| 1. |
- Grahn, Lisa, 1989-
(författare)
-
Jernbanans mödrar : Moderskap och berättande i Sara Lidmans Jernbaneepos
- 2022
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis examines motherhood and mothering in seven novels by the Swedish author Sara Lidman (1923–2004). Published between 1977 and 1999 and collectively known as the Railroad Epic, the novels depict the industrialization of Northern Sweden in the late 19th century, and how it affected the people living there. Reading it as a story about motherhood and mothering not only broadens our understanding of Lidman’s work, but also widens the scope of representations of motherhood in Swedish literature. The study examines the depictions of lived experiences of motherhood, pregnancy and childbirth in the novels, as well as the conflict between (bodily) integrity and incorporation into family life and ideals. Moreover, it explores narratological power structures and the ethical implications of the motherhood motif. The analysis comprises close readings of the embodied experiences of motherhood and mothering, influenced by feminist phenomenological thinking. The epic is read as historiographical metafiction, as a way of using historical narratives to explore and question how history itself is told.The study uses the masculine-coded capitalist and colonial market economy that is introduced during the course of the novels to contextualize the mothers’ positions in a patriarchal structure, while focusing on mothering work to center the agency of the mothers. To this end, the thesis illustrates the width and complexity of the experiences of mothering in the novels, while connecting it to the wider themes of the epic, such as colonialism, modernity, and the conflict between community and integrity. Concerning this conflict, the study argues for a reading of pregnancy and mothering as potential sources for transcendence. Furthermore, the results highlight how already existing power structures are effected by gendered reproduction norms, creating a hierarchy amongst mothers which is then replicated in the narrative. In addition to these individual experiences, the results demonstrate how the matrilineal, along with repeated events and magical elements such as visions, ghosts, and spirits of unborn children, create a perception of existence as fragmented and multi-layered. The deconstruction of hegemonic history and storytelling is interpreted as a way to share experiences and sensations that are perceived of as ineffable, and to tell the stories of the unheard.
|
|
| 2. |
- Grahn, Lisa
(författare)
-
Kvinnor och moderskap i Sara Lidmans Jernbaneepos
- 2020
-
Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Licentiatavhandlingen undersöker skildringen av moderskap i Sara Lidmans Jernbaneepos (1977–1999), en romanserie i sju delar. I centrum för sviten står ett stort manligt kodat modernitetsprojekt – att ta järnvägen till Västerbotten. Licentiatavhandlingen fokuserar på de kvinnliga berättelser som också skapar historien, och hur upplevelser av sexualitet, graviditet och modrande arbete skildras. Genom att skilja på moderskap som en patriarkal institution och modrande som en kvinnocentrerad praktik, och genom att använda begreppet matrilinjära narrativ, belyser licentiatavhandlingen modersgestaltens agens och egna berättelse, till skillnad från de narrativ som traditionellt funnits kring moderskap. På så sätt undersöks modrande som en potentiellt frigörande och gränsöverskridande upplevelse, vilket är tidigare ouppmärksammade sidor av Lidmans författarskap.
|
|
| 3. |
- Grahn, Margaretha
(författare)
-
Das Lehramtsstudium an der Universität Linköping, Schweden
- 2008
-
Ingår i: Das Kind im Blick. - : Schneider Verlag Hohengehren GmbH. - 9783834003935 ; , s. 84-90
-
Bokkapitel (refereegranskat)abstract
- Schweden nimmt mit der 3,5-jährigen gemeinsamen universitäten Ausbildung fur Kindergarten und Grundschule eine Vorreiterrolle ein. Die gemeinsame Berufsbezeichnung ist Lehrer (lärare). Sie arbeiten in Kindertageseinrichtungen für Kinder im Alter von 1 bis 5 Jahren (Vorschule), in Vorschulklassen für Sechsjährige an der Grundschule sowie in den ersten vier Schuljahren und der Schulkinderbetreuung. Im Jahre 2004 begannen die ersten Studienabgänger ihre Arbeit im Vorschulbereich und der Schule. An den unterschiedlichen Universitäten gibt es leicht unterschiedliche Ausrichtungen des Studiums. Der im folgenden Beitrag vorgestellte Studiengang an der Universität Linköping gibt einen exemplarischen Einblick in das studienangebot der gemeinsamen Ausbildung in Schweden.
|
|
| 4. |
- Grahn, Margaretha, et al.
