Cette thèse a pour objectif d’examiner l’œuvre romanesque du Togolais Sami Tchak (de son vrai nom Sadamba Tcha Koura). Parmi les écrivains africains francophones dits de la nouvelle génération, il se distingue par une esthétique qui s’inscrit essentiellement dans une dynamique transgressive et transculturelle. À travers un recours systématique au matériau de la sexualité, Sami Tchak construit une poétique, qui, au-delà de son audace transgressive, de son aspect délibérément choquant et provocateur, s’attache à interroger l’existence humaine, à mettre en évidence les misères et les faiblesses de l’Homme. En outre, cette poétique de la sexualité est porteuse de sens du social : elle sert de prétexte à l’auteur pour dépeindre l’existence de ceux qu’il appelle des « vies sans horizon », des « vies sans relief », mais aussi pour déconstruire la doxa. Mû par le désir de s’imposer comme une voix individuelle, de s’éloigner du dogme enfermant de l’africanité, Sami Tchak choisit de marquer son propre territoire littéraire par le biais d’une démarche transculturelle, en ancrant son œuvre dans la mémoire de la littérature. Cet ancrage se double d’une construction polysémique de l’espace. La présente étude s’appuie sur une triple approche, intertextuelle, sociocritique et transculturelle. Par exemple, elle montrera que, contrairement à une certaine critique qui le soupçonne de tourner le dos à l’Afrique, le projet romanesque de Sami Tchak procède d’une conscience à la fois africaine et universelle : même dans les romans qui se déroulent dans l’espace latino-américain, on remarquera que l’auteur possède l’art d’évoquer l’Afrique, surtout à travers des discours allusifs, implicites. / This thesis aims to examine the novels of the Togolese writer Sami Tchak (whose real name is Sadamba Tcha Koura). Among the so-called New Generation of francophone African writers, he is noted for his fiction that lies within a transgressive and transcultural dynamics. Through a systematic use of sexuality, Sami Tchak creates a poetics that, on the other side of his transgressive boldness and his deliberately shocking and provocative aspect, seeks to examine human existence, to highlight human misery and weaknesses. In addition, this poetics conveys social meaning: sexuality serves as a pretext for the author to depict the lives of those he calls “lives without horizon” or “lives without depth”, and also to deconstruct the doxa. Sami Tchak wants to be heard as an individual voice. He wants to distinguish himself by diverging from the dogma of “Africanity”. Thus, he marks his own literary territory through transcultural features: literary memory assumes a central place in his fiction, which is also characterized by a polysemic configuration of space. The theoretical framework used in this study concerns intertextuality, sociocriticism and transculturality. For instance, the thesis will show that contrary to the literary criticism which suspects him of turning his back on Africa, the fiction of Sami Tchak proceeds from an African and universal consciousness: even in the novels that take place in the Latin American countries, we notice that the author has a talent for talking about Africa, especially through allusive discourse.

