The intensification of historical consciousness in 1988 encouraged the questioning of the remains of the Soviet epoch and the search for heroic examples in the remote history of the state. After the first memoirs were published during the first years of independence, various forms of social memory appeared: a list of memorable days and founding of new museums. But at the period of the rebirth the collective memory was more consensual. The reconstructed monuments of the prewar period became the products of collective memory, the ideological content of which equally satisfied both the post-Soviet elite, aiming for the legitimization, and the nation, thirsty for freedom. At that time the monuments became the instruments of the socio-political power used to legitimize authority, to construct individual and collective memory. The signs of the public places witnessed the configuring of heritage that helped to determine the spirit and direction of the newly established nation-state. Therefore it became a meaningful part of the politics of memory.
The aim of the study is to reveal the differences in the attitudes to Čiurlionis' creative work by the Lithuanian composers of two different generations – Bronius Kutavičius and Vidmantas Bartulis. The primacy of constructive or emotional relationship is demonstrated and the differences between modern and postmodern attitudes are studied with the help of analytical and comparative methods. However, this divide does not eliminate certain similarities. The period between the commemoration of Čiurlionis' birth centenary in 1975 and the year 2005 is examined. Kutavičius' "Dzūkiškos variacijos" (Dzukian Variations), Bartulis' "Ūkanos" (Mist), "Hommage à Čiurlionis" and "Kelias" (The Way) are analysed. The reasons for late reception are studied, and the political and cultural conditions discussed. Establishing a national musical school, the composers (just like Čiurlionis himself ) stressed folk tradition for a long time; only later did they start to purposely build links with their predecessors. It is stated how with the passing of time it is possible to distance oneself from an idealised relationship, and the approach as if it were an icon has also changed. The possibility of a more relaxed communication is linked with the changing from general relationships to personal. The artist who creates an opus that has been greatly influenced by others does not necessarily draw on the "peaks". It is possible that unresolved and unexpanded things, certain dead ends, or some collateral phenomena for which the genius simply had no time can be important for further expansion of art. Nevertheless, incorporated music is often employed as a sign and then the most characteristic works are drawn on. In cases of intertextuality, personal concurrence is rare and it imparts an additional dimension to other authors' creative idea that is being expanded. With the increasing number of works marked by in-texts, the listener is directed to search for them. In Čiurlionis' case, we have a peculiar phenomenon as honouring this symbolic Lithuanian figure other composers draw on his painting and graphic works, textual legacy, his music, or his personality. In his "Dzūkiškos variacijos" (Dzukian Variations) for chamber orchestra, piano and tape, Kutavičius not only pays homage to Čiurlionis but also as though builds a solidarity link between folk art, Čiurlionis' legacy and modern composing techniques. Meanwhile, in Bartuli's "Kelias" for mixed choir, saxophone, percussion and tape, Čiurlionis exists as an imaginary dramatic personage and thus here we can speak about stylistic biographic intertextuality
The aim of the study is to reveal the differences in the attitudes to Čiurlionis' creative work by the Lithuanian composers of two different generations – Bronius Kutavičius and Vidmantas Bartulis. The primacy of constructive or emotional relationship is demonstrated and the differences between modern and postmodern attitudes are studied with the help of analytical and comparative methods. However, this divide does not eliminate certain similarities. The period between the commemoration of Čiurlionis' birth centenary in 1975 and the year 2005 is examined. Kutavičius' "Dzūkiškos variacijos" (Dzukian Variations), Bartulis' "Ūkanos" (Mist), "Hommage à Čiurlionis" and "Kelias" (The Way) are analysed. The reasons for late reception are studied, and the political and cultural conditions discussed. Establishing a national musical school, the composers (just like Čiurlionis himself ) stressed folk tradition for a long time; only later did they start to purposely build links with their predecessors. It is stated how with the passing of time it is possible to distance oneself from an idealised relationship, and the approach as if it were an icon has also changed. The possibility of a more relaxed communication is linked with the changing from general relationships to personal. The artist who creates an opus that has been greatly influenced by others does not necessarily draw on the "peaks". It is possible that unresolved and unexpanded things, certain dead ends, or some collateral phenomena for which the genius simply had no time can be important for further expansion of art. Nevertheless, incorporated music is often employed as a sign and then the most characteristic works are drawn on. In cases of intertextuality, personal concurrence is rare and it imparts an additional dimension to other authors' creative idea that is being expanded. With the increasing number of works marked by in-texts, the listener is directed to search for them. In Čiurlionis' case, we have a peculiar phenomenon as honouring this symbolic Lithuanian figure other composers draw on his painting and graphic works, textual legacy, his music, or his personality. In his "Dzūkiškos variacijos" (Dzukian Variations) for chamber orchestra, piano and tape, Kutavičius not only pays homage to Čiurlionis but also as though builds a solidarity link between folk art, Čiurlionis' legacy and modern composing techniques. Meanwhile, in Bartuli's "Kelias" for mixed choir, saxophone, percussion and tape, Čiurlionis exists as an imaginary dramatic personage and thus here we can speak about stylistic biographic intertextuality
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.
