Through history it becomes possible to examine how societies in the past were structured and what has happened in the past. The school classroom is a common place to get knowledge and understanding of this subject through the history subject, which continually has to make changes to fit the standards of the multicultural society. The curriculum mentions an aim to develop the students’ historical consciousness, use of history and history culture which is stated to be an important part of the curriculum's purpose. The object of this overview is to examine and extend the understanding of the interaction between history culture and education by examining how teachers make their use of history culture to create meaningful teaching experiences for students and students' understanding of the subject through their history culture. By reviewing existing research about the problem area through different databases we have been led by the question “What does research say about the relationship between history culture and education?”. The research in this overview argues that both multiculturalism and interculturality are central themes in the interaction between history culture and education. The multicultural society affects both the school and the history subject and the need of developing the intercultural competence of students to meet the standards of the multicultural society is highlighted. The history subject is a meetingpoint for different history cultures which gives the students a chance to speak about their experiences and enrich the teaching. This on the other hand makes the risk of conflict higher since the students all have different history cultures and interpretations which affect their approach. This makes it important for teachers to be aware of the different perceptions of history and to create an inclusive teaching environment to reduce the possibilities for conflicts. Research made outside of Sweden emphasizes that by including students’ history culture in teaching it will further their involvement in the subject. The conclusion of the overview is that history culture and education are interconnected and that the history subject isn’t only transfers of facts but instead a process that is actively shaped and influenced by history culture.

