différentes. L’expatriation volontaire ou l’exil contraint marquent un point décisif dans leurs vies et leurs créations romanesques. Cette étude se concentre sur les manifestations d’une poétique de l’étranger biculturel qui prend appui sur les singularités provenant de origines diverses des romanciers. Le personnage étranger occupe une place centrale dans les romans. Ses caractéristiques sont mises en évidence grâce à une étude des frontières et à un examen des cultures représentées. Notre réflexion est orientée vers la poétique des romans. Les oeuvres d’auteurs biculturels se distinguentelles formellement des autres romans ? Notre travail démontre que la présence de l’étranger est intimement liée à la structure des romans. L’expérience de l’étranger laissetelle des traces au niveau de la langue ? Chez Saramago et Wolf, l’examen métalinguistique devient un acte créateur qui accompagne la mise en cause de l’omniscience du narrateur. Au contraire d’Alexakis, ces deux auteurs intègrent le dialogisme dans leur poétique de l’étranger. Les romanciers mènent des réflexions sur la culture en interrogeant à la fois la langue et la mémoire transmises par les ancêtres. Ces deux axes aboutissent à une réflexion sur l’identité contemporaine. / This research deals with the problems linked to the foreign experience in three novels from José Saramago, The Stone boat, Blindness and Seeing, three from Christa Wolf, The Quest for Christa T., Patterns of Childhood and Medea, as well as in three from Vassilis Alexakis, La Langue maternelle, Avant and Les Mots étrangers, analysing them in their cultural, linguistic and poetical aspects. Saramago, Wolf and Alexakis make a foreign experience in different ways. The voluntary expatriation or the forced exile are important moments in their lives and in their novelistic production. This study is focused on the poetical expressions of the bicultural foreigner, based on the particularities that come up with the diverse origins of the novelists. The foreign character takes up a key position in the novels. Its properties are outlined and discussed by studying the borders and examining the represented cultures. The research is turned towards the poetics in the novels. Are there formal differences between novels from bicultural writers and other ones? Our work shows that the presence of the foreigner is linked to the structure of the novel. Does the foreign experience leave its imprints on the language used? In Saramago’s and Wolf’s novels the metalinguistic examination becomes a creative act and it calls the omniscience of the narrator into question. Unlike Alexakis, these two writers integrate dialogism in their poetics of the abroad. The novelists think about culture by means of the language and the memories passed by the ancestors. These two axes lead to studies on contemporary identity.

Esta tese é sobre a mobilidade que construiu o Brasil desde o período anterior à colonização: é o que chamamos de trans-formação. O trabalho percorre a cronologia da construção do país tal qual o conhecemos hoje. Inicia-se com uma abordagem teórica, tratando das culturas em movimento, destacando a mobilidade como básica para a própria existência humana em sua relação com o ambiente. O caminho da trans-formação do Brasil começa com as várias culturas ameríndias, de forma especial, os tupis, devido à marcha nacional que empreenderam mesmo antes da chegada por portugueses. Os europeus encontraram um país já descoberto. Percebem-se que elementos ecológicos/ambientais e as guerras foram preponderantes para a mobilidade tupi. Então, chega a invasão portuguesa. Aborda-se a interculturalidade lusitana a partir dos fatores que levaram à sua formação. Os portugueses trazem os escravos africanos. Analisam-se as diversas áfricas que desembarcaram no Brasil pelo tráfico de escravos. Dessa forma se evidenciará um dos mais importantes produtos das três matrizes multiculturais (as ameríndias, a portuguesa e as africanas) que trans-formaram o Brasil: o bandeirante. As bandeiras dependiam essencialmente das três vertentes culturais, mestiçadas e/ou separadamente. Percorreram quase toda a extensão do território nacional. Seguiram-nos os monçoneiros, especialmente no ressuprimento