Suchergebnisse

The main purpose of this thesis is to examine condition of the Sámi historical memory in Sweden. This is done by analysing and comparing Sámi history representations in two museums: Nordiska museum, which reflects Swedish perspective and Ájtte museum, which reflects Sámi perspective. Sweden receives a lot of criticism from international organs (such as United Nations and Council of Europe) regarding restrictions of Sámi rights and influence. Sámi communities are concerned about failed inclusion of Sámi history into the major narrative. Nowadays stories about Sámi people history are heard more often but despite that criticism does not disappear. By examining narratives of the chosen museums I will try to understand why it is so. In this research I apply qualitative method and perform comparative analysis of two exhibitions, I also conduct interviews with museums' representatives and visitors. Theoretical base that I construct for this research consists of collective memory and cultural trauma theories. They provide a framework which allows to understand history representations, as well it predicts possible perpetrators' and survivors' narratives. In this case it appeared that they did not reflect actual narratives, which says that chosen representations have to be analysed in consideration of what mnemonic actor present them. It also shows that cultural trauma that develops out of longstanding history of the routine harm is not so different from trauma process which begin with some sort of shock. In the end they both produce similar narratives. Museums' narratives can be understood as attempts to cope with historical trauma. In Ájtte museum it is done by creating a new narrative for Sámi people, which do not include Sweden as a main actor and trauma as a main process. Nordiska museum choose a different approach – it reveals history of Sámi oppression and reflects how the museum was part of it. It seems that these narratives should lead to conciliation, but actually they do not make a difference. Why Sámi people are still disappointed about how they history is treated? There are two reasons: first of all, it is because of representations itself. Even though Nordiska talks about the oppression, in most cases representations are shallow, they lack deeper analysis and personal stories, and furthermore, Sámi are seen in relation with the state and Swedish society, which do not reflect them as active actors in their own history. Second of all, this new narrative of the perpetrators do not affect official state position and politics in any way.

The main purpose of this thesis is to examine condition of the Sámi historical memory in Sweden. This is done by analysing and comparing Sámi history representations in two museums: Nordiska museum, which reflects Swedish perspective and Ájtte museum, which reflects Sámi perspective. Sweden receives a lot of criticism from international organs (such as United Nations and Council of Europe) regarding restrictions of Sámi rights and influence. Sámi communities are concerned about failed inclusion of Sámi history into the major narrative. Nowadays stories about Sámi people history are heard more often but despite that criticism does not disappear. By examining narratives of the chosen museums I will try to understand why it is so. In this research I apply qualitative method and perform comparative analysis of two exhibitions, I also conduct interviews with museums' representatives and visitors. Theoretical base that I construct for this research consists of collective memory and cultural trauma theories. They provide a framework which allows to understand history representations, as well it predicts possible perpetrators' and survivors' narratives. In this case it appeared that they did not reflect actual narratives, which says that chosen representations have to be analysed in consideration of what mnemonic actor present them. It also shows that cultural trauma that develops out of longstanding history of the routine harm is not so different from trauma process which begin with some sort of shock. In the end they both produce similar narratives. Museums' narratives can be understood as attempts to cope with historical trauma. In Ájtte museum it is done by creating a new narrative for Sámi people, which do not include Sweden as a main actor and trauma as a main process. Nordiska museum choose a different approach – it reveals history of Sámi oppression and reflects how the museum was part of it. It seems that these narratives should lead to conciliation, but actually they do not make a difference. Why Sámi people are still disappointed about how they history is treated? There are two reasons: first of all, it is because of representations itself. Even though Nordiska talks about the oppression, in most cases representations are shallow, they lack deeper analysis and personal stories, and furthermore, Sámi are seen in relation with the state and Swedish society, which do not reflect them as active actors in their own history. Second of all, this new narrative of the perpetrators do not affect official state position and politics in any way.

The main purpose of this thesis is to examine condition of the Sámi historical memory in Sweden. This is done by analysing and comparing Sámi history representations in two museums: Nordiska museum, which reflects Swedish perspective and Ájtte museum, which reflects Sámi perspective. Sweden receives a lot of criticism from international organs (such as United Nations and Council of Europe) regarding restrictions of Sámi rights and influence. Sámi communities are concerned about failed inclusion of Sámi history into the major narrative. Nowadays stories about Sámi people history are heard more often but despite that criticism does not disappear. By examining narratives of the chosen museums I will try to understand why it is so. In this research I apply qualitative method and perform comparative analysis of two exhibitions, I also conduct interviews with museums' representatives and visitors. Theoretical base that I construct for this research consists of collective memory and cultural trauma theories. They provide a framework which allows to understand history representations, as well it predicts possible perpetrators' and survivors' narratives. In this case it appeared that they did not reflect actual narratives, which says that chosen representations have to be analysed in consideration of what mnemonic actor present them. It also shows that cultural trauma that develops out of longstanding history of the routine harm is not so different from trauma process which begin with some sort of shock. In the end they both produce similar narratives. Museums' narratives can be understood as attempts to cope with historical trauma. In Ájtte museum it is done by creating a new narrative for Sámi people, which do not include Sweden as a main actor and trauma as a main process. Nordiska museum choose a different approach – it reveals history of Sámi oppression and reflects how the museum was part of it. It seems that these narratives should lead to conciliation, but actually they do not make a difference. Why Sámi people are still disappointed about how they history is treated? There are two reasons: first of all, it is because of representations itself. Even though Nordiska talks about the oppression, in most cases representations are shallow, they lack deeper analysis and personal stories, and furthermore, Sámi are seen in relation with the state and Swedish society, which do not reflect them as active actors in their own history. Second of all, this new narrative of the perpetrators do not affect official state position and politics in any way.

