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This thesis is a study of the cultural history of children’s reading. It is argued that it is important to apply a wider historical perspective to the contemporary debate on the rapid changes in children’s and young people’s reading habits, and that existing historical research rarely deals with reading as a practice, but rather with its institutional and textual conditions such as the school, the library system and children’s literature. The thesis thus aims to explore the practice of reading and its relations to historical circumstances.Through a close reading of 30 retrospective interviews conducted in the 1970’s and 80’s, the analysis deals with some of the experienced motives, inter- pretations, materialities and social dimensions of children’s reading practices experienced in the first decades of the 20th century. It offers a discussion of these practices as related to wider historical contexts. Theoretically, the analysis is in- spired by the conceptualizations of a ‘history of reading’ in the works of Roger Chartier, Robert Darnton and Jonathan Rose.It is concluded that even if the informants in principle had access to different models, motives and genres for reading, the practice of reading often had to take on the character of improvisation in contexts where material resources and soci- al sympathies for reading were lacking. Furthermore, in relation to the complex social tensions and dynamics surrounding reading, the practice may also be defined by its degree of legitimacy and/or autonomy in a given context.These results imply that further research and debate is needed on the con- nections between the value attributed to reading in relation to changing concepts of work and “usefulness”, on the collective historical experiences of cultural progression, and on issues of the identity of the modern children’s library. / Akademisk avhandling som med tillstånd av Forsknings- och utbildningsnämnden vid Högskolan i Borås framläggs till offentlig granskning klockan 13.00 fredagen den 16 december 2011 i sal M506, Högskolan i Borås

Through questionnaires answered by the institutions and through searches on their various websites, an image is developing that shows that subcultures are not always given room in the cultural heritage sphere. Even though the Gothenburg sound plays a big part within the metal world, and despite the fact that it has given Gothenburg international recognition within the metal community, it remains more or less invisible in Gothenburg’s institutionalized world, both as a subculture and as a cultural heritage. With this essay, we are trying to create a perspective where an eventual explanation for this absence can be given, and where we can raise and problematize these questions. We are trying to illustrate the dominance of the mainstream society compared to subcultures, but also the institutions influence in what qualifies as a cultural heritage. We want to gain an understanding if the Gothenburg sound can be seen as a cultural heritage and if the genre should be made more visible within the institutions. In the end though, the question remain whether it would benefit the subculture to be made visible in the mainstream arena as they through such an uplifting also risk to lose their subcultural identity.

Made available in DSpace on 2016-10-13T14:10:31Z (GMT). No. of bitstreams: 1 Thalita Galutti.pdf: 2350504 bytes, checksum: dcb745c0301fe5cdafd757d579c1c346 (MD5) Previous issue date: 2010-10-10 / By applying the method of ethnography to investigate the communication practices and consumption in post-modern inter-human relations that took place at Campus Party Brazil, it was realized that the ways youth are expressing themselves and building strategies of representation reveal some of the paradigms with which the youths live and of which is product and producer, in a complex relationship. The political content are juveniles as a means of testing a new body that reminds us of the planetary ethics of Edgar Morin way as able to combat the inhumane and contradictory reflections of our civilization. / Ao aplicar o método da etnografia para investigar as práticas de comunicação e consumo pós-modernas nas inter-relações humanas que aconteceram na Campus Party Brasil, percebeu-se que os modos como os jovens vêm se expressando e construindo estratégias de representação evidenciam alguns dos paradigmas com os quais as juventudes convivem e dos quais é produto e produtora, numa relação complexa. As politicidades juvenis são como uma via de experimentação de um novo corpo que nos remete à ética planetária de Edgar Morin como caminho capaz de combater os reflexos contraditórios e desumanos da nossa civilização.

