abstract: This dissertation focuses on the study of Western esotericism in European culture and forms a method of discovering esoteric topics in cultural artifacts. Using the definition as a corpus of knowledge historically divided between esoteric, reserved for the intellectual and power elite, and exoteric, available for everybody, I argue that esotericism represents the knowledge that always accompanied the cultural production of the Mediterranean zone, adding a spiritual meaning to any visual or written work of art. The contemporary novels of the past decade by the Spanish author Javier Sierra are fully based on a historical investigation, in which esotericism appears as a nuclear topic, revealing the great interest of the public in the mysteries of the past. Through the postmodern cultural theories, together with sociological and historical methods, the dissertation explores the cultural processes that lead to the shift of esoteric knowledge in the 20th century from secretive to publically available. The study defines the purpose of recreating the European past and investigates the secrets of European cultural formation. Through an insider-outsider perspective, it analyzes the cultural artifacts, that appear in the novels in the form of reference or as a nuclear part of the plot. It presents the scope of esoteric currents, that are divided between the discipline of religion, science, and philosophy, which form the tetrahedron of knowledge as a theoretic model for this study. The constructed model reveals the interaction of the three disciplines throughout the history and examines the reasons for the religious disenchantment of the 20th century, proven through Digital Humanities’ research as the predominance of science over the Catholic Church, which allowed the esoteric knowledge to reappear. The study explores the affiliation of esotericism with science through the scientific-cultural inquiries between the ancient myths and reality, by showing that man’s consciousness had always been dependent on the scientific perception of the world. It explores the pagan symbolism that is mixed with Christian traditions and reveals the stories, hidden behind the representation of the greatest works of art, by combining and analyzing the wisdom of the past and the contemporary spiritual inquiries in their philosophical meaning. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

The 12th “European Culture” Conference, organised by the Charlemagne Institute for European Studies (part of the Universitat Internacional de Catalunya (UIC)), went off well in Barcelona on 24–26 October 2013 and was regarded as a success. This traditional authoritative forum covered a wide variety of topics on European identity, public space, economy and crisis, cultural and social aspects of European integration, cultural heritage, language and translation, literature, cinema art, city culture formation and many other relevant issues.

<p>During the last two decades the citizens’ trust in the European Union (EU) has decreased. It has been established that the Union suffer from a democratic deficit which has caused it to impose so called “identity-policies”. There is a need for the citizens to identify with the Union as a foundation of its legitimacy. But there is a problem since there is no clear idea of who constitutes “the people” in the European case.</p><p>Democratic theory presupposes a demos and a polity. The problem of the EU is that there are difficulties defining the ‘demos’ – there are difficulties identifying ‘the people’. The fact that the EU is in a situation where it has to deal with ‘peoples’ instead of a ‘people’ (demoi instead of demos) makes it more difficult since demos is closely related to the ‘nation’. Only nations may have states, thus the EU may not have a state. Hence it is difficult for the EU to conceptualize a demos, and without a demos there cannot be democracy. By arguing in this way the great need to create a ‘peoples’ Europe’ is understandable.</p><p>The thesis will concentrate on why there is a lack of a demos, or a “We-feeling”, within the Union, why this is a source of anxiety, and what possibly could unite the Union.</p><p>Attempts have been made to create a ‘European’ identity through constitution-making (however, a new constitution was recently rejected) and citizenship rights. The Union has also adopted a number of symbols to facilitate the citizens in identifying with the Union. Most of these symbols have been similar to those of the memberstates, thus, the Union has tried to use the methods of nation-building to overcome the legitimacy problem. Still, there is a lack of uniqueness of the Union. This may be for various reasons. Institution-building and constitution-making cannot alone provide democratic legitimacy; social practice and contestation must be included. This should take place in a public sphere but, in order to ‘have’ a public sphere, there must be a certain degree of collective identification.</p><p>It has also been claimed that there is a ‘European’ culture stemming from three ancient treasure houses (the ancient Near East, the ancient Greece, and the Roman Empire). Since culture is based on norms, i.e. customs, attitudes, beliefs, and values of a society, it is of importance to the Union when this is what politics are based on.</p><p>The study of this topic is relevant since the EU has an increased impact on the lives of its citizens, yet troubles to reach them. There is a lack of communication between the Union and its citizens and the democratic deficit becomes more and more obvious. The methods used by the Union do not seem successful and the issue of a European identity has become a source of anxiety.</p>

The diploma work deals with ethical dilemmas and conflicts in the European culture. It examines the disturbance of the human destiny in the paradigmatic characters of Antigone and Hamlet. On the basis of the two tragedies, the diploma work tries to reconstruct ethical teaching standing in the background of these two pieces of work. The diploma work is divided into four main chapters. In the first two chapters I concentrated, on the basis of professional literature, on the principal works Antigone and Hamlet. Then I handled the personality of the main characters, their contemplation of the problem, their thinking about how to make a decision and how they came to the way to solve their own situation. The third chapter deals with disturbance of human destiny. The fourth chapter is a synthesis of all the information which I gained while dealing with the topic of the diploma work.

