This study was done with the aim of seeing what space local history gets in the teaching of some selected middle school teachers in Ronneby municipality and what didactic considerations the teachers make in this work. Local history opens for collaboration with other institutions in society such as museums and associations, does the interviewed teachers have any experience with that and what are their thoughts on these collaborations? For the study, a qualitative interview study was chosen with five teachers  working in fourth-sixth grade in Ronneby municipality. The interviews were of a semi-structured nature to allow the teachers' own thoughts and reflections to emerge. Five teachers from four schools participated in the study, where the two teachers from the same school wished to participate together as both had taught the subject in different periods. The distribution between rural and urban schools is even. All the teachers in the study had worked with local history in their teaching in different ways and to varying degrees. Having various kinds of walks in the vicinity of the school was something everyone had done. Also, stories about the massacre in Ronneby 1564 was something that all teachers included in their lessons. Time, finances, and lack of knowledge were factors that the teachers saw as difficulties in working with local history. The teachers highlighted aspects such as increased interest in the students when the teaching comes close to the students; the possibility of concretization with the help of the local; as well as advantages of more practical teaching where several senses are activated. The rural schools had been involved and are still involved in projects with museums and local associations, while the urban schools were more dependent on the knowledge and initiative of the individual teacher. All the teachers were positive about collaborations and would have liked more external initiatives to contact the teachers, as it becomes easy to deprioritize if the teachers themselves must manage the contact.

Cette recherche explore les significations multiples des catastrophes qui ont bouleversé la Colombie dans les années 1980 et 1990, et le rôle des «artistes-historiens» dans la réparation des blessures qu'elles ont entraînées. Nous retracerons ces événements à partir des éléments autobiographiques afin de construire des liens entre la mémoire individuelle et l'Histoire de la Colombie. Nous prendrons appui sur ma pratique artistique ainsi que sur celle d'artistes colombiens nés pour la plupart dans les années 1960, qui ont produit des œuvres fondamentales pour élaborer ce processus de remémoration. Le mot « disparition » dans ce contexte spécifique chemine dans les différents chapitres de !'Histoire récente et réapparaît de façon cyclique à travers le phénomène des «disparitions forcées», qui traverse les différentes périodes de violence en Colombie depuis «l'époque de La Violence» dans les années 1950. Le mot «disparition» va se dessiner en parcourant des événements tels que le destin brisé des «enfants volés» lors de la catastrophe d' Armera ; à travers la disparition mystérieuse de onze personnes lors de la reprise militaire du Palais de Justice à Bogota (les deux événements survinrent en novembre 1985) ; et au travers des milliers de «disparus» anonymes, dont beaucoup ont été emportés par les rivières, laissant la société colombienne dans l'impossibilité d'enterrer ses morts afin d'entamer un processus de deuil et d'amnistie. Enfin, le mot «disparition» fera écho à la «disparition des preuves» et à la «fuite des archives», pratiquées impunément par les institutions colombiennes pour empêcher tout processus de reconstruction de la mémoire collective. / This research explores the multiple possible significations of catastrophes that shook Colombia in the l 980's and the l 990's, and the role of the "artist historians" in the process of healing the wounds it left behind. Traces of these tragedies will be followed up by means of autobiographical elements in order to bridge the gap between individual memories and Colombia's History. The starting point for this enquiry is my persona! artistic work and the work of other Colombian artists, most of them born in the 1960's and having produced fundamental artworks elaborating on the process of remembering. The word "disappearances" in the specific Colombian context steers its way amongst the chapters of recent History and reappears in cyclical fashion as the phenomenon of "forced disappearances", which can be followed up though the periods of violence in Colombia since La Violencia "the period of Violence" in the l 950's. The word "disappearance" will reappear when contemplating events like the fate of the "stolen children'' during the Armero catastrophe, caused by the eruption of a volcano, or the mysterious disappearance of eleven persons during the military takeover of the Palace of Justice in Bogota (both happened in November 1985), or the thousands of anonymous "disappeared", many of which were carried off by the rivers, leaving the Colombian society in the impossibility to bury it's dead in order to start a process of grieving and armistice. Finally the word "disappearance" will echo the "disappearance of evidences" and the "leaking archives" perpetrated with impunity by Colombian officials, thereby intentionally inhibiting the reconstruction of collective memory.