The purpose of this study was to analyze how textbooks for the Swedish upper secondary school have depicted the rise of the Nazis and the Nazi takeover of power from the 1960s to the 2010s.With the focus on both the content and the use of pictures in the depictions. The purpose also was to analyze the structure of the depictions. Following questions were formulated to answer the purpose: How has the textbooks depicted the events leading up to the rise of Nazis and thetakeover of power? , How does the textbooks present the history and which images are used in the depictions? , What similarities and differences can be found in the textbooks depictions overtime? The results showed that the textbooks depictions of the rise of Nazis and the takeover of power have increased in size during the entire research period. The results showed that the textbooks depictions of the rise of the Nazis was relatively homogenous throughout the research period, except for the first textbook from the 1950s. The textbooks depicted the following events: the turbulence in the young Weimar republic, the inflation crisis, Hitlers coup attemptand the big depression. All the textbooks linked these events to the Nazis rise to power. The depictions of the Nazi takeover of power are not as homogenous. The results showed both differences between the length and the content of the depictions. These differences did not occurin a pattern that could indicate a change in the climate of the society. The results showed disagreement between the authors about which events that should be included in the depictions.The authors also interpreted events in different ways, for example which groups that helped Hitler to power. The result also showed that the textbooks use of pictures has increased during the entire researchperiod. The use of pictures in the textbooks consists exclusively of graphs, charts, andphotographs. Graphs and charts in the textbooks all relate to the same phenomena: Nazis popularity grew in times of crisis. A common use of photographs in the textbooks was to show Hitler during speeches and military parades. From the 1980s and onward the textbooks started including photographs that visualize and concretize the inflation. The results also clearly shows that the textbooks started to invite the students to reflections in the text by asking questions from the 1990s and onward. Not a single book before the 1990s invites the students to reflection through questions in the texts, while it is a well-used feature in all textbooks after the 1990s.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-14T12:38:20Z No. of bitstreams: 1 SULLYVAN GARCIA DA SILVA.pdf: 3673243 bytes, checksum: 8b467a62f0b07f475f070031d787a1e8 (MD5) / Made available in DSpace on 2016-12-14T12:38:20Z (GMT). No. of bitstreams: 1 SULLYVAN GARCIA DA SILVA.pdf: 3673243 bytes, checksum: 8b467a62f0b07f475f070031d787a1e8 (MD5) Previous issue date: 2015-05-13 / This dissertation under the title: Youth in Conflict with the Law. The Senses of Socio- Educational Activities on Freedom of Private Units in Goiânia had as object of study the educational direction of the Socio-Educational Activities and what their correspondence or denial against the rehabilitation paradigm or socioeducation recommended by the ECA / SINASE. It addresses the most rigid of the five progressive alternatives aimed at youth in conflict with the law: admission to educational establishments, technically named as Private Units of Freedom. Qualitative research and exploratory nature, was guided by the dialectic perspective because you want to seize correspondence and disagreements between the instituting and instituted these settings Educational Institutions imposes itself recognize the bundle of contradictory relationships that permeate under the name of socio-educational. Among the paradigmatic and technical determinations to the daily ritualized actions and directions of activities marking the daily routines of long days under surveillance "educational", the challenges are great. For the constitution of empirical theoretical corpus, we sought contributions in Goffman (1974), Bourdieu (2007), Berger & Berger and Foucault (19--) and prioritized Normative Documents as the ECA, SINASE, State Plan for Socio-Educational Activities of Conduct Adjustment Agreement and the Researcher-Observer Voices, and interviews with General Managers, educational coordinators and teachers of the three units (CIA, CIP and CASE), methodologically submitted narratives to content analysis (Bardin, FRANCO , 2004). The survey revealed that, despite all the theoretical and programmatic advances arising from the ECA (1990) and SINASE (2012) compared to the Children's Code (1979) developed socio-educational activities do not carry and point to the paradigm of rehabilitation or socioeducation. The prison enclosure as a way to control and discipline of bodies and destinations still bear marks and meanings of the Minor Code (1979). What is the fundamental reason: it would be the internalization of entrenched cultural provisions as habitus? From the perspective of hope, we must recognize that the new rules hard-won, for almost three decades, the Socio- Educational Institutions, still ignored, and the daily expressed resistance to change. / Esta dissertação, sob o título: Jovens em Conflito com a Lei. Os Sentidos das Atividades Socioeducativas nas Unidades Privativas de Liberdade em Goiânia teve como objeto de estudo o sentido educativo das Atividades Socioeducativas e qual a sua correspondência ou negação frente ao paradigma da reabilitação ou socioeducação preconizado pelo ECA/SINASE. Aborda a mais rígida das cinco alternativas progressivas destinadas aos Jovens em Conflito com a Lei: internação em estabelecimentos educacionais, tecnicamente nomeadas como Unidades Privativas de Liberdade. A pesquisa qualitativa e de natureza exploratória, orientouse pela perspectiva dialética, pois ao pretender apreender as correspondências e dissensos entre as configurações instituintes e instituídas destas Instituições Educativas impõe-se reconhecer o feixe de relações contraditórias que as permeiam, sob a denominação de socioeducativas. Entre as determinações paradigmáticas e técnicas à ritualização do cotidiano das ações e sentidos das atividades que marcam as rotinas diárias dos longos dias sob vigilância “educativa”, os desafios são grandes. Para a constituição do corpus teórico- empírico, buscou-se contribuições em Goffman (1974), Bourdieu (2007), Berger &Berger e Foucault (19--) bem como priorizados os Documentos Normativos como a ECA, SINASE, Plano Estadual de Atividades Socioeducativas, Termo de Ajustamento de Conduta, bem como as Vozes do Pesquisador-Observador, e entrevistas com os Coordenadores Gerais, Coordenadores Pedagógicos e Professores das três unidades (CIA, CIP e CASE), metodologicamente submetidas às narrativas à análise de conteúdo (BARDIN; FRANCO, 2004). A pesquisa revelou que, não obstante, todos os avanços teóricos e programáticos advindos do ECA (1990) e SINASE (2012) comparados ao Código de Menores (1979) as atividades socioeducativas desenvolvidas não carregam e apontam para o paradigma da reabilitação ou socioeducação. O enclausuramento prisional como forma de controle e disciplina de corpos e destinos ainda trazem marcas e sentidos do Código de Menor (1979). Qual seria a razão fundamental: seria a internalização de arraigadas disposições culturais como habitus? Na perspectiva de esperanças, somos obrigados a reconhecer que as novas disposições duramente conquistadas, há quase três décadas, nas Instituições Socioeducativas, continuam ignoradas, e o cotidiano expressa resistências às mudanças.

This thesis examines the use of design in the construction of Poland's national identity at the international exhibitions in the Cold War period. It is the first comprehensive study of Polish design discourse in any language that rests at the crossroads of design studies and cultural history. Based on original archival material, both written and visual, and oral interviews this thesis tracks the process of construction of Imagined Poland alongside the development of the design discipline during the three post-war decades. It charts the trajectory of these two narratives and examines their critical reception. In doing so this research casts new light on the relationship between design and political history in the Cold War Europe. However, it is not a thesis about designed objects or spaces per se, but rather about their discursive qualities and the way that they were put in work to narrate the nation. Versatile and embedded in the cultural, economic and social contexts, design understand here in its broadest sense proved to be well suited to this role: it allowed political authorities, trade representatives and creative intelligentsia to address timely issues on their agendas. This thesis closely examines eight exhibitions organised in the Soviet Union, Italy, Belgium and Poland. The narratives of these events, as the thesis argues, reflected the state's changing self-understanding towards international public opinion. It indicates that although Polish exhibitions were occasionally adjusted to the particular location, their themes were largely shaped in response to the political developments at home and in the Eastern Europe. By using exhibitions as a framework, this thesis offers a new perspective to study Polish international modernism and suggests a limited impact of ideology on the development of professional networks. Subsequently it provides a nuanced reading of Poland's relationship with the Soviet Union, the Eastern Bloc and the rest of Europe beyond reductive paradigm of totalitarianism.