de vilas estabelecidas pela exploração do ouro. Também os missionários católicos, de forma especial, os jesuítas, colaboraram com a trans-formação do Brasil. Por fim, toma-se o lócus Sorocaba como exemplo de uma interculturalidade brasileira já trans-formada, destacando o tropeirismo, a feira de muares, e a experiência intercultural de dois ilustres personagens: o primeiro pastor protestante brasileiro, Rev. José Manoel da Conceição, e o primeiro dos monges do Contestado, João Maria de Agostini. / This thesis is about the mobility that built Brazil from the period before colonization: this is what we call transformation. The work goes through the construction chronology of the country as we know it today. It begins with a theoretical approach, dealing with the cultures in movement, highlighting the mobility as basic for the human existence itself in its relationship with the environment. The path of Brazil\'s transformation begins with the various Amerindian cultures, especially the Tupi, because of the \"national\" march they undertook even before the arrival of the Portuguese. Europeans have found an already \"discovered\" country, with all geographical landscape already named. It is perceived that ecological / environmental elements and wars were preponderant for Tupi mobility. Then, the Portuguese invasion arrives. The Lusitanian interculturality is approached from the factors that led to its formation. The Portuguese bring the African slaves. It\'s possible to analyze the various \"Áfricas\" that have landed in Brazil for the slave traffic. In this way, one of the most important products of the three multicultural matrices (Amerindian, Portuguese and African) that transforms Brazil will become evident: the bandeirante. The bandeiras depended essentially on the three cultural strands, mestizo and / or separately. They traveled almost the entire length of the national territory. Monsoons followed us, especially in the resupply of villages established by the exploitation of gold. Also, the Catholic missionaries, especially the Jesuits, collaborated in the transformation of Brazil. Finally, the Sorocaba locus is taken as an example of an already trans- formed Brazilian interculturality, highlighting the tropeirismo, the muares fair, and the intercultural experience of two illustrious characters: the first Protestant Brazilian pastor, Rev. José Manoel da Conceição, and the first of the \"monks\" of the Contestado, João Maria de Agostini.

Esta tese tem como objetivo verificar os processos de transposição histórica e biográfica para três peças do dramaturgo irlandês Frank McGuinness, Innocence (1986), Mutabilitie (1997) e Speaking like Magpies (2005), e a interculturalidade deles resultante. Ela também se baseia na hipótese de que todos os processos se estruturaram a partir da ficcionalização de informações contidas em textos históricos e biográficos sobre os assuntos tratados em cada uma dessas peças, como uma crítica às narrativas que visam à objetividade. Este estudo constatou que, em relatos inconclusivos e em perfis de um famoso pintor italiano, de um renomado poeta inglês e de um controverso rei escocês da Inglaterra, modelados na Renascença a partir de suas obras e feitos, o dramaturgo encontrou uma oportunidade de mostrar a história e a biografia segundo a perspectiva irlandesa. / This dissertation aims at verifying the processes of historical and biographical transposition to three plays by Irish playwright Frank McGuinness, Innocence (1986), Mutabilitie (1997) and Speaking like Magpies (2005), and the interculturality resulting from them. It is also based on the hypothesis that all of the processes are structured from the fictionalization of the data contained in historical and biographical texts about the issues dealt with in each of these theatrical plays, as a way to criticize the narratives that target objectivity. In this study, it has been noticed that, in inconclusive reports and in the profiles of a famous Italian painter, of a renowned English poet, and of a controversial Scottish king of England, modeled in the Renaissance according to their works and deeds, the playwright found an opportunity to show history and biography from the Irish perspective.

