I denna studie undersöks hur tre rikstäckande svenska dagstidningar med varierande ideologisk grund gestaltat ett urval av politiska händelser på Kuba under Fidel Castros kommunistiska styre 1962–1994. De politiska händelserna på Kuba som granskats är Kubakrisen 1962, Olof Palmes Statsbesök 1975 samt Specialperioden 1990–1994. Frågeställningarnas fokus har dels legat på hur gestaltningarna av Kubas politik bibehållits eller förändrats under den undersökta perioden, och dels hur tidningarna förhållit sig till sin politiska grundideologi över tid. Avslut- ningsvis har detta resultat ställts mot Francis Fukuyamas tes om ”Historiens slut”. Gransk- ningen av materialet har skett med ett gestaltningsteoretiskt ramverk där en kvalitativ aspekt granskat gestaltningens perspektiv och urval, samt en kvantitativ aspekt som fokuserat på jour- nalistikens värdeomdömen mot Kubas politik. Resultat visar att det fanns betydande skillnader mellan tidningarnas gestaltningar och värdeomdömen under 1960- och 1970-talet. Under Spe- cialperioden på 1990-talet förenades dock samtliga tidningar i en samstämmig kritik mot Fidel Castros kommunistiska styre på Kuba. Detta tycks dels vara ett resultat av tidningarna i allt högre grad blivit nyhetsstyrda snarare än idéstyrda. Ideologiska nyanser skiljer tidningarnas gestaltningar åt, dessa perspektiv överskuggas dock på 1990-talet av att tidningarna samlas i en typ av liberaldemokratisk mittfåra som enhälligt fördömer kommunismen på Kuba. / This study examines how three nationwide newspapers in Sweden framed a sample of political events on Cuba during Fidel Castro's communist rule during the period 1962–1994. The news- papers are all linked to different political ideologies. The political events examined were the Cuban missile crisis 1962, Olof Palme's state visit 1975 and the Special Period 1990–1994. The purpose of the study was on one hand to examine if the framing of Cuba’s politics was main- tained or changed during this period, and on the other hand how the newspapers adhered to their political ideology over time. In conclusion these results are discussed in relation to Francis Fukuyamas thesis “The End of History?”. The study uses a frame analysis as a theoretical framework which has a qualitative aspect that examines the salient perspectives and selections, and a quantitative aspect which focus on value judgments towards Cuba's political leadership. The study shows that there were significant differences between the newspaper framing and value judgements during the 1960s and 1970s. During the 1990s there were a substantial shift, as the newspapers now united in a unanimous condemnation of the communist rule on Cuba. This seems to be a result of the newspapers becoming more news-driven rather than idea-driven. Although some ideological nuances persisted during the 1990s, overall the ideologies expressed by the newspapers seem to converge in the support of political and economic liberalism. Based on the results of this study, the major ideological battle of the 20th century was replaced by minor ideological disputes in the 1990s.

