<p>The aim of this thesis is to try to make the mathematics content of textile handicraft visible. This is done through an attempt at integrated studies in the two subjects with 6^th grade students.</p><p>The main question is: In what way may integrated studies in mathematics and textile handicraft lead to making the mathematics content of textile handicraft visible to the students? This question has been divided into three sub-questions: 1. What knowledge do students have on the order of the millimeter, centimeter, decimeter and meter units of length?, 2. In what situations do students mention knowledge of measuring as being of use?, and 3. To what extent do students see a connection between mathematics and textile handicraft before and after an attempt at integrated studies in mathematics and textile handicraft?</p><p>The methods of use in this thesis are questionnaires and interviews.</p><p>The theoretical frame is constituted by the sociocultural theory. This theory focuses on the idea that thinking is closely connected to our activities, which makes it a suitable basis for the thesis.</p><p>The results of the study show that overall the students’ knowledge of the order of the units of length in question is good. The students mention knowledge of measuring as being of use mostly in situations related to consumption, building and painting, and mathematics. No student mentions a connection between mathematics and textile handicraft in the questionnaires. However, the interviewees mentioned measuring as being of use in textile handicraft. The study gives no definite answer to the question of whether integrated studies can make the mathematics of textile handicraft visible. The fact that students in interview after integrated studies are able to discover a connection between the two subjects may indicate that the mathematics content of textile handicraft has been made visible.</p>

<p>The present study concerns ways to describe, judge and discuss aesthetic qualities of designed textile patterns. Specific aims were to study how colours and compositions used in Old Amish Quilts can be systematically described, to study how simple and complex patterns in printed textile fabrics are perceived and expressed verbally and to study judgements, concepts and values in relation to designed textile patterns as expressed by schoolchildren, consumers, teachers of textile handicraft and designers.</p><p>The study design is qualitative in order to collect concepts used by subjects from different user groups when describing textile patterns and of the reasons for their judgements of the designed patterns. A modified Repertory Grid Method was used. Describing colour design and composition using graphic models was also attempted.</p><p>The experience of aesthetic qualities in designed patterns is complex and not possible to describe using clear-cut concepts. Descriptions and choice of words are part of different language games outside the field of textile design and their contents are found in a dynamic interplay between a number of experiential contexts. The dominant inner contexts of individuals, basic perceptual patterns of apprehension, direct experiences of the surrounding world, and influences from the cultural context all give different and complex structures of attention. Different structures of attention lead to different perceptual choices and different descriptions, judgements, notions and values concerning designed printed patterns.</p><p>The present study shows that subjects make their judgements on the basis of formal, functional, cultural and emotional contents. These content categories are related to the multiple contexts of different dimensions of experience. For judgement and communication in the process of design and in design education, mutual understanding calls not only for concepts and notions in the field of design, but also consideration of conditions of experience and communication in life.</p>

The present study concerns ways to describe, judge and discuss aesthetic qualities of designed textile patterns. Specific aims were to study how colours and compositions used in Old Amish Quilts can be systematically described, to study how simple and complex patterns in printed textile fabrics are perceived and expressed verbally and to study judgements, concepts and values in relation to designed textile patterns as expressed by schoolchildren, consumers, teachers of textile handicraft and designers. The study design is qualitative in order to collect concepts used by subjects from different user groups when describing textile patterns and of the reasons for their judgements of the designed patterns. A modified Repertory Grid Method was used. Describing colour design and composition using graphic models was also attempted. The experience of aesthetic qualities in designed patterns is complex and not possible to describe using clear-cut concepts. Descriptions and choice of words are part of different language games outside the field of textile design and their contents are found in a dynamic interplay between a number of experiential contexts. The dominant inner contexts of individuals, basic perceptual patterns of apprehension, direct experiences of the surrounding world, and influences from the cultural context all give different and complex structures of attention. Different structures of attention lead to different perceptual choices and different descriptions, judgements, notions and values concerning designed printed patterns. The present study shows that subjects make their judgements on the basis of formal, functional, cultural and emotional contents. These content categories are related to the multiple contexts of different dimensions of experience. For judgement and communication in the process of design and in design education, mutual understanding calls not only for concepts and notions in the field of design, but also consideration of conditions of experience and communication in life.

