This paper analyzes two selected passages from six children’s Bibles with respect to their use of the narrator’s voice and focalization. This means that the texts are analyzed with a focus on who is telling the story and from whose perspective it unfolds. The analyzes are also built upon what has been added or taken away from the Bible texts and what functions the illustrated pictures have. In this way, the result can also be analyzed through a theory about use of history; that is the idea that morality and identity formatting shape history telling. In this study the different children’s Bibles tend to lift different aspects of the Bible stories. Even though the aims of the book writers cannot be known for sure, their intentions of moralizing or shaping a certain Christian or Jewish identity, such as the institution of pesach or the communion, can be anticipated. Furthermore, the study shows that the children’s Bible genre is often very didactic, while moralization is generally avoided in newer versions. A general distinction between how the Old Testament and the New Testament stories are told can also be spotted. In the latter one, the reader receives more insight about the characters inner and outer speech, which could make it easier to identify and sympathize with them.

Denna uppsats fokuserar på identitetsskapande med hjälp av historieämnet. Utifrån olika litteraturer och dess innehåll på hur man kan arbeta med detta identitetsskapande, kommer denna uppsats att ge konkreta förslag på hur lärare kan arbeta med det. Varje människa har ett behov av en tillhörighet, och en identitet. Identitetsskapande ska främja dessa behov men även utveckla en förståelse för vem man är i den samvaron som man lever i. Utifrån begrepp och historiedidaktik kommer identitet och identitetsskapande att förklaras och problematiseras.  Vidare ska detta arbete undersöka historieämnet och läroplanen och hur dessa förhåller sig till identitetsskapande. Arbetet kommer lyfta fram normativlitteratur/ styrdokument. Utifrån dessa dokument kommer det även att diskuteras samhällets påtryckningar av de läromedel som används vid historieundervisning. För att förstå sig på samhällsförändringar kommer det även diskuteras om faktorer som leder till dessa förändringar. I detta arbete kommer även en jämförelse av läroplaner, för att förtydliga den samhällsstruktur som förändrats med tiden.

The battle at Klågerup: Culture of history and the use of history in conjunction with Sweden’s last peasant uprising. During the early 1800’s the southern part of Sweden and its people was subjected to change in terms of agricultural management, also known as the great agricultural reform. This was only one of several aspects which affected the peasants towards a time of lesser status and rights. Eventually an unforeseen to some degree forced enlistment of 15. 000 peasants in southern Sweden became a decisive moment in Sweden’s history. In which the commoners revolted against the Swedish state at varying locations. However, one area in particular was affected by the peasants’ accumulated discontent. Namely a small village called Klågerup, which resulted in the Swedish government quelling the uprising in what can only be referred to as a blood bath. Approximately 23 peasants were killed in 1811 while the Swedish cavalry suffered no casualties according to records. The aim of this essay examines how people have used the memory of the Klågerup riots, in conjunction with two historical perspectives, which are culture of history and the use of history. The examination is done through the lens of a qualitative hermeneutic text analysis. The interest of examining the Klågerup riots in conjunction with the specific above-mentioned perspectives is based on an inspiration of Anders Dybelius’s thesis called “A sustainable memory? The use of history in relation to Georg Carl von Döbeln 1848 – 2009”. The material used in this examination includes newspapers, a play, a novel, scientifically researched historical literature, one historical monument and one building of historical value. All of the used material for analysis is referred to as artefacts. The analysis through the help of Klas-Göran Karlssons and Ulf Zanders typology in regard to use of history, and Dybelius’s perspective of local-ideology show interesting results. The result indicates that multiple purposes for the use of history is applicable on a majority of the used artefacts. Furthermore, regarding the culture of history based on Dybelius’s rendering of Jörn Rüsens tripartite thematization in terms of culture of history, resulted in three artefacts being categorized into each of the three themes. In total nine artefacts were analyzed regarding both the use of history and culture of history. A didactic reflection upon the use of history, culture of history and history awareness is presented in the end of this paper regarding how one might implement the three into the classroom and role of teaching