Att översätta är en konst. I den här uppsatsen undersöker jag William A. Lyells och Gladys och Xianyi Yangs översättningar av Lu Xuns novell Den sanna historien om Ah Q. Med hjälp av Mona Bakers översättningsstrategier om icke-ekvivalens på ordnivå och med hjälp av två egna översättningsstrategier har jag jämfört de båda översättningarna i syfte att se vilka av översättningsstrategierna som används och hur frekvent de används i de olika översättningarna. Jag har även undersökt om det finns skillnader vad gäller användning av de olika översättningsstrategierna och slutligen jämfört mina resultat med resultaten från en liknande undersökning som gjorts, nämligen Evelina Harrysons undersökning från 2012. Mina resultat visar att alla Mona Bakers översättningsstrategier om icke-ekvivalens på ordnivå används i de båda jämförda översättningarna, men att William A. Lyell har varit mer generös med sin användning av dem. De översättningsstrategier som handlar om att göra omskrivningar, lägga till ord, ta bort ord och att översätta till kulturella ersättare är de fyra mest använda strategierna i båda översättningarna. Kanske är dessa de som används mest frekvent på grund av att kinesiska och engelska är så olika språk, och de enklaste sätten att hantera detta är för översättaren att göra omskrivningar, lägga till ord, ta bort ord eller ersätta ord med en kulturell motsvarighet.

Notre travail a pour objectif d'analyser les rapports entre un « discours d'archive » et un « discours d'historien » (notion de genre à discuter), chaque modalité renvoyant à des fonctions et à des formes de structurations différentes tout en portant sur la même réalité. Il y a donc un double paradigme mais avec des corrélations. L'analyse portera sur un corpus de discours d'archive (étape pré-analytique de recherche et de numérisation) et sur un corpus d'écrits d'historiens. Après une description des relations qu'ont pu entretenir l'histoire, la linguistique puis plus tard l'analyse du discours, nous analyserons chaque partie du corpus, puis nous les confronterons pour tenter d'identifier leurs points de rencontre et de divergence. Le discours historien est le siège de la confrontation entre d'une part les traces que le passé a laissées et la perception que l'on a des événements (dans le passé et dans le présent, et ce sous le joug de la mémoire collective et de l'héritage culturel), et d'autre part la réalité passée, livrée par l'historien au prix d'une étape « littéraire » et discursive incontournable. Les sciences du langage doivent pouvoir mettre à jour aussi bien les éléments de cohésion et de cohérence internes que les structures interdiscursives qui construisent le monde par ce qu'on en dit. Ainsi, si l'histoire est une réappropriation-reformulation du passé par l'intermédiaire, entre autres, des sources, le discours de l'historien doit en porter les traces : l'analyse du discours peut les dégager, et doit permettre d'expliciter les modalités de mise en œuvre de la langue, dans le cas d'un discours spécialisé relevant du genre historique. / The object our thesis is to bring to light signs of relations (meeting points and divergences) between a specifical discourse (historical discourse and notion of type of discourse to debate) and the historian's source. The study will focus on a selection of material composed of a part of historical discourse and a part of historical source (research in archives and digitalisation). The discourse of history is the meeting place traces of the historian's source, with the perception of events (in the past or nowaday, and through collective memory and cultural heritage), and the past reality, which was written by the historian. Science of langage will show the discourse elaborating constructions of meaning in specific domains (historical and politic) on the level of the text and the inter-texte level (intertextual and interrelation relations). If the historian discourse is a reappropriate and a reformulation of the historians source, it must carry its traces, and linguistic can explain structures of meanings.

