Sukupolvivastuu ja syyllisyys

Abstract

”Nykyinen keski-ikäinen perhesukupolvi on sukupolvivastuiden osalta … varsin ongelmallisessa tilanteessa. Se elää usein kaukana vanhemmasta sukupolvesta, erilaisessa kulttuuris-sosiaalisessa maailmassa, ja joutuu tekemään ratkaisuja edelleen vallitsevan perhevastuiden ideaalimallin ja käytäntöä hallitsevan tosiasiamallin välillä.” (Marin 2005, 257) Tällaisessa paineisessa tilanteessa on keskeistä tutkia, millaisen puheen avulla keski-ikäiset rakentavat sukupolvivastuutaan eli miten puhutaan huolenpidosta omista vanhemmista. Nämä puheet määrittyvät historiallisessa kontekstissa ja vuorovaikutuksessa kulttuuristen näkemysten kanssa.

Graphical models for narrative texts: Reflecting and reshaping curriculum demands for Swedish primary school

“…Further, we have shown that the teaching material and their graphical models strive to make these representations (1) concrete for teachers and (2) more relatable for young students. However, there are different emphases in the representation of narrative genre within the PRF, which either perpetuate focus on macrostructure in the curriculum (see Eriksson & Sahlin 2015a, 2015b or reframe the main focus (see Grönte, 2013 ) of narrative genre. The graphical models further contribute to reshaping these different recontextualisations.…”

“…This change in emphasis compared to the text material exemplifies graphical models as being limited to representing a narrow selection of narrative aspects (see Riley & Reed, 2005 ;Thorsten, 2019 ;Wray & Lewis, 1997 ) as scaffolds and representations of schemata (see Emmott et al, 2009 ;McCutchen, 2006 ). Indeed, the textbooks feature alternative models to, for example, describe characters (see Eriksson & Sahlin, 2015a ;Grönte, 2013 ). The visual foregrounding of obstacle and solution aligns with the curricula's emphasis on elements of text structure.…”

“…The teaching material (see Eriksson & Sahlin, 2015a ) further promotes the ideational "keyword" approach to narrative genre by elaborating on how the Story Face should be used for both analyzing a myth (p. 123) and planning the writing of a fantasy story (p. 144). The material exemplifies how keywords can be mapped to the different parts of the Story Face in these activities.…”