University of Oslo (UiO): FRITT (E-Journals)
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Kritisk skriving på barnetrinnet
No full textIn recent decades, several empirical studies have focused on critical literacy in an educational context. Most of these studies derived their contexts from lower and upper secondary schools and investigated critical literacy as reading, reflection and thinking. In this study, we explore how critical writing may be realized in primary school with the following research question: How are primary school students given the opportunity to develop critical literacy in two writing situations in science classes?
Our material is derived from the Norwegian research project Developing national standards for the assessment of writing – a tool for teaching and learning («Normprosjektet», 2012–2016). It consists of two writing tasks about waste sorting and recycling that were responded to in 24 argumentative students’ texts from science classes at two different schools. Field observations are combined with an analytical tool for text analysis using the concepts of topos, domain and discourse to examine how the students engage in three different discourses: the everyday discourse, the science discourse, and the climate discourse.
The results show that the students relate to both the everyday discourse and the science discourse, while the climate discourse may play a part and is sometimes explicitly expressed in the student texts. The climate discourse is realized in the texts in slightly different ways at the two schools.
We use three perspectives related to critical literacy, subject, discourse conflicts, and positioning, to discuss how writing tasks may provide opportunities for students’ empowerment and development of critical literacy.De siste tiårene har flere empiriske studier undersøkt kritisk literacy i en didaktisk kontekst. De fleste av disse studiene er gjort i ungdomsskolen og den videregående skolen der kritisk literacy er undersøkt som lesing, refleksjon og tenkning. I denne studien undersøker vi hva det innebærer å skrive kritisk på barnetrinnet ut fra følgende spørsmål: Hvordan gis elevene mulighet til å utvikle kritisk literacy i to skrivesituasjoner i naturfag på barnetrinnet?
Materialet er hentet fra Normprosjektet (2012–2016) og omfatter to skriveoppgaver og 24 argumenterende elevtekster fra to ulike skoler. Oppgavene ble formulert ulikt ved de to skolene, men de handlet om søppelsortering begge steder. Studien bygger på observasjon av skrivekontekstene kombinert med et analyseverktøy basert på en operasjonalisering av sammenhengen mellom topikk, domene og diskurs i elevtekstene. Hensikten er å undersøke hvordan elevene skriver seg inn i tre ulike diskurser, hverdagsdiskursen, naturfagsdiskursen og klimadiskursen.
Resultatene viser at elevene forholder seg til de to første, og at klimadiskursen spiller med og noen ganger blir eksplisitt uttrykt i elevtekstene, men denne diskursen realiseres på litt ulike måter ved de to skolene.
I diskusjonen tar vi utgangspunkt i tre perspektiv som knyttes til kritisk literacy: tema, diskurskonflikter og posisjonering og drøfter hvordan skriveoppgavene gir elevene mulighet til myndiggjøring som uttrykk for utvikling av kritisk literacy
«… og hvordan kan vi vite det, da?»: Ungdomsskoleelevers lesestrategier i møte med tekstoppgaver i samfunnsfag som krever en kritisk tilnærming
No full textEvnen til å lese kritisk er framhevet i den siste revisjonen av norske læreplaner. Kritisk lesing kan operasjonaliseres på ulike måter, men innebærer blant annet å forstå argumentasjon. I denne studien utforskes ungdomsskoleelevers lesestrategier når de får oppgaver som krever at de identifiserer tekstlige bevis i samfunnsfaglige tekster. Studien retter seg mot hvilke lesestrategier elever som svarer feil på tekstoppgaver, benytter. Første steg i analysen tar utgangspunkt i elevers svar på to oppgaver fra nasjonale prøver i lesing for 8. trinn, en åpen oppgave (N = 34 569) og en flervalgsoppgave (N = 33 000). Det gjøres en innholdsanalyse av et utvalg skriftlige feilsvar på den åpne oppgaven (N = 500); i tillegg analyseres de ulike svaralternativene i flervalgsoppgaven. I andre steg analyseres intervjudata fra verbal protokoll med elever på 8. trinn (N = 7) som besvarer de samme to oppgavene fra nasjonale prøver. Intervjudataene kommer fra en samtale om elevenes strategibruk der en film (øyeskann) av elevenes lesing brukes som støtte i samtalen og i analyse av de verbale protokollene. Funnene indikerer at en del elever bruker overflatiske søkelesingsstrategier, og de trekker ikke en logisk slutning mellom påstand og bevis. Det ser også ut til at elever har utfordringer med å identifisere et bevis som står i motsetning til det de forventer ut fra forkunnskapene sine. Studien har implikasjoner for praksisfeltet ved å gi innblikk i mulige årsaker til at elever har utfordringer med tekstoppgaver som krever en kritisk tilnærming. Studien belyser også spørsmål knyttet til om og hvordan kritisk lesing kan måles gjennom standardiserte prøver. Ved å kombinere ulike metoder, kan studien i tillegg gi bidrag til