The use of historical source material and teaching in how to do historical analysis of sources is specific subject goal and knowledge requirements in all the upper secondary school's history courses. Previous research has shown that when historical sources and how the handling of these are the content of teaching, social science source criticism is practiced. Which means that the focus is not on historical disciplinary skills, which means that Swedish upper secondary school students' skills in managing sources in a disciplinary way are relatively low. The purpose of this study is to find new knowledge about which understandings history teachers have of analysis historical sources and which underlying reasoning form the basis for teachers' design of history teaching where sources and handling of them is the lesson content. The idea is that a study like this should be able to contribute with new knowledge about the problems with source handling in schools. The study uses interviews, four history teachers were interviewed, all active in upper secondary school. The results from the study partly confirm the previous research but also contribute with new knowledge. When history teachers talk and describe the teaching of source handling is based on an absolute source concept, it is likely that the teaching is conducted in an absolute and reconstructivist approach. In the process of handling historical sources, the teachers in this study describe that great emphasis is placed on source-critical criteria, arranged and simplified source exercises as well as conveying certain predetermined perspectives on history. This provides a knowledge contribution where insight and understanding are given on how history teachers perceive historical sources, how these should be handled and how they describe the implementation of their practical teaching. Previous research has been action-based or at an overall level examined source management. Through this study, new knowledge is provided that deepens and variegate the previous research knowledge of history teachers' handling of sources. / Användandet av historiskt källmaterial och undervisning i källhantering utgör ett specifikt ämnesmål och kunskapskrav i alla gymnasiets historiekurser. Den tidigare forskningen har visat att när historiska källor och hanteringen av dessa utgör historieundervisningens innehåll praktiseras ett samhällsvetenskapligt källkritiksbegrepp.  Detta gör att fokus inte är på ämnesdisciplinära förmågor, något som i sin tur medför att svenska gymnasieelevers färdigheter i att hantera källor på ett historiskt sätt på goda grunder kan antas vara förhållandevis låga. Syftet med denna studie är att undersöka vilka förståelser till källhantering av historiskt källmaterial som historielärare har och vilka bakomliggande resonemang som ligger till grund för deras utformning av historieundervisning där källor och källhantering utgör lektionsinnehållet. Tanken är att en sådan undersökning ska kunna bidra med ny kunskap om problemen med källhantering i skolorna. Undersökningen utgår från forskningsintervjuer intervjuades fyra stycken historielärare, alla verksamma i gymnasieskolan.  Resultatet från studien bekräftar delvis den tidigare forskningen men bidrar också med ny kunskap. När historielärare talar och beskriver undervisningen i källhantering utifrån ett absolut källbegrepp så är det sannolikt att undervisningen bedrivs på ett absolut och rekonstruktivistiskt sätt. I processen att hantera källor beskriver lärarna i denna studien att stor vikt läggs på källkritiska kriterier, tillrättalagda och förenklade källövningar samt förmedling av lärarens förbestämda perspektiv på historien. Därigenom lämnas ett kunskapsbidrag där det ges inblick och förståelse om hur historielärare uppfattar historiska källor, hur dessa bör hanteras och hur de beskriver genomförandet av deras praktiska undervisning. Tidigare forskning har varit aktionsbaserad eller på övergripande nivå undersökt källhanteringen. Genom denna studie ges ny kunskap som fördjupar och nyanserar forskningens kunskap om historielärares källhantering.

The present study explores the reception of historical feature films in history education. It is concerned with how pupils experience the films as well as the significance of the feature film for their understanding and interpretation of history. The study incorporates empirical data from classroom projects in two different Swedish upper secondary schools where film was used as an educational tool. Observations of classroom activities were made and interviews with twelve pupils and their history teachers were conducted. The study applies a phenomenological approach. The lifeworld of the pupils is in focus, specifically the aspect of the lifeworld they live and experience in history class when film is used as a means of understanding the past. The phenomenon studied is thus how the pupils experience the film, and through the film, history itself. Theoretical notions from film reception studies and history didactics are used as analytic tools. The study shows how emotional and cognitive processes converge in the pupils’ meaning making of the films. The embodiment of the films’ narrative is an important factor that contributes to both the understanding of the film as well as of history. The pupils experience the films emotionally, feeling both empathy and antipathy for the various characters, physically through sight and sound as well as embodied reactions, and cognitively through an understanding of the film’s narrative. Embodied experience is fundamental for history to become materialized. The audiovisual portrayal and materialization of the past becomes embodied in the pupils so that the experience of the film and of the historical lifeworld presented therein becomes part of their lifeworld. Generally, pupils consider the films to be trustworthy, though this perceived accuracy depends on how authentically the narrative is performed and the pupils’ previous store of historical knowledge.  A didactic dilemma to consider when using historical feature film in the classroom is the contradiction between the aesthetic experience of a feature film and its use as a tool for understanding the past. The captivating character of feature film evokes empathy and engagement with the films’ characters regardless of the degree of historical accuracy. This is a critical issue for teachers; there needs to be balance between respect for the pupils’ aesthetic experience of the film and the need to guide them to develop for example the skills of historical empathy, where distance is necessary for the pupils to be able to consider different perspectives.