Deux décennies après la chute de l'URSS (1991), ce mémoire propose une réévaluation de la thèse de Francis Fukuyama sur la Fin de l'Histoire, élaborée en 1989, qui postule qu'avec la chute de l'URSS aucune idéologie ne peut rivaliser avec la démocratie libérale capitaliste; et de la thèse de Samuel P. Huntington sur le Choc des civilisations, élaborée en 1993, qui pose l'existence d'un nombre fini de civilisations homogènes et antagonistes. Pourtant, lorsque confrontées à une étude approfondie des séquences historiques, ces deux théories apparaissent pour le moins relatives. Deux questions ont été traitées: l'interaction entre Idéologie et Conditions historiques, et la thèse de l'homogénéité intracivilisationnelle et de l'hétérogénéité antagoniste intercivilisationnelle. Sans les invalider complètement, cette recherche conclut toutefois que ces deux théories doivent être nuancées; elles se situent aux deux extrémités du spectre des relations internationales. La recherche effectuée a montré que les idéologies et leur poids relatif sont tributaires d'un contexte, contrairement à Fukuyama qui les pose dans l'absolu. De plus, l'étude de la Chine maoïste et particulièrement de la pensée de Mao Zedong montre que les traditions politiques locales sont plus hétérogènes qu'il n'y paraît au premier abord, ce qui relativise la thèse de Huntington. En conclusion, les rapports entre États sont plus dynamiques que ne le laissent penser les thèses de Fukuyama et de Huntington. / The central purpose of this research is a revaluation, two decades after the 1991 demise of the USSR, of Francis Fukuyama's 1989 "End of History" theory, which postulates that with the fall of the USSR no major ideology is a challenger to the domination of liberal capitalist democracy; and of Samuel P. Huntington's 1993 "Clash of Civilizations" theory that postulates the existence of a finite number of antagonistic homogeneous civilizations. When confronted with the actual unfolding of historical events, these two absolute and uncompromising theories appear increasingly relative. Two questions were researched: the interaction between Ideology and Historical conditions in the case of Fukuyama, and that of the presupposed Intra-civilizational homogeneity and Inter-civilizational antagonistic heterogeneity. This research, not dismissing them totally, comes to the conclusion that they constitute the two opposite poles of a continuum that encompass most types of interactions between polities. First, this thesis comes to the conclusion that ideologies and their relative weight are part of a broader picture rather than absolutes in themselves, as Fukuyama argues. Furthermore, the study of Maoist China and especially of the thoughts of Mao Zedong strongly suggests the heterogeneity of political traditions locally, contrary to Huntington's thesis. In other words, interactions between polities seem more dynamic than the simplistic linear approaches of Fukuyama and Huntington.

Contemporary Italian philosopher, Gianni Vattimo (1991), has described ‘the end of history’ as a motif of our times. While neo-liberal conservatives such as Francis Fukuyama (1992) celebrated triumphantly, and perhaps rather prematurely after the fall of the Berlin Wall, ‘the end of history’ in the ‘inevitable’ global acceptance of the ideologies of free market capitalism and liberal democracy, methodological postmodernists (including Barthes, Derrida, Baudrillard, Lyotard, and Foucault), mobilised ‘the end of history’ throughout the later half of the twentieth century as a symbol of a crisis of confidence in the discourse of modernity, and its realist epistemologies. This loss of faith in the adequacy of representation has been seen by many positivist and empiricist historians as a threat to the discipline of history, with its desire to recover and reconstruct ����the truth���� of the past. It is argued by defenders of ‘traditional’ history (from Appleby, Hunt, & Jacob, 1994; R. J. Evans, 1997; Marwick, 2001; and Windschuttle, 1996; to Zagorin, 1999), and some postmodernists (most notably, Jenkins, 1999), that if we accept postmodern social theory, historical research and writing will become untenable. This study re-examines the nature of the alleged ‘threat’ to history posed by postmodernism, and explores the implications of postmodern social theory for History as curriculum. Situated within a broadly-conceived critical-reconceptualist trend in curriculum inquiry, and deploying a form of historically and philosophically oriented ‘deconstructive hermeneutics’, the study explores past attempts to mount, and future possibilities for, a curricular response to the problem of historical representation. The analysis begins with an investigation of ‘end of history’ discourse in contemporary theory. It then proceeds through a critical exploration of the social meliorist changes to, and cultural politics surrounding, the History curriculum in New South Wales (NSW), Australia, from the Bicentennial to the Millennium (1988-2000), a period that marked curriculum as a site of contestation in a series of highly public ‘history wars’ over representations of the nation’s past (Macintyre & Clark, 2003). It concludes with a discussion of the missed opportunities for ‘critical practice’ within the NSW History curriculum. Synthesising insights into the ‘nature of history’ derived from contemporary academic debate, it is argued that what has remained uncontested in the struggle for ‘critical histories’ during the period under study, are the representational practices of history itself. The study closes with an assessment of the (im)possibility of History curriculum after ‘the end of history’. I argue that if History curriculum is to be a critical/transformative enterprise, then it must attend to the problem of historical representation. / PhD Doctorate