<p>Denna uppsats är en narrativ studie om hiphopkulturen som ungdomskultur. Målet med undersökningen har varit att förstå hur hiphoparna blir en del av den egna kulturen och hur de ser sig själva som medlemmar av hiphopkulturen. Som insamlingsmetod har jag använt mig av tre fokusgrupper samt en enskild intervju. Informanterna har varit 20-26 år och kommer från två mellanstora städer i Sverige.</p><p>Det resultat som framkommit är att hiphoparen gör en slags karriär inom kulturen. För att kunna göra denna karriär är hiphoparen beroende av mer erfarna personer. Det finns även ett beroende av det övriga samhället för att kunna lyckas. Tankarna kring den egna kulturen kan sammanfattas i fyra olika huvudteman: Genus, Attribut, Äkthet och Battle.</p> / <p>This is a narrative study of the hiphop culture as a youth culture. The aim has been to understand how and why young people in middle-sized Swedish towns become hiphopers and also how they look at themselves as members of the hiphop culture.</p><p>The research methods applied are three focus group interviews and one single person interview. The participants are between 20 and 26 years. The hiphoper makes a kind of a career in the culture. To be able to make the career, the hiphoper is dependent of other people with better skills as well as of the society. The thoughts of the hiphopers in question can be summarized in four main themes: gender, attribute, genuine and battle.</p>

Denna uppsats är en narrativ studie om hiphopkulturen som ungdomskultur. Målet med undersökningen har varit att förstå hur hiphoparna blir en del av den egna kulturen och hur de ser sig själva som medlemmar av hiphopkulturen. Som insamlingsmetod har jag använt mig av tre fokusgrupper samt en enskild intervju. Informanterna har varit 20-26 år och kommer från två mellanstora städer i Sverige. Det resultat som framkommit är att hiphoparen gör en slags karriär inom kulturen. För att kunna göra denna karriär är hiphoparen beroende av mer erfarna personer. Det finns även ett beroende av det övriga samhället för att kunna lyckas. Tankarna kring den egna kulturen kan sammanfattas i fyra olika huvudteman: Genus, Attribut, Äkthet och Battle. / This is a narrative study of the hiphop culture as a youth culture. The aim has been to understand how and why young people in middle-sized Swedish towns become hiphopers and also how they look at themselves as members of the hiphop culture. The research methods applied are three focus group interviews and one single person interview. The participants are between 20 and 26 years. The hiphoper makes a kind of a career in the culture. To be able to make the career, the hiphoper is dependent of other people with better skills as well as of the society. The thoughts of the hiphopers in question can be summarized in four main themes: gender, attribute, genuine and battle.

This article addresses the question how Bongo Fleva (or Flava, from the word ‘flavour’) - also defined as muziki wa kizazi kipya (‘music of a new generation’) - and Hip-Hop in Swa-hili, reflect Tanzanian urban youth culture, with its changing identities, life-styles, aspirations, constraints, and language. As far as young people residing in small centres and semi-rural ar-eas are concerned, I had the impression that they have the same aspirations as their urban counterparts, especially those in Dar es Salaam. They keep well up to date on urban practices through performances, radio and local tabloids, even if they lack the same job and leisure op-portunities as their city brothers. Although I do not take ‘youth’ as a fixed and homogeneous category, the ‘young generation’ has been assuming a central, though frequently ambiguous, position in many places in Africa (for this issue, see Burgess 2005). Here, however, I have chosen to focus on two urban contexts, namely Dar es Salaam and Mwanza, the sites of my one-and- -half-year fieldwork between 2004 and the end of 2005.

<p>Vårt syfte med denna uppsats är att fördjupa oss i och undersöka vilka pedagogiska möjligheter spelfilmen har i svenskundervisningen på gymnasiet bland annat genom att intervjua filmkunskapslärare. Vi har jobbat utifrån olika frågeställningar där den viktigaste lyder: Varför är det viktigt att låta det vidgade textbegreppet få större utrymme i svenskundervisningen? Studien genomfördes med åtta kvalitativa intervjuer med svensk- och filmkunskapslärare på fyra olika skolor. En kvalitativ enkätundersökning kompletterade intervjuerna. Huvudresultatet från detta arbete är att filmanvändandet skiljer sig åt på en mängd olika punkter i filmkunskap och svenskundervisningen samt att idag finns i stort sett alla tekniska förutsättningar för film i undervisningen.</p> / <p>Our purpose with this thesis is to explore the pedagogical possibilities of using film in the Swedish subject in high school, mainly so by interviewing teachers working with a subject primarily concerning film analysis (Filmkunskap). We have worked with different issues as the most important is: Why is it important to use a wider text concept to a greater extent in the Swedish subject? The study was conducted with eight qualitative interviews with teachers in the Swedish subject and in the Filmkunskap subject at four different schools. A qualitative survey complements these interviews. The main results of this work is that the use of films differ in a number of points comparing the two examined subjects and it also seems as schools today generally have all the technical possibilities for using film in teaching.</p>

Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.