Syftet med denna studie är att analysera åtta bilderböcker för att undersöka hur synen på barn, förskola och motsvarande barninstitutioner har framställts och förändrats i bild och text från 1970-talet fram till senare 2010-tal. Metoden har baserats på text- och bildanalys med hjälp av några av Nikolajevas analysverktyg för att undersöka bilderböckernas uppbyggnad, karaktärer och miljöer närmare. Resultatet visar att större delen av bilderböckerna benämner förskolan som "daghem" också förkortat "dagis" samt att många böcker beskriver personalen som "fröknar". De flesta böckerna framställer barnkaraktärerna som självständiga men även i behov av omsorg. De nyare bilderböckerna skildrar en rikare variation av material och aktiviteter inom ramarna för förskola, än tidigare producerade böcker. Slutsatsen som kan dras ur studien är att gamla diskurser av barninstitutioner dominerar och att förändring sker under lång tidsperiod. Det finns en minimal förändring i hur barnen framställs i förskola och motsvarande barninstitutioner och majoriteten av böckerna framställer barn i en komplex dynamik mellan självständighet och behov av omsorg och närvaro.

abstract: Previous researchers documented that music teachers negotiate their identities throughout their career, but none of these studies examined identity negotiation from the perspective of both music teachers and their students. Assuming that music teachers and students negotiate their identities through the same interactions, how do music teachers and students together shape their social context and continually pursue possibilities for who they are becoming? I conducted an instrumental case study to explore the encounters of one veteran orchestra teacher—Steve—with three of his students to understand how they negotiated their identities together and pursued possibilities for who they were becoming. I used strong structuration theory (Stones, 2005) as a theoretical lens to organize and frame my study. Each time Steve assessed students and placed them within the orchestra’s seating hierarchy, he experienced a tension in his identity as a music teacher. To relieve this tension, Steve changed the orchestra seating structure from a hierarchical-ranked structure to a randomized-rotating structure. This allowed him to provide individualized feedback to students as they rotated into the front row without issuing social sanctions. But this structural change also disrupted some of the students’ identities as musicians and the labels they used to position themselves in orchestra. Steve’s insistence that the student sitting in first-chair was the “leader for the day” continued an element of the hierarchical seating that conflicted with the students’ understandings of meritocracy and leadership. Additionally, by decoupling the students’ seating from the playing tests, Steve delegitimized his primary form of assessment. Based on my findings, I discuss implications for music education practice, and music teacher education. / Dissertation/Thesis / Doctoral Dissertation Music Education 2019

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Denna studie syftar till att undersöka hur pedagoger möjliggör eller begränsar för barns inflytande under förskolans planerade aktiviteter och hur barnen tar initiativ till att få inflytande. Vi gjorde observationer av pågående, planerade aktiviteter på en förskola som vi sedan bearbetade genom att tematiskt analysera våra utdrag. Resultatet av vår studie visar att barnens inflytande över aktiviteterna bland annat berodde på pedagogernas maktposition, huruvida de släppte eller höll kvar vid sin makt. När pedagogerna släppte på sin makt såg vi att barnen fick mer inflytande jämfört med om de höll kvar vid sin maktposition, då begränsades barnens inflytande. Vi har även sett att en viktig förutsättning för att barnen ska få inflytande över aktiviteten var att de gjorde sina röster hörda. Dock var det ännu viktigare att de blev lyssnade till av pedagogerna, då vi kunde konstatera att det är i interaktionen mellan barn och pedagoger som barnens initiativ leder till inflytande över aktiviteten, eller ett begränsande. En slutsats är att pedagogernas förhållningssätt och maktposition har betydelse för barns inflytande under en planerad aktivitet.

Museums in Sweden are found to be more and more mission-laden, as they gradually evolve from a custodian role to a visitor-focused socio-cultural institution. In their efforts to live up to their newly acquired role, more and more museums are prompted to inject entrepreneurial mindset and practices into their activity, leading to a nascent interest from the academic field in the possibility offered by entrepreneurship in the context of museums. We identify museums as a unique context motivated by the values and desires of the museum workers, whilst arguing that research on museum entrepreneurship has so far neglected the social aspect of these museum workers. Instead, the popular discourse has generally favored functionalism and positivism. As such, we propose to explore and potentialize an alternative view of entrepreneurship in museums that places the people, along with their values and desires, at its core. To that end, we conduct a case study with the Naval Museum, a governmental museum located in Karlskrona, Sweden. Through an iterative abductive approach inspired by grounded theory method, we shed light on several potentials and phenomena emerging from a combination of the museum workers’ values and the unique context of the Naval Museum. After performing a metamorphosis analysis inspired by Weiskopf and Steyaert, we give birth to child-museum-entrepreneurship, a concept unburdened of preconceptions. We then infuse it with Hjorth’s public entrepreneurship theory and discover a new form of becoming of museum entrepreneurship, potentializing its existence and power of re-creation and opening the door towards a human-centered museum entrepreneurship.

