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.

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.

The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.

The work consists of two main parts: description of Scandinavian literatures and bibliographic data. It analyses translations of fiction from Scandinavian languages (Icelandic, Danish, Norwegian and Swedish) into Lithuanian language. Each country's literature is described separately. The work briefly discusses histories of literatures, literatures for adults and children and presents main translators. Greater attention is paid to more famous authors. Moreover, the work provides bibliographic data on fiction translated from Scandinavian languages. Most of the books published in Lithuanian language are included in the lists. It was noted that the close relation among Scandinavian literatures has no impact on their translations into Lithuanian. Translators who translate from several Scandinavian languages become the connective link. Translations from Scandinavian languages into Lithuanian are closely related to political, economic, ideological factors; however the translator plays a crucial role alongside these factors. Only due to the translators the Lithuanian book space is augmented with especially valuable texts. In its essence, this work is encyclopaedic; therefore it provides various information that could expand reader's knowledge in Scandinavian authors and their works, though it does not repeat universally known or available information on the authors' biographies and published works.

The work consists of two main parts: description of Scandinavian literatures and bibliographic data. It analyses translations of fiction from Scandinavian languages (Icelandic, Danish, Norwegian and Swedish) into Lithuanian language. Each country's literature is described separately. The work briefly discusses histories of literatures, literatures for adults and children and presents main translators. Greater attention is paid to more famous authors. Moreover, the work provides bibliographic data on fiction translated from Scandinavian languages. Most of the books published in Lithuanian language are included in the lists. It was noted that the close relation among Scandinavian literatures has no impact on their translations into Lithuanian. Translators who translate from several Scandinavian languages become the connective link. Translations from Scandinavian languages into Lithuanian are closely related to political, economic, ideological factors; however the translator plays a crucial role alongside these factors. Only due to the translators the Lithuanian book space is augmented with especially valuable texts. In its essence, this work is encyclopaedic; therefore it provides various information that could expand reader's knowledge in Scandinavian authors and their works, though it does not repeat universally known or available information on the authors' biographies and published works.

Lithuanian authors have challenges to study Russia's politics of history. The analysis is complicated because of a few factors. Diplomatic disputes and informative wars between Lithuania and Russia concerning historical questions have encouraged researches by historians but not by political scientists. In Lithuania, the questions of who and how is forming the history politics of Russia, what is its content and the function it accomplishes, remain unexamined. The analysis is further complicated by disagreement among Russian political scientists, historians, journalists, and politicians over the existence of such politics. The present analysis demonstrates that post-soviet Russia perceives the importance of historical memory, i.e. it understands that historical memory and its forms depend on the states' politics. Russia's political history genesis testifies that trends of such politics depend on the geopolitical orientation of its government. The end of the Cold War did not manage to conceal the fundamental differences between Europe and Russia. The wave of liberalism and democracy, which spread over Central and Eastern Europe as well as Russian Federation, has caused tension in Russia ruled by B. Yeltsin. Yeltsin's Russia was not able to tackle this problem by using measures of history politics in order to lessen the distance between Russia and the West. V. Putin undertook to find the solution to this situation, and he did. By using changes of international politics, he builds the image of Russia as a great power. Politics of history are subordinated to build this image; also, it is used as an instrument in domestic politics. The history politics of Russia has taken the shape of a manipulative form and serves the interests of V. Putins's power.

Lithuanian authors have challenges to study Russia's politics of history. The analysis is complicated because of a few factors. Diplomatic disputes and informative wars between Lithuania and Russia concerning historical questions have encouraged researches by historians but not by political scientists. In Lithuania, the questions of who and how is forming the history politics of Russia, what is its content and the function it accomplishes, remain unexamined. The analysis is further complicated by disagreement among Russian political scientists, historians, journalists, and politicians over the existence of such politics. The present analysis demonstrates that post-soviet Russia perceives the importance of historical memory, i.e. it understands that historical memory and its forms depend on the states' politics. Russia's political history genesis testifies that trends of such politics depend on the geopolitical orientation of its government. The end of the Cold War did not manage to conceal the fundamental differences between Europe and Russia. The wave of liberalism and democracy, which spread over Central and Eastern Europe as well as Russian Federation, has caused tension in Russia ruled by B. Yeltsin. Yeltsin's Russia was not able to tackle this problem by using measures of history politics in order to lessen the distance between Russia and the West. V. Putin undertook to find the solution to this situation, and he did. By using changes of international politics, he builds the image of Russia as a great power. Politics of history are subordinated to build this image; also, it is used as an instrument in domestic politics. The history politics of Russia has taken the shape of a manipulative form and serves the interests of V. Putins's power.

Lithuanian authors have challenges to study Russia's politics of history. The analysis is complicated because of a few factors. Diplomatic disputes and informative wars between Lithuania and Russia concerning historical questions have encouraged researches by historians but not by political scientists. In Lithuania, the questions of who and how is forming the history politics of Russia, what is its content and the function it accomplishes, remain unexamined. The analysis is further complicated by disagreement among Russian political scientists, historians, journalists, and politicians over the existence of such politics. The present analysis demonstrates that post-soviet Russia perceives the importance of historical memory, i.e. it understands that historical memory and its forms depend on the states' politics. Russia's political history genesis testifies that trends of such politics depend on the geopolitical orientation of its government. The end of the Cold War did not manage to conceal the fundamental differences between Europe and Russia. The wave of liberalism and democracy, which spread over Central and Eastern Europe as well as Russian Federation, has caused tension in Russia ruled by B. Yeltsin. Yeltsin's Russia was not able to tackle this problem by using measures of history politics in order to lessen the distance between Russia and the West. V. Putin undertook to find the solution to this situation, and he did. By using changes of international politics, he builds the image of Russia as a great power. Politics of history are subordinated to build this image; also, it is used as an instrument in domestic politics. The history politics of Russia has taken the shape of a manipulative form and serves the interests of V. Putins's power.