The use of history is the concept of people using and analyzing history in the society for various purposes. Study in this area has largely emerged because there are many different reasons for people and societies to be interested in history. To investigate the use of history, a historical material needs to be present in some form. With this study, I intend to show how older tourist guidebooks can provide such materials of study and therefore I use travel guidebooks about Tallinn released under the USSR (Estonian SSR) between the years 1960 to 1990. The analysis is based on Klas-Göran Karlsson's (Professor of History) typology of seven different uses of history: scientific, existential, moral, ideological, political, educational, non-use of history and a commercial use of history. This paper has highlighted several different historical dimensions in travel guides and reasons why they can be analyzed. Results of this study show that the travel guides can act as a medium for existential orientation and that they can function as a communicational, educational and an interest raising tools. They can also develop a critical approach towards historical events and help to "sell" history through various commercial products. Thus, tourist guidebooks can be used and analyzed more systematically by professionals, interested individuals or a group who feel the need, desire or interest in the way history can be used in their practices. / Historiebruk handlar om hur människor använder och analyserar (brukar) historia i samhället för olika syften. Studieområdet har till stor del vuxit fram eftersom det finns många olika skäl att intressera sig för historia. För att undersöka historiebruk behövs ett studieobjekt som på något sätt tar upp historia. Med denna uppsats ämnar jag undersöka hur äldre reseguider kan utgöra sådana studieobjekt och därför kommer reseguider om Tallinn från Estniska SSR utgivna mellan 1960 till 1990 användas i historiebruksundersökningen. Analysen utgår från historieprofessorn Klas-Göran Karlssons typologi med sju olika historiebruk – ett vetenskapligt, ett existentiellt, ett moraliskt, ett ideologiskt, ett politiskt-pedagogiskt, ett icke- bruk av historia och ett kommersiellt. Undersökningen har belyst flera olika historiska dimensioner i reseguiderna och motiv till varför de kan analyseras. Resultatet av undersökningen visar på fyra punkter. Den första är att reseguiderna kan agera medium vid existentiell orientering. Den andra att de kan fungera som kommunikations-, kunskaps- och intresseprocess. Den tredje punkten är att de kan utveckla ett kritiskt förhållningssätt och fjärde punkten handlar om att reseguiderna kan vara motiv för att “sälja” historia vid utvecklingar av olika kommersiella produkter inom exempelvis turismen. Likaså att reseguiderna kan nyttjas och analyseras av antigen en individ eller grupp som känner behov, önskan eller intresse.

The purpose of this paper has been to examine the heavy metal band Sabatons use of history and to relate it to societal trends in today’s Sweden. I have examined Sabatons music, album covers and music videos in order to define a certain use of history. To do this I have used a use of history theory and a heavy metal theory. My results showed that some of Sabatons use of history could be defined as commercial and that the societal trends in today`s Sweden have in some cases affected the selection and presentation of events and characters that`s been portrayed by Sabaton. Earlier use of history in other forms of media, especially movies, has also played a part in the selection and presentation, which becomes particularly obvious in some of Sabatons music videos. However, an overall theme in my results have shown that the heavy metal cultures norms and ideas have been the main cause behind the selection, but especially the way characters and events is portrayed in their songs, an existential use of history.

This study seeks to analyze the japanese role-playing video game Valkyria Chronicles. Since the game uses a fictionalized european scene of World War 2 as its setting, it is an interesting object for analysis. The work is done through using the theoretical framework of the use of history as developed by Peter Aronsson among others and Occidentalism, or the representation of the west. The study shows that while the context in which the game’s events occurs in is fictional, the events are heavily influenced by WW2 and fits into categories of history use such as monumental use and furthermore is employed in a way which works in a way to relate the events to a japanese audience by the frequent and heavy use of moral appeal. The occidental tendencies are found in the disdain for metropolitan culture the game displays, and the favoring of the rural milieu

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The purpose of this paper is to establish the level of interest in history amongst a sample of Swedish 15 year olds, how it is expressed in their daily lives and the pattern of their con-sumption within popular culture. It also aims to find out to what extent the pupils’ interest in history and use of history in their daily activities outside school has any impact on their in-terest in history as a school subject and whether or not it affects their grades in that particu-lar subject. This is done through a gender perspective in which boys and girls are compared. Furthermore, it does to a certain degree allow a geographical perspective to be applied since four schools participated in this study from different parts of Sweden. This was a quantita-tive online study surveying 176 students from four schools.