videre forskning på elevers strategibruk.The ability to read critically is emphasized in the latest revision of the Norwegian curricula. Critical reading can be operationalized in various ways, but involves understanding of argumentation in texts. This study draws attention to middle school students’ reading strategies when they are given tasks that require them to identify textual evidence in social science texts. The study focuses on students’ incorrect answers. The first step of the analysis is based on students’ written responses to two tasks from the Norwegian national tests in reading for grade 8, one constructed response item (N = 34 569) and one multiple choice item (N = 33 000). A content analysis of a sample (N = 500) of incorrect answers to the constructed response item, is conducted. In addition, the alternatives in the multiple-choice item are analyzed. In the second step, interview data from verbal protocols with students in grade 8 (N = 7), who answer the same two tasks, are analyzed. The students are interviewed about their use of strategies, and a film (eye scan) of their reading is used as support in the conversation and in the analysis of the data. The findings indicate that some students use superficial reading strategies and they do not draw a logical conclusion between claim and evidence. Some students have challenges in identifying evidence that is contrary to what they expect based on their prior knowledge. The study has implications for the field of practice by providing an insight into possible reasons why students have challenges with tasks that require a critical approach to the text. The study also highlights questions about whether and how critical reading can be measured by standardized tests. By combining different methods, the study can also contribute to further research on students’ use of strategies
The role of the arts and crafts subject in education for sustainable development
No full textArtikkelen presenterer en kvalitativ undersøkelse om kunst og håndverksfagets bidrag i et tverrfaglig undervisningsprosjekt om marin forsøpling i Norge. Vi gjør rede for hvordan faget kunst og håndverk bidrar i utdanning for bærekraftig utvikling utover kompetansemål beskrevet i de nye norske læreplanene, LK20, der fokuset er på teknologisk kompetanse og materialkunnskap, gjenbruk og produktutvikling. Empirien består av notater fra deltakende observasjon og visuelle uttrykk fra elever på mellomtrinnet og ungdomstrinnet. Vi benyttet Visual Art Based Participatory Method for å analysere materialet. Resultatene indikerer at kreative og skapende prosesser i kunst og håndverk er betydningsfulle for å gi elevene mulighet til å uttrykke og bearbeide sine følelser om vanskelige dilemma. Dette ser ut til å være et viktig bidrag for å øke elevenes forståelse, engasjement og handlingskompetanse for bærekraftig utvikling. Gjennom Eco Art bidro elevene til samfunnsdebatten og fikk innblikk i samfunnets interessekonflikter. Vi mener at det kroppslige og affektive elementet av kunst og håndverksfaget er underkommunisert i LK20, men at det har avgjørende betydning for elevenes motivasjon for å lære og handle for en bærekraftig fremtid. Med denne artikkelen ønsker vi å åpne opp for en diskusjon i fagfeltet om kunst og håndverks rolle i utdanning for bærekraftig utvikling.Abstract
The article presents a qualitative study of the contribution of arts and crafts (AC) in an interdisciplinary teaching project on marine litter in Norway. We explain how the subject AC may contribute in education for sustainable development beyond competence goals described in the new Norwegian curriculum “Fagfornyelsen” (LK20), where the focus is on technological competence and knowledge of materials, recycling and product development. The empirical data consist of notes from participatory observation and visual expressions from students in grades 5–10. We used the Visual Art Based Participatory Method to analyse the material. The results indicate that creative and making processes in AC are important in giving students the opportunity to express and process their feelings about difficult dilemmas, and this seems to be an important contribution to increase students’ understanding, commitment and action competence for sustainable development. Through Eco Art, students contributed to the societal debate and gained insight into society’s conflicts of interest. We believe that physical learning opportunities and the affective element in AC is under-communicated in LK20, but that it is crucial for students’ motivation to learn and act for a sustainable future. With this article we hope to open a discussion in the field about AC’s role in education for sustainable development
Generasjon 2.0: Mannlige lærere i kunst og håndverk
No full textMen are in the minority as teachers in primary school, this trend is reinforced in the arts and crafts subject. We have interviewed male teachers in primary school, as well as male students who are training to become teachers in the subject. We have done this to gain more knowledge about conditions that may have influenced their educational and career choices.
