This essay takes its starting point in Legenda Aurea, a hagiographical compendium written in the thirteenth century by an Italian catholic friar, Jacobus de Voragine. The essay aims to find out how the Roman history in the third century is shown in Legenda Aurea, a Christian book written about a thousand years later. The purpose of this essay is to show how a part of the history of the Roman Empire is understood and remembered during the Christian hegemony that was during the thirteenth century. The main results of this essay show that the history of the Roman Empire during the reign of named emperors is remembered as a violent, brutal and authoritarian history, but also that Christianity seems to have been widespread within the Roman Empire during this time.

The representation of national identity in museums of the 21st century´s diverse and multicultural societies is a challenging task. It is a task that involves questions of narrative and heritage inclusivity as well as questions of power and ideology. This thesis includes an investigation of the representation of the Turkish national identity in two state owned museums, one private museum and two contested heritage sites in Istanbul. Both contested sites were legally transformed from museums to mosques in 2020. The investigation also involves questions of power and legitimacy in the Turkish heritage sector in the past decade. Qualitative methods including observations, grounded theory initial coding, exhibition spatial syntax analysis and objects´ value analysis are used in the research. The analysis results revealed a fragmentation in the Turkish national identity representation and in the power structure of the Turkish heritage sector where different key actors are involved in national identity production and representation. The History narrative represented is linear and fragmented where each selected museum presents a different historical period with an emphasis on the multicultural nature of the region historically. Ideology and the heritage policy analysis has revealed that the Turkish heritage sector is heading towards an Ottoman based ideology instead of the secular Kemalism ideology that had built the modern Turkish national identity since the establishment of the republic in 1923.  The results show that the challenge of representing inclusive and sustainable heritage and national identities in multicultural societies is complex. However, to achieve that, museums and heritage sectors would have to adopt policies of recognition and civil society involvement. The state would have to take an architect role by funding the museum and heritage sector without interfering in museum´s function. This is a two years master’s thesis in Museum and Cultural Heritage Studies. / Representationen av nationella identiteter i museerna av 2000-talets mångkulturella samhälle är en utmanande uppgift. En uppgift som involverar frågor om integration, nationellt kulturarv och narrative inkludering samt frågor om makt och ideologi. Denna uppsats omfattar en undersökning av den turkiska nationella identitetsrepresentationen i två statliga museer och ett privat museum samt två omtvistade kulturarv i Istanbul. De två omtvistade platserna omvandlandes från museer till moskéer år 2020. Undersökningen omfattar också frågor om makt och legitimitet inom den turkiska kulturarvssektorn med fokus på det senaste decenniet. Kvalitativa metoder inklusive observationer, grundad teorins kodning, rumslig syntaxanalys och objekts analys används i forskningen. Analysresultaten avslöjade fragmenteringen av den turkiska nationella identitetsrepresentationen och maktstrukturen i den turkiska kulturarvssektorn där olika nyckelaktörer är involverade i representationen och produktionen av det turkiska nationella identitet. Det historienarrative som är representerat är linjärt och fragmenterad där varje utvalt museum presenterar en specifik historisk period med fokus på regionens mångkulturella historia. Ideologi och kulturarvspolitikanalysen har avslöjat att den turkiska kulturarvssektorn är på väg mot en ottomansk baserad ideologi i stället för den sekulära Kemalism-ideologin som byggde den moderna turkiska nationella identiteten sedan republiken grundades år 1923. Resultaten visar att utmaningen att representera inkluderande och hållbara kulturarv och nationella identiteter i multikulturella samhällen är komplex. För att uppnå detta måste emellertid museer och kulturarvssektorer överväga erkännandepolitik samt civilsamhällets-engagemangspolitik och staten måste ta en arkitektroll genom att finansiera museets och kulturarvssektorn med ett armslängdavstånd. Detta är ett tvåårigt examensarbete i Musei- och kulturarvsvetenskap.

This study examines intersectionality and identity in rapper Jermaine Lamarr Cole’s studio album 4 Your Eyez Only. Through discourse analysis, the essay studies the representation of aspects of identity in the album, with a focus on gender, race, class and sexuality. The study also examines prosthetic memory in the album, with the intention of finding correlating narratives that create a general concensus of how society is viewed from marginalised groups in the US. The findings conclude that gender, race and class are expressed as the main buildingblocks for a characters identity in the album. It is telling that sexuality remains untouched in this regard. The reader is exclusively exposed to the normative heterosexual perspective, completely ignoring any notion of varied sexual orientations. Furthermore the findings conclude that J. Cole showcases a generally negative view on the govornment, as it is percieved as one of many instances keeping marginalised groups at the bottom of a societal foodchain