Essa pesquisa faz um recorte da música eletrônica através de suas linguagens, práticas documentárias e processos informativos, estudados a partir de contextos socioculturais, para observar sua constituição como um gênero musical popular. A informatividade da música eletrônica foi compreendida em seus complexos de relações terminológicas e conjecturas diversas, ilustrando e identificando interrelações, propriedades estéticoformais, categorizações e características discursivas e linguísticas. Conceitos da Ciência da Informação e das humanidades foram utilizados para analisar como esse gênero irresoluto e fragmentado por muitas definições, processos anticategóricos e conflitos de distinção cultural, acaba por definir-se como um campo de intensa materialidade informativa e histórica, que segue tendo na ideia de \"música eletrônica\" seu universo simultaneamente amplo e circunscrito. Objetos, fenômenos, o devir musical, categorias e as linguagens dessa música foram estudados sob os vértices da informatividade, como proposta por Bernd Frohmann, conceito processual que surge a partir da ideia dos documentos como definidores e reveladores de contextos, problemáticas e discursos. Essa pesquisa conclui como a informatividade da música eletrônica logra documentá-la como tal: um gênero musical histórico, institucionalizado e documentado, coeso e problematizado por preponderantes aspectos informativos, referenciais e de categorização - um fenômeno da Cultura e da Informação. / This research outlines electronic music through its languages, documentary practices, informative processes and their sociocultural contexts, to observe its constituion as a popular music genre. The informativenesse of electronic music is seen from its complexes of terminology relations and several conjectures, that illustrate and identify interrelations, aesthetic and formal properties, categorizations, discursive and linguistic characteristics. Concepts from Information Science and other humanities have been used to analyze how this irresolute musical genre, fragmented by anti-categorical and cultural distinction conflits, ends up being defined as a field of intense informative and historical materiality. This music still relies this wide and also circumscribed universe on the idea of \"electronic music\". Objectos, phenomena, the music becoming, categories and languages of this music have been studied under the informativeness theorical vertices, as proposed by Bernd Frohmann, a procedural concept that arises from the ideia of documents as defining elements of contexts, discourses and problems. This research concludes how informativeness manages to document electronic music as such: a historical, institutionalized and documented musical genre, cohesive and also very problematized by its preponderant informative, referential and categorical aspects - a Cultural and Informative phenomenon.

Esta pesquisa, desenvolvida entre os anos de 2014 e 2018, investiga os sentidos de encontros interculturais, principalmente em dois contextos de migração forçada, nas cidades de Pádua, na Itália, e São Paulo, no Brasil. Pesquisas e documentos oficiais europeus veem a interculturalidade em termos de encontros pacíficos e harmoniosos, nos quais a diversidade é apresentada com características inerentemente positivas. Mesmo quando se considera o conflito, o sujeito de enunciação é ausente, produzindo teorizações descorporizadas e violentas. Esta pesquisa de doutorado tem por objetivo desafiar tal forma de entendimento, investigando e problematizando o emaranhamento de sentidos que constitui os encontros em contextos de migração, baseando-se em pensadores latinoamericanos, teorias pós-coloniais e feministas e conceitos decoloniais que se referem à diferença, cultura, onto-epistemologia e identidade, a fim de melhor compreender as influências da Modernidade, do capitalismo, do neoliberalismo e da colonialidade como um discurso imbricado. A pesquisa se vale de encadeamentos que sustentam encontros interculturais entre migrantes e a população local, pautando-se na complexidade do mundo e das palavras em contextos históricos e geográficos localizados, buscando entender como a colonialidade e a ordem geopolítica do mundo atuou sobre e cocriou a interculturalidade. Dados foram gerados por meio de entrevistas, encontros, observação de aulas e análise documental, que foram utilizados como uma ferramenta de provocação de teoria. Os principais resultados apontam para um processo de construção de sentido fortemente influenciado por epistemologias modernas/coloniais, difundidas não apenas entre trabalhadores no campo da migração, mas também entre migrantes; o desejo de reduzir a diferença, tomada em termos de diversidade, por meio de políticas de integração, sem questionar suas bases epistemológicas, buscando uma base essencial comum e incrustada na rede neoliberal; a presença de cisões políticas que têm por objetivo uma reconfiguração dos encontros interculturais; a necessidade de ressignificar ética, justiça social, cidadania transnacional e democracia, através de novas formas/modalidades, vozes e sujeitos no processo do estar-com. / This research, developed between 2014 and 2018, investigates the meanings of intercultural encounters, mainly in a forced migration context in two cities, Padova, in Italy and São Paulo, in Brazil. Both research and official European documents view interculturality in terms of peaceful and harmonious encounters in which diversity is presented with inherently positive features. Even when conflict is considered, the subject of enunciation is absent, producing disembodied and violent theorizations. This PhD research aims to challenge such forms of understanding by investigating and problematizing the entanglement of meanings that constitute encounters in a migration context on the basis of Latin American thinkers, postcolonial and feminist theories and decolonial concepts concerning difference, culture, ontoepistemology and identity, in order to better understand the influences of modernity, capitalism, neoliberalism and coloniality as an entangled discourse. The research explores the threads which underpin intercultural encounters between migrants and local population, grounding them in the wor(l)d complexity of geographical and historical localized contexts, aiming to understand how coloniality and the geopolitical world order performed and cocreated interculturality. Data were generated through interviews, encounters, classroom observation and documental analysis and were used as a provoking-theory tool. The main results point to a process of meaning-making strongly influenced by modern/colonial epistemologies, diffused not only among workers in the field of migration, but also among migrants; the desire to reduce difference, understood in terms of diversity, through integration policies, without questioning their epistemological basis, looking for common essential basis and trapped in the neoliberal net; the presence of political cracks which aim at reconfigurating of intercultural encounters; the need to re-signify ethics, social iustice, transnational citizenship, and democracy through new forms/modalities, voices and subjects in the process of the being-with.

