Sweden’s role during the Second World War has been a matter that has been under much debate since the war’s end in 1945. The debate has however ebbed and flowed and established a discourse that Sweden was forced to give in to German demands and did so to avoid conflict that would have severely damaged Sweden. However, in 1991 a Swedish journalist Maria-Pia Boëthius published a book known as Heder och Samvete in which she explained that the Swedish concessions to Germany during the war were made out of profit rather than giving in to German demands. This sparked a debate that ended with the establishment that Sweden compromised and even broke its neutrality in favor to gain profit from the war. This project investigates how Swedish schoolbooks have chosen to depict this piece of history and whether Maria-Pia Boëthius’s book has influenced them or not.

<p>This thesis deals with the question of how and to what degree Swedish history books for schools changed between the early 20^th century and the 1960s. The theoretical foundation for this study is a perspective which treats historical accounts as narratives, bringing meaning and orientation to the present. According to this perspective, historical accounts may be divided into four different types of narratives, <em>traditional, exemplary, critical </em>and<em> genetical.</em> The basis for this division is how the narratives use the past to make the present understandable.</p><p>The following conclusions are reached:</p><ol><li>That Swedish history books for schools have changed less, and in a moore gradual way than those dealing with general history. </li><li>There is a growing use of genetical narratives at the expense of mainly exemplary ones. Also over time there is a tendency towards variance in narrative form. </li><li>The most significant dimension of change is in regards to the presentation of specific historical epochs within the books, not of the books as a whole. </li></ol>

This thesis deals with the question of how and to what degree Swedish history books for schools changed between the early 20th century and the 1960s. The theoretical foundation for this study is a perspective which treats historical accounts as narratives, bringing meaning and orientation to the present. According to this perspective, historical accounts may be divided into four different types of narratives, traditional, exemplary, critical and genetical. The basis for this division is how the narratives use the past to make the present understandable. The following conclusions are reached: That Swedish history books for schools have changed less, and in a moore gradual way than those dealing with general history. There is a growing use of genetical narratives at the expense of mainly exemplary ones. Also over time there is a tendency towards variance in narrative form. The most significant dimension of change is in regards to the presentation of specific historical epochs within the books, not of the books as a whole.

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The aim of this thesis is to present a survey of Swedish vocal music.

Ever since the 1960s, Sweden has heavily invested in international development cooperation, with a target of devoting 1% of the GNI to the matter. For at least as long, the Swedish International Development Cooperation Agency (Sida) has had as part of its mission to inform the Swedish public about global development. This mission has been executed mainly through distribution of funds to civil society organisations (CSOs) who have used them for different communication activities.  At the end of 2022, the new right-wing government of Sweden decided to abandon the 1% target and reduce Sida’s funding for communication about development in Sweden by almost 90%. In this thesis, I investigate what concerns this raises among the CSOs. Data was collected through a questionnaire and interviews with CSO representatives.  The data show that the CSOs raise concerns for the government’s decision leading to less knowledge and interest among Swedes about development issues, which they argue will in turn lead to less support for state spending on international development, a weaker civil society, less transparency and accountability and by extension threaten democracy.

This dissertation investigates the internal struggles within the labour movement in Dalarna at the beginning of the twentieth century. I investigate Social Democracy, Anarcho-Syndicalism and Communism, the three major factions of the working class. I study the relationship between these organisations and their supporters in the complex socio-economic area of Dalarna. I have based my study on the three party programs and their answer to two central questions of the time: Will the conflicts of society lead to revolution? and How should politics and production be organised in the non capitalist society to come? Generally, anarcho-syndicalists argue that state power must be transformed to local government, social democrats hope to make different social interests compromise into political consensus. Communists want a proletarian state through social revolution. How were those ideologies received in Dalarna? In the beginning, anarchists fought social democrats: The opposition excluded from social democracy 1917 was also more influenced by anarchism than by communism. The opposition founded a party, witch towards the 1920´s turned from anarchism into communism, and the small farmers, that erlier had been attracted by the anarchist influenced rural propaganda, left and more industrial workers joined. Simultaneously, anarchists reorganised from a political party to a syndicalistic trade union, gradually mowing from the industrialised south to northern Dalarna. Communists, mainly left in the industrialised south, were shaken by two splits in the 1920´s and they lost their ability to compete with the social democrats in democratic elections. In Dalarna, social democrats, confronting anti-parliamentary anarchy and totalitarian communism alike, won the contest within the labour movement: At the end of the period, they dominated the area.

The thesis deals with the development of the secondary school teaching professionduring the second half of the 19th century and the early 20th century. The emphasisof the study is on the concurrence of three structural processes in this profession:feminization, professionalization and governmental bureaucratization.The "teachers of the people" found themselves deeply affected by radical economicand social structural changes during the transition from classical industrialcapitalism to organized capitalism at the end of the 19th century. These strucuralchanges aggravated the conflicts between the classes and the sexes in society, andthe elementary school became an important institution for social and ideologicalcontrol. But the teachers were not content to be the mindless instruments of thepredominant ideology. At an early stage the elementary school and the teachersthemselves began to live "a life of their own". Both male and female teachers beganto develop strategies in the struggle for power and control over their profession. Inother words, a process of professionalization began.At the same time as the teachers were organized collectively the women's share ofthe profession increased. The teaching of the lower classes was considered verysuitable for unmarried middle-class women, and the cheap female labour wasattractive to the politicians. There were risks of clashes between male and femaleinterests, since the profession also attracted young men from the farming andworking classes, who saw possibilities of social advancement in this sector of theschool system.The men developed different strategies against their female colleagues. Duringthe whole of the 19th century women were integrated into the professional project.At the turn of the century the men developed a strategy of social closure againstwomen, which meant that these were relegated to a lower level. At the same timethe government introduced regulations which were intended to impede women'sfast access to the profession. This triggered off an open conflict between the sexes inthe profession, since the changes were initiated by male elementary school teacherswho were leaders of the professional program as well as leading politicians in thegovernment and the Riksdag. / <p>Vissa bilder borttagna av upphovsrättskäl.</p> / digitalisering@umu

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.