Exploration of the influence that politics may have on artists’ creativity has been undertaken by looking at selected works of Yugoslav film director Aleksandar Petrović. An attempt was made to identify thematic or stylistic motifs in his films that could be understood as reflections on the political context in which the work was made. One of the most common approaches to examine a work of one filmmaker, the auteur theory, has been modified into the theory of political auteur, to aid in identifying recurrent motifs and themes that artists introduce in their work as a reaction to the surrounding political reality. As Petrović worked in Yugoslavia during Socialism, this period was historicised in order to support the identification of ‘political motifs’ in his films. The period between 1965 and 1973 is taken as the focus of research, since it is known as the 'liberal hour', the period of great artistic and intellectual freedoms, during which Petrović directed four of his most significant films. Each of these four films is analysed in respective chapters, first by elaborating on the then current political background, and then by analysing the films’ narratives against it, and extrapolating thematic and stylistic motifs reflecting back on this background. Such exploration of art and politics has been undertaken with a view to emphasise consistent motifs in art works, not only to do with an artist’s personal interests, but also those that emerge as a result of imposing societal structures.

The Iron Curtain was seen as the divider between East and West in Cold War Europe. The term is closely connected to the Cold War and expressions such as ‘behind the Iron Curtain’ or ‘after the fall of the Iron Curtain’ are common within historical discussions in the second half of the twentieth century. Even if the term was used regularly as a metaphor there was also a material side with a series of highly militarised borders running throughout Europe. The metaphor and the material borders developed together and individually, sometimes intertwined and sometimes separate. In my research I have carried out two fieldwork studies at sites that can be considered part of the former Iron Curtain. The first study area is located between Italy and Slovenia (formerly Yugoslavia) in which the division between the two towns of Nova Gorica on the Slovenian side and Gorizia on the Italian side was investigated. The second study area is located on the border between Austria and Czech Republic (formerly Czechoslovakia) within two national parks. A smaller study was also carried out in Berlin as the Berlin Wall is considered of major importance in the context of the Iron Curtain. This research has resulted in large quantities of sources and information and a constant need to re-evaluate the methods used within an archaeology of a more recent past. This thesis falls within what is usually referred to as contemporary archaeology, a fairly young sub-discipline of archaeology. Few large research projects have so far been published, and methods have been described as still somewhat experimental. Through my fieldwork it has been possible to acknowledge and highlight the problems and opportunities within contemporary archaeology. It has become clear how the materials stretch both through time and place demonstrating the complex process of how the material that archaeologists investigate can be created. The material of the Iron Curtain, is also well worth studying in its own right.

This thesis aims to illustrate and explain contemporary interactions between Western ethnographic museums and broader society. It is based on one central case study, the Slovene Ethnographic Museum (SEM) in Ljubljana, Slovenia. A majority of informants expressed a wish for the museum to be a platform for dialogue. In connection to their visions, this thesis discusses the potential of ethnographic museums to work towards promoting and facilitating inclusivity and social change as well as some tensions that arise from this development. This is done through an analysis of ethnographic data on museum employees’ views on the relevance and responsibilities of the museum and its status as a cultural and scientific institute. New museology and actor-network theory are used as primary analytical tools. A responsibility to represent ‘correctly’ in the museum is related to the influence that tangible and intangible heritages, as actants, can have on society. It is argued that cultural heritage could be instrumental in achieving positive social change. However, there is a core tension between the envisioned position of the museum and the power hierarchy that it maintains through its identity as a scientific institute that shapes dominant knowledge.

