<p>“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)</p><p>This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.</p><p>In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.</p><p>In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.</p><p>A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.</p>

“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11) This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place. In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed. In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives. A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.

<p>“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11)</p><p>This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place.</p><p>In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed.</p><p>In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives.</p><p>A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness.</p>

“ if you only read the book … you get the knowledge into your head once. If you talk about it, you get a more distinct memory of it, I think” (Emma, 11) This thesis shows how a novel by Maj Bylock, Drakskeppet, was used in education within thematic work, the Viking Age, among ten-year-olds and eleven-year-olds for five weeks. The aim of the project was to investigate if and how pupils create or develop an historical consciousness when they had written and talked about the text in a novel. The study examines and analyses how three pupils in particular look upon history and ‘time’ in this process and if identification with characters in the novel takes place. In the theoretical framework, which focuses on Judith Langer and her theories on ‘envisionment building’, that is on how children create text worlds , a general survey presents research findings about how children (10-12 years) interpret fiction. Furthermore the very complex construct of ‘historical consciousness’ is discussed. In the second part, the study is described and its results are discussed: When these children form their personal historical consciousness their focus on the past and the present is apparent, while they have few links to the future. From the way characters’ lives are presented in Drakskeppet these young readers notice social differences in this fictional society of the past. Even though they also see parallels with the time they live in, they often conclude that ”things were worse” in the past. Another result is that an historical consciousness is generally developed when children can emotionally connect to their own lives. A second conclusion drawn in the analysis of this project is that children should read fiction to learn about and understand History. In thematic work of this kind, pupils are offered opportunities to develop their reading and interpreting capacities even though the purpose of the work is the emergence of the pupils’ historical consciousness. It should be understood from this investigation, though, that reading without talking about the texts seems to have very little effect on how children develop their understanding of texts or an historical consciousness. / <p>Licentiatavhandling i litteraturvetenskap: alternativet Svenska med didaktisk inriktning</p>

Inom fältet för översättningsstudier har det traditionellt varit ett angeläget forskningsområde att erhålla kunskap om hur man hanterat samma källtext i olika kulturella kontexter. På våren år 1950 utkom en spansk översättning av den finske författaren Mika Waltaris historiska roman, Sinuhe egyptiläinen (Sinuhe egyptiern), och senare samma år, i Mexiko, nyöversattes verket för Latinamerika som en respons på den första. Föreliggande uppsats är en fallstudie och har genomförts i syfte att undersöka på vilket sätt och varför detta originalverks två översättningar på samma språk skiljer sig åt. Översättningarna har jämförts parallellt med dess källtext och studerats kontrastivt genom en kombination av kvantitativ och kvalitativ analys med hjälp av shift som teoretiskt verktyg. Resultaten av denna fallstudie visar att översättningarna skiljer sig åt i vissa innehållsmässiga aspekter och att dessa skillnader med all sannolikhet härrör från de samhälleliga politiska kontexter där de producerats. Genom studien uppdagas även att det finns slående likheter mellan de två måltexterna, främst i form av strykningar men också vad gäller innehåll, vilket ger skäl att tro att den ena utgåvan använts som någon form av underlag för den andra. / Within the field of translation studies, it has traditionally been an important field of research to gain knowledge of how to deal with the same source text in different cultural contexts. In the spring of 1950 a Spanish translation of Mika Waltari's historical novel Sinuhe the Egyptian was published, and later that year, in Mexico, appeared a second version translated for the audience in Latin America as a response to the first. This paper is a case study and has undertaken to examine how and why these two translations in the same language differ. The translations have been compared in parallel with its source text and studied contrastively by a combination of quantitative and qualitative analysis using the shift as a theoretical tool. The results of this case study show that the translations differ in certain aspects of the level of content and that these differences in all probability arose from the social- political contexts in which the texts were produced. The study reveals also that there are striking similarities between these two target texts, mainly in form of deletions but also in terms of content, giving reason to believe that one of these two editions was used as some form of basis for the other.