The aim of this thesis is to try to make the mathematics content of textile handicraft visible. This is done through an attempt at integrated studies in the two subjects with 6th grade students. The main question is: In what way may integrated studies in mathematics and textile handicraft lead to making the mathematics content of textile handicraft visible to the students? This question has been divided into three sub-questions: 1. What knowledge do students have on the order of the millimeter, centimeter, decimeter and meter units of length?, 2. In what situations do students mention knowledge of measuring as being of use?, and 3. To what extent do students see a connection between mathematics and textile handicraft before and after an attempt at integrated studies in mathematics and textile handicraft? The methods of use in this thesis are questionnaires and interviews. The theoretical frame is constituted by the sociocultural theory. This theory focuses on the idea that thinking is closely connected to our activities, which makes it a suitable basis for the thesis. The results of the study show that overall the students’ knowledge of the order of the units of length in question is good. The students mention knowledge of measuring as being of use mostly in situations related to consumption, building and painting, and mathematics. No student mentions a connection between mathematics and textile handicraft in the questionnaires. However, the interviewees mentioned measuring as being of use in textile handicraft. The study gives no definite answer to the question of whether integrated studies can make the mathematics of textile handicraft visible. The fact that students in interview after integrated studies are able to discover a connection between the two subjects may indicate that the mathematics content of textile handicraft has been made visible.

The chief aim of this thesis is to explore aesthetic aspects of the Swedish school subject of sloyd. The research questions are: What do young people tell about sloyd? What aesthetic resources do they use? How can one describe the relation between what young people tell about sloyd and the aesthetic resources they use? A narrative approach was chosen to learn about activities and attitudes concerning aesthetic matters among young people in the 9th form in lower secondary schools. The empirical study was carried out in three schools including qualitative interviews and visual ethnography mainly considering the learner’s point of view. Findings are represented through story constructions and photographs. Ten stories depict aesthetic and thereto related aspects of which five stories are based on individuals and another five are thematic. Stories and photos were analyzed using an integration of aesthetic, narrative and semiotic methods. Structures of meaning making were identified using three concepts: expressions, personal project, and dynamic process. The results show that aesthetic deliberation in sloyd work is a major issue among young people. Concerns are often based on personal circumstances, such as taste and preference. Aesthetic considerations in the pupils’ sloyd work were found to be directed towards the one’s own room, relations to family members, and/or plans for future engagement in aesthetic related professions. The results confirm that aesthetic expression in sloyd work may be a way for pupils to reflect upon and develop their personalities. I have also shown that sloyd may be a way to represent narrative instances. A second aim is to develop theoretical concepts in the field of aesthetic learning in sloyd. I argue that an aesthetic aspect alone cannot satisfy the concept of aesthetic learning. Therefore the aesthetic learning concept in my study is generated from aesthetic, configurative (cf. gestaltung) and creative aspects, thus forming an integrated aesthetic perspective. Aesthetic objectives were analyzed using Bakhtin’s systemic aesthetics, which identified architectonic instances in sloyd materials and sloyd design supporting narrative elements in sloyd artefacts. Finally I propose a model for narrative understanding of artefacts based on the theoretical concepts mediation and focalization.

This study focuses on the material aspects of the wood and metal workshop, which is one out of two learning settings in the Sloyd subject. Sloyd is a compulsory school subject in Sweden, which includes textile, wood and metal work. Historically, wood and metal Sloyd has been dominated by male pupils and teachers. The purpose of the thesis is to describe and analyse how the materialized masculinity of the wood and metal workshop is embodied by the pupils during class. The study concerns 41 observed lessons in three different workshops, during the period of 2011-2013. Six groups have been ob- served and the observations have been complemented with individual interviews, group interviews and one video recording. The study is conducted from a gender perspective, which considers sociomaterial structures to be a part of a gender structure. Following Raewyn Connell, Yvonne Hirdman and others, the gender structure of the sociomaterial wood and metal workshop is brought to light. But the main focus lies on the embodied phenomena of the sociomaterial structure. This is applied through a hermeneutical phenomenological methodology, where the main analytical tools have been ”the corporeal turn” as presented by Maxine Sheets-Johnstone, ”the lived body” as Merleau-Ponty describes it, and Young’s interpretation of”situatedness” in feminist phenomenology. As regards the results, an overarching structuralistic analysis of pupils’ expectancies and be- haviours in the setting, along with historical documents, show that the wood and metal workshop holds a strong material classification in school. It is geographically peripheral and resembles the workshops of the industry outside school, rather than classrooms inside school. The workshop also has a strong inner classification, where the metal room is classified as the most masculine place in the workshop, and the painting room and the workbench are classified as being weak in masculinity. Analysis shows that the materiality close to the skin (caps, dirt, protection gear and garments) is embodied both as an ex- pression or a visual sign for others, but also as a tactile immanence or non- visual objectification of the body. Analysis also shows that the materiality in contact with the hand of- ten has an elongated form. The common use of elongated objects (wagging, fencing, poking, crafting) in the Sloyd groups are described as a consequence of historical views on masculine movements and transcendence by the founders of male (wood and metal) Sloyd. Furthermore, the processing of the common three-dimensional materials are analysed as "inside", as a non-visual kinetic-kinaesthetic experience that lessens the visual objectification of the body. Beyond the reach of the hand, the three- dimensional, silent and personal artefacts render specific intersubjective situations. The space of the workshop is considered performative, using the silent and three-dimensional objects as proposals of intersubjective situations and tactile-kinaesthetic turn-takings. Conclusively, the results are discussed in relation to concepts of individuality and corporeal meaning in the workshop, the concrete rather than abstract masculinity, and in relation to the well-used concept of mediated experience in creative subjects such as Sloyd. / Genusforskarskolan

