The self-image of the school librarian: and how it affects the perceived status in a school environment. This paper examines the role of the school librarian and how they perceive themselves and how they think other actors in the school environment perceive them. The purpose of this study is to highlight how the school librarian’s professional identity and the teachers understanding of it correlates to form the impact on the school librarian position. Semistructured interviews were conducted with five school librarians. The theoretical framework used to analyze the result was Montiel-Overall’s TLC theory, Centerwall’s performativity theory derived from Judith Butler’s feminist theory on performativity, and Örom’s theory on librarian identities. In conclusion, the results show that all of the interviewed acknowledged that they’re all in a position of power to define their own role, and that at the same time the teachers do not have enough information to know what that role is supposed to be. This means that the school librarians liken themselves to other school employees in more practical roles instead of an educational one.

Syftet med denna uppsats är att få en fördjupad förståelse av vad som sker när teaterelever från ett avancerat kulturskoleprogram i teater deltar i ett professionellt produktionsarbete på en länsteater; hur elevernas gestaltande förmåga utvecklas och hur lärandet ser ut i detta specifika sammanhang. Med utgångspunkt i att kulturskoleutredningen framhåller vikten av att kulturskoleelever får möta och skapa tillsammans med professionella konstnärer, undersöks lärandet av gestaltande förmåga i mötet mellan eleverna och de professionella, samt vilken bredare, mer avancerad, kompetens eleverna kan få tillgång till som de kanske inte skulle få i reguljär kulturskoleundervisning. Studien är en case study, där själva mötet mellan eleverna och de professionella är det som undersöks. Variationsteorin är utgångspunkten för analysen av lärandet. Sceniskt gestaltande ses som kunskap i handling och fokus läggs på fyra grundläggande aspekter av gestaltande arbete: handling, karakterisering, närvaro och preparation. Materialinsamling har skett genom intervjuer samt genom en konstnärlig metod; sceniskt gestaltande. Resultaten visar att kulturskolans avancerade teaterlever, med tidigare erfarenhet av sceniskt gestaltande, kan dra nytta av att möta och arbeta tillsammans med professionella konstnärer, så som kulturskoleutredningen framhåller. När de professionella bjöd in eleverna, och eleverna vågade ta plats, skapades ett konstmöte; ett möte i samstämmighet som innehöll ett ’samtal mellan kroppar’ i en form av mästare-lärling-situation som eleverna sällan får i den reguljära kulturskoleundervisningen. I konstmötet lärde eleverna genom att använda de professionella som förebilder och modeller, medan pedagogen från kulturskolan fungerade som handledare för eleverna. I mötet urskiljde eleverna, för dem, nya aspekter av sceniskt gestaltande, samt av scenisk närvaro. En viktig lärandestrategi för eleverna visade sig vara att 'känna det själv', det vill säga att analysera i, och med, kroppen, i konstmötet med de professionella skådespelarna. / The purpose of this essay is to get a deeper understanding of what happens when theatre students from the Swedish ”Kulturskola” take part in a professional production at a professional theatre. How does the student’s ability to act improve and what does the learning process look like under these circumstances? Using ”Kulturskoleutredningen” as a starting point, which states that students benefit from receiving the opportunity to work together with professional artists, this study wants to find out how this artistic process ultimately benefits the students. This is a case study in which the ’case’ studied is the physical meeting between the students and the professionals. The variation theory is used in the analysis of the learning. Acting is seen as tacit knowledge and four basic aspects of acting are in the foreground: actions, characterisation, stage presence and preparation. The data has been collected through interviews and artistic methods. The results show that advanced theatre students benefit from such an encounter with professional actors. When the professional artists welcomed the students in and the students displayed the courage to find their place on stage and in the production process, an ”artistic meeting” was created; in the form of a master-apprentice-relationship, with their teacher from Kulturskolan as mentor. By using the professionals as role models in this ”artistic meeting”, the students learned through a process labelled ”conversation between bodies”. In this process, students learned new strategies for acting and stage presence. An important strategy used by the students was to ”feel it yourself”, both in and with, their own bodies, during the ”artistic meeting” with the professionals.

No description available.

No description available.

No description available.

No description available.

With the events of the Algerian protests which broke out in 2019 and are ongoing at present day, this study aims to examine how North African women have been framed from 2018 to 2020, before and during the phase of Algerian protests namely known as the “Hirak” movement, by the Lyon-Based Amazigh independent news site, Kabyle.com. In the beginning of conducting this study, the number of articles covering solely women and women’s issues were few. Taking the time frame and the women in question into consideration, the number of articles were narrowed down to ten. The essay examines ten articles which cover Algerian, Amazigh and Kabylian women, as well as women’s issues between 2018-2020. Using gendered perspective and framing theory as theoretical framework, along with critical discourse analysis as analytical method, it paved the way to locate the major themes and frames which reflect on the portrayal of North African women during this time frame. By conducting this study with the use of the mentioned theories and method, the articles showed that women were categorized by both conforming and non-conforming gender roles and framed in settings which were both professional and domestic. Women were honored for their contribution to their society, community, work, and more. Patriarchal and local political structures were criticized. Despite this fact, tendencies of portraying women in stereotypical ways, without considering a gendered perspective when covering these women, did not slip away. The findings of this analysis show a dichotomy of the portrayal of North African women and their struggle, but most of all, it shows the parallel between a subtle binary distinction between two subgroups, and the collectivization of women, within the umbrella term “North African”.

