<p>It has been over a century since African people were forcibly removed by official decree in 1901, from the Cape Town dockland barracks and District Six, to Uitvlugt, a farm where a location of corrugated iron &lsquo / huts&rsquo / had just been constructed. This occurrence followed an outbreak of a bubonic plague in Cape Town in 1901, which became predominant among the Africans who worked at the docks, and who were in direct and constant contact with the main carriers of the disease, i.e., the rats coming out of ships from Europe. The outbreak resulted in African being stigmatised as diseased, and being banished to the outskirts of the city. Since then, knowledge about this historical occurrence has been continuously produced, presented and communicated in many ways. It has featured in many representations through memory, heritage and history.In 1902, the new residents of Uitvlugt gave the location the name kwa-Ndabeni. Ndabeni was a nickname that the residents had given to Walter Stanford who had chaired the commission that recommended for the establishment of the location in 1901. The prefix kwa- was added to the name so that it meant in Xhosa language, the place of Ndabeni. In that way, the residents, who at that time did not consider the location as a potential place of their permanent abode, named it in a way that disassociated them from the place.</p>

<p>It has been over a century since African people were forcibly removed by official decree in 1901, from the Cape Town dockland barracks and District Six, to Uitvlugt, a farm where a location of corrugated iron &lsquo / huts&rsquo / had just been constructed. This occurrence followed an outbreak of a bubonic plague in Cape Town in 1901, which became predominant among the Africans who worked at the docks, and who were in direct and constant contact with the main carriers of the disease, i.e., the rats coming out of ships from Europe. The outbreak resulted in African being stigmatised as diseased, and being banished to the outskirts of the city. Since then, knowledge about this historical occurrence has been continuously produced, presented and communicated in many ways. It has featured in many representations through memory, heritage and history.In 1902, the new residents of Uitvlugt gave the location the name kwa-Ndabeni. Ndabeni was a nickname that the residents had given to Walter Stanford who had chaired the commission that recommended for the establishment of the location in 1901. The prefix kwa- was added to the name so that it meant in Xhosa language, the place of Ndabeni. In that way, the residents, who at that time did not consider the location as a potential place of their permanent abode, named it in a way that disassociated them from the place.</p>

Magister Artium - MA / South Africa

This bachelor thesis in history consists of a case study of Per Olov Enquist’s documentary novel Legionärerna, which examines the Swedish extradition of Baltic soldiers after the Second World War. The intent of the study is to survey the novel’s use of history from a literary dimension. It does so by applying the typology of Hayden White, his poetics of history. This conceptual framework historicizes the historical writing by clarifying how the historical dictum is constructed in similar manner as fiction, and therefore dependent of its’ author. The result shows that Enquist uses the history – is constructing it – to object how one earlier has talked about the extradition by satire previous accounts and by reasoning contextual how one, instead, should understand the same historical phenomenon. These two aspects are linked to a third, viz, Enquist’s Maoist political stance.

This bachelor thesis examines the PC-game Europa Universalis IV and its potential as a learning tool to develop players historical consciousness. The thesis also researches and compares Europa Universalis IV:s historical content and use of history to what is characteristic of popular history. The results show that the game’s potential for developing historical consciousness lies in its contrafactual use of historical content, but because of its high abstraction of history and historical aspects the potentials are limited and problematic to evaluate. The analysis of uses of history in Europa Universalis IV shows that the game’s historical presentation is mostly exemplary and commercial.

<p>In this study the overarching question is in what way the Swedishauthor Alf Henrikson has acted as a popular educator and if he as such hasbeen a part of a popular educational context. The different popular educationalactivities he associated with could be considered as verification thathe did act as a popular educator. Two works of his popular historical authorshipare examined and they are characterized by the intention or ambitionto disseminate historical knowledge. By his historical authorship healso was a part of a popular historical tradition in Sweden.Henrikson appeared at several times as a popular lecturer and hereby hereproduces a tradition from the worker’s institutes and the associations forpopular lectures. He also performed on several occasions in radio programsand TV programs and disseminated knowledge and education. Radio broadcastsas well as television are regarded as popular educational activities. Inconsideration to the subject areas of his knowledge he can be affiliated withan educational ideal in the Swedish worker’s movement and Swedish populareducation. His educational ideal is the personality creating neohumanisticprinciple. Henrikson also supported the thought of taking over the middles-classes idea of cultural heritage.</p>

