Egen erfarenhet av klinisk praktik inom såväl sjuksköterskeutbildning som intensivvårdsutbildning samt som handledare för studenter i grund och specialistutbildning inom intensivvård visar på att mötet och samspelet mellan hand- ledare och student är betydelsefullt för det fortsatta yrkeslivet. Hur kan den kliniska utbildningen förbättras? Jag anser att det är av största vikt att ta reda på hur studenterna upplever sin situation för att hjälpa handledarna under den kliniska utbildningen att ge det stöd studenterna har behov av. Om studenthandledningen förbättras blir intensivvårdsjuksköterskorna tryggare i sin yrkesroll, detta kommer patienterna tillgodo genom förbättrad omvårdnad. I bakgrunden finns en miljöbeskrivning av intensivvården, en beskrivning av student- handledning och tidigare forskning inom området.Syftet är att belysa vad nyfärdiga intensivvårdsjuksköterskor upplever att de behöver stöd med för att utvecklas till intensivvårdsjuksköterskor under studenthandledning i den kliniska utbildningen.Studien har genomförts i form av intervjuer och analyserats utifrån en fenomenologisk ansats på livsvärldsteoretiskgrund. Resultatet beskrivs i form av en essens: att stöd innebär ”att stå bakom” följt av fem innebördselement som i sina delar belyser hur den nyfärdiga intensivvårdsjuksköterskan erfar stöd.Vald metod diskuteras samt att jag lyfter delar av resultatet mot tidigare forskning inom studenthandledning i klinisk utbildning i diskussions avsnittet. / <p>Program: Fristående kurs</p><p>Uppsatsnivå: D</p>

I den psykiatriska vården lider cirka en femtedel av patienterna av samsjuklighet. Det vill säga förutom psykisk sjukdom har de också någon form av beroendeproblematik. Många av dessa patienter vittnar om mindre bra vårdande möten. Syftet med denna studie är därför att beskriva innebörden av ett vårdande möte så som det erfars av personer med psykisk sjukdom och beroendeproblematik. Genom livsvärlden utspelar sig hälsa, välbefinnande, lidande och sjukdom. Som metod har vi därför använt oss av nio intervjuer ur ett livsvärldsperspektiv. Efter att ha analyserat textmaterialet utifrån en innebördsanalys framkom tre teman: att bli sedd som en vanlig människa bortom beroendet, att våga och vilja möta sig själv ger kraft att växa, samt en äkta närvaro som berör ger välbefinnande. Att bli sedd som en vanlig människa bortom beroendet innefattar bland annat en strävan efter att ibland få känna sig som alla andra, hjälp med att återta det som förlorats, ges tid och få stöd utan att be om det. Att våga och vilja möta sig själv ger kraft att växa berör kraften i att reflektera, få kunskap och insikter för att kunna förändra sitt liv. En äkta närvaro som berör ger välbefinnande beskriver bland annat vårdarens egenskaper som upplevs vårdande av patienten. I diskussionen diskuterar vi vår metod samt vårt resultat och vår slutsats är att vårdaren har en större betydelse än vad vi tidigare förstått. / Program: Specialistsjuksköterskeutbildning med inriktning mot psykiatrisk vård

A starting point for this thesis is that patients’ learning has not received sufficient attention and thus has not featured in the study programmes in the field of caring. Focus has instead been placed on patients being given information and advice about their illness and treatment, advice that they are then expected to comply with. Too little attention has been paid to the individual who lives with his/her illness and who should be considered to have significant experiences. The overall aim has been to analyze and describe the phenomenon of learning to live with long-term illness as well as to develop a didactic model that can help carers to support patients’ learning processes. The theoretical perspective in the thesis is lifeworld theory, which permeates ontological, epistemological and methodological standpoints and also the view on learning. The design and carrying out of the research is based on a reflective lifeworld approach. The empirical study consists of interviews with people who live with different types of long-term illnesses. The learning that follows life with a long-term illness is generated in such a way as to respond to the will to live the well-known everyday life. A greater understanding of the empirical results has been achieved by a lifeworld philosophical elucidation, with a particular focus on learning turning points and the importance of reflection. Based on the empirical results, the lifeworld philosophical elucidation and the caring science lifeworld didactics a didactic model has been formulated. This model is entitled: The challenge – to take charge of one’s life with long-term illness. The model contains four theses: 1) Confronting one’s life situation and challenging to make a change, 2) Positioning oneself at a distance when creating a new whole, 3) Developing self-consciousness and taking responsibility, 4) Making learning visible with the aim of providing development and balance in life. The results in the thesis show that a genuine learning is something that differs from the learning of information and that the learning must be supported at an existential level based on the sufferer’s situation and for a long period of time.

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 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.