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

This dissertation investigates how history is used in historical documentary films, and argues that the maker of such films constantly negotiates between cognitive, moral, and aesthetic demands. In support of this contention is discussed a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius. Other historical documentaries supply additional examples. The analyses take into account both the production process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-production. But different considerations have particular influence at different stages in the production process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. In the public service television setting, the tendency to make cognitive considerations is strong. For example, historical documentarists often engage historians as advisors, and work long and hard interpreting visual source materials such as photographs. The Häger and Villius case also indicates that the influence exerted on programmes by aesthetic considerations grows as the filmmaker learns about the medium. Among general conclusions are that it is not always important that the producer be a trained historian. What is crucial is that whoever is to succeed in making fine historical programmes must learn both history and filmmaking, must learn to balance the demands of content and form. Previously, researchers have suggested that historical documentaries function as entertainment, orientation, and restoration; this study adds the functions of interpretation and legitimisation. Finally, the study submits that typically historical documentaries attempt to convey cognitive and moral insights about the past.

The subject for this thesis is to examine the portrayal of the local farmer in four different museums in Scania. The purpose is to examine these two questions:1.Which narrative and museal strategies are used in the portrayal of the local farmer by the local history societies?2.How do the actors of the local societies relate to the living conditions and hierarchies of the rural society of Scania?The source material consists of guided tours and text material from the museums. The theoretical fields consists of history culture, use of history, historical narrative, museology and rural science act as our theoretical fields. Peter Aronsson, Anna Eskilsson and Maria Björkroth act as our main theoretical framework.Our research presents two central discourses in the portrayal of the local farmer. The stories that we have identified in our results are those of success, of exhibitionistic value. Stories that carry elements of success and exhibitionistic value are both desirable and displayed. The stories portrayed are also neglecting the gender aspect. They are genderblind.The local history societies of Scania in the year of 2014 could be seen as museal activities focused more on conservation and nostalgia than on activities aimed at new visitors and the challenges of the present day.

The purpose of our degree project is to create an understanding of how three history textbooks and the textbook publishers make use of the use of history. The questions that we have started from are: How is the use of history presented in the textbooks? Is the depiction of history use the same between the books? When we were investigating we used the method called text analysis, and we analyzed the textbooks SOL NOVA HISTORIA 9, Utkik historia 7-9 and Fundament historia 7-9. When we have analyzed we have used books on theory by professor of History Klas-Göran Karlsson and professor of social sciences didactics Kenneth Nordgren. The conclusion of our degree project is that the history textbooks seem to have traces of both our theorists but Klas-Göran Karlsson's theory is the one that has more room in comparison to Nordgren. The reason is because the history books' description of different ways of using history is often closer to Karlsson's typology than to Nordgren´s. We can also see this because one of the books has used one of Karlsson's typologies, the moral use of history. An example of a similarity that we have seen between the books is that the use of history is a conscious act that people or groups do in order to achieve their purpose. Another similarity is that the books use similar examples when it comes to using history. An example with a similar theme between the textbooks are on the usage of ancient history such as Alexander the Great and how the use of history has an impact on Macedonian and Greek identity today. An example of a difference between the books, is that the use of history is given different amounts of space. Another example of a difference that we have seen between the books is that one of them has mentioned in its description of the use of history that history can also be used unconsciously. This is interesting because our theorists have described the use of history as a conscious act.

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.

The aim of this study is to show how the former secretary general for the United Nations, Dag Hammarskjöld, has been portrayed by Swedish media during the 21th century. The analyzed newspapers are Svenska Dagbladet, Expressen and Jönköpings-Posten, two nationwide newspapers and one local. This is done through a content analysis and the theory used for this study is a memory-cultural perspective, in order to show how media has shaped Hammarskjöld’s memory. The content analysis is structured with a code scheme consisting of nine different code units representing different themes; three themes of symbolism, three themes of characteristic, and three themes of qualification. The result of the analysis shows that the newspapers mainly focus on portraying Hammarskjöld as a symbol for the United Nations and moral values, as a person representing determination, and as a qualified politician and diplomat. There are also no visible patterns in the content analysis that would imply differences between how the nationwide and local newspapers portray Hammarskjöld.