I denna komparativa litteraturstudie jämför vi Sverige och Finlands respektive utbildningsväsende. Vi undersöker vad som gör Finland till ett framgångsrikt land inom slöjdutbildning, och om Sverige kan lära av Finlands exempel. Därför är det intressant för oss som framtida slöjdlärare att titta på vad som skiljer den svenska skolslöjden mot den finska. Som blivande lärare i ett praktiskt ämne vars varande ibland ifrågasätts vill vi undersöka hur slöjdens status ser ut i Finland som inte är i utbildningsmässig kris. Syftet med denna uppsats är att belysa samt jämföra slöjdämnet med fokus på arbetsformer och innehåll i två skandinaviska länder, Finland och Sverige.  Detta är en forskningskonsumtionsuppsats där vi insamlat och studerat befintlig forskning. Denna uppsats är en komparativ litteraturstudie mellan Sverige och Finland vilket betyder att vi jämfört liknande litteratur och redogjort för vad skillnaderna är.  Studien visar att läraryrket i Finland är mer respekterat i samhället, då Finland har en högre grad av professionalism inom lärarutbildningarna och läraryrket jämfört med i Sverige, vilket speglas i respektive lands elevresultat i internationella undersökningar. Vår jämförelse mellan ländernas läroplaner i slöjdämnet visar att i Finland fokuserar mer på hanteverksskicklighet och praktisk förmåga, medan i Sverige läggs vikt vid teoretiska begrepp och verbala uttryck inom slöjden.

Uppsatsens syfte är att utforska och belysa fenomenet att slöjda. Det görs genom textanalys av slöjdare och deras drivkrafter till att slöjda. Med hjälp av textanalys av utvalda texter i tidskriften Hemslöjd år 2015 besvaras frågorna: vilka personer skildras i texterna i tidskriften Hemslöjd, samt vilka drivkrafter till att slöjda synliggörs i tidskriften Hemslöjd? Undersökta texter ur tidskriften Hemslöjd skildrar slöjdande personer alltifrån hobbyslöjdare och studenter till yrkesverksamma slöjdare. De kommer från olika delar av världen även om de flesta slöjdar/verkar i Sverige. Sex huvudteman som drivkrafter till att slöjda har identifierats: välmående, självklart att göra egna föremål, nyfikenhet och vilja att förstå, bevara kunskap, att uttrycka sin idé, samt globalt ansvar/miljöengagemang. Välmående samt att bevara kunskap förekommer mest frekvent som drivkraft till att slöjda hos dem som skildras i Hemslöjds texter. Globalt ansvar – miljöengagemang, vilken identifierats som en drivkraft till att slöjda förekommer ej som drivkraft till slöjande i tidigare forskning inom området. Analysen ger exempel på människor som slöjdar för att stå upp för sitt engagemang för miljön genom vad de väljer att göra i vardagen, exempelvis slöjda sitt barns sittvagn. Detta tolkas i uppsatsen som att de skapar sig en meningsfull tillvaro genom hur de agerar, genom att slöjda. Analysen visar vidare på tidskriften Hemslöjd som mediaaktör i samhället och hur tidskriften skriver fram varför människor slöjdar genom att journalister skriver texter där tidskriftens inriktning synliggörs. Detta görs dels genom vilka slöjdande personer som presenteras, samt hur texterna och innehållet utformas baserat på det som analysen identifierat som tidskriftens inriktning. Analysresultaten av vilka som skildras i Hemslöjds texter samt de identifierade teman/drivkrafter till att slöjda hos de som skildras, tolkas i uppsatsen som följer: Tidskriften Hemslöjd vill genom sina texter förmedla att människan har förmågan att för hand tillverka föremål. Tidskriften vill främja och sprida slöjdkunskaper i samhället. Att slöjdande bidrar till människors välmående, stärker dem som människor och deras självkänsla. Genom vilka personer som skildras i texterna visar tidskriften Hemslöjd fram att slöjdande inte avgränsas av nationsgränser, utan är internationellt och knyter samman människor runt hela jorden. Vidare att förmågan att slöjda är en grundläggande mänsklig förmåga och praktisk kunskap värd att spridas. Uppsatsen tolkar vidare analysresultaten som att tidskriften förmedlar att förmågan att slöjda skapar mening och välmående hos människan. Att bevara slöjdkunskaper som riskerar försvinna när äldre generationer går ur tiden, synliggörs i analysen som en viktig drivkraft till att slöjda. Det är en drivkraft till att slöjda världen över vilket synliggörs genom tidskriften Hemslöjds texter. Tidskiften verkar för, lyfter fram och stärker praktisk kunskap, slöjdkunskap, som traditionellt har värderats lägre i samhället än teoretisk kunskap.