Deux décennies après la chute de l'URSS (1991), ce mémoire propose une réévaluation de la thèse de Francis Fukuyama sur la Fin de l'Histoire, élaborée en 1989, qui postule qu'avec la chute de l'URSS aucune idéologie ne peut rivaliser avec la démocratie libérale capitaliste; et de la thèse de Samuel P. Huntington sur le Choc des civilisations, élaborée en 1993, qui pose l'existence d'un nombre fini de civilisations homogènes et antagonistes. Pourtant, lorsque confrontées à une étude approfondie des séquences historiques, ces deux théories apparaissent pour le moins relatives. Deux questions ont été traitées: l'interaction entre Idéologie et Conditions historiques, et la thèse de l'homogénéité intracivilisationnelle et de l'hétérogénéité antagoniste intercivilisationnelle. Sans les invalider complètement, cette recherche conclut toutefois que ces deux théories doivent être nuancées; elles se situent aux deux extrémités du spectre des relations internationales. La recherche effectuée a montré que les idéologies et leur poids relatif sont tributaires d'un contexte, contrairement à Fukuyama qui les pose dans l'absolu. De plus, l'étude de la Chine maoïste et particulièrement de la pensée de Mao Zedong montre que les traditions politiques locales sont plus hétérogènes qu'il n'y paraît au premier abord, ce qui relativise la thèse de Huntington. En conclusion, les rapports entre États sont plus dynamiques que ne le laissent penser les thèses de Fukuyama et de Huntington. / The central purpose of this research is a revaluation, two decades after the 1991 demise of the USSR, of Francis Fukuyama's 1989 "End of History" theory, which postulates that with the fall of the USSR no major ideology is a challenger to the domination of liberal capitalist democracy; and of Samuel P. Huntington's 1993 "Clash of Civilizations" theory that postulates the existence of a finite number of antagonistic homogeneous civilizations. When confronted with the actual unfolding of historical events, these two absolute and uncompromising theories appear increasingly relative. Two questions were researched: the interaction between Ideology and Historical conditions in the case of Fukuyama, and that of the presupposed Intra-civilizational homogeneity and Inter-civilizational antagonistic heterogeneity. This research, not dismissing them totally, comes to the conclusion that they constitute the two opposite poles of a continuum that encompass most types of interactions between polities. First, this thesis comes to the conclusion that ideologies and their relative weight are part of a broader picture rather than absolutes in themselves, as Fukuyama argues. Furthermore, the study of Maoist China and especially of the thoughts of Mao Zedong strongly suggests the heterogeneity of political traditions locally, contrary to Huntington's thesis. In other words, interactions between polities seem more dynamic than the simplistic linear approaches of Fukuyama and Huntington.

The times coming with the End of the Cold War were very turbulent. Politicians had to take into the consideration lots of scenarios and the next global trends to make correct decisions. Most of the very numerous visions of the future global order followed more or less the twofold pattern: order or anarchy. "The End of History and the Last Man" and "The Clash of Civilizations and the Remaking of World Order" written by two prominent American political scientists Francis Fukuyama and Samuel P. Huntington and published at the beginning of the 90s are the most representative works that fit into this pattern. These provocative and controversial theories have been criticized and empirically challenged by many on one side, on the other side it hasn't impeded others to use them as a starting point for their next analyses. This dissertation thesis is a contribution to the debate between the dissenters and the supporters of these theories from a predictive point of view. Through the research theoretical methodology it is argued that the examined theories are still valid even nowadays because their theoretical essence (or hard core in the Lakatosian research program) has not been refuted yet. Nevertheless, the hard core of the theories determines their very specific character which puts forward the importance of the factors labelled in the Lakatosian framework as an external history of a science. These factors organized according to the Mehtas criteria of so called strong idea are, especially in the social sciences, decisive for how a theoretical construct is accepted in a broader non-academic context. It is demonstrated that both theories fulfill all criteria to be very influential in practice, although the idea of clash of civilizations is even more powerful in this respect. The specific features of all theories are illustrated on two case studies: Union of South American Nations and Shanghai Cooperation Organization. Firstly, the selection of these case studies is justified and secondly, the anomalies in terms of the Lakatosian methodology are identified and then explained. There have been found no unexplainable anomalies, which practically confirms the validity of both research programs on one side, on the other side it facilitates a better assessment of the studied theories in a sense of their interpretative scope and possibilities.