Denna uppsats undersöker könsmarkering i introduktionen av sportnyheter. Syftet med uppsatsen är att undersöka om och i vilken utsträckning könsmarkering med dam och herr används i introduktionen av sportnyheter, alltså om nyheten är tydlig med om det handlar om dam- respektive herrsport. Fokus kommer ligga på om, och i så fall hur, könsmarkering för kvinnor och män används i språket. Uppsatsen kommer även undersöka om det finns någon skillnad ur ett historiskt perspektiv samt om nyheten presenteras på TV eller på radio. Metoden för analys av det insamlade materialet har varit genom observation av sportnyheter på TV och radio där det har antecknats vad nyheten handlade om och dam eller herr eller ingen könsmarkering användes. Resultatet visar att den procentuella andel könsmarkering i damsportnyheter har varit väsentligt mycket högre än könsmarkering i herrsportnyheter historiskt men att det har minskat över tid. Idag sker könsmarkering främst i radio om damsportnyheter.

“To understand why we are doing what we do now” – a qualitative study of dance historyteaching within the course Dansteori. This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course“Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed inrelation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain fromtheir studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course “Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed in relation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain from their studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

Traditionally, the teaching of history tends to focus on content, where historical learning is reflected in memorizing important dates, events, and concepts about the past. In recent decades, research has drawn attention to a new way of approaching historical learning through understanding causes and effects as well as making connections between different events and stories about the past. Such an approach to historical learning implies a developed capacity for historical thinking. To shed light on this, this survey aimed to investigate the interest students have in history, how they perceive the purpose of history and how they experience the content and implementation of history teaching in upper secondary school. This study is based on semi-structured focus group interviews with 12 students in upper secondary school. The focus group interviews were based on the didactic questions of what, how, and why to achieve developed and qualified answers. The outcomes of the interviews were further interpreted and analysed according to the six sub-components advocated in the Anglo-Saxon history teaching tradition to categorize students' historical thinking skills. The results revealed that students' interest in history has a major impact on how they perceive the purpose of history and how they experience the content and conduct of history teaching insecondary school. Findings also showed that using historical sources is completely excluded from students' responses. The present study forms a foundation for future studies interested in a more practical history teaching approach. Furthermore, it renders insights into the complexities of teaching history from a student perspective, while at the same time points to some opportunities for development towards the teaching practitioner in creating a good history educational plan.

Abstract Title: History teaching and intercultural competence This study takes as its starting point the relationship between the multicultural and globalised society and history as a school subject, and explores it theoretically as well as empirically.  Intercultural historical competence, which is the main theoretical and analytical concept of the study, is developed from theories of narrative competence and theories of intercultural competence, and is positioned in the intersection between the two. Narrative competence describes historical consciousness as being characterised by three distinct sub-competencies, the competence of experience, the competence of interpretation and the competence of orientation. Historical learning is seen as the qualification of these competencies to be able to tell meaningful stories about our lives.  The empirical case study explores how intercultural historical competence as a learning objective is interpreted and enacted in one history classroom. The enacted object of learning is regarded as a co-construction between the teacher, the pupils and historical narratives. This study explores how experiences and interpretations of the past are made and used in the work in the classroom. The question of what constitutes each narrative sub-competence is addressed and discussed in three empirical chapters respectively. The source material mainly consists of observations from a sequel of 25 history lessons in an upper secondary school The empirical results show how different dimensions of each sub-competence contribute to what is possible to learn in relation to intercultural historical competence. One important dimension of the competence of experience is the employment of strategies of pluralism, deconstruction and counter-narratives to open up closed narratives. The competence of interpretation is strengthened by the use of second-order concepts as tools to qualify historical thinking. Furthermore, it is demonstrated how it is possible to practise the competence of orientation by giving pupils the opportunity to use historical narratives and historical tools to make sense of the present and to think about the future. One additional conclusion is that the planning process, when the learning objective is interpreted and framed into lessons and exercises, is decisive for what is possible for pupils to learn. Finally, it is stated that history as a school subject has the capacity to develop knowledge, skills and attitudes that are relevant in a multicultural and globalised society. Key words: history teaching, historical learning, history education, intercultural competence, intercultural education, historical consciousness, upper secondary school, class room study, object of learning, learning objective, historical narrative.