The empirical focus of this study is the contemporary transition of the industrial area Koppardalen, situated in Avesta in the middle of Sweden. Koppardalen (literary translated “The Copper Valley”) got its name in 1987 when the Avesta municipality bought the area from an iron and steel company. For a century the Koppardalen area, or Norra verken which was its name before 1987, housed production of iron and steel and at its peak employed more than 2000 men. In the beginning of the 1980s, iron and steel production had moved out and left the area almost abandoned. When the Avesta municipality became the new owner of Koppardalen it was part of a strategy to transform the area to make it more attractive to light industry and by doing so provide Avesta with new employment opportunities. These plans failed and what happened instead is the object of my analysis. The overall purpose of the thesis is to describe and analyse the place of history in the transition process of the Koppardalen industrial area between 1987 and 2003. More specifically, the aim is to answer the two questions: What does the place of history look like? What does the place of history mean? My basic theoretical inspiration comes from the French philosopher and critical hermeneuticer Paul Ricoeur and his reasoning about the logic of explanation and understanding. As an operative theoretical tool I use four fundamental historical tropes in order to analyse the place of history in the transition process. I have chosen three physical and clearly visible changes in Koppardalen that each constitute one chapter in the study. The first change concerns the old blast furnace, which has been renovated and used for art exhibitions, museum installations and other cultural purposes. The second change concerns two former rolling mills, which have been partly torn down and partly rebuilt into a sports arena and office spaces. The third change concerns a new built bridge for pedestrians and bicyclists that connects the Koppardalen area with Avesta city centre. These two parts had earlier been separated from each other, physically as well as mentally. By analysing these three changes I conclude that the most dominant historical trope to be found in Koppardalen is the story about “the foreign country”. The past becomes a different and thrilling contrast that could be used in the effort to make the former industrial area a beautiful, interesting and attractive place. Beside the trope of the foreign country, the story of similarity through history is also present in Koppardalen. Here, the past is compared with today’s situation and periods of change in the past are put into parallel with contemporary challenges of the post-industrial society. Both these tropes, the one of history as a foreign country and the one of history as a parallel of today, paradoxically strengthen the transition process and the power of those actors who work to transform the Koppardalen area. One surprising element is the lack of the historical trope of a lost golden age. The proud and prosperous past in the sense of a lost golden age is not to be found in Koppardalen, or at least not in the rhetoric of the politicians and white-collar workers who are the driving forces in the process. In sum, the study shows how the place of history in a contemporary transition process contains a great variety of simultaneously occurring, non-competing historical tropes. / QC 20101221

Under de senaste decennierna har det vetenskapliga ämnet historia förändras och så också skolämnet historia. Skolämnet historia har idag mer fokus på att förstå historiska skeenden och händelser till skillnad från förr när fokuset låg på stoffkunskaper. Men skolämnet historia har också fått ett annat syfte och det är forma elevernas identitetsbyggande och värderingar. Detta hör ihop med läroplanens förändringar som rör de grundläggande värdena om tolerans för andra kulturer och andra världsbilder. Denna förändring kräver att utbildningsmetodiken i historieämnet behöver utvecklas. Rollspel som en historiedidaktisk metod främjar elevens utveckling för att tillgodose sig dessa färdigheter, vilket denna undersökning påvisar genom att analysera 33 rollspel som är framtagna av lärare med syfte att användas i klassrummet. Slutsatsen är att rollspel med ett upplägg där läraren fungerar mer som moderator än historieberättare och där det är eleverna som driver berättelsen och händelserna framåt är den mest lämpliga för att lära sig att ta andra människors perspektiv och träna eleverna i interkulturell kompetens och mångkulturella färdigheter. Rollspelets läromål måste ligga till grund för vilken förmåga man övar. Rollspel i sig är inte ett didaktiskt mål utan det krävs narrativ kompetens för att förstå en berättelse därför blir för och efterarbetet till det didaktiska rollspelet oerhört viktigt för att metoden ska uppfylla sitt syfte. Detta innebär att historiska rollspel är en bra didaktisk metod för att främja läroplanens grundläggande värden.

This essay aim to study the hashtag and trend #MedievalTikTok, popular on the TikTok mobileapplication starting late summer 2020. The trend will get looked at through concepts like use of history (historiebruk). Some of the main ways the trend uses history is for entertainment, socialization and commercialization. Michael Nordberg’s book "Den dynamiska medeltiden" is also central for the text and works as an academical and theoretical basis. Nordbergs workquestions the idea of the ”dark middle ages”, disproving many unfavorable misconceptions about the period. #MedievalTikTok centers on users acting out the middle ages through simple costumes, shakespearean language, TikTok’s in-app editing features and medieval style covers of pop songs. Bardcore, as this genre of music is called, exploded in popularity in early summer2020. Artist Stantough’s cover of Shakira’s ”Hips don’t lie” is particularly significant in relation to the trend. #MedievalTikTok tends to replicate the same ideas that Nordberg questions. For example the prevalence of witch hunts is greatly exaggerated as well as the absolute rigidity of gender roles and class. The middle ages depicted in the trend is also very geographically limited, with Western Europe being the centerpiece. Northern Europe and vikings are for example overlooked. Other signifiers of the trend is a compression of time and mixups with preceding and following eras such as the early modern period. Popculture, limited school hours dedicated to the middle ages and comedic overstatements influence the trends dated portrayal of the medieval period.