Det finns mycket forskning om historisk empati. Enkelt uttryckt handlar detta begrepp om hur elever förklarar aktörers ageranden i det förflutna. För att lärare ska kunna konstruera uppgifter som utvecklar elevers historiska empati behövs dock mer kunskap om hur uppgifternas innehåll och utformning påverkar elevernas historiska empati. Den här studien syftar följaktligen till att undersöka hur gymnasieelever uttrycker historisk empati när de genomför två uppgifter i historisk empati. I studien intresserar jag mig för de kognitiva och de affektiva aspekterna av historisk empati samt hur tidsperioden påverkar elevernas historiska empati. Som undersökningsmetod användes fokusgrupper och think aloud genom att eleverna genomförde två uppgifter i historisk empati, en om sekelskiftet 1900 och en om 1700-talet. Elevernas samtal analyserades med hjälp av Endacott och Brooks konceptualisering av historisk empati. Resultatet visar att eleverna uttryckte historisk empati genom kontextualisering, affektiva kopplingar och perspektivtagande under båda uppgifterna. Det var vanligast att eleverna använde affektiva kopplingar för att förklara aktörers ageranden i det förflutna. Eleverna skiftade snabbt mellan aspekterna och det verkar som att eleverna tenderade att använda affektiva kopplingar när de inte lyckades kontextualisera. Förhållandet mellan de affektiva och de kognitiva aspekterna verkar dock vara mer komplext än så. Resultatet visar inget tydligt samband mellan historisk empati och den historiska tidsperioden, även om det verkade som att en av grupperna hade svårare att uttrycka historisk empati under den andra uppgiften som handlade om 1700-talet. Med hänsyn till den här studiens begränsningar behövs dock fler studier som undersöker förhållandet mellan de affektiva och de kognitiva aspekterna av historisk empati samt hur den historiska tidsperioden påverkar elevers historiska empati.

The thesis of this essay is concerned with how two adaptations of The Neverending Story have used the novel's vivid intertextuality and dialogism. The essay also discusses the possibilities of adaptation studies and whether an adaptation can explain a novel by emphasizing its themes. / I denna uppsats diskuteras hur två adaptioner av Den oändliga historien har hanterat novellens rika intertextualitet och dialoger. Vidare diskuteras adaptionens möjligheter och huruvida en adaption kan förtydliga vad ett verk handlar om.

Du Bauhaus à De Stijl, du Constructivisme au Style international ou au Mouvement moderne, le modernisme historique n’aura pas seulement occupé les historiens de l’architecture et du design. Il est en effet devenu, depuis une vingtaine d’années, un objet d’investissement à part entière d'un grand nombre d'artistes de toutes provenances. Au tournant des années 2000, ce phénomène de références, d'évocations, de déplacements, de réappropriations, de mises à distance ou de célébrations, a pris une ampleur telle que de nombreuses expositions en Europe et en Amérique du Nord l'ont interrogé, en le réduisant toutefois le plus souvent à une mouvance ruiniste, empreinte de nostalgie, qui n'est pas confirmée par une étude attentive des œuvres. Loin de toute vaine prétention à l’exhaustivité, notre recherche a opté pour une focale centrée sur les œuvres. Au risque d’un peu de myopie où pourrait sembler se perdre une conscience globale du phénomène historique traité, le parti est ici pris d’analyser individuellement les pratiques. L’étude des divers cas retenus conduit à différentes hypothèses et lectures, qu'on espère inédites. Si tous les travaux analysés ont en commun de se référer au modernisme, de prendre celui-ci pour objet à travers telle ou telle de ses réalisations, on verra qu’il est impossible de conférer un sens unitaire à pareil tropisme. L'indispensable proximité avec les œuvres aura ainsi permis de prendre non pas l’unique mais les mesures plurielles d’un phénomène qui aura indéniablement marqué la création artistique des dernières décennies, et continue de la marquer. / From Bauhaus to De Stijl, from Constructivism to the International Style or the Modern Movement, historical modernism has kept more than architecture and design historians busy. In fact, in the last twenty years, it has become a focus of investment in its own right for a large number of artists from all walks of life. At the turn of the century, this phenomenon of references, evocations, displacements, reappropriations, distancing or celebrations took on such a magnitude that many exhibitions in Europe and North America addressed it. However, it was primarily reduced to a ruinist movement, full of nostalgia, which is not discerned by a careful study of the works. Without pretense of being exhaustive, our research has chosen to focus on the works. At the risk of being slightly myopic, where a global consciousness of the historical phenomenon treated might seem lost, we seek to analyze individual practices. The study of the various cases selected leads to different hypotheses and readings, which we hope are novel. If the common thread of all the analyzed works is to refer to modernism, to take it as object through one or other of its achievements, we will see that it is impossible to confer a unitary meaning on such tropism. The indispensable proximity to the works will thus make it possible to take not the exclusive but the plural measures of a phenomenon that will undoubtedly mark the artistic creation of the last decades, and continues to mark it.

