English title: “I still wander from country to country” The essay is about newly arrived immigrants, academics from countries outside Europe and their integration at the Swedish labour market. The purpose of this essay is to increase knowledge about non-European academic’s abilities and needs, and at the same time bring better understanding about how this group can contribute to the labour market. The essay is based on qualitative semi-structured research and interviews with ten unemployed individuals living in a medium-size city in south Sweden. The theoretical starting points are: postcolonial theory, Antonovsky’s KASAM theory and Bourdieu’s theoretical concept named social capital. The essay´s main conclusions are: This group of immigrants is facing several obstacles that aggravates their integration into Swedish labour market such as discrimination, ethnic hierarchy, stereotypes, contacts with Swedes and language barriers. Lack of network, informational contacts and communication with natives Swedes are some of challenges for the integration into the Swedish society. One of the causes that prolongs establishment in the labour market for unemployed immigrant’s is the long process of the Swedish school system for new arrivals which takes long time and isn’t combined with internship. The employers often undervalue and outlook foreign-born people’s education and this is a reason why some academics starts to look for jobs which they are overqualified for. Informants experiences of discrimination in the Swedish labour market are often related to their ethnicity and foreign name which is, according to the informants, the main reason why they don’t meet a Swedish employer. Overall there is a big dissatisfaction with Arbetsförmedlingen that doesn’t have working structure to offer internship or job to the new arrival non-European academic’s in the early phase of the integration process.

"Afterlife of Empire" explores Ottoman cultural, social, and political continuities in Bosnia Herzegovina during the Habsburg administration (1878-1914). The research focuses on the enduring influence of the Ottoman Empire - an influence perpetuated both by the efforts of the Ottoman imperial state, and by the former subjects in Bosnia Herzegovina itself to explain the lingering aftereffects of the Ottoman Empire in the province. At the core of this dissertation is the argument that the Ottoman subjects and the former territories did not stop being Ottoman in any significant sense immediately after the separation from the empire, and that the break with the empire was not that of rupture, but characterized by enduring features of the empire that evolved to respond to diplomatic and strategic interests in the region. A shift from the common inclination to analyze the Habsburg period as the introduction of modernity, and a focus, not on the national/ethnic framework constructed around identity, but on the overlapping, multiple loyalties in this study convey a more accurate representation of the period and an assessment of what legitimacy and sovereignty meant in this region. By drawing on Ottoman and Bosnian archival sources in focusing on Bosnia's overlapping imperial, regional, religious, linguistic, and cultural frameworks, this dissertation demonstrates the importance of considering the Ottoman context after its formal departure, and the significance of incorporating Islamic intellectual history in understanding the past and present of Bosnia Herzegovina and Southeastern Europe in general.

At the height of his power in 1923, the head of the Bulgarian Agrarian National Union (BANU), Alexander Stamboliiski, summed up the significance of his politics for European history in the following way: "Today there are only two interesting social experiments: the experiment of Lenin and my own." Taking the aspirations reflected in the quotation above seriously and rescuing the agrarian project from the enormous condescension of posterity is the foundation of this dissertation. Briefly, it is about unpacking and restoring the significance of the Golden Age of the European Peasantry between the two world wars by focusing on the paradigmatic cases of Bulgaria, Yugoslavia, and Czechoslovakia. The dissertation proposes a novel synoptic approach with regards to interwar agrarianism as a counterpoint to ideology driven classifications or structuralist synthesis. Its thematic chapters alternate between strategic probes of evocative micro histories and broader theoretically informed overviews in order to illustrate and clarify the analytical frame. The most radical expression of interwar agrarianism, that of Bulgaria, and the man responsible for it, Alexander Stamboliiski, serve as the center of this dissertation. The juxtaposition of this center to the development of agrarianism in Czechoslovakia and Yugoslavia, as well as to various oppositional formations such as the Communist International Peasant Union allows this dissertation to overcome the national parochialism that has contributed to the sidelining of the study of agrarianism. The innovative structure of the dissertation is above all a demonstration of the rich possibilities still open to researchers in this field to reinsert the study of agrarianism into contemporary theoretical debates and developments in the historiography. The dissertation explicitly engages agrarianism with the theoretical literature on nationalism, corruption, the subaltern, as well as makes possible the connection to the problematics of modernity, politics as systemic change, transnational and global history.

This dissertation examines the development of Russian literature in the decades after the fall of the Soviet Union as a focused study in how literature adjusts to institutional failure. It investigates how cultural forms reproduce themselves and how literature continues to forge meaningful symbolic connections with its audiences, traditions, and the broader culture. I begin when Soviet state prizes, publishers, and organizations like the Writers Union could no longer provide paths to literary prominence in the early 1990s and a booming book market and a privatized prestige economy stepped into the vacuum. At this time, post-Soviet Russian authors faced a mixed blessing: freedom from censorship alongside a disorienting array of new publishers, prizes, and critical outlets, joined later by online and social media. In this new environment, personal success became an important structural value for authors and for literary works. The literary process was driven, in large part, by authors who found innovative solutions to immediate problems along their pathways to success. In search of readers, recognition, and aesthetic innovation, the authors in this dissertation transformed and even created the institutional and economic frameworks for post-Soviet Russian literature’s development, while at the same time developing new cultural forms capable of connecting with audiences in intimate and meaningful ways. The sum effect of their individual solutions to discrete problems along their own paths to success was a profound shift in the literary field, the creation and entrenchment of a new system of cultural production, distribution and consumption based on capitalist principles—the system I call “cultural capitalism.” This dissertation shows how cultural capitalism developed out of the institutional collapse of the Soviet cultural system. While many studies have analyzed the cultural field’s genesis, its social role, and internal mechanisms, few have considered the fate of literature or culture at times of institutional failure, and fewer still have focused on possible mechanisms of recovery. Studies of contemporary Russian literature, on the other hand, have often relied on master tropes, frequently borrowed from Western literary theory. While this research constitutes an important contribution, it fails to address the central question of how literature has been affected by social upheaval and institutional failure. My project addresses this gap by modeling cultural capitalism as a literary system in which the drive for success is pervasive, but the very meaning of “success” can be defined differently by different authors. The term cultural capitalism builds on Pierre Bourdieu’s notion of symbolic capital, but imagines that resource as part of a dynamic system of cultural exchange, while my understanding of success expands on Boris Dubin’s work on the topic. Finally, building on Formalist investigations of “literary evolution” and the “literary everyday,” as well as contemporary Russian sociological studies, I provide a theoretical model that connects the structures of the post-Soviet literary environment to new forms of verbal art. Through interviews, close readings, and secondary research, I show how four prominent authors—Boris Akunin, Olga Slavnikova, Aleksei Ivanov, and Vera Polozkova—have developed idiosyncratic visions of success. I then demonstrate how each author’s particular patterns of ambitions correlate with the literary, economic, and institutional innovations that define their artistic works, careers, and positions in the literary field. By triangulating authors’ visions of success, their navigations of the literary field, and their innovative verbal art, I map out the trajectories of literature as both an institution and as an art form across the transition from the Soviet to the post-Soviet era.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 152-156). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 152-156). Also available on the Internet.