In this study the overarching question is in what way the Swedishauthor Alf Henrikson has acted as a popular educator and if he as such hasbeen a part of a popular educational context. The different popular educationalactivities he associated with could be considered as verification thathe did act as a popular educator. Two works of his popular historical authorshipare examined and they are characterized by the intention or ambitionto disseminate historical knowledge. By his historical authorship healso was a part of a popular historical tradition in Sweden.Henrikson appeared at several times as a popular lecturer and hereby hereproduces a tradition from the worker’s institutes and the associations forpopular lectures. He also performed on several occasions in radio programsand TV programs and disseminated knowledge and education. Radio broadcastsas well as television are regarded as popular educational activities. Inconsideration to the subject areas of his knowledge he can be affiliated withan educational ideal in the Swedish worker’s movement and Swedish populareducation. His educational ideal is the personality creating neohumanisticprinciple. Henrikson also supported the thought of taking over the middles-classes idea of cultural heritage.

La place des jeux vidéos dans la culture populaire n’est plus à démontrer. Consommés avidement par un public de plus en plus large, ils s’intéressent à une variété d’objets, notamment le passé. Parmi les discours de l’histoire profane, les jeux vidéos sont sans doute les plus neufs. Cela étant, ils intéressent de plus en plus éducateurs et didacticiens qui s’interrogent à propos de leurs effets sur les apprenants et de leur intégration dans le cadre des cours de sciences humaines et sociales. Or, les écrits disponibles sur les jeux vidéos historiques ne sont pas nombreux et ne nous renseignent que sur certains jeux (Assassin’s Creed, Sid Meier’s Civilization). De plus, ils occultent presque totalement la question de la représentation de l’agentivité historique, alors même que les jeux vidéos se démarquent d’autres représentations profanes de l’histoire en favorisant une interaction avec le récit historique présenté. Notre recherche tente donc d’amener un éclairage nouveau en proposant une typologie de la représentation de l’agentivité au sein des jeux vidéos historiques, dans une perspective didactique. Pour ce faire, nous avons élaboré une méthodologie exploratoire et qualitative qui utilise l’étude de cas multiples. Notre corpus est composé de cinq jeux, tirés de différents archétypes vidéoludiques : Assassin’s Creed : Black Flag, Battlefield 1, Company of Heroes, Medieval 2 : Total War et Papers Please. Nous avons enregistré près de 56 heures d’extraits vidéos, répartis inégalement entre les cas de notre étude. Les extraits ont été analysés dans le cadre d’une analyse de contenu thématique à codage mixte. Les résultats de notre recherche montrent entre autres que la représentation de l’agentivité est directement liée à la nature et à la catégorie dans laquelle s’inscrit le jeu et que les récits historiques mis en scène adoptent une vision traditionnelle de l’agentivité historique. De plus, les facteurs de changements historiques sont liés aux contraintes qu’imposent les jeux vidéos en tant qu’objets techniques. / The place of video games in popular culture is well established. Consumed by an increasingly large audience, they are interested in a variety of subjects, notably the past. Among the discourses of popular history, video games are arguably the newest. However, they are of increasing interest to educators and didacticians who wonder about their effects on pupils and their integration into humanities and social science courses. However, available research on historical video games are not numerous and only tell us about certain games (Assassin’s Creed, Sid Meier’s Civilization). In addition, they almost completely avoid the question of historical agency, even as video games set themselves apart from other popular representations of history by fostering interaction with the historical narrative they present. Our research therefore attempts to shed a new light on the matter by designing a typology of the representation of agency within historical video games, from a didactic perspective. To do this end, we have developed an exploratory and qualitative methodology that uses a multiple case study. Our corpus is made up of five games, drawn from different video game archetypes : Assassin’s Creed: Black Flag, Battlefield 1, Company of Heroes, Medieval 2: Total War and Papers Please. We recorded nearly 56 hours of video clips, unevenly distributed between the cases in our study. The excerpts were analyzed as part of a thematic mixed-coded content analysis. The results of our research show, among other things, that the representation of agency is directly linked to the nature and the type in which the game falls and that the historical narratives staged adopt a traditional view of historical agency. In addition, the factors of historical change are linked to the constraints imposed by video games as technical objects.