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I denna uppsats undersöker vi hur kapitalistisk realism, så som formulerat av Mark Fisher, uttrycks i två samtida romaner: The Road (2006) av Cormac McCarthy och Another Now (2021) av Gianis Varoufakis. Vi undersöker även romanernas relation till hopp och använder Ernst Blochs idéer i ämnet. I McCarthys skildring av människan, samhället och tiden, bekräftas kapitalistisk realism genom glorifiering av bland annat irrationalitet, brutal individualism och det "eviga nuet". Hoppet i romanen är av religiös natur. I Another Now, å andra sidan, ifrågasätts kapitalistisk realism, och alternativa synsätt och sociala arrangemang föreslås. Hoppet sammanfaller här med Blochs idé om det begripliga hoppet. / In this paper we examine how capitalist realism, as formulated by Mark Fisher, is expressed in two contemporary novels: The Road (2006) by Cormac McCarthy and Another Now (2021) by Yanis Varoufakis. We also examine how the novels relate to hope, and use Ernst Blochs ideas on the subject. In McCarthy's depiction of humanity, society, and time, capitalist realism is validated through, among other things, the glorification of irrationality, brutal individualism, and the "eternal present". Hope in the novel is of a religious character. In Another Now, however, the same ideology is questioned, and alternative views as well as concrete post-capitalist social arrangements are proposed. Here, hope aligns with Bloch's idea of comprehended hope.

This dissertation deploys theories of spatiotemporal experience and organization, most prominently Mikhail Bakhtin’s “chronotope,” to set contemporary literature, film, and music into dialogue with theories of post-Wende social and political experiences and possibility that speak, with Francis Fukuyama, as the contemporary as the “End of History.” Where these interlocutors of Fukuyama generally affirm or intensify his view of the contemporary as a time where historical progress slows to a halt, historical memory recedes from view, and the conditions of subjecthood are rephrased from participation in a struggle for progress to mindless consumption and technocratic tinkering, I engage contemporary artwork to flesh out and ultimately peer beyond the boundaries of the real and the possible these social theories articulate. Through a series of close readings of German films, music albums, and novels published between 1995 and 2021, I examine how German authors, filmmakers, and musicians pursue depictions of the malaises of the End of History while also resolutely pointing to the fissures in liberal capitalist hegemony where history—its past and its future—again becomes visible. Mikhail Bakhtin’s notion of the chronotope, a text’s unified expression of space and time, is central to my method of analysis. In tracing the chronotopic contours of contemporary works of music, film, and literature, I argue, we—as readers, viewers, and listeners—are engaged to think and act alongside the forms and figures that populate the worlds their authors create. In doing so, we ultimately uncover forceful accusations, resolute alternatives, and even hopeful antidotes to the deficiencies of our present that help us both to soberly contemplate the implications the pessimistic formulations of contemporary theory have on our lives, communities, and futures but also to formulate possibilities for them that lie beyond their analytical purview.In a series of close readings of my literary, filmic, and musical primary texts, I engage theorists of the post-Cold War, post-Wende contemporary who write about the political order and social conditions emerging out of the triumph of neoliberalism and market capitalism over socialist, communist, and fascist alternatives. The dissertation begins by establishing a wide view of the contemporary, tracing in its first chapter chronotopic resonances of Hartmut Rosa’s “social acceleration” thesis—which locates the aimlessness and alienation of contemporary society within the accelerationist logic of market capitalist modes of production—across the full temporal arc of the contemporary. Pairing Christian Kracht’s Faserland (1995) with Fatma Aydemir's Ellbogen (2017), I argue that the futilities and frustrations of the modern subject, as foretold in Fukuyama’s “End of History” essay and fleshed out in Rosa’s writings on social acceleration, find resonance not only in the wealthy, educated, white protagonist of Faserland’s 1990s, but also in the impoverished, undereducated, Turkish-Kurdish protagonist of Ellbogen some twenty years later. What connects these two accounts across decades and differences in identities, I demonstrate, is not merely