Thesis (doctoral)--Université de Paris I, 2000. / Includes bibliographical references (p. [535]-559) and index.

C-essay in Political Science by Sunniva Lagnestål Melhuus, Spring 2013, Political Science III at Karlstad University, Supervisor: Hans Lödén, “Perceptions of a Conflict – A qualitative analysis of Indian and Pakistani mass media” In this essay the aim is to study the current situation and recent development of an international conflict from a social constructivist perspective, with an emphasis on the conflicting parties’ mutual perceptions. The long conflict between India and Pakistan is here chosen as an example. According to a social constructivist perspective the dynamics on the international arena depend on shared ideas and expectations. Therefore the question that is sought to be answered here is how India and Pakistan perceive each other, currently and over a recent time period. In this essay the focus lies on the images articulated in the countries’ mass media. Circa 500 news articles were selected from Indian and Pakistani newspapers and analysed using a social psychology conflict model. Drawing from previous research I argue that the images displayed in mass media affect the development of the conflict. The result of this study is that although the combined development in each country remains constant, both countries display negative developments in some aspects and the current situation is not hopeful in either country. By analysing the mutual perceptions of the conflicting parties it seems that the conflict will not de-escalate in the near future and both countries continue to perceive the other hostilely.

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A travers l’étude de l’œuvre du cinéaste Roman Karmen, nous souhaitons reconstituer un patrimoine et tenter d’en définir les enjeux autour de questions historiographiques. En effet, les images de l’opérateur soviétique n’ont pas seulement marqué l’histoire du XXème, elles ont en partie contribué à la construire en un objet unique. Les propriétés métonymiques de l’image (photographies et prises de vues) ont bouleversé notre perception en même temps qu’elles ont participé à la construction d’un récit historique général d’un nouvel ordre. Il s’agit d’un récit visuel complexe où se mêlent prises de vues sur le vif et mises en scène, motifs et emblèmes, personnages principaux, personnages secondaires et masses anonymes. Disséminées, ces prises de vues constituent le principal réservoir d’images dites d’archives dont se servent régulièrement les documentaristes contemporains pour faire « témoigner l’Histoire ». Retracer le parcours de Karmen permet de revenir aux sources de ces images, de comprendre leurs enjeux, leurs contextes de production et leurs rapports au sein d’une œuvre dont le récit se confond avec l’Histoire. Nous faisons ici l’hypothèse que ce récit constitué de prises de vues, d’actualités et de films documentaires est à l’origine « d’une vulgate soviétique de l’Histoire ». / With the study of Roman Karmen’s cinematographic work, we want to retrace a heritage and to identify its implications through an historiographical approach. Not only did the Soviet filmmaker’s images go down in history but they also contributed to shape the twentieth century into a single object. Indeed, the metonymic properties of Karmen’s shootings (cinematographic photography and live action) upset our perception and contributed to build an historical account that sustains a new order. It is a complex visual narrative bringing together live action and staging, subjects and emblems, main characters, secondary characters and anonymous masses. Disseminated, Roman Karmen’s work is the main reservoir of “archival images” often used by contemporary documentary filmmakers as a mean to present “first-hand History”. Following Roman Karmen’s artistic itinerary allows us to gain a better understanding of these images: their initial purposes, their making process, and their relationships in a work within which story merges with History. We assume that this narrative consisting of pictures, cinematic newsreels, and documentary films shaped the “Soviet vulgate of history”.

The study theorizes that a nation-state can manifest a condition similar to that of personality commonly associated with humans. Through the identification of consistent behaviors, a personality like condition is recognizable, and the underlining motivations dictate national policy independent of any current social/political influence. The research examines Russia during two historical periods examining the conflict events and social/political transitions of the period, to identify common behavioral characteristics, which indicate the existence of any independent personality like trait. The study focuses on two historical periods: the Monarch Period of Peter I (The Great), and the Post-Soviet Union period of Vladimir Putin, periods selected as historical eras in which Russia experienced major political or social transition. Using a comparative qualitative historical analysis with a behaviorist focus, the research examines these periods by profiling each era’s elements of society and the events of domestic and international conflict that Russia experienced, while evaluating the actions taken in response to each. The research discovers that Russia exhibits personality like traits, similar to those associated with humans and are likewise developed from experience, and once imbedded into Russian psychology, regardless of the current social/political elements or situational conditions, remain prime motivators to Russian behavior. The personality like characteristic identified was similar to inferiority, which leads to behavior characteristics comparable to narcissism, as the definition of narcissism relates to the need for admiration and or acceptance. The study identified the origins of the inferiority like complex and the narcissistic like behavior pattern exhibited by Russia in both periods.

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