(författare)
-
Leadership Challenges in Music Education
- 2009
-
Ingår i: Problems in music pedagogy. - : Daugavpils University, Latvia. - 1691-2721. ; 5, s. 73-86
-
Tidskriftsartikel (refereegranskat)abstract
- This is an article about leadership in general, classroom leadership and leadership challenges in music education. The method that we have used is literature studies. One classical question is if leadership comes naturally or if it can be learned? Many authors mean that it is both. Lahdenpäre (2008) says that leadership is a social construction. It is not a quality in a person but how we can relate to other people. We have used ”The Leadership Diamond” by Koestenbaum (1991) that consists of four levels (professional, social, psychological and philosophical) and on every level there are four strategies (vision, reality, ethics and courage). One of the great issues in leadership is the balance between chaos and order, structure and creativity, planning and spontaneity. Denhardt & Denhardt (2008) compare being a leader with dancers and musicians and emphasize the importance of having theoretical knowledge connected with practise and the ability of improvisation. Another important aspect is what we call ”time to muse”, that is the time to reflect. A study from 1994 showed that teachers focus on the content but less on the students´ perspectives in the learning process. We have compared our model of the three feet that every school subject stands on (theoretical, skills and artistic) with necessary qualities in classroom leadership and we wish that the artistic feet will have more attention in the future.
|
|
| 5. |
- Grahn, Margaretha, 1949-
(författare)
-
Musernas viskningar förr och nu : En studie av det musiska och inriktningen musiskt lärande. En teoretisk analys samt ett empiriskt bidrag från lärarutbildningen
- 2005
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of the present thesis is twofold; the first part comprises a theoretical analysis of the concept muse-ical in an attempt to describe similarities and differences between the concepts muse-ical and aesthetic and furthermore, to identify the distinguishing features of a muse-ical approach and a muse-icalprogram.The second part of the thesis reports on an empirical study among student teachers who have chosen to study the program Muse-ical Learning. They have been interviewed about their experiences and impressions of this new program. More specifically they have been given questions pertaining to museical, aesthetic, artistic, scholarly learning, sensory experiences, talent and finally how they conceive of the role of muse-ical learning in school and in society at large and what notions they have of their future work as teachers in the field.The first part is an analysis based on selected previous writings and research regarding the concepts muse-ical and aesthetic/esthetical. The approach taken to this reading is mainly hermeneutical.The second part of the thesis aims at describing how a group of student teachers experience museical learning. Data have been gathered by in-depth, semi-structured interviews. The aim of the analysis has been to emphasise qualitative differences in the ways the informants experience the phenomena actualised in the interviews. The approach in the analysis is, mainly, phenomenographic. The group of informants comprise 20 student teachers, which is about half of all students in the pioneer cohort of the program. Every student was interviewed individually in sessions that had a typical duration of 40-45 minutes. The interviews were transcribed in extenso by the author.In a historical perspective the origins of muse-ical can be traced back to antique Greece and the nine muses that were given to mankind by the gods. The ancient Greeks realised that artistic and intellectual activities are mutually dependent on each other. A further function of the muses, to care for the collective, social memory, seems also to have been forgotten in our time. Muse-ical activities also have to be combined with rhythm and harmony to get their ultimate form. This fact reflects the Greek conviction that order is a significant aspect of beauty. (Cosmos). Greeks aimed for a balance between the vivacious and engaging of Dionysus and the more strict and ordered of Apollo.One confusing circumstance in Plato´s texts concerning the word muse-ical is the translation of mousiké to mean music which is the case in Swedish, Danish, Norwegian and English. It makes a great difference whether our children are to be fostered in mousiké i.e. the arts of the muses and gymnastics or only in music and gymnastics. My conclusion is that Plato was of the opinion that the young should be fostered in mousiké and gymnastics.The word muse-ical appears in educational contexts during the mid 1920ies in Germany, when the sociologist Hans Freyer introduced the term. Muse-ical education is, in consonance with the ideas from ancient Greece, an integration of poetry, music and rhythmic movements.My conclusion from the theoretical analyses is that the muse-ical domain should be understood as an approach to learning that is based on:• A holistic attitude aiming at a balance between “hand, heart and brain”.