The aim of the thesis is to investigate and analyse students’ expressions of pleasure and displeasure and how these are manifested in actions in the teaching of textile sloyd in lower secondary education. The study’s focus is on students’ expressions of pleasure and displeasure in social action in the working processes of textile sloyd and on how these expressions can be related to learning. The empirical material consists of observations, video and audio recordings, individual interviews and focus group interviews, where video and audio recordings were used as stimulated recall. In all, 32 lessons in textile sloyd and 49 students aged 14-15 years were observed at four different schools. Theoretically, the thesis is based on Mead’s practical intersubjectivity and on Dewey’s theory of experience-based learning and dependence on emotions and actions. Pleasure and displeasure constitute valuating partial aspects of emotions. Based on a socio-cultural perspective, emotions are regarded as practices which arise from different predispositions’ dependence on the social context. The study’s analytical approach is hermeneutical. Critical incidents regarding students’ expressions of pleasure and displeasure in social action found in observations and video and audio recordings were analysed in terms of Mead’s concept of gestures. The events were combined with what the students describe as critical incidents of pleasure and displeasure in the interviews and focus group talks. The material was then thematised. Several situations were then subjected to deeper analysis based on sociality and a change in perspective and related to different concepts of learning. The result of the thesis shows a tripartite semantic structure where students’ pleasure and displeasure in textile sloyd are mainly based on textile sloyd’s specific educational community, students’ relationship to the sloyd object and their experience of the working process. Social interaction, humour and mutual acknowledgement proved to be of importance for the function of pleasure and displeasure in the students’ working processes. The students’ experience of pleasure and displeasure depended on their control of the work, the characteristics of different craft techniques and their awareness of time. Pleasure and displeasure in textile sloyd found an expression in four overarching emotional practices with decisive importance for the students’ opportunities for learning: the repudiating, insecure, accepting and incorporating emotional practice. The study also provides an insight into how different cultural factors enable a certain scope for pleasure and displeasure. In this connection, social changes in relation to objects are discussed, as are changes in sociality and emotionality. Based on the pair of concepts of authenticity and ephemerality and closeness and intensity, cultural changes are visualised that are conceivably important for the students’ experiences of pleasure and displeasure in textile sloyd.

I ett projekt under våren 2020 utformades en metod för att skapa klädesplagg, och en jacka producerades. Jacka - Juni - 2020 ställer sig frågande till modernitetens värderande och standardiserande efter siffror. Jackan konstrueras med den äldre måttenheten aln som baseras på den individuella kroppen istället för massproduktionens generella mått. Den blickar tillbaka på en dåtid från sin samtid utan att utesluta sin samhörighet med någon utav dem. Jacka - Juni - 2020 är en första standardmodell producerad för hand, för att med enkelhet kunna reproduceras efter andra alnar.