The study investigates the nature and extent of erosion and deposition in the Maqalika catchment, Maseru. Components of the study include (i) the re-construction of erosion and land use history in the catchment from 1961 to 1985, (li) determination of dominant factors or combinations of factors responsible for the observed erosion distribution at each date, (iii) the identification and evaluation of erosion and deposition features, and their spatial and temporal variations, and (iv) identification of socia-economic problems associated with observed erosion and deposition. Methods employed for the re-construction of erosion and land use history include the use of sequential aerial photography of 1961, 1979 and 1985, orthophoto maps and review of literature from past studies. It has been possible to map erosion and land use for the three time periods pinpointing areas of major change. Results are presented in map form showing the spatial distribution of each erosion class and each land use category. It was however not possible to derive any meaningful relationship between erosion distribution and land use, on the aforementioned maps. The only observation made from the comparison of the maps is that erosion degree and distribution sometimes changes with land use, while land use sometimes changes in response to erosion. Major land use changes are the conversion of agricultural land to urban land use, and grazing land. Due to the mnlti-dimensional nature of soil erosion, hand 'actor analysis was employed to determine which factors or combinations of factors were dominant at each date. Despite the extensive research on the various factors affecting erosion such as those used for the USLE and SLEMSA there is a growing uncertainty as to which factors are more important to erosion. Soil erodibility has been found to be a component of the major controlling factor combinations in all three periods under study. At each date erodibility combined with a number of other factors determined the observed erosion distribution. As suggested by Mosley (1980), Cambell (1985) and Coleman and Scatena (1986) sediment from a catchment is derived principally from spatially limited portions of the catchment. Likewise eroded sediment becomes deposited in spatially limited areas with special characteristics which encourage deposition. Aerial photographic survey aided by ground survey and oblique photographs were employed to identify sediment sources and sinks within the catchment. Some sediment sources are fIxed such as gully floors and sides, while some change location from time to time such as construction sites. An evaluation of portions of the catchment for their ability to supply and deliver sediment has shown that the most eroded areas are not the most active sediment sources. Sediment yield is limited by either supply or transport. Sediment yield was estimated using reservoir survey data which indicate that there is a high rate of soil loss from the catchment. One flaw of this method as a measure of soil loss is that it treats the measured sediment yield as if it were contributed uniformly from the basin. This method however affords the researcher to estimate minimum erosion rates, taking into account that large amounts of sediment are stored at various places within the catchment. The possible socio-economic consequences of erosion and deposition have been identified. These include loss of cropland, destruction of roads and building sites which require methods of reclamation, sedimentation of small reservoirs and ponds, and the formation of gully bottom fills which are potential sediment sources. Conservation measures presently applied in the catchment are assessed and found to be irrelavant to the present erosion problem. Data from the reservoir survey revealed that the estimated rate of soil loss is more important to on-site erosion damage than to off-site damage in the form of the sedimentation of Maqalika reservoir. Appropriate conservation measures such as those suggested by Amimoto (1981) would be relevant to the study area, however the main constraint in their implementation would be lack of legislation and the absence of a sound land use policy. It is therefore concluded that the present land use situation which does not take into consideration the physical constraints of the catchment is partly responsible for accelarated erosion in the catchment.