This master thesis is concerned with nostalgia and the uses of nostalgia in Swedish politics. Nostalgia as a political tool has been used to great effect through out the western world in the last decades, with the most notable examples being for instance Donald Trump’s presidential campaign in the USA or the success of Brexit in the United Kingdom. The rising frequency of nostalgia in politics has led some scholars to suggest that we are living in the age of nostalgia. Despite this, and the fact that scholars from multiple disciplins agree that nostalgia is a tool not just used by populist parties, there are few studies regarding the use of nostalgia as a political tool in Sweden that does not solely focus on the use of nostalgia by said populist parties. This thesis therefore seeks to fill a knowledge gap and study the use of nostalgia by different parts of the Swedish political sphere. The source material examined in the study is the political commercials made by the eight different parties in the Swedish Parliament in the time period of 2010-2022. The research questions of the thesis concerns to which extent nostalgia is used in Swedish politics, how nostalgia appears in the political advertisement, which political messages it is loaded with and which role the use of nostalgia play in the political parties visions of the future. The thesis is divided into two parts, with the first part studying to which extent nostalgia is present in the source material. By using a qualitative content analys to gather the nostalgic allusions in the commercials, and by also dividing the allusions into aestethic and explicit nostalgia to show that nostalgia can also be present in the visual aspects of the commercials, the result of the study show that nostalgic allusions are present in commercials from all parties during the time period, although some parties use it more than others. The second part of the analysis focuses on the uses of nostalgia by three parties with different ideologies in the Swedish parliament, The Social Democrats, The Left Party and The Sweden Democrats. The analysis is done by analysing the uses of nostalgia in the three parties political commercials as uses of history. The results indicate that all three parties uses vague nostalgic uses of history as a way of looking back at a past that is a perfect snapshot of a golden age of society, in contrast to the chaotic present. The past thus becomes something we need to return to in order to change society for the better. It also shows that the three parties all seem to be nostalgic for the same vague time period in which the Swedish peoples home was strong, even though they have different views on what the peoples home actually constitutes.

The portrayal of women in history textbooks is a problem area that will always have a major impact on girls and their identity. The purpose of this study is to find out how women are portrayed in history textbooks for upper secondary school. The history textbooks that we have chosen to analyze are books that were published at various times during the 2000s. All relevant books for this study have been included in Swedish history education. The theoretical starting point of the study is gender theory, which is also the basis för the analytical tool used in the analysis of history teaching materials. The method used is a content analysis which made it possible to delve deeper into how women are portrayed in history textbooks. The result that we have come to is that the representation of women is based on appearance, sexuality and reflection of the men that are written about. When it is written about women, it is often written as additional history instead of being a given part of regular text. The idea of the study was not to include men in the analysis, that is, not to use men as a yardstick for what is normal. This is something that we realize is difficult to avoid. The results that emerged from the analysis reflects the patriarchal society that has dominated historically. In the last section, we discuss how this had an impact on the portrayal of women in history teaching materials. The results show that the use of history is strongly linked to the historiography that characterize the representation of women.

The purpose of this essay is to study how the memory of the artist John Bauer is manifested by businesses and places around the city of Jönköping. This was done by observing how John Bauer’s memory is used in five different places as well as through dialogue with spokespersons from these five businesses to gather further information. The places examined in the study are the following: Länsmuseet's exhibition called "Follow John", John Bauer’s Park, John Bauer hotel, Bauergården and Trolska boat trips. The questions that the study intends to answer are how and why the memory of John Bauer is used around Jönköping. The companies' use of John Bauer has been analysed with the help of Karlsson’s typology of the use of history, but it was not enough to apply that theory alone. A site perspective on the use of history taken by Niels Kayser Nielsen was used to create further understanding. The result shows that there are both similarities and differences in the said actors’ use of the memory. All actors use the theme of forest and trolls to convey information about Bauer's artistic inspiration. The theme, on the other hand, is used more or less where Bauergården weaves it into the meals while the John Bauer–hotel only elevates it into the interior. There is also a focus on using the places where John Bauer took inspiration for his paintings, both in the forest and in the places he has lived. However, this also differs a lot between the actors as some build their entire business around the specific location and others do not.

No description available.