Research of L1 education is recently established in the Nordic countries. Since the turn of the century we have seen the emergence of national and Nordic research networks, conference and publication series, research programs, and the designation of positions as professors and associate professors. Studies of Nordic L1 research have taken stock of the disciplinary sub fields, but empirical studies of the L1 school subject as a unitary field are still in demand. The aim of this study is to investigate the emergence of Nordic L1 research and its present profile(s) through PhD research. The present study examines the abstracts of Danish, Finnish, Norwegian and Swedish L1 PhD dissertations defended between 2000 and 2017. The results point to a growing field. A general observation is that the research focuses on reading and writing, whereas oral and aesthetical expressions are minor topics. Another result is a set of national differences which are related to governmental policy documents and school curricula. Further, the research has become more internationally oriented during recent years. The L1 research is characterized as a professionalized region (Bernstein, 2003) with strong didactization (Ongstad, 2004), and a potential for powerful disciplinary knowledge (Lambert, 2017).
Easy Readers-a Question about Democracy. Easy reading novels for young people have increased rapidly during the last years. Authors, publishers, librarians and teachers regard the novels a tool for teaching, and the books are advocated to offer children and teenagers that are considered demotivated and poor readers suitable texts. The democratic argument is vital for the text type is, i.e. that everyone has the right to have access to literary texts. From a critical literacy perspective, the aim of this article is to highlight and discuss aspects of democracy in Swedish classrooms. The empirical material consists of 18 interviews with authors and publishers and text analysis of 17 novels with material for students and teachers. The article shows that authors and publishers use the democratic argument heavily when advocating for the text type. The novels show a gender stereotype pattern and the instructions encourage an efferent reading. The article argues that it is important to have a critical perspective if using the easy readers in the classroom.
The aim of this article is to analyse contemporary feminist comics by the Swedish comics artists Åsa Grennvall/Schagerström, Lotta Sjöberg and Sara Granér in relation to the ongoing movement called craftivism, as defined by Betsy Greer and her fellow crafters. The article argues that embroidered feminist comics can be regarded as comics craftivism, since, although similar to drawings, they are all sewn by needle and thread, and often thematise topics connected to craftivism's ideas concerning 'raising consciousness, creating a better world stitch by stitch'. The comics artists use embroidered comics to create 'wider conversations about uncomfortable issues', e.g. feminist issues, such as being trapped in a violent relationship as in Schagerström's cover image for Svinet [The Swine], or the unequal sharing of household work in Sjöberg's sequential story in Det kan alltid bli värre. [It can always get worse]. The feminist, craftivist comics artists are engaged in the politics of the handmade -narrating through textiles. The content concerns political, environmental and gender issues. Comics craftivism contributes to the renewal of the comics medium, and while experimenting artistically with materials and techniques, practitioners thematise new ideas as well as new perspectives on lingering problems, often with irony and humour.
In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a black contour line style on a white background, recalling the comics of Claire Bretécher, Aline Kominsky-Crumb and Franziska Becker. Humour and satire, including irony, were used as strategies to challenge the patriarchy and to contest the prevailing idea that women have no sense of humour.
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