Piracy has a big mysterious stamp. In the west, we have a clear picture of the 17th and 18th century pirates through stories about prostheses, planks, parrots and eyepatches. These stories come from one source, Captain Charles Johnson's legendary work that addresses a large number of pirates and their lives on the seven seas. This study investigates how modern historians relate critically to Captain Charles Johnson's work and how they interpret his stories about the fictional pirate utopia, Libertalia. What are their purposes and what have they been affected by? By applying a social-constructive theory, the purpose of course becomes evident by seeing what truths these historians created and carried on and how Charles Johnson's work was used in history. Through a social constructive study influenced by source criticism of the works of Marcus Rediker, David Cordingly and Philip Gosse, their interpretations have been perceived as very different. The different historians seem to have their own personal agendas and perceptions and have through their expertise created perceptions and stories that may characterize future generations' perception of the golden age of the piracy and, in particular, their image of Libertalia as a fair society without rulers.   The researchers' source-critical approach varies from seeing Johnson's work as narrative stories for future generations to the fact that Johnson primarily had a profit interest in the authorship. These ideas, however, are something that the historians themselves have concluded and thus become part of the social construction we call reality, in which we exist.

To own the Holocaust  The aim of this study has been to summarise and analyse the use of history in the debate surrounding the building of a swedish Holocaust memorial museum. Material used in the study included consultations of SOU 2020:21 from various authorities/agencies and NGO´s, editorials and debate articles from Sweden's leading newspapers and motions and written questions written by members of the swedish parliament. The methods used were textual analysis and hermeneutics. The material was analyzed via Karlsson's typology of use of history.   The study shows that the memory of the Holocaust is being used in different ways depending on the users geografical, political, organizational and/or etnical backgrounds. This affects the concept of the Holocaoust and its moral implication in various ways. Organizations representing the romani community, for example, wants the roma to be included in the Holocaust-concept and the illuminates the historical crualties that the roma´s have endured in order to further that argument. Organizations and political parties emphasize their connections to the Holocaust in order to discredit opponents or to further political or economical/social agendas. The result of this use is a variance in the existential, moral and political implications of the Holocaust.  Another result, which in no way is disconnected from the ones mentioned earlier, is a variance in the ways in which the history of Sweden is linked to that of the Holocaust. The use varies according to where the debater wants to place the museum, a choice which is strongly linked to the author's geographical background. This results in different universalistic implications of the holocausts causes, proceedings and effects.

This overview has examined the research situation regarding the historical concept: use of history and the factors that weigh heavily are the concept's definition, categorization and function. Since the use of history is part of de-facto governing documents on the subject of history in Sweden. This makes this subject particularly interesting to examine and how the research situation treats the concept. Great thinkers like Friedrich Nietzsche coined the term use of history early on, which has produced its own interpretation and perspective of how people relate and use history in different contexts. The definition of the concept is thus given different emphasis by different researchers, who believe that history can be categorized into typologies. But there are also other approaches to the use of history, which often means that history is used to achieve a future purpose. The question of whether there is a correct way to use the past is a further current question in the discourse. The use or abuse of history is therefore caught in the eye in some discussions. Although a broad consensus of scholars shows that history has a real effect here and now and interacts with the present, whether one wishes so or not.