Zwischen 1689 und 1700 lässt Johann Kuhnau (1660–1722) 14 Suiten und 14 Sonaten in vier Sammlungen für das ›Clavier‹ drucken. Den letzten sechs Sonaten, die sich programmatisch mit biblischen Themen befassen, setzt Kuhnau ein Vorwort voran, das sich ausführlich mit Fragen des musikalischen Affekts in der Instrumentalmusik auseinandersetzt. Obwohl Kuhnau jeder Sonate eine zweiseitige Inhaltsbeschreibung vorausstellt und auch im Notetext spezifische Bedeutungsmomente durch Anmerkungen identifiziert, will er nicht, dass das Publikum nach exakten Übereinstimmungen zwischen Programm und Musik sucht, sondern er betrachtet den Text hauptsächlich als Hilfestellung zum Verständnis von »verdächtig vorkommenden Sätzen«, wobei »die Worte [das Publikum] auf die Spur seiner Raison« bringen soll. Kuhnau unterscheidet zwischen Musik, die einen bestimmten Affekt ausdrückt, und Musik, die die Zuhörer zu einem bestimmten Affekt bewegen soll. Bei der ersten handelt es sich z.B. um einen musikalischen Ausdruck durch Wortmalerei oder klangliche Imitation, bei der letzten geht es jedoch um musikalische Umsetzungen, die sich in der Struktur eines Werkes quasi als musikalische Analogie oder Konzeption niederschlagen. Zudem spricht Kuhnau über die Rolle des musikalischen Affekts in Bezug auf die Wahrnehmung und musikalische Komposition in seinem Roman Der musicalische Quacksalber. Ausgehend von Kuhnaus Schriften demonstriere ich, wie der musikalisch dramatische Verlauf der Sonaten beide Aspekte des Affekts beinhaltet und wie rhetorische Figuren nicht isoliert stehen, sondern in die musikalischen Strukturen eingebettet sind. / Between 1689 and 1700, Johann Kuhnau (1660–1722) published four collections of keyboard music containing 14 suites and 14 sonatas. In the preface to the last collection, Musicalische Vorstellung einiger Biblischer Historien, which consists of six sonatas that programmatically deal with biblical themes, Kuhnau extensively addresses the role of musical affect in the context of instrumental music. Although Kuhnau precedes each individual sonata with a lengthy description of its biblical content and identifies specific programmatic moments through annotations in the music, he worries in the preface that his audience might misunderstand his intentions. Kuhnau distinguishes between music that expresses a specific affect and music that moves the audience to experience a specific affect. The former is linked to musical expression by means of word painting and imitation of real-life sound (for example, bird songs), while the latter is concerned with musical realizations of an affect, quasi as a musical analogy that is embedded into the structure of a work. Moreover, Kuhnau further discusses the role of musical affect in relation to sense perception and musical composition in his novel Der musicalische Quacksalber (The Musical Charlatan). Based on Kuhnau’s writings, I demonstrate how the musical dramatic unfolding of the sonatas contains both aspects of the affect, and how they are embedded into musical structures.