Drawing on life course theory, we look at the informants' lives with arts and crafts in relation to location in time and place, time of life events, linked lives and human agency. The informants tell us about positive experiences with the subject in their own childhood and that the opportunity to share their own joy and knowledge with students is a driving force when working with arts and crafts in school. As current and future teachers of arts and crafts, the informants are role models for children and can be important for the recruitment of future teachers. The informants talk about people who have influenced them, and in these stories other men dominate. The subject the informants describe in school is characterized by gender stereotypical material choices such as wood in preference to textiles, and it seems that differences between the sexes are maintained. This appears to be due to individual choices, as well as to the contextual frameworks in school and education.Menn er i mindretall som lærere i grunnskolen, denne tendensen blir forsterket i kunst- og håndverksfaget. Vi har intervjuet mannlige lærere som underviser i faget i grunnskolen, samt mannlige studenter som utdanner seg til å bli lærere i faget. Vi har gjort dette for å få mer kunnskap om forhold som kan ha hatt betydning for utdanningsvalg og yrkesutøvelse.
I lys av livsløpsteori ser vi på informantenes liv med kunst og håndverk i forhold til historisk tid og sted, tidspunkt for livshendelser, sammenhengende liv og menneskelig handlefrihet (agentskap). Informantene forteller om positive møter med faget i egen oppvekst og at muligheten for å dele egen glede og kunnskap med elever er en drivkraft for å arbeide med kunst og håndverk i skolen. Som nåværende og kommende lærere i kunst og håndverk er informantene rollemodeller for barn og kan ha betydning for rekrutteringen av kommende lærere i faget. Informantene forteller selv om mennesker som har påvirket dem, og i disse historiene er det andre menn som er mest framtredende. Faget informantene beskriver i skolen er preget av kjønnsstereotype materialvalg, for eksempel tre fremfor tekstiler, og det ser ut som om forskjeller mellom kjønnene slik vi kjenner dem fra tidligere, vedlikeholdes. Dette skjer på grunn av individuelle valg, men også gjennom kontekstuelle rammer en møter i skole og utdanning
The past is present Curating multi-temporality: the contemporary and the classical
No full textA recent trend within classical studies has been to readjust our perspective on what we call the classical by insisting ‘on the inextricable role of classical antiquity in informing the present and the importance of the study of antiquity for the practice of history and the humanities themselves in a technologically advanced, rapidly changing, globalized world’. Of course, classical eras existed and persist in several civilisational traditions. Here the focus is on the classical in its encounters with the contemporary in the field of contemporary art and curating. In this context, following James Porter’s topical propositions about ‘what is classical in classical antiquity’, the classical is considered as something that describes not a series of real properties in the world but a set of attitudes about the world; something that is predominantly a ‘habitus and a structure of feeling, by definition elusive, fleeting, paradoxical’, and which is ‘always in question and uncertain of itself”.This concept is used to rethink the classical alongside reframing strategies for contemporary art in cultural institutions with historical collections, and to reflect on curatorial and artistic practices that engage with the notion of non-linear temporality.