The main purpose of this thesis is to examine condition of the Sámi historical memory in Sweden. This is done by analysing and comparing Sámi history representations in two museums: Nordiska museum, which reflects Swedish perspective and Ájtte museum, which reflects Sámi perspective. Sweden receives a lot of criticism from international organs (such as United Nations and Council of Europe) regarding restrictions of Sámi rights and influence. Sámi communities are concerned about failed inclusion of Sámi history into the major narrative. Nowadays stories about Sámi people history are heard more often but despite that criticism does not disappear. By examining narratives of the chosen museums I will try to understand why it is so. In this research I apply qualitative method and perform comparative analysis of two exhibitions, I also conduct interviews with museums' representatives and visitors. Theoretical base that I construct for this research consists of collective memory and cultural trauma theories. They provide a framework which allows to understand history representations, as well it predicts possible perpetrators' and survivors' narratives. In this case it appeared that they did not reflect actual narratives, which says that chosen representations have to be analysed in consideration of what mnemonic actor present them. It also shows that cultural trauma that develops out of longstanding history of the routine harm is not so different from trauma process which begin with some sort of shock. In the end they both produce similar narratives. Museums' narratives can be understood as attempts to cope with historical trauma. In Ájtte museum it is done by creating a new narrative for Sámi people, which do not include Sweden as a main actor and trauma as a main process. Nordiska museum choose a different approach – it reveals history of Sámi oppression and reflects how the museum was part of it. It seems that these narratives should lead to conciliation, but actually they do not make a difference. Why Sámi people are still disappointed about how they history is treated? There are two reasons: first of all, it is because of representations itself. Even though Nordiska talks about the oppression, in most cases representations are shallow, they lack deeper analysis and personal stories, and furthermore, Sámi are seen in relation with the state and Swedish society, which do not reflect them as active actors in their own history. Second of all, this new narrative of the perpetrators do not affect official state position and politics in any way.

Inception : mediale Reflexion im Film / Oliver Jahraus -- Zeit-Bild und Roman : Gilles Deleuze, Walter Benjamin, Michail Bachtin und die Krise des Erzählens in Film und Literatur / Jens Bonnemann -- Sichtbar gemachtes Sehen : Medienreflexion als ästhetische Erfahrung von Film / Thomas Metten -- Mockumentary als Reflexion von dokumentarischer Authentizität / Andreas Böhn -- Die Errettung der äusseren Wirklichkeit : Siegfried Kracauer und DOGMA 95 / Timo Rouget -- Ist die Kamera schon an? : Selbstreflexion, Wirklichkeit und Authentizität im Handkamerafilm / Rüdiger Heinze --Transmediale Selbstreflexivität in Stephen Poliakoffs Shooting the Past (1999) / Cristoph Houswitschka -- Adaptation : Interpretation / Michael Meyer -- Das Gespenst als Medium und das Medium als Gespenst : (Re-)Medialisierung in Almereydas postmodernem Hamlet (2000) / Martin Holtz -- Positionsbestimmungen Bollywoods : selbstreflexive Hindi-Filme / Lucia Krämer -- Metafiktion im neueren Animationsfilm : von Who framed Roger Rabbit über The Curse of the Were-Rabbit und Despicable Me bis Frankenweenie / Stefan Neuhaus -- Die Errettung der gezeichneten Wirklichkeit : Harvey Pekars transmedialer Comic-Realismus in American Splendor / Andreas Rauscher -- "Screening Back" : Found-Footage-Musikvideos als postkoloniale Strategie der De- und Rekonstruktion filmischer Wirklichkeiten / Lisa Hrubesch -- Selbstreflexive Implikationen des animierten Dokumentarfilms : Ari Folmans Waltz with Bashir / Sebastian Domsch -- Nur dabei statt mittendrin? : Selbstreferenzialität und Selbstreflexivität im interaktiven Dokumentarfilm / Frank Thomas Meyer -- Der Betrachter ist im Bilde : Reflexivität im ethnografischen Film / Andreas Ackermann -- Labore des Visuellen : zum Verhältnis von wissenschaftlichem, dokumentarischem und fiktionalem Film / Angela Krewani