Den aktuella empiriska studien syftar till att undersöka lärares användning av och inställning till digitala verktyg i litteraturundervisningen. Resultatet baseras på kvalitativt material från semistrukturerade intervjuer med fyra svensklärare i årskurs 4–6. I resultatet framkom att lärarna ser digitala verktyg som en möjlighet i undervisningen generellt. Angående skönlitterär läsning ses verktyget snarare som ett hjälpmedel för elever i behov av särskilt stöd och med annat modersmål än svenska. De är överens om att digitala verktyg inte ska användas uteslutande utan att kombination med det traditionella är att föredra för en varierad och lustfylld undervisning. Resultatet belyser även att lärare anser att utbildning för digitala verktyg saknas och hur de kan använda dem vid skönlitterär läsning. Teknik som inte fungerar och specifika skolors tillgång till digitala verktyg för alla elever nämns som en svårighet

Syftet med denna studie var att undersöka svensklärares erfarenheter av arbetet med skönlitteratur i undervisningen och vilka didaktiska verktyg som kan tillämpas för att främja och bibehålla läsintresset hos högstadieelever. Syftet var också att få en förståelse för hur svensklärare kan vägleda högstadieelever i läsningen av skönlitteratur. Detta gjordes utifrån ett lärarperspektiv. Frågeställningarna för denna studie var vilka erfarenheter svensklärare har inom användningen av skönlitteratur i undervisningen och vilka arbetssätt svensklärare framhäver för att stötta högstadieelever i den skönlitterära läsningen som vidare kan öka läsintresset. För att uppfylla syftet har denna studie baserats på en kvalitativ metod där intervjuer har genomförts med tio svensklärare. Eftersom syftet har varit att undersöka svensklärares erfarenheter och arbetssätt har kvalitativa intervjuer varit ett lämpligt verktyg att använda. Resultatet av denna studie har visat att det finns delade erfarenheter inom användningen av skönlitteratur med högstadieelever. Vissa svensklärare har en positiv erfarenhet av att elever upplever läsningen som lustfylld medan andra svensklärare upplever i stället ett motstånd från eleverna. Gemensamt för alla svensklärare var att de upplever den skönlitterära läsningen i undervisningen som tidskrävande och därför finns en önskan om mer tid för läsning i undervisningen. De didaktiska verktyg och arbetssätt som svensklärarna har lyft fram för att stötta högstadieelever i den skönlitterära läsningen som vidare kan öka läsintresset är relaterbar läsning, högläsning, boksamtal och filmatisering. Utifrån intervjuerna framgår det att svensklärarna arbetar med olika metoder för att nå en lyckad läsupplevelse och arbetssätten varierar beroende på vilken elevgrupp som undervisas. För en positiv utveckling angående högstadieelevers skönlitterära läsning är det också viktigt att ha ett gott samarbete med hemmen för att skapa bästa förutsättningarna för elevers läsintresse.

I den här uppsatsen presenteras och diskuteras min översättning av den schweizisk-italienska författaren Fleur Jaeggys novell ”La vecchia vanesia” (”Den sista fåfängan”), den sista i hennes novellsamling La paura del cielo (Rädd för himlen) från 1994. Utöver översättningen ingår även en analys av källtexten, mitt översättningsteoretiska ramverk och översättningsprincip samt kommentarer på tematiskt uppdelade översättningsproblem som jag har stött på under arbetsprocessen. Frågor som tas upp i arbetet innefattar hur språket och stilen i novellen kan återges i måltexten med Eugene Nidas dynamiska ekvivalens som översättningsprincip. Det har framgått att det är viktigt att anpassa grammatiska och lexikala aspekter för att målspråket ska flyta på naturligt. Även stilistiska drag utgör viktiga delar av den emotionella tonen i källtexten och återges i måltexten i syfte att uppnå dynamisk ekvivalens. / In this essay, my translation of the Swiss-Italian author Fleur Jaeggy’s short story “La vecchia vanesia” (“Last vanities”) from the collection of short stories La paura del cielo (Last vanities) from 1994, is presented and discussed. A stylistic analysis of the source text, my theoretical framework and translation principle as well as comments on thematically categorized translation problems are also included in the work. Questions raised in the essay include how form as well as content can be rendered in the Swedish target text with the dynamic equivalence by Eugene Nida as a translation principle. The work has shown that to achieve a natural result, it’s crucial to adapt grammatical and lexical aspects to norms in the target language. Stylistic aspects constitute important parts of the emotional tone in the source text and are reproduced in the target text to achieve dynamic equivalence.