 
Cymbals playing in a Roman mosaic from Mariamin in Syria
No full textThe mosaic of the six female musicians from Mariamin in Syria depicts in exquisite detail a late antique musical performance. The present study focuses on the cymbal tongs player and the finger cymbals player from this mosaic, who have raised little interest so far, yet provide much information on cymbal playing in the Roman-Imperial period. The first part of this work studies the technical aspects of cymbal playing revealed by the Mariamin mosaic. It discusses the typology and playing techniques of cymbal tongs, using a comparative iconographic approach and an experimental reconstruction approach. The Mariamin mosaic portrays a type of cymbal tongs in which the cymbals are struck laterally, in contrast to cymbals tongs in which cymbals are struck frontally, the only type discussed by archaeomusicologists to date. Significantly, lateral cymbal tongs similar to those of Mariamin appear in other late antique mosaics from Bulgaria and Algeria, suggesting that this instrument was widespread. The reconstruction of lateral and frontal cymbal tongs shows that the two instruments sounded different. The Mariamin mosaic also provides information on the use of small cymbals attached directly to fingers. It shows a finger cymbal tying system that seems to differ from the few other Roman examples known to date. It also shows that finger cymbals players could use two different pairs of cymbals to make two different musical notes, one with each hand. These findings illustrate the technical richness of cymbal playing in the Roman Empire. The second part of this work discusses the instrumental associations visible in the Mariamin mosaic, placing them in the context of other late antique representations. The trio of three resonant metallic instruments discernible in the Mariamin band (cymbal tongs, finger cymbals and acetabuli) illustrates the Roman-Imperial taste for abundant metallic tinkling. Finally, the inclusion of cymbal tongs or finger cymbals in musical bands recurs in mythological representations. The cupid disguises of the two children in the Mariamin mosaic echo these images. However, the scene depicted by the mosaic seems anchored in the reality of the late Roman Empire. Remarkably, the Mariamin mosaic shows that ‘simple’ small cymbals could hold an important place in a high-class musical band equipped with prestigious instruments
Epidemic objects in museums. Cholera, storytelling and ecological disturbance
No full textThe Covid19 pandemic has made it painfully clear that global interconnectedness may explode in virulent contagion. Against this background, the article looks to another disease outbreak and engages an object from a historical cholera epidemic, namely a nineteenth century sealed flask containing gut secretion from a Nordic cholera patient. The so-called cholera bottle, now held in Copenhagen Medical Museion, works as an “epidemic object”, implying that its contents may spread along uncontrollable paths, producing and transforming nation states, medical frontiers, hotspots and havens along the way. Through open-ended fieldwork around the cholera bottle, pursuing unforeseen relations between then and now, here and there, and cholera and wider ecologies, the article suggests that such epidemic objects force us to pay acute attention to the choices that underpin museums’ storytelling. As such, the cholera bottle can point to highly problematic structures of global transmission – of scientific knowledge, virus, and health resources in an era of ecological disturbance – which is vital for museums for them to respond adequately to the pandemic.The Covid19 pandemic has made it painfully clear that global interconnectedness may explode in virulent contagion. Against this background, the article looks to another disease outbreak and engages an object from a historical cholera epidemic, namely a nineteenth century sealed flask containing gut secretion from a Nordic cholera patient. The so-called cholera bottle, now held in Copenhagen Medical Museion, works as an “epidemic object”, implying that its contents may spread along uncontrollable paths, producing and transforming nation states, medical frontiers, hotspots and havens along the way. Through open-ended fieldwork around the cholera bottle, pursuing unforeseen relations between then and now, here and there, and cholera and wider ecologies, the article suggests that such epidemic objects force us to pay acute attention to the choices that underpin museums’ storytelling. As such, the cholera bottle can point to highly problematic structures of global transmission – of scientific knowledge, virus, and health resources in an era of ecological disturbance – which is vital for museums for them to respond adequately to the pandemic
O romance Livro de José Luís Peixoto: uma narrativa de pós-memória
No full textO romance Livro (2010), diz o seu autor, “pode ser apontado como o mais autobiográfico dos meus livros. Paradoxalmente é o menos autobiográfico, no sentido em que os acontecimentos factuais desse romance passam-se num tempo em que eu ainda não era nascido” (Peixoto 2010). Com efeito, o romance Livro narra uma história que não é sua, mas dos pais: a história da emigração para França nos anos 60. O Livro constitui assim um trabalho de pós-memória (Hirsch 1997), transmitida por meio de narrativas (familiares), imagens e comportamentos e consolidada pelos afectos. A reconstrução imaginativa dessa experiência permitiu inscrever a memória individual na memória cultural e consequente disseminação. Por último, a tradução e recepção do romance em geografias e culturas muito distintas indicia a universalidade da experiência migratória narrada em Livro e possibilita a partilha de memórias entre comunidades entre as quais não existem laços familiares, éticos ou nacionais. Emerge deste modo a ideia de uma experiência comum, geradora de empatia e de memória transcultural (Erll 2011, Crownshaw 2014).