a shared sense of alienation and despair, but a shared, underlying chronotopic characterization of the contemporary. These commonalities appear, I demonstrate, when we connect Rosa’s “social acceleration” thesis to diegetic chronotopes of perpetual motion that depict modern subjects’ inability to avail themselves of the ostensibly liberatory potential of liberal capitalism’s accelerated lifeworld. Chapter 2 then considers Byung-Chul Han’s theory of auto-exploitation and the dilemma of the music novel at a time where the rebellion of punk against social integration has been thoroughly incorporated into capitalism. Reading Marc Degens’ Fuckin Sushi (2015), I examine the novel’s concept of “Abrentnern” as a model for personal and communal fulfillment for those who turn to art as a means self-determination in the age of auto-exploitation. Unlike Kracht and Aydemir, however, Degens sees the closing off of historical possibilities for the good life enjoyed by his punk forbears—here, self-determination through transgressive artistic praxis—not as the contemporary subject’s damnation to cyclical patterns of despair but as a challenge to conceive of the good life anew. Working humorously through its hapless protagonist Niels’ repeated attempts to escape the seemingly inevitable for-profit co-option of his sincere artistic efforts, the novel serves to unveil the persistence of blind spots in this regime of totalizing exploitation. What results is an account of the double-edged logic of capitalist productivity’s ostensible totalization of labor-time. Capitalism, Niels unwittingly discovers, is a logic of production so overwhelming that it continuously drives subjects towards the discovery of new alterities that, for a brief time at least, allow subjects once again to slip between the cracks. The third chapter explores a similar phenomenon of halting resistance to the conditions of the capitalist present through the lens of futurity. Here, I push back against Mark Fisher’s theory of the dominance of “Capitalist Realism” in the contemporary aesthetic imagination, identifying and developing the notion of “subtle futurity”—the modest, yet resolute rephrasing of future possibility beyond the “way things are” of the present—in Leif Randt’s Schimmernder Dunst über CobyCounty (2011) In this light, I argue, Randt’s gestures towards a different future, however halting, mark a significant effort to imagine a benevolent form of future possibility within the context of an era often suspected to have been exhausted of its utopian sentiment. The final two chapters turn to past-minded works that more forcefully repudiate notions of the present as static or closed off from the movement of history. Chapter Four considers W.G. Sebald’s 1995 novel, Die Ringe des Saturn, and The Caretaker’s 2012 album, Patience (After Sebald), developing an account of the chronotopic means by which these works revisit materials of the past within the present. Chronotopic motifs of paraphrase—techniques of sampling in The Caretaker and narrative polyphony in Sebald—come together within macro-level chronotopic frameworks of peripatetic movement—looping repetition in The Caretaker and the retracing of bygone journeys in Sebald—to testify to the unanswered questions and unfinished work of history over and against notions of the present as a time where the past has been relegated to mere museum content or nostalgia for bygone ways of living. Where Chapter Four speaks primarily to the formal mechanisms by which the present rediscovers the past, Chapter Five examines two specific chronotopic innovations for thematically engaging constellations of past-present inter-temporality. Both Sharon Dodua Otoo’s 2021 novel, Adas Raum, and Christian Petzold’s 2018 film, Transit, develop chronotopes wherein past and present are intermingled in increasingly inseparable ways. Adas Raum, I demonstrate, is organized spatiotemporally as a nexus of coiled loops—pasts and presents intertwine, heaven and earth are tangled together, and the fates of human beings and even non-human objects follow spatial and temporal trajectories that weave in and out of conventional linear understandings of space and time. In similar fashion, past and present become inseparable in Petzold’s film, an adaptation of the Anna Seghers’ 1944 novel of the same name, through thematic and formal approaches of blurring that blend the plight of refugees of Seghers’ era with those of Petzold’s present day. History, then, appears remarkably robust in these texts, unfolding accounts of how human beings living through their present might take guidance from the generations that preceded them in the struggle for a better world.