Orientador: Omar Ribeiro Thomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T19:33:24Z (GMT). No. of bitstreams: 1 Peres_AndreaCarolinaSchvartz_M.pdf: 10336899 bytes, checksum: a3e29271a5b424d7c266b0cbbd96717d (MD5) Previous issue date: 2005 / Resumo: A desagregação da antiga República Federativa da Iugoslávia e as quatro guerras que então se sucederam - as guerras na Eslovênia, na Croácia, na Bósnia-Herzegóvina e no Kosovo - foram objeto da mídia em todo o mundo, inclusive no Brasil. Nesta dissertação, analiso a cobertura dessas guerras pela imprensa escrita brasileira, particularmente a realizada pelos jornais Folha de S. Paulo e O Estado de S. Paulo, tendo em vista algumas hipóteses iniciais de pesquisa: (a) há uma mudança significativa na abordagem dos conflitos do período da guerra fria para o período seguinte, pós-guerra fria, que abandona progressivamente um vocabulário predominantemente "estratégico" por um crescentemente "culturalista"; (b) a imprensa passa a enfatizar supostas diferenças ontológicas entre as populações em conflito, afirma a existência de nós x eles, e aponta para uma crescente naturalização e apolitização dos conflitos; (c) a imprensa atualiza uma tradição discursiva de representação dos Bálcãs. Para tanto, procurei compreender o modo como funcionam os jornais, como se dá a produção da notícia e como trabalham os jornalistas, particularmente, os enviados especiais brasileiros que foram à ex Iugoslávia fazer a cobertura. Ao longo da pesquisa, constatei a existência de um discurso sobre as guerras na ex-Iugoslávia recorrente na imprensa. Uma etnografia da imprensa - a leitura sistemática dos principais jornais, a compreensão da dinâmica do jornalismo internacional, a realização de entrevistas com os enviados especiais às diferentes guerras na ex-Iugoslávia - acabou não apenas por confirmar parte das hipóteses esboçadas como demonstrar uma série de aproximações e distanciamentos entre o jornalismo e a própria antropologia, quer no que diz respeito ao uso de determinados conceitos, quer, sobretudo, na forma como imprensa acaba por reproduzir determinadas categorias constitutivas da alteridade / Abstract: The disruption of the former Federal Republic of Yugoslavia and the four following wars in Slovenia, Croatia, Bosnia-Herzegovina, and Kosovo, were on the news worldwide including Brazil. In this dissertation, the written press coverage of these wars in Brazil is analyzed, particularly the coverage by the Folha de S. Paulo and O Estado de S. Paulo newspapers, based on some initial hypotheses: (a) there is a significant change on the approaches of these conflicts from cold war period to the next period, post-cold war, which abandons progressively a strategic vocabulary, for an increasing culturalistic one; (b) the press starts to emphasize supposed ontological differences among the populations in the conflicts, ratifies an existence of an We versus Them, and indicates an increasing naturalization and apoliticization of the conflicts; (c) the press updates a discursive tradition of representation of the BaIkans. For that, I tried to understand the way the written press works, how the news are produced and how the journalists operate, particularly, the Brazilian correspondents that visited the former Yugoslavia to cover the war. Throughout the research, I noticed the existence of a recurring rhetoric in the press about this wars. An ethnography of the written press - a systematic reading of the main local newspapers, an understanding of the international journalism dynamics, and the interviewing of Brazilian correspondents sent to these different wars - not only ended up confirming part of the hypothesis presented before, but also demonstrating similarities and differences between the journalism and the anthropology itself: some of them related to the use of certain concepts, and others, moreover, related to the way the press reproduces certain categories of alterity / Mestrado / Mestre em Antropologia Social

Based on Hobsbawm’s notion of “invented traditions,” this thesis argues that the Serbian warrior tradition, the hajduk, was formalised from the folk oral epic tradition into official state practices. Using reports from the Balkan Wars of 1912-1913, military histories of Yugoslavia’s Second World War, and case files from the International Criminal Tribunal for the Former Yugoslavia (ICTY), this thesis shows how the hajduk epics were used to articulate war programs and formations, to construct perpetrator and victim identities, and to help encourage and justify the levels of violence during the Yugoslav wars of succession, 1991-1995. The thesis shows how the formalising of the invented hajduk tradition made the epics an important part of political and military mobilisation for at least the last two centuries. During Serbia’s modernisation campaign in the nineteenth century, the epic hajduk traditions were codified by Serbian intellectuals and fashioned into national stories of heroism. While cleansing territories of undesirable populations during the Balkan Wars of 1912-1913, the hajduks were portrayed in the tradition of nation builders by the Kingdom of Serbia. The hajduk tradition was also mobilised as Nazi Germany invaded Yugoslavia in 1941, with both Draža Mihailović’s Četniks and Tito’s Partisans appropriating the historic guerrilla tradition. During the “re-traditionalisation” period under Slobodan Milošević in the 1980s, the invented hajduk tradition was again mobilised in the service of war. As Bosnian Muslim bodies were flung from the Mehmed Sokolović Bridge in Višegrad in 1992, the Serbian perpetrators dreamed of themselves as avenging hajduks thus justifying a modern ethnic cleansing. / Graduate