Esta tese reconstitui a trajetória de Sami Feder (1906-2000), diretor de teatro judeu polonês que atuou no contexto do movimento de resistência artística e emocional sustentado por artistas, atores, diretores, autores e espectadores durante o período em que o nazifascismo dominou grande parte da Europa (1933-45). Estendemos a análise para o período imediatamente após a liberação dos campos de concentração, especialmente o de Bergen-Belsen, por ser o Campo onde Feder permaneceu dias antes e 5 anos no final da Segunda Guerra. A relevância deste estudo está em resgatar e analisar historiograficamente o percurso e a atuação de Feder, que, por meio da arte teatral, aliada à música, literatura e poesia, buscou o exercício ético do acolhimento coletivo e da cidadania. O artista desenvolveu um teatro, pouco documentado devido às circunstâncias de reclusão e proibição e, ao mesmo tempo, de denúncia, crítica e reflexão subterrâneas durante a vigência do regime nazista. Mais tarde, com o fim da guerra, institucionalizou-se este teatro, com maior registro, criando-se a Companhia Kazet Theater, no Campo de deslocados DP Camp Bergen-Belsen (1945-50), onde a reabilitação e recuperação da dignidade humana tornou-se uma urgência frente ao desenraizamento e ao trauma. Ações intervencionistas como estas se propagaram pelas cidades ocupadas, guetos e campos de concentração, enquanto reação ao processo de desumanização sustentado pelo Estado nacional-socialista e países colaboracionistas. Posteriormente, significaram também uma forma de participar da reconstrução de uma identidade, de um povo, de uma cultura. / This thesis restores the path followed by Sami Feder (1906-2000), the Polish Jewish theater director, who worked during the resistance art and emotional movement supported by artists, actors, directors, authors and audiences during the period in which Nazi fascism dominated most of Europe (1933-45). We extend to the time immediately after the concentration camp liberation, stressing on the Bergen-Belsen camp, where Feder stayed some days during World War II and up to five years after its end. The relevance of this study is to retrieve and perform a historiographic analysis of Feders path and performance, that by theatrical art together with music, literature and poetry searched the ethical work of collective refuge and citizenship. The artist developed a poorly documented theater, due to reclusion and prohibition, not to mention underground complaint, criticism and reflection during the Nazi regime. Later, following the end of the World War, this theater was established, therefore better documented, and the Kazet Theater Company was founded in the Bergen-Belsen Displaced Persons Camp (1945-50), where rehabilitation and recuperation of human dignity became a matter of urgency, owing to the rootlessness and trauma. Interventionist actions like that were disseminated in occupied cities, ghettos and concentration camps as a reaction to the dehumanization sustained by the national socialist state as well as collaborationist countries, and afterwards, as a way to participate in the reconstruction of an identity, people and culture.

Undersökningens syfte har varit att skina ljus på porträttering och urval. Närmare bestämt inom området för den samiska musikkulturen och via mediaframställningen av en samisk artist i Jills veranda. Genom ett utvalt program ur serien där den samiska artisten Maxida Märak medverkar genomförs detta. Sett utifrån sin omnämning som samisk artist i-och i anslutning till programmet står Märak och den förmedlade bilden av henne i fokus för undersökningen av hur det samiska framhävs. Genom att undersöka både det klingande och hur man pratar om musiken förs urvalen fram. Dessa utgör innehållet för hur den samiska artisten representeras. Undersökningen har vidare genomförts utifrån teorin om immateriella kulturarv. I den immateriella kulturarvsprocessens faser beskrivs hur uppmärksammade ”företeelser väljs ut och ges särskild status som symboler för en kultur”.[1] Teorin innehåller ett stort fokus på värdetillskrivning utifrån rådande sociala normer och vad som tillskrivs symboliskt värde värderas människor emellan. Undersökningen visade att Märak i Jills veranda porträtterades på ett sätt som till viss del bekräftade tidigare normbaserade stereotyper som framkom i undersökningen, så som jojkens stora roll och den etniska sammankopplingen till musiken. Därtill påverkade artisten både genom att bekräfta såväl som motarbeta normerna genom hur hon framställde sin musik i både utövande och i dialog. Motarbetandet av normer framgick som en röd tråd i artistens intention bakom musiken. Musiken framkom också ha ett funktionellt syfte, då musiken i avsnittet tycks användas för att motarbeta och i tillägg också återta makten över definitionen av vad som är samiskt. Utifrån detta framkom den politiska kampen som ett essentiellt innehåll i hur artisten i programmet framställer sin musik. Slutligen präglades hela produktionen av olika urfolksgrupper som sammanlänkades genom sin musik vilket ytterligare framhöll musiken som en gemensam symbol över landsgränser.

The aim of this study is to describe and interpret Anders Sunna's painting "30 km constraint" from a sami and cultural political perspective. In the study, the financial culture support for Sami culture is described and compared via Sweden’s cultural policy, the regions in north Sweden, as well as the Sami Parliament. The study examines which cultural concept one uses when discussing support for the Sami art. The study applies a hermeneutic approach in which the purpose is to see more perspectives and understanding of the Sami culture and art. The method is based on a qualitative approach with content-based idea analysis with the analysis tools ideal types and dimensions. Ideal types are Dorte Skot-Hansen’s three legitimacy grounds and the dimensions “anthropological-wide” and “artistic-narrow”. Through the study it emerges that support for the Sami culture is under-financed, partly because of lack of knowledge of the Sami culture, and that both the national cultural policy and the regions use mainly sociological and instrumental motivations and the artistic-narrow culture concept.