Syftet med detta examensarbete är att undersöka hur lärare på mellanstadiet förhåller sig till historisk tid. Fokus var de undersökta lärarnas utsagor om hur de resonerar kring sin egen och sina elevers förståelse för historisk tid samt om lärarnas resonemang kring användandet av artefakter i undervisningen. Det är fem medverkande lärare i studien med olika erfarenheter i att undervisa i skolämnet historia. Lärarna har intervjuats och därefter har jag analyserat deras redogörelser utifrån Joel Rudnerts fyra beståndsdelar: sekvens, berättare, aktör och kanon. I undersökningen har det konstaterats utifrån lärarnas narrativa mönster om hur de resonerar kring sin undervisning att beståndsdelen sekvens är mycket framträdande. Förutom lärarnas intervjuer baseras detta arbete på tidigare forskning om barn och ungdomars förståelse för historisk tid. Joel Rudnert och Nanny Hartsmar är två framträdande forskare i syftet om att förstå hur barn och ungdomar ser på historisk tid. En av slutsatserna blev utifrån det att tidsuppfattning och historiemedvetande är sammanlänkande, samt att förståelsen för då-, nu- och framtid är en utvecklingsprocess. Mitt syfte med detta arbete är att öka kunskapen om hur elever på mellanstadiet uppfattar historisk tid och hur vi kan arbeta med begreppet i historieundervisningen. / The purpose of this dissertation is to investigate how middle school teachers relate to historical time. The focus was on the teachers´ statements about how they reason about their own and their students´ understanding of historical time, as well as the teachers reasoning about the use of artifacts in the education. There are five participating teachers in the study with different experiences in teaching of the school subject history. The teachers have been interviewed and then I have analyzed their statements based on Joel Rudnert's four components: sequence, narrator, actor and canon. In the study, it has been established from the teachers' narrative pattern of how they reason about their teaching that the component “sequence” is very prominent. Definitions of sequence can appear in different ways, such as a large narrative or year mark on a timeline. In addition to the teachers 'interviews, this work is based on past research on children and adolescents' understanding of historical time. Joel Rudnert and Nanny Hartsmar are two prominent researchers with the aim of understanding how children and young people see history. One of the conclusions was based on the fact that time perception and historical consciousness are interconnected, and that understanding of the past, now and future is a developmental process. Scientist are also debating about if the children needs to have the understanding about their own personal time before they can handle historical time. In this study, historical time will not be defined based on the period when the written sources emerged. Instead the study will focus on the aspects of time that are a result of history. My aim with this work is to increase knowledge about how middle school students perceive historical time and how we as teachers can work with this in our teaching of history.

The thesis concerns public debate on the public activities of The Swedish History Museum (Historiska museet) in Stockholm between the years 1992 and 2011. Moreover, the thesis contribute with knowledge on how basic didactic questions regarding a single national museum has been answered in the public debate over time. Standpoints on what should be exhibited, how this should be done, to/with whom the mediation of history should be addressed/communicated and, what mission in society The Swedish History Museum’s is considered to be, is summed up in the concept of “exhibition ideal”. The research concerns four public debates; the debate about the exhibition The Swedish History (Den Svenska Historien), the debate about Kristian Berg, the debate about the free entry reform and, a less extensive debate about the exhibition History of Sweden (Sveriges Historia). A further aim of the dissertation is to put the publicly expressed positions on The Swedish History Museum in a wider historical-cultural context. Also, the study is related to other museums and other history communicating arenas. The debates coincides in time with challenges for the museum sector to deal with new perspectives in museology and cultural heritage research. The emergence of a multi-cultural society and the questioning of grand narratives are mentioned as examples. The emergence and strengthening of a broader history didactic discipline in Sweden, where a basic starting point is that the story is communicated in several different arenas with their own competencies, are also brought into the analysis. Historians and archaeologists tend to become silent in the recent debates about The Swedish History Museum’s public activities as the debates are less focused on content. The debates tends to be more “museum internal”, even in cases where there is opportunity to debate specific historical and archaeological content in the exhibitions. It appears, nevertheless, that the overall conflict around the public museum activities has reached the public spotlight through newspapers, radio and TV. Alongside with visits to the museum public debate are assumed to contribute to citizens’ own view of what museums should exhibit, how this should be done, to/with whom the mediation of history should be addressed/communicated and what the museum’s mission in society is.