Sustainability and cultural heritage are both wide fields affecting people in the past, presence and future, on both local and global levels. Since they affect so many people it is difficult for the individual to make a change, instead working together is key. One way to work together is cooperation but how does one find projects/organisations/etc, to connect and collaborate with? Perhaps by using a form of collaboration platform? LAB190 is a just that, a collaboration platform meaning it is a non-physical tool for actors to use when reaching out to find others to either exchange ideas or trade services with. LAB190 focuses on an area surrounding a 70 km long road (road 190), reaching over four municipalities, Gothenburg, Lerum, Alingsås and Essunga. Involved actors vary from locals, pushing for changes they desire in the area, to officials in charge of possible changes. The goal of LAB190 is to make the territory around road 190 into an model area for sustainable development. To reach that goal three work groups has been created; Food (Green industries), Tourism (hospitality industry) and Infrastructure. The idea with the work-groups is to find projects and/or activities, relating to the field of focus for the work group. For example, the Tourism-group focuses on projects/ activities relating to the development of tourism. After reviewing LAB190 using the pilot-study, development plans and interviewing people involved, a conclusion was made. The physical area of LAB190, the landscape reaching out from road 190, is big and hard to manage single-handedly and therefore a collaboration platform is a usable tool and something that should be considered in future plans regarding the three fields, cultural heritage, sustainability and (regional) development. It is a way to come together, exchange knowledge and face challenges, both now and in the future. / <p>Online (through Zoom) due to Corona Pandemic. </p>

No description available.

In this essay I’ve had the purpose of examining if digital games are cultural heritage, to my aid I’ve had questions redarding if it’s important that games are based on reality, what cultural heriage is and what the process for becoming a heritage looks like. I’ve used texts that describe cultural heritage and the process, theories about gamification where games illustrate stories that carry our identitites, image analysis focusing on games that are based on reality, and storytelling based on what values are created and the purpose of said storytelling. My material has been surveys, both in english and swedish, images and texts. In earlier research, the subject is somewhat limited and the focus has been on games as culture or based on the gaming industry. I have used the definition that culture is about expressing more or less aware performances through language, gestures, actions and clothing. Cultural heritage is about stories of meaning to our identity, and gamification has been intepreted as the illustration of stories that carry identities. I also discuss mods in the text, which is a tool with which the player can change the game experience through modifying or adding stories, music or graphical elements. The first chapter contains discussions about the history of cultural heritage and how it’s valued. In Sweden there’s been cultural politics since the 15th and 16th century, and today the cultural politics focuses on promoting a living cultural heritage that’s preserved, used and further developed. The focus point in the value of cultural heritage is the story and the knowledge that’s preserved for future generations. The value can be composed of actions and affection. The process for something becoming a cultural heritage is about someone seeing the value in preserving something and starting a collection, most often through museums or private actors. The next chapter discusses how existing cultural heritages are illustrated in games, and that it’s important to do it correctly so that a fair representations of the heritage is presented. Both in museums and in games, the thing that’s presented can be illustrated in a way that makes the image different from reality. That which represents the heritage is chosen, and when something is chosen the image of what it represents changes. In this chapter the role of the player is also discussed and how they can interact and be anchored in the game world. Following is a part about the value of games based on the value of cultural heritage, and the consensus is that the value comes from the illustration of stories, that the stories are made alive through, for example, modding. The value in digital games also lies in that they mean a lot for many people. Thereafter follows a discussion about the border between games and reality, and what can happen when reality is gamified. The following chapter contains discussions about how games work with portrayal through, among other things, designing and affecting emotions. In games the narrativity funcions as a structural base and leads the player further into the story. Then there’s a discussion about the different roles a player can hold in games, for example as a reinstator and establisher of order. Games are a unique form of culture where the player actively interacts with the story. Following that is a part about if it’s important that games are based on reality, where many players considers it not at all important, but when it’s based on reality it’s important that it’s done correctly. Games are about escaping reality, because of this it can be a disservice to try to recreate something far too real. Then follows a discussion about identity, where games have the opportunity to give people the ability to explore and try out identities, and challenge norms. Thereafter follows a part about the effects digital games have outside the game world through for example movies, books, fanart and music, and what can happen if the relation between fan and creator is inexplicit. The chapter concludes with a discussion if games are cultural heritage, and there are som ambiguities, but it its possible to conclude that at least some games are heritage. However, the act of playing a game is a definite cultural heritage.