Syftet med denna kvalitativa studie är att synliggöra hur man som förskollärare och/eller förälder kan förstå och hantera barns krigs- och vapenlekande. Genom samtal med åtta föräldrar och sex pedagoger om barndom, barn och krigs- och vapenlekar vill vi, ur ett barndomssociologiskt perspektiv jämföra och problematisera dessa vuxnas tankar och erfarenheter med forskarnas teorier om barn, barndom och lek. I analyskapitlet framkommer två generella ståndpunkter både bland föräldrar och pedagoger och vi kan se tydliga likheter mellan föräldradiskussion 1 och pedagogdiskussion 1 samt mellan föräldradiskussion 2 och pedagogdiskussion 2 där det ena paret av dessa ställer sig mer kritiska till krigs- och vapenlekar än de andra grupperna.Trots de olika ståndpunkterna har alla fyra grupperna många liknande tankar. Det framkommer dock skillnader i vilken värdering dessa tankar tillskrivs. Exempelvis är alla överens om att barnen bara leker men antingen för att de inte förstår allvaret i leken eller för att leken inte är speciellt farlig och kan liknas vid vilken annan rollek som helst.

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<p>This thesis explores the notion of selfhood and its relationship to larger philosophical frameworks. In Chapter One the author traces various understandings of the self as they have appeared historically in Western philosophy. This understanding of the self posits it as something static and unchanging. The author argues that this was largely the result of certain ontological or metaphysical commitments of the broader philosophical frameworks in which the self was situated. In Chapter Two Deleuze's ontology is explored as an alternative to what the author takes to be typical Western ontologies. It is argued that Deleuze's 'fractal ontology' is radically different because it begins and ends with multiplicity and becoming. This new understanding of ontology provides the basis for understanding the self as multiplicitous and anarchic rather than static and essentialist. In the final chapter, the author seeks to explore the resulting understanding of selfhood as decentralized and multiplicitous. It is asserted that such an understanding of the self is philosophically compelling given the new Deleuzian ontology. It is further argued that this understanding of the self is practically superior to traditional static understandings of the self because it more fully accommodates personal and societal growth.</p> / Master of Arts (MA)

The dissertation is a theoretical autobiography weaving personal narrative, reflective practice, and engagement with extant sources, emphasizing somatic innovators and French philosophers Giles Deleuze and Felix Guattari. Rhizomatically structured, the dissertation takes as its locus of content My Name is a Blackbird, an extended choreographic project and series of performances I enacted between 2006 and 2010. Research begun during Blackbird further bled into subsequent years of solo and ensemble dance practice and performance, teaching, and contemplation, and continued to manifest personally and professionally as deepened curiosity about the dance’s abiding questions around the nature of form and identity. These questions motivated doctoral study and sustained throughout the dissertation process. The dissertation intersperses extant theories and somatics with autobiographical narratives depicting stories that pre- and post-date My Name is a Blackbird, and draw heavily from content culled while compiling and reflecting on an extensive document I call the Blackbird Archive, totally over one-thousand pages of material, including layers of quasi-repeated text, and my contemporaneous reflective analysis. I built the Archive during the first two and half years of writing the dissertation from raw materials documenting Blackbird, including transcribed audio from video tapes of rehearsals, conversations and interviews with collaborators, and artist and audience response to performances, plus my personal handwritten and digital journals. Working on and with the Archive prompted me to dig deeper into what was then my existing narrative about Blackbird, which originally foregrounded my discoveries as a dancer and performer of greater freedom of movement and expressive potential, including within the artist-audience exchange, through the release of my superficial abdominals. The dissertation charts a non-linear process through which I discovered that, in addition to this existing narrative of liberation, the Archive and my related memories sparked from the Archive, in conversation especially with Deleuze and Guattari, as well as revisiting and reconsidering my understandings of work by the somatic innovators and theorists, primarily Moshe Feldenkrais and Emilie Conrad, whose writing and methods shaped my practices during Blackbird, the dissertation project revealed that delving into occluded and more painful memories was necessary to tell a more complete story of the project. These memories include looking again at long term struggles with body dysmorphia and disordered eating, and, more so, grappling on the page with the impact of experiences of sexual trauma as a late adolescent and young adult, which shaped coping mechanisms that further informed ingrained movement preferences, bodily comportment, and whole-self orientation to time, effort, body, and form. The dissertation is organized into four parts. Part I introduces the document, Deleuze and Guattari as key conversation partners, and describes what I refer to as my methodological journey. Part II delves into the process and timeline for building the Blackbird Archive and describes the Blackbird project itself, focusing on the role of the concept of transmogrification. Part III explores experiences of time and body in Blackbird and autobiographical narratives that shaped my orientation to dance and performance, and Part IV uses Deleuze and Guattari’s work to articulate my experiences of and fantasies around dissolution of form and shifting identity. / Dance