The present work tells the story of the rise and fall of a pan-Balkan discourse from the mid-1920s to the eve of the Second World War through an examination of the intellectual output of southeast European diplomat-littérateurs—a range of intellectuals and literati who functioned as conduits between the realms of culture and politics—during the years of dislocation and turmoil following the Great War. It traces the emergence of transnational networks that coalesced around interwar pan-Balkanism, or the wide-ranging and diffuse movement that aimed to forge a union out of Yugoslavia, Romania, Bulgaria, Albania, Greece and Turkey, as well as to build substantive intellectual and cultural links among these states. Beginning with the Locarno treaties and the attendant optimism for a united Europe, the Universal Peace Congress of 1929 in Athens, followed by an evaluation of the consecutive Balkan conferences of the early 1930s alongside the work of its varied proponents, this dissertation illustrates how the stigmatized regional moniker, “the Balkans,” was, in fact, re-inscribed and endowed with a new, positively-inflected meaning in the course of efforts to bring about a rapprochement. Moving beyond the scope of earlier scholarship that pitted the Balkans against the West, instead this work demonstrates the interconnectedness of Balkan and European intellectual networks, as well as local actors’ overwhelming subscription to the tenets of cultural internationalism. This work examines Greek, Yugoslav and Albanian foreign policy, geopolitical agendas, popular press as well as literature in order to demonstrate that alternatives to the nation-state as a method of state-building and intellectual organization were, in fact, under consideration. Ultimately, this dissertation depicts intellectual life in the Balkans as it unfolds over the course of the interwar decades and explains why the Balkan idea reemerged during this critical interlude.

How does history turn into memory? Specifically, how has the Spanish Transition been memorialized in the last ten years? Between the death of the dictator Francisco Franco in 1975 and the landslide victory of the Socialist Party in 1982, Spain slowly transitioned to a standardized European democracy. This historical period of seven years, officially labelled as the “Spanish Transition,” has been subjected to archivization—production and record of this process—since the eighties up until the present. My dissertation unveils how the transition has become a discourse, that is to say, an archive, particularly paying attention to the post-recession scenario (2010 onward, when the limits of its mythified success were publicly exposed). Through the study of autobiographies, documentaries, and museum exhibitions, I demonstrate the impossibility of separating the cultural performance of the transition from its archivization. In other words, we cannot separate the history of the transition, as shaped through these cultural objects, from the memory it has become. I have set up a methodology that is rooted in the concepts of performance and archive. I argue that these concepts are inextricable from one another. I use performance as a lens to penetrate the socio-political and cultural transition from dictatorship to democracy. Performance, then, functions as an episteme in which the categories of history and memory converge. Through this approach, history can be perceived as an ongoing process, which connects with the intervention of cultural historians in the public sphere. This vision of history as a continuum, in addition, allows us to focus on the processes of memorialization, which chart the transformation from the specificity in time and space of a cultural performance—a concrete experience—to its archivization as an event and a fact. In this vein, performance (history) shapes the archive (memory) and opens up a dynamic reading of history, a history that is still under construction and is drawing on a contingent memory. Each chapter focuses on a different medium that have in common their hybrid nature: respectively, autobiographies, documentaries, and museum exhibitions. The first chapter is about autobiographies by popular icons in which memory is a stage for the self to re-perform. A case in point is the Fabiografía, Fabio McNamara’s auto-hagiography in which Fabio, aided by the media star Mario Vaquerizo, creates a genre of his own and turns his life and version of the transition into a fetish. The second chapter questions the role of performing bodies in the construction of consensus and dissensus on documentaries about the transition. One specific instance is Mi querida España (2015), where we find performing bodies conveying through their actions dissenting ways of understanding the transition. The third chapter analyzes museum exhibitions as branding spaces for the transition. A case in point is Ocaña’s museum in his hometown, Cantillana del Campo (Seville); despite being empty of objects, this museum legitimizes Ocaña’s presence in the village, making of him an Andalusian standard-bearer of freedom. These three media show history and memory as coterminous and contingent, embodying the cultural performance of the transition and its reconfiguration in the archive.

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This master thesis is focused on issue transimission system of Czech republic after 2040. Thesis is divided in two parts, teoretical and practical. Teoretical part contains present trends of transmission sytem and the most probably changes in the future decade. Practical part contains simulation of Czech transmission system and various scenarios with idea of open source.