O presente trabalho tem como objectivo a análise dos contornos da experiência migratória nos seus contextos sociais e culturais e as estratégias que permitiram traduzir esteticamente o passado violento em Livro. E porque as emoções são indispensáveis na formação e transmissão da memória, aquelas serão igualmente consideradas.The novel Livro (2010), says the author, “may be pointed out as the most autobiographical of my books. Paradoxically, it is the less autobiographical, since it tells a story that takes place in a time before I was born. In fact, Livro tells the story, that is not mine, but of my parents: the story of Portuguese migration to France in the 60s. Peixoto’s novel is in this way a work of postmemory (Hirsch 1997), mediated by familiar narratives, images and attitudes and cemented by affection. The imaginative reconstruction of the personal experience allows to inscribe the individual memory into cultural memory and its consequent dissemination. Lastly, the novel’s translation and reception in very different geographies and cultures suggest the universality of the migratory experience narrated in Livro and enables the sharing of memories beyond familiar, ethnic or national bonds. It emerges, in this way, the idea of a common experience, which paves the way to empathy and transcultural memory (Erll 2011, Crownshaw 2011).
This essay aims to analyze the contours of the migratory experience in its social and cultural contexts, integrating in this analysis the strategies that permitted to translate aesthetically the violent past in Livro. And since emotions are crucial to the construction and transmission of memory, those will be also considered
Kystnære bergkunststeder på Nord-Jæren
No full textThe majority of the open-air rock art sites in the county of Rogaland are located near the shoreline along the fjord systems surrounding the city of Stavanger. In the area the shoreline variation from the Bronze Age and up to modern day is minor, which means that the sites still are situated roughly in their original topographical context. The ocean is a dominating presence, and the distribution of rock carvings as well as the motives indicate the waterways’ significance and also to prehistoric use of the shipping lanes which are still in use today. A discussion concerning the coastline and the seascape combined with a phenomenological approach to the rock art sites and landscape might add another dimension to the traditional and well-established agricultural frameworks of interpretation when it comes to the rock art sites in Rogaland. Through personal experience combined with archaeological knowledge the relations between open air rock art sites, surrounding landscapes and the coastline concerning past social and ritual gatherings, wayfinding and sea voyages is discussed.  
Den mystiske og anvendelige skålgropa – skålgroper i Rogaland knyttet til ferdsel, knutepunkter og kultsteder i landskapet
No full textApproximately 110 rock art sites and more than 100 decorated slabs/stones are known from Rogaland County, southwestern Norway. This article looks at cupmarks and their relationship to travelling routes and nodal points along the coast, waterways, and inland pathways, with a focus on dating, context and placement within the wider landscape. The primary group is located in the maritime zone and along fjord systems. These sites are related to known Bronze Age and Iron Age sailing routes, probably related to interregional exchange networks. The second group, along inland pathways, dates to the Iron Age and comprises two distributions. The northernmost group is related to summer farms and constitutes the southern fringe of a larger body of cupmark sites related to sub-alpine regions in Sogn and Hardanger. The southernmost group is found within the Dalane anorthosite and heathland and is associated with nodal points and along pathways leading to ritual places of worship.