More than 130 years of shared history between France and Algeria followed by one of the most brutal wars of decolonization in 1962 generated important developments in both countries and their self-perceptions. However, immediately after the war, France began a policy of "national amnesia" towards the memories of Algeria. There is a "halo effect" that imputes an Algerian origin to any Arab-looking individual. Thus, since the biggest part of Arabs in France are of North African descent, in this research, Algeria is seen as a medium through which France perceives its Arab part of identity. The fact that the shared history with Algeria, memories and France's wrongdoings during the war were not included in the national narrative of France had negatively influenced France's ability to integrate its Arab population. The awareness of its own growing pluralism and inability to accept it has created an identity crisis. This article attempts to address this particular issue.
More than 130 years of shared history between France and Algeria followed by one of the most brutal wars of decolonization in 1962 generated important developments in both countries and their self-perceptions. However, immediately after the war, France began a policy of "national amnesia" towards the memories of Algeria. There is a "halo effect" that imputes an Algerian origin to any Arab-looking individual. Thus, since the biggest part of Arabs in France are of North African descent, in this research, Algeria is seen as a medium through which France perceives its Arab part of identity. The fact that the shared history with Algeria, memories and France's wrongdoings during the war were not included in the national narrative of France had negatively influenced France's ability to integrate its Arab population. The awareness of its own growing pluralism and inability to accept it has created an identity crisis. This article attempts to address this particular issue.
More than 130 years of shared history between France and Algeria followed by one of the most brutal wars of decolonization in 1962 generated important developments in both countries and their self-perceptions. However, immediately after the war, France began a policy of "national amnesia" towards the memories of Algeria. There is a "halo effect" that imputes an Algerian origin to any Arab-looking individual. Thus, since the biggest part of Arabs in France are of North African descent, in this research, Algeria is seen as a medium through which France perceives its Arab part of identity. The fact that the shared history with Algeria, memories and France's wrongdoings during the war were not included in the national narrative of France had negatively influenced France's ability to integrate its Arab population. The awareness of its own growing pluralism and inability to accept it has created an identity crisis. This article attempts to address this particular issue.
More than 130 years of shared history between France and Algeria followed by one of the most brutal wars of decolonization in 1962 generated important developments in both countries and their self-perceptions. However, immediately after the war, France began a policy of "national amnesia" towards the memories of Algeria. There is a "halo effect" that imputes an Algerian origin to any Arab-looking individual. Thus, since the biggest part of Arabs in France are of North African descent, in this research, Algeria is seen as a medium through which France perceives its Arab part of identity. The fact that the shared history with Algeria, memories and France's wrongdoings during the war were not included in the national narrative of France had negatively influenced France's ability to integrate its Arab population. The awareness of its own growing pluralism and inability to accept it has created an identity crisis. This article attempts to address this particular issue.
The aim of the methodical tool is to improve students' knowledge and give major guidelines on the writing of BA/ MA thesis or a reasearch paper on the history of a military unit (regiment, batallion, company, batery, etc.), military combination (division, brigade, group, file, etc.), military service (engineering, communication, medical, etc.) or subdivisions (company, group, etc.) of paramilitary organizations (Shooters Union, Scouts Association, Young Lithuania).
The aim of the methodical tool is to improve students' knowledge and give major guidelines on the writing of BA/ MA thesis or a reasearch paper on the history of a military unit (regiment, batallion, company, batery, etc.), military combination (division, brigade, group, file, etc.), military service (engineering, communication, medical, etc.) or subdivisions (company, group, etc.) of paramilitary organizations (Shooters Union, Scouts Association, Young Lithuania).
The aim of the methodical tool is to improve students' knowledge and give major guidelines on the writing of BA/ MA thesis or a reasearch paper on the history of a military unit (regiment, batallion, company, batery, etc.), military combination (division, brigade, group, file, etc.), military service (engineering, communication, medical, etc.) or subdivisions (company, group, etc.) of paramilitary organizations (Shooters Union, Scouts Association, Young Lithuania).