This essay studies the use of history concerning the Swedish nineteenth century painter Ivan Aguéli. It places itself in the field of didactics of history where, in this case, the use of history on a societal scale is being analyzed. With the theoretic typology of Klas-Göran Karlsson both the interests, needs and functions of the use of Aguéli can be illuminated and compared. The groups of people that use the memory of Aguéli in the Swedish culture of history are very broad. To sort these out, the essay borrows the theoretical framework stemmed from Jörn Rüsen and applied by Anders Dybelius. Using this analytical typology of the educational, popular, and commemorative spheres, the journey of Aguéli’s memory in Sweden between 1920 and 2020 can be illuminated and understood. The empirical material is very broad and includes, among others, novels, exhibitions, a rock band, a museum, biographies, and newspapers. Regarding the theoretical typologies in the essay, a deductive method is used to sort these artifacts in their relation to their abode. Ivan Aguéli was introduced in the Swedish historical culture after his death. He is remembered mainly as one of the great Swedish modernist landscape-painters, and his extravagant personality and bohemian lifestyle has made him an object of both reverence and wonderment. But why has this person been used and remembered in this way? Ivan Aguéli has often been described as a mystery. This is the one main quality that has followed his memory through the millennia, disregarding which group has been using it. This study points out that the refusal to un-mystify Aguéli has kept his memory in the style of a “bottomless well”, where different groups and individuals has been able to pick up quality’s that answer to their own particular interests and needs. This “bottomless well” contains a flurry of positive characteristics and has something that is appealing for everyone: what’s not to like? Ivan Aguéli is more popular today than ever before. His legacy as an artist is getting challenged when much of his metaphysical, political, and philosophical legacy becomes accessible through translation from French and Arabic into Swedish. Aguéli’s theories of the correlation between religious truths and the political organization of society answers to an increased need for both political and spiritual renewal. This fact makes this essay, and the use of Ivan Aguéli’s memory, an example of how history is being produced and used as a tool to aid man in her aspirations. / I denna uppsats studeras historiebruket kring den svenska sekelskiftskonstnären Ivan Aguéli. Studien har sin hemvist i det historiedidaktiska fältet där, i detta fall, ett samhälleligt bruk av historia analyseras. Med Klas-Göran Karlssons analytiska typologi som bejakar de olika mänskliga intressen, behov och funktioner som historiebruket fyller, kan användningen av Aguélis minne i den svenska historiekulturen avslöjas och analyseras. Bruket av Aguélis minne i den svenska historiekulturen är väldigt brett och kräver något typ av sorteringsverktyg för att begripliggöras. Uppsatsen lånar därför Jörn Rüsens teoretiska ramverk, vilket applicerats i den svenska historiebruksforskningen av Anders Dybelius. Genom att använda de analytiska kategorierna utbildningskultur, populärkultur och minneskultur kan vandringen av Aguélis minne i Sverige mellan 1920 och 2020 belysas och förstås. Det empiriska materialet är väldigt brett och består av bland annat facklitteratur, skönlitteratur, konstutställningar, ett rockband, ett museum och tidningsrecensioner. I ljuset av uppsatsens teoretiska ramverk används en deduktiv metod för att sortera dessa artefakter utifrån deras förhållande till de tre kultursfärerna. Ivan Aguéli blev introducerad i den svenska historiekulturen först efter sin död. Han är ihågkommen som främst en av de stora modernistiska landskapsmålarna, och hans extravaganta personlighet och bohemiska livsöde har kommit att prägla särarten i hans minne. Men varför har han blivit ihågkommen på just detta sätt? Aguéli har ofta beskrivit som ett mysterium. Detta är det enskilda karaktärsdraget som följt hans minne genom århundradet, oavsett vilken grupp som har brukat det. Uppsatsens resultat pekar på att en ovilja att avmystifiera Aguéli har gjort hans minne till något av en ”bottenlös brunn” där olika grupper och personer har kunnat plocka upp värden som svarat på deras specifika intressen och behov. Ivan Aguéli är mer populär idag än någonsin tidigare. Hans arv som i första hans konstnär har kommit att utmanas då mycket av hans metafysiska, politiska och filosofiska tänkande tillgängliggjorts genom översättningar från franska och arabiska till svenska. Aguélis teorier kring korrelationen mellan religiösa sanningar och den politiska organiseringen av samhället har svarat på ett ökat behov av både andlig och politisk förnyelse. Detta faktum gör denna uppsats, och bruket av Aguélis minne i den svenska historiekulturen, till ett exempel på hur historia produceras och brukas av människor för att svara på deras behov och intressen.