The aim of this essay is to explore how Swedish textbooks and official documents regarding the upper secondary school present indigenous religions. Special emphasis is placed on how the textbooks write about the Sami religion. The issues have been what picture do the textbooks give of the Sami religion and other indigenous religions? What do the authorities write about indigenous religions in the control documents of the school? Do the textbooks give a stereotypical image of indigenous people? Are indigenous religions considered as a historical or contemporary phenomenon? The method has been text analysis and ten textbooks in Religious studies have been investigated. The theoretical perspective is Bhabha´s theory of stereotypes and the other.    The result shows that the curriculum for the upper secondary school proclaim that schools should teach about Sami religion, but it doesn´t say anything of other indigenous religions. The subject syllabus of religion does not include anything about Sami religion or any other indigenous religions. This could be one reason why the books write little about the subject. Not even half the textbooks have a chapter about indigenous religions. Only two textbooks had a section about Sami religion. Whether the textbooks give a stereotypical picture of indigenous people or not differ between books. About half the books give a stereotypical description of indigenous people. The Sami people were not described in a stereotypical way, but occasionally they were described as the other.Mainly the textbooks describe the religions as something that belong in the past or in remote areas of the world.

The similarities between psychosis and different mystical experiences are striking. Professor Jens-Ivar Nergård (1998, 2006) has pointed out similarities between the calling of the Sami shaman/nåjd and the state of psychosis and high-lights the reciprocal meanings andpurposes of these similarities in a Saami context where the calling and the called are regarded as meaningful for the community. By comparing what psychodynamic theorynames psychosis with the calling process of the nåjd the aim of this work is to investigatethe question of how the latter’s discourse finds individual and contextual purpose andmeaning in the psychological functions leading to the former. Since this comparison andinvestigation concerns two different ontologies and discourses, with their own conceptsand views on the psychological functions mentioned, it is done in a qualitative comparativemethod of discourse analysis.The psychodynamic discourse through the books of professor Johan Cullberg classifiespsychosis as a psychological regression to a more primitive psychological state in whichthe individual is caught in primary process thoughts; characterized by dilutions, hallucinations and magical thinking. The psychodynamic discourse sees no contextual, and verylittle individual, meaning or purpose with these functions. This theory is what I will compare to the material given by primarily Jens-Ivar Nergård from a Saami discourse.What I find in the discourse material is an ontology - simultaneously psychological, spiritual, practical and religious (hence the interest from the perspective of psychology of religion) – which differs from the ontology of the psychodynamic discourse in crucial ways.In the Saami discourse the individual experiencing what the theory would name hallucinations, dilutions or psychosis is never disconnected from his or her community and contextbut is instead seen as an important and strong bringer of insights and knowledge. This isconnected to the ontology mentioned above in which relating to - seeing, hearing and interacting with - non-human persons is viewed as a natural experience to understand andrelate to nature, the community, the past and present. The psychological functions in which these interactions take place are regarded as meaningful, significant and sacred.

Introduction. This study investigates the needs of the Sami people when it comes to the local library and its functions and activities. The Sami are recogniced as the indiginous people of Sweden, and was historically put under the stress of colonisation by the Swedish government, causing a loss of language, culture and ultimatly damaged the feelings of identity in parts of the Sami population. Method. With the help of 3 focus groups made up of members of local Sami associations, this study gathered the opinions of the Sami, when it comes to their local library and what they wish the library would do for them. The discussions were recorded, transcribed and analysed. Results. The Sami had a clear idea of their needs and demands, and could state them clearly. They wished for more litterature in the Sami languages, more litterature with parallel languages: Sami/Swedish side by side to aid in reading, more audio books, more cultural events and a bigger exposure of the Sami to the public. They also wished for activities aimed at the Swedes, to educate them about the history and struggles, life and culture of the Sami. Conclution. The local libraries of Sweden have a big potential to fulfil the needs and wishes of the Sami. They need to consider not only activities aimed directly at the Sami, but to an equal amount activities aimed at the Swedes, to educate them about all things Sami. These educational activities can and should take place in all parts of Sweden, not only in communities with a visible Sami population. This is a two years master’s theses in Library and Information Science.

