In recent years, the Swedish educational system has undergone considerable change. A new curriculum and swift digitization via the implementation of the "one-to-one" system have increased the call for new teaching methods in schools. Previous research indicates that working with primary sources can enhance students’ historical thinking and historical empathy. The present licentiate dissertation aims to investigate Swedish upper secondary school students’ use of critical thinking and historical empathy when utilizing digitized primary sources, such as the parish registers stored in the Demographic Data Base at Umeå University.         Five classes in grades 1-3, comprising 110 students, in the ages 16 to 19, and three teachers participated in the study. The students were assigned with compiling a report based on the digitised primary source material and presenting their findings in a written paper or oral presentation. The study was evaluated through (1) interviews with students and teachers, (2) classroom observation of the students while working with the material, (3) questionnaires on the students´ view of history, and (4) the completed assignments.           The study shows that all the students achieved some result based on the information found in the digitised primary sources. While they applied historical empathy and historical thinking, it was mixed with presentism. The majority did not make use of corroboration, but those who did displayed more examples of historical thinking and historical empathy, primarily evident in grades 2 and 3 and in the free discussions held after the presentations. The students’ perception of primary sources shifted as a result of this exercise: Their preference for using primary sources had increased, although their trust in primary sources had simultaneously decreased. Teachers and students alike were generally satisfied with the assignment but argued that the database needed improvement in order to enhance its usefulness. Over the course of the assignment, students frequently expressed that the individuals in the digitized material came to life for them, generating feelings of empathy.         The study’s contribution to history didactics is twofold. First, it clearly demonstrates how upper secondary students can make use of historical thinking and historical empathy when studying digitised parish records, even though they have difficulty contextualizing their results. Secondly, it provides insight into how Swedish students learn history and the kind of history that interests them. The results are predominantly in agreement with those from previous studies but this study is pioneering in basing its findings on primary sources that are digitised. / En dator till varje elev, det som ofta kallas en-till-en, har skapat nya förutsättningar för undervisning. I denna studie får gymnasieelever arbeta med digitaliserade primärkällor i historieundervisningen. Elevernas förmåga att använda historiskt tänkande, historisk empati och kontextualisering undersöks, och elevernas inställning till historieämnet kartläggs före och efter mötet med de digitaliserade källorna. Samtliga elever klarar av att genomföra sökningar i det digitaliserade källmaterialet, och de uppvisar i högre eller lägre grad historiskt tänkande, historisk empati och kontextualisering under lektionerna och i sina skriftliga och muntliga redovisningar. Elevernas inställning till historieämnet påverkas i viss mån. Främst förändras deras syn på primärkällor.

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.

The purpose of this study is to examine the historical consciousness and the use of history among pupils in 6th grade, in Swedish elementary school. To do this, the aim is to answer the following questions: Which types of history use are to be found among 6th graders, and how are these expressed? What historical consciousness/historical thinking do 6th graders display, and how is this expressed? What interest do 6th graders have in history? The method used in this study is a survey, which has been answered anonymously by 60 pupils in four different classes, from four different elementary schools, and in four different Swedish suburbs. The final analysis is based on theories on historical thinking/historical consciousness, uses of history, and history cultures, described by important historians, such as Rüsen, Ammert, and Karlsson. The study has led to the conclusion that, although a large majority of the pupils say that they are interested in history and think it is relevant, very few of them can mention uses of history outside the school context. The answers do not reveal a notably developed historical consciousness, even though there are signs expressing historical consciousness to a limited extent. One of the main characteristics of historical consciousness among the pupils is their use of concepts for historical change, such as development and consequence.

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.

“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.