• Time for reflection.• Muse-ical activities that give opportunities for applying different forms of expression, e.g.activities that comprise movement, sound, colour, form and drama.• Play is an important component.• The learner is the main actor.• The muse-ical perspective is superordinate to disciplinary categories of knowledge.• The muse-ical perspective should not be translated into a rigorous method.Teachers in all subject matter areas may take a muse-ical approach. Mathematics, history and chemistry for instance are as close to the muse-ical as music or drama.I prefer to regard the aesthetic and muse-ical as two different concepts, although with some overlap in meaning. There are common parts, some aspects are borderline cases and there are also, of course, distinct differences.Already the ancient Greeks stated that literary learning and sensory experience were mutually dependent on each other. The Swedish National Curriculum for the compulsory school also emphasises the importance of balancing these two modes of learning against each other.The results of the empirical study corroborate the conclusions of the theoretical analysis. The students repeatedly emphasise the importance of experience and involvement for the sake of their own learning. They do also stress the importance of connecting theory to practical components. Concerning integration of different areas of muse-ical learning there are different standpoints among the authors that I have referred to. The students’ arguments in favour of finding a common framework for all aesthetic areas are basically that they contain common creative aspects and that they all involve bodily and emotional aspects of learning. The students emphasise, in particular, two positive aspects of the aesthetic areas and muse-ical learning. Firstly, they have a general, facilitating impact on learning regardless of context and content. Secondly, they may contribute significantly to the students’ self-confidence and thereby give them the courage to enter new areas and aim for higher goals than otherwise. A majority of muse-ical activities take place in social settings, which gives rich opportunities for the students to train their social skills.Even though it has been a demanding task to express the essence of muse-ical learning, theoretically as well as empirically, one may perhaps be comforted by realising that the magic of museical learning might disappear were it possible to define it in a distinct way.
|
|
| 6. |
- Grahn, Margaretha, et al.
(författare)
-
Musiskt lärande : ett förhållningssätt för alla lärare
- 2007
-
Bok (övrigt vetenskapligt/konstnärligt)abstract
- Denna skrift innehåller bland annat utdrag ur tre examensarbeten som är skrivna inom Pedagogiskt arbete på Lärarprogrammet vid Linköpings Universitet 2004. Skriften vänder sig till studerande vid lärarutbildningar, verksamma lärare i skola, universitet/högskola samt i annan pedagogisk verksamhet.I arbetsgruppen som gemensamt arbetade fram uppslaget till denna skrift samt genomförde intervjun med Jon-Roar Bjørkvold ingick, förutom de studenter som skrivit olika kapitel, även studenternaLinnéa Fredriksson och Ulrika Widén. Kursansvarig lärare och sammanhållande länk har varit Christel Öfverström. De som skrivit kapitel är:Sofie Eriksson: Musiskt lärande - en form för innehållet.Margaretha Grahn: Inledning samt Begreppet musisk och inriktningen musiskt lärandeFredrik Hamilton: Farhågor – Förhoppningar – Förståelse en studie av hur några lärarstudenter med ny inriktning ser på jobbet och framtiden.Anna Jerkland: Är Musiskt Lärande ett ämne för alla? Hur lär vi oss och hur kan musiskt lärande främja inlärningsprocessen?Här nedan följer arbetsgruppens gemensamma inledning.Vad innebär inriktningen Musiskt Lärande? Estetiska institutionen (ESI) menar att genom Musiskt Lärande jobbar man med andra uttryck än bara de verbala. Kunskap