The aim of the present study is to explore the so-called historically informed performance movement, which also is my own musical performance tradition, from a general perspective grounded in musical philosophy. The discussions concerning this performance tradition have been dominated by different subjects, such as musical works, authenticity, intention and interpretation. The study focuses on Western art music where the performance of the music, the sounding realisation, of a notated work is central. Therefore, the performance in connection with the abovementioned subjects is of prime interest. This more overarching theme gave rise to the following questions: What factors can be considered decisive for whether a performance is a historically informed performance or not? How can these factors be identified? Does this mean that there are instructions in the music that I, as a musician, must obey? What does my artistic freedom look like? Where can I find it? The path to tentative answers to these questions is taken via theoretical discussions and the application of the theory in method and analyses as well as in interpretation.The theoretical perspective of the study is based on contextual musical ontology. The scientific theoretical framework, emanating from this ontology, is formulated in the field of social constructionism.The performance can, through this perspective, be identified as an indispensable part of the musical work, which also implies that the notated work itself is not sufficient to identify the work. Further, the emphasis on the context's importance for the performance in order to allow the performance to be of the work in question implies the necessity of awareness of the context of the work. This concept is deepened in the study through the emphasis on the importance for the performance, in a broad perspective, of the historical as well as the contemporary socio-cultural context. For the work itself this means that the identity of the work is unstable, it is constantly changing, since the different performances of the work that are parts of the work can never be identical. The perspective is based on social constructivist theories about knowledge. With contextual musical ontology as a point of departure, a strategy is formulated concerning analysis and investigation of a musical work. This strategy focuses on the notation, the instrumentation, and historical performance conventions. These three parts interact with one another and in the study they are formulated as being inseparable from the performance of the work.The theoretical part of the study is followed by a case study in which a sonata by Johann Sebastian Bach is studied from the articulated theoretical perspective. The case study contains an investigative part and an interpretative part. The work's notation is always in focus in the investigative and descriptive part, with emphasis on the socio-cultural context connected to the notation. Through the sounding interpretations, the different performances, the final chapter results in a summary of the study as a whole. / Syftet med föreliggande studie är att studera så kallad historiskt informerad uppförandepraxis, och därmed även min egen musikaliska inriktning, ur ett generellt musikfilosofiskt perspektiv. De olika begrepp och frågeställningar som kan sägas dominera diskussionerna kring denna framförandetradition är verk, autenticitet, intention och interpretation. I fokus för studien befinner sig musik inom den västerländska konstmusiktraditionen inom vilken framförandet av musik, den klingande realiseringen av ett noterat verk, är central. Därför står framförandet, i relation till ovan nämnda begrepp, i fokus. Detta mer övergripande tema leder fram till följande frågeställningar: Vilka faktorer kan betraktas som avgörande för att ett framförande kan betraktas som ett historiskt informerat framförande? Hur kan dessa faktorer identifieras? Innebär det att det finns instruktioner i musiken som jag som musiker måste följa? Hur ser min konstnärliga frihet ut? Var finner jag den? Vägen till tentativa svar på dessa frågor har gått via teoretiska resonemang, och applicering av teorin i såväl metod och analys som interpretation. Studiens teoretiska perspektiv och överbyggnad baseras på kontextuell musikontologi. Det vetenskapsteoretiska ramverket, utifrån denna ontologiska grund, formuleras inom ramen för den socialkonstruktionistiska tanketraditionen. Genom detta perspektiv kan framförandet av verket identifieras som en omistlig del av verket, vilket också innebär att enbart notationen inte är tillräcklig för att definiera verket. Vidare innebär teorins betoning av kontextens betydelse att ett framförande för att vara ett framförande av verket, medvetet måste förhålla sig till verkets kontext. Detta perspektiv fördjupas i studien genom att betona den socio-kulturella kontextens betydelse i ett större perspektiv, såväl den historiska som den nutida, för framförandet. För verket innebär det att dess identitet är föränderlig, då de olika framföranden som är en del av verket inte kan vara identiska. Denna syn baseras på socialkonstruktivistiska teorier om kunskapsbyggande. Med utgångspunkt i kontextuell musikontologi formuleras också en strategi för att analysera och undersöka ett verk utifrån notationen, instrumentationen och uppförandepraktiska konventioner, tre delar av verket som griper in i varandra och som konstateras vara omistliga att förhålla sig till vid ett framförande. Studiens teoretiska del åtföljs av en fallstudie där en sonat av Johann Sebastian Bach studeras utifrån det teoretiska perspektivet. Fallstudien består av en undersökande del och en tillämpande interpretativ del. För den undersökande, och i viss mån deskriptiva delen står verkets notation hela tiden i fokus, med tyngdpunkt på notationens socio-kulturella kontext. Det avslutande kapitlet resulterar, genom de klingande gestaltningarna av sonaten, i en sammanfattning av studien som helhet. Avhandlingens slutkapitel utgörs även av en CD. Den kan beställas genom registrator på Institutionen för musik och medier vid Luleå tekniska universitet. E-post: muh-registrator(at)ltu.se / Godkänd; 2008; 20081113 (ysko)