This study is a qualitative interview study that examines antagonism, identity and collective memory among second generation immigrants from Bosnia & Herzegovina. The study is based on an existential history use-perspective and social constructivist socialization theory. The study shows that the Bosniak identity is seldom defined by their history and the Yugoslavian wars but rather by language and traditions. In addition, the results indicate that the Bosniak identity has been assimilated to a large extent into the Swedish majority culture. The results also show that antagonism against other ethnic groups in the Balkans mainly occurs among first-generation immigrants while the descendants do not relate to a large extent to the war crimes and atrocities that occurred against Bosnian Muslims. Instead, they express empathy and sympathy for their parents’ experiences of these traumas. The respondents also experienced a nonchalance towards their background in Swedish history teaching where their history was neglected in favor of other wars and genocides. While the respondents suspected a fear of conflict among teachers to account for the area, they also told examples when teachers failed in the relational pedagogy and homogenized the individuals by letting them represent an entire conflict and ethnic group. Overall, the study shows that the use of history is not a recurring phenomenon among second-generation Bosniak immigrants, and their attitude focuses on individuals rather than groups. In the didactic part of the study, the results emphasize that history teachers might need to self-educate based on the students' background to create a meaningful education and create a history awareness among students.

"The Danger of a Simple Story" explores the complexities of urban transformation and its impact on social dynamics through a multifaceted exhibition and archival project. Initiated by architect Mads Christo0ersen and artist Clara Diab, the project is rooted in their radio show "Kældersnack med Mads och Clara," which delves into the history and remains found in a basement in the Lasarettsbacken area in Umeå, Sweden. The exhibition critiques the oversimplification of urban development narratives and engages the public through workshops, performances, and architectural models that speculate on future inhabitants of redeveloped areas. By juxtaposing utopian and dystopian scenarios, the project challenges neoliberal urban planning practices and emphasises the importance of preserving collective memory. This multidisciplinary approach combines elements of architecture, garbology, and performance art to foster a deeper understanding of the layered histories embedded within urban environments. The exhibition was praised in the regional news outlet Västerbottens- Kuriren for its insightful and thought-provoking presentation. Editor Sara Meidel, in her article titled "Vem är den kriminelle – den som pajar ett fönster eller den som tillåter ett förfall?" highlighted the project's exploration of the delicate balance between preservation and development. / "The Danger of a Simple Story" utforskar komplexiteten i stadsomvandling och dess påverkan på sociala dynamiker genom ett mångfacetterat utställnings- och arkivprojekt. Initierat av arkitekt Mads Christo0ersen och konstnär Clara Diab, är projektet rotat i deras radioprogram "Kældersnack med Mads och Clara," som fördjupar sig i historie och kvarlämningar hittat i en källare på Lasarettsbacken i Umeå, Sverige. Utställningen kritiserar förenklingen av stadsutveklingsnarrativ och engagerar allmänheten genom workshops, performance och arkitektoniska modeller som spekulerar om framtida invånare i ombyggda områden. Genom att ställa utopiska och dystopiska scenarier mot varandra utmanar projektet nyliberala stadsplaneringsmetoder och betonar vikten av att bevara det kollektiva minnet. Detta tvärvetenskapliga tillvägagångssätt kombinerar element från arkitektur, ’garbology’ och performancekonst för att främja en djupare förståelse för de lager av historia som finns inbäddade i urbana miljöer. Utställningen lovordades i den regionala tidningen Västerbottens- Kuriren för sin insiktsfulla och tankeväckande presentation. Kulturredaktör Sara Meidel lyfte i sin artikel med titeln "Vem är den kriminelle – den som pajar ett fönster eller den som tillåter ett förfall?" fram projektets utforskning av den känsliga balansen mellan bevarande och utveckling.

Denna uppsats undersöker diskursen kring Linnémonumentet i Humlegården, Stockholm och Louis De Geer-statyn på Gamla Torget, Norrköping, samt diskuterar vilken betydelse skulpturerna fick under Black Lives Matter-demonstrationerna år 2020 i relation till antirasism och historiska företeelser av 'damnatio memoriae'. Med ett postkolonialt och kritiskt rasteoretiskt perspektiv syftar denna uppsats till att framhäva och analysera de resonemang som tog mest plats under debatten, centrerat kring antirasistiska och icke-vitas röster. Genomgående används därav den kritiska diskursanalysen och semiotiken som metoder för att skapa en förståelse kring auktoritet, samt att belysa det svenska samhällets syn på sin koloniala historia och lyfta diskussionen kring bland annat ras, klass, kön och makt i förhållande till den offentliga konsten. Uppsatsen resonerar sålunda hur offentliga och publika platser i samhället kan avkolonialiseras med avsikt att skapa ett hem för oss alla. / This thesis examines the discourse regarding the Linnaeus Monument in Humlegården, Stockholm, and the Louis De Geer statue at The Old Square, Norrköping. It further analyzes the significance that sculptures gained during the Black Lives Matter demonstrations in 2020, in relation to anti-racism and historical phenomena of 'damnatio memoriae'. With a theoretical framework of postcolonialism and critical race theory, this thesis aims to highlight and analyze the reasonings that were central during the debate, focusing on anti-racist and people of color's voices. Thus, critical discourse analysis and semiotics are used as methods to create an understanding of authority and to shed light on Sweden's own view of its colonial history and elevate the discussion concerning race, class, gender, and power, etcetera, in relation to public art. The thesis, hence, argues how public places in society can be decolonized with the intention of creating a home for all of us.