This master thesis is focused on the phenomenon of cultural appropriation and the use of American Indian imagery in American and European culture. In both cultures are American Indians represented by distorted image of the universal White Man's Indian, which leads to the perception of them only as relicts of the past. In the United States, Native Americans try to point out the negative impacts, which the distorted image has on them, but the dominant white society refuses to acknowledge the inappropriateness of such images. The master thesis focuses on the historical evolution of the Native American image in American and European cultures. The author explains why the image was distorted and why the distortion still remains in both cultures. Then, the master thesis examines examples of appropriation of the American Indian in contemporary culture. Considering the extensiveness of this topic, the author focuses only on one example of cultural appropriation, which is the issue of Native Americans mascots and sports logos. On the American continent, the author chose the most controversial case of the Washington football team - the Washington Redskins. Despite the long history of Native American activism against the Redskins brand, the team refuses to change their racist name and logo. In Europe, the...

During the last two decades the citizens’ trust in the European Union (EU) has decreased. It has been established that the Union suffer from a democratic deficit which has caused it to impose so called “identity-policies”. There is a need for the citizens to identify with the Union as a foundation of its legitimacy. But there is a problem since there is no clear idea of who constitutes “the people” in the European case. Democratic theory presupposes a demos and a polity. The problem of the EU is that there are difficulties defining the ‘demos’ – there are difficulties identifying ‘the people’. The fact that the EU is in a situation where it has to deal with ‘peoples’ instead of a ‘people’ (demoi instead of demos) makes it more difficult since demos is closely related to the ‘nation’. Only nations may have states, thus the EU may not have a state. Hence it is difficult for the EU to conceptualize a demos, and without a demos there cannot be democracy. By arguing in this way the great need to create a ‘peoples’ Europe’ is understandable. The thesis will concentrate on why there is a lack of a demos, or a “We-feeling”, within the Union, why this is a source of anxiety, and what possibly could unite the Union. Attempts have been made to create a ‘European’ identity through constitution-making (however, a new constitution was recently rejected) and citizenship rights. The Union has also adopted a number of symbols to facilitate the citizens in identifying with the Union. Most of these symbols have been similar to those of the memberstates, thus, the Union has tried to use the methods of nation-building to overcome the legitimacy problem. Still, there is a lack of uniqueness of the Union. This may be for various reasons. Institution-building and constitution-making cannot alone provide democratic legitimacy; social practice and contestation must be included. This should take place in a public sphere but, in order to ‘have’ a public sphere, there must be a certain degree of collective identification. It has also been claimed that there is a ‘European’ culture stemming from three ancient treasure houses (the ancient Near East, the ancient Greece, and the Roman Empire). Since culture is based on norms, i.e. customs, attitudes, beliefs, and values of a society, it is of importance to the Union when this is what politics are based on. The study of this topic is relevant since the EU has an increased impact on the lives of its citizens, yet troubles to reach them. There is a lack of communication between the Union and its citizens and the democratic deficit becomes more and more obvious. The methods used by the Union do not seem successful and the issue of a European identity has become a source of anxiety.

Background: In 2009, the European Union (EU) adopted the Common Security and Defence Policy (CSDP). This contributed to an already on-going change amongst the armed forces of the Union. No previous research has examined how the skills required of young officers in the EU are taught at the Basic Officer Education within either Sweden or Austria. Purpose: This thesis examines to what extent the skills needed of young officers in a CSDP-environment are taught during the Basic Officer Educations in Sweden and Austria. The purpose is to conclude if the Swedish and Austrian Basic Officer Educations are complying with the political wills of their respective countries, to adapt their armed forces to the EU and CSDP. Method: The author compares the Swedish and Austrian Basic Officer Education by examining curriculums and syllabuses, as well as conducting expert interviews with officials at the schools and comparing the results. The educations are examined based on how they educated the concept of CSDP and how interoperability and a European culture of defence are promoted. Conclusion: The results show that both Sweden and Austria educate their cadets in the CSDP and take measurements to promote interoperability and a European culture of defence. The results suggest that Austria does so to a further extent. Based on the results, the author suggests increased exchanges, Pooling &amp; Sharing during Basic Officer Education and further developments towards a common European Basic Officer Education. / <p>Erasmus</p>