formas genom sinnesupplevelser på ett lekfullt och experimentellt sätt men med många olika inlärningsmetoder för att ge en bred utveckling. Musiskt Lärande integrerar naturligt ämnen med varandra till en helhet och utgångspunkten för detta sker med hjälp av bild, dramakommunikation, musik och idrott/rörelse.Vi som studenter i Musiskt Lärande har tagit fasta på Howard Gardners nio olika intelligenser som exempel på olika inlärningsmetoder. Med utgångspunkt från muserna och de nio intelligenserna så menar vi att Musiskt Lärande täcker alla olika inlärningsstilar, intelligenser och behov. Vi instämmer även i Jon-Roar Bjørkvolds syn på det musiska, att det handlar om att utveckla fantasin och att kunskap får liv genom människor. Undervisningen behöver ta fasta på leken och fantasin och då inte bara genom att använda estetiska ämnen i undervisningen. Det kreativa behöver inte vara estetiskt, däremot är det kreativa alltid musiskt. All undervisning kan därför bli musisk men det kräver också att läraren är musisk. Det musiska i människan föder skapande och kreativitet vilket ger ett eget uttryck. Jon-Roar Bjørkvold föreslår att alla lärarstuderande skulle få möjlighet till ett år av ”skapande praktisk lek, improvisation och dans” för att upptäcka och synliggöra sin egen musiska kompetens.Innehållet i denna skrift vill öppna för ett annorlunda sätt att förhålla sig till lärande.Följande frågor är centrala:Vad betyder ordet musisk, var kommer det ifrån och hur förhåller det sig till inriktningen Musiskt Lärande vid Linköpings universitet?Hur kan Musiskt lärande främja lärande/ inlärningsprocessen?Varför och på vilket sätt kan ett musiskt förhållningssätt bidra till en holistisk syn på lärande?Slutligen behandlas hur några lärarstudenter med en musisk inriktning ser på jobbet som lärare och framtiden.
|
|
| 7. |
- Grahn, Niclas, et al.
(författare)
-
Identification of mixed bacterial DNA contamination in broad-range PCR amplification of 16S rDNA V1 and V3 variable regions by pyrosequencing of cloned amplicons
- 2003
-
Ingår i: FEMS Microbiology Letters. - 0378-1097 .- 1574-6968. ; 219:1, s. 87-91
-
Tidskriftsartikel (refereegranskat)abstract
- Using a sensitive and rapid method combining broad-range PCR amplification of bacterial 16S rDNA fragments and pyrosequencing for detection, identification and typing, we have found contaminating bacterial DNA in our reagents used for PCR. Identified bacteria are the water-borne bacterial genera Pseudomonas, Stenotrophomonas, Xanthomonas, Ralstonia and Bacillus. Our results are in concordance with recent reports of contaminated industrial water systems. In light of this conclusion, we believe that there is a need for increased awareness of possible contamination in uncertified widely used molecular biology reagents, including ultra-pure water. Since sequence-based 16S rDNA techniques are used in a variety of settings for bacterial typing and the characterization of microbial communities, we feel that future certification of molecular biology reagents, as free of nucleic acids, would be advantageous. ⌐ 2002 Federation of European Microbiological Societies. Published by Elsevier Science B.V. All rights reserved.
|
|
| 8. |
- Jastrebova, Jelena, et al.
(författare)
-
HPLC determination of folates in raw and processed beetroots
- 2003
-
Ingår i: Food Chemistry. - 0308-8146 .- 1873-7072. ; 80:4, s. 579-588
-
Tidskriftsartikel (refereegranskat)abstract
- A sensitive HPLC method with fluorescence detection and gradient elution has been developed for the determination of folates in vegetables. The method involved extraction of folates from food matrix by heat treatment, deconjugation of folate polyglutamates to monoglutamates by incubation with hog kidney conjugase and purification of food extracts by solid-phase extraction with strong-anion exchange cartridges. The chromatographic separation of folates was achieved on Zorbax SB C-8 column, which was found to be superior over conventional C-18 column in terms of selectivity and sensitivity. Validation of the method included linearity tests, the addition of standard folates for the determination of recovery, repeatability and stability tests. The method developed was applied to analysis of raw and processed beetroots; 5-methyltetrahydrofolate was found to be the main folate form in beetroots. Cultivar differences and growing conditions were found to have a pronounced effect on the folate content in beetroots. Processing resulted in considerable losses of folates, whereas losses during storage appeared to be moderate.
|
|