The purpose of this study is to gain knowledge about the preschool pedagogue’s perspective, values and way of thinking in terms of interculturality. Furthermore, to then compare this knowledge in relation to Södertörn University intercultural profile. Above this, we want to differentiate what can happen between the two. The more isolated purpose of the aforementioned study is not to find right nor wrong, but to gain knowledge about the experienced reality of the pedagogue and as to how this mirrors preschool operations. The question formulation of the study is: which perspective and ways of thinking are conveyed in Södertörn University intercultural profile? Which perspective and ways of thinking in terms of interculturality can be found in pedagogues that are active within the preschools we have visited? What can occur in the engagement between the two? The study is qualitative, and the method constitutes of interviews and observations. Eight pedagogues have participated in the study, whereof two participated in a pilot study. The theoretical viewpoints of the study is selected theories and aspects regarding phenomenology. These have been used to find explanations for the experienced reality of the pedagogues in terms of interculturality. The pivotal conclusion in our study is that Södertörn University definition of interculturality deviates from both contemporary research, as well as what appears in testimony from the pedagogues, which in turn is part of their daily world. This deviation consists of that Södertörn University has a widened definition of interculturality where more cultural aspects are included. A consecution of this conclusion is that the pedagogues who meet in the workplace can have different perceptions regarding intercultural work.

Antes mesmo de entrar em contato com outro grupo social ou com uma língua estrangeira, já formamos desse outro certa imagem, a qual se propaga através de representações individuais e coletivas, passando também pelo processo de estereotipagem. Os estereótipos atuam na geração do sentido e, por isso, tornam-se foco de interesse no ensino-aprendizagem de uma língua estrangeira. Nessa perspectiva, o objeto desta pesquisa é o estudo de tais construções sociais no discurso da mídia, com o objetivo de promover um entendimento mais aprofundado da questão e analisar uma melhor maneira de aplicação didática dos estereótipos, nos cursos de língua. O estudo sobre estereótipos se baseou principalmente nos trabalhos de Ruth Amossy e Anne Herschberg Pierrot, que desenvolveram a noção de estereótipo e outros termos ligados a esse campo semântico nas várias disciplinas das ciências da linguagem. A abordagem desta pesquisa repousa, sobretudo, nos estereótipos culturais associados às imagens francesas e brasileiras que, geralmente, são transmitidas pelos meios de comunicação e reconstruídas por um grupo social. Alguns documentos midiáticos foram selecionados e analisados, para promover uma discussão em torno dessas imagens e propiciar um tratamento em direção a uma didática do estereótipo fundamentada numa perspectiva que envolve a imaginação, o humor e o senso crítico. / Before getting in touch with another social group or with a foreign language, we already have an image which travels through individual or collective representations and also faces the stereotype process. The stereotypes act in the generation of the meaning and for that reason they become the focus of interest in the learning-teaching process of a language. Under this perspective, the object of this research is studying such social constructions in the media discourse aiming at promoting a deeper knowledge about this issue and analyzing a better method to didactically apply the stereotypes in language courses. The study about stereotypes was based mainly on Ruth Amossys and Anne Herschberg Pierrots works, who have developed the notion of stereotypes and another terms linked to this semantic field in many subjects of the language sciences. The approach of this research lies mainly on the cultural stereotypes associated to French and Brazilian images which are often transmitted through the media and rebuilt by a social group. Some documents in the media were selected and analyzed in order to promote a discussion concerning these images and originate a way to handle it towards a didacticism of the stereotype instantiated in a perspective involving imagination, humor and critical sense.