Uppsatsen undersöker och jämför den tematiska och språkliga gestaltningen av den instabila identiteten i Johannes Anyurus roman En storm kom från paradiset och Sami Saids roman Väldigt sällan fin. De frågeställningar som behandlas är: Hur gestaltas den postkoloniala identitetens problematik i de båda romanerna? Hur tematiseras den instabila identiteten? Hur kan språket synliggöra en instabil identitet? För att undersöka den tematiska gestaltningen av det instabila subjektet utgår analysen från postkoloniala teorier vars grund finns i den poststrukturalistiska synen på verkligheten som en konstruktion styrd av makt och språk. Flera postkoloniala teoretiker utgår också från psykoanalytikern Jacques Lacans spegelteori i analysen av hur identiteten skapas i ett postkolonialt sammanhang. I diskussionen av det instabila subjektets språkliga gestaltning utgår uppsatsen från psykoanalytikern och litteraturvetaren Julia Kristevas teori om utanförskap som det poetiska språkets grund samt dess uttryck i vår tids skönlitteratur.

For the Sami, as in many other hunter cultures, the bear has been considered as sacred. The hunt itself, and following feast, has therefore been associated with several rituals and ceremonies. One of them is the burial of the bear’s remains. This thesis attempts to point to similarities between the characteristics of different bear graves, and their placements in the landscape. Bear graves appear in both Northern Sami and South Sami areas in Scandinavia. The graves in the North Sami area are the oldest, essentially from the period 900–1300 AD. They often appear in caves or natural gorges in large rocks along the coast. In the South Sami area, the graves are mostly younger than the northern, and the excavated and dated graves points to a period of usage between AD 1700 and 1800. The graves in the South Sami area are mostly located in the inland, with an appearance of a scree of large stones, where the bear’s bones have been placed on the ground and hidden with stones. Sometimes also wood and peat has been used to hide the remains of the bears in this area. In both the Northern Sami and the South Sami areas, the bear graves occurs mainly close to water, either in fjords, by lakes, riverbanks or on islands. The graves closeness to mountain and hill terrain, settlements and places of sacrifice, has also been identified as a characteristic feature.

The title of this essay is ”A place forgotten by the world – the image of the Other and the Elsewhere in Forty Days Without Shadow by Oliver Truc”. Olivier Truc is a French-born journalist living in Stockholm, where he works as a correspondent for Le Monde and Le Point. He has also produced TV documentaries and non-fiction books. Forty Days Without Shadow is his first fictional work, a crime novel published in 2012. The story is settled in the Norwegian and Swedish parts of Lapland, and Sami people are in focus. In this essay, a postcolonial reading is used to interpret the novel, based mainly on the fact that the Sami are or were victims of Scandinavian colonization. The aim of the essay is therefore to examine whether the novel comprises colonialist or anti-colonialist attitudes, or perhaps both, and whether it contains exoticism and othering of the Sami. In particular it is examined how Lapland as a geographical place is described, and how Sami people are depicted compared to people of other origins in the novel. Another fact that is discussed, is how stereotypical characterisation is a common trait of crime novels, an aggravating circumstance for the analysis. The conclusion is that the novel has a strong anti-colonialist perspective, seen mainly in the treating of themes like the colonization of Lapland and its effects on some of the characters. At the same time, the physics of the Sami are described in recurring terms such as “high cheekbones”, whereas the faces of the normative Norwegian and Swedish characters are not described in the same way. In certain places in the novel there is a colonialist focalization which contributes to exoticism and othering of Sami people.