All bodies of critical discourse on any given literary canon seek visibility through self- celebration, subversion of competing critical ideas and identification with supposedly popular, scientific and incisive critical theories. Thus, the literary-critical quest for significance and visibility is, in essence, a quest for „space‟, „voice‟ and „authority‟ in the discussion of aspects of a given literary corpus. This research explores the politics of „space‟, „voice‟ and „authority‟ in „white critical thought‟ on „the black Zimbabwean novel‟. It unfolds in the context of the realisation that as a body of critical discourse on „the black Zimbabwean novel‟, „white critical thought‟ does not only emerge in an intellectual matrix in which it shares and competes for „space‟, „voice‟ and „authority‟ with other bodies of critical thought on the literary episteme in question; it also develops in the ambit of Euro-African cultural politics of hegemony and resistance. Thus, the research sets out to identify the ways in which „white critical thought‟ affirms and perpetuates or questions and negates European critical benchmarks and cultural models in the discussion of selected aspects of „the black Zimbabwean novel‟. The investigation considers the fissures at the heart of „white critical thought‟ as a critical discourse and the myriad of ways in which it interacts with competing critical discourses on the „the black Zimbabwean novel‟. It derives impetus from the fact that while other versions of critical thought on „the black Zimbabwean novel‟ have received extensive metacritical discussion elsewhere, „white critical thought‟ remains largely under-discussed. This phenomenon enables it to solidify into a settled body of critical thought. The metacritical discussion of „white critical thought‟ in this research constitutes part of the repertoire of efforts that will help check the solidification of critical discourses into hegemonic bodies of thought. The research makes use of Afrocentric and Postcolonial critical tenets to advance the contention that while „white critical thought‟ on „the black Zimbabwean novel‟ is fraught with fissures and contradictions that speak directly to its complexity and resistance to neat categorisation, it is largely vulnerable to identification as part of the paraphernalia of European cultural and intellectual hegemony in African literature and its criticism, given its tendency to discuss the literature outside the context of critical theories that emerge from the same culture and history with the literary corpus in question. / African Languages / D. Litt. et Phil. (African Languages)

All bodies of critical discourse on any given literary canon seek visibility through self- celebration, subversion of competing critical ideas and identification with supposedly popular, scientific and incisive critical theories. Thus, the literary-critical quest for significance and visibility is, in essence, a quest for „space‟, „voice‟ and „authority‟ in the discussion of aspects of a given literary corpus. This research explores the politics of „space‟, „voice‟ and „authority‟ in „white critical thought‟ on „the black Zimbabwean novel‟. It unfolds in the context of the realisation that as a body of critical discourse on „the black Zimbabwean novel‟, „white critical thought‟ does not only emerge in an intellectual matrix in which it shares and competes for „space‟, „voice‟ and „authority‟ with other bodies of critical thought on the literary episteme in question; it also develops in the ambit of Euro-African cultural politics of hegemony and resistance. Thus, the research sets out to identify the ways in which „white critical thought‟ affirms and perpetuates or questions and negates European critical benchmarks and cultural models in the discussion of selected aspects of „the black Zimbabwean novel‟. The investigation considers the fissures at the heart of „white critical thought‟ as a critical discourse and the myriad of ways in which it interacts with competing critical discourses on the „the black Zimbabwean novel‟. It derives impetus from the fact that while other versions of critical thought on „the black Zimbabwean novel‟ have received extensive metacritical discussion elsewhere, „white critical thought‟ remains largely under-discussed. This phenomenon enables it to solidify into a settled body of critical thought. The metacritical discussion of „white critical thought‟ in this research constitutes part of the repertoire of efforts that will help check the solidification of critical discourses into hegemonic bodies of thought. The research makes use of Afrocentric and Postcolonial critical tenets to advance the contention that while „white critical thought‟ on „the black Zimbabwean novel‟ is fraught with fissures and contradictions that speak directly to its complexity and resistance to neat categorisation, it is largely vulnerable to identification as part of the paraphernalia of European cultural and intellectual hegemony in African literature and its criticism, given its tendency to discuss the literature outside the context of critical theories that emerge from the same culture and history with the literary corpus in question. / African Languages / D. Litt. et Phil. (African Languages)