Magister Legum - LLM

American school shootings have received a lot of media, public and academic attention within the last two decades. Still, reasons behind the shocking events lie undiscovered. Although individual factors have been widely examined, researchers are yet to find commonalities. This thesis reviewed evidence of macro-sociological explanations for American school shootings and attempted to identify the roles of culture, cultural marginalisation and masculinity in American multi-victim school shootings using seven case studies from 1999-2018. Results identified cultural marginalisation as a key factor in all of the cases, whereas hegemonic and violent masculinities received some support. In addition, interconnectedness and relationships between anomie, culture, cultural marginalisation, masculinity and school shootings were discussed in more detail. Finally, future suggestions were made, and conclusions were drawn.

Participation as a way to ensure equal accessibility to democracy has gained importance alongside the concept of sustainability. At the same time, it has become clear that not everyone has equal opportunity to participate in these participatory events, creating power issues that leave out the voices of certain societal groups from the political context. The purpose of this study, therefore, is to research how this issue can be solved, by looking at how local governments are working to ensure that everyone is given equal opportunity to participate when it is of relevance to them. The purpose is also to specifically research how social vulnerability and marginalisation is taken into consideration in the participatory process. The researched questions used to fulfil this purpose is: 1) How do local municipalities work to ensure equal accessibility to participatory events? 2) How is social vulnerability or marginalisation taken into consideration in the participatory process? 3) Can the strategies used by the municipality be argued to increase citizens’ accessibility to democracy? To answer these questions this study uses a case study design and a combination of two methods: interviews and text analysis. The data material consists of interviews with public officials and politicians at Örebro municipality along with the guidelines and handbooks developed by the municipality about their work with participatory events. The study concludes that Örebro municipality uses a number of different strategies that arguably enables them to have a more inclusive participatory process. They for example uses target group analysis, adapts the event to the group it concerns, take language, place of event, method of announcement into consideration and adapts the language to make the event more accessible. The study could conclude that through these strategies, along with directed efforts towards socially vulnerable and marginalised groups, the municipality appears to take these aspects in to consideration and therefore enhance the possible for more citizens to participate. The questions whether the strategies used by the municipality could increase citizens accessibility to democracy through participatory events generated a more ambivalent discussion and could not be giving a clear answer. There were aspects that to a certain degree could indicate that it was made possible through the strategies used by the municipality. But other aspect such as the ambiguity related to the purpose and definition of the participatory events contradicted this and showed that there exists a tension between wanting to enforce decisions and including citizens perspectives and input.

Mon travail de thèse analyse les discours journalistiques et syndicalistes durant le processus transitionnel sur l'assembléisme ouvrier. L'objectif est de comprendre comment les mobilisations ouvrières assembléistes ont été domestiquées et subordonnées aux organisations politiques et syndicales de l'opposition démocratique. L'assembléisme ouvrier ne constitue pas un événement anecdotique et la marginalisation des pratiques assembléistes est en partie la conséquence de discours publics qui les discréditent et qui, se faisant, construisent une culture politique démocratique spécifique où le radicalisme ouvrier n'a plus d'espace et dans laquelle les grévistes sont invités à rejeter leurs structures assembléistes pour accepter le monopole de la représentation du social par les syndicats. / My work analyses trade union and journalistic discourses on the role played bay worker's assemblies during the spanish transitional process with the aim of understanding how their mobilisation was subjugatd and subordinated by political organisations and trade unions who were in the opposition to demicratisation. The worker's assemblies were not anecdotal events, and the marginalisation on their meetings was party the consequences of public discourses that deligitimated them. Moreover, the discourses contributed to the construction of a specific political culture wich rejetcs worker radicalism. Thus, worker's were asked to rejetc own democratic structures and accept the monopoly of social representation by the trade unions.

À la suite de certains grands meurtres commis en 1997 et 2000 par des jeunes de 14 et 17 ans, un discours sur les délinquants juvéniles, comme étant plus violents, plus cruels, plus anormaux et plus nombreux que jamais auparavant, s’installait chez les intellectuels et dans les médias japonais. Or , par dérapage analytique, ce discours a été généralisé à tous les jeunes, comme étant des individus dangereux, incompréhensibles, anormaux et potentiellement criminels malgré une certaine normalité apparente, faisant d’eux des « monstres invisibles ». La marginalisation des jeunes par ce discours sur la « nouvelle » jeunesse japonaise et les représentations des délinquants juvéniles « cruels » a fortement marqué la société japonaise, manifestée dans l’opinion publique ainsi que dans son impact socioculturel tant au niveau légal qu’au niveau idéologique. Cette étude présente les débuts, le développement ainsi que les conséquences du discours démonisant la jeunesse des années 2000, en présentant les concepts clés ayant été utilisés comme caractéristiques et arguments de la monstruosité cachée chez les jeunes japonais. Elle démontre parallèlement l’incohérence des représentations de la délinquance juvénile, aggravant le fossé entre la réalité vécue par les sujets, et les causes ainsi que les solutions présentées à leur égard. / Five murders in Japan committed by juvenile criminals attracted immense attention from the media in the years 1997 and 2000. A new discourse about juvenile delinquency followed these incidents stipulating that juvenile delinquents had become more cruel, more violent, more abnormal, and more numerous than ever before. This discourse, initially created by academics acting as “moral entrepreneurs,” was widely supported by the mass media. However, the discourse developed on its own, taking a radical ideological turn: it began to apply not only to juvenile delinquents, but labeled the entire population of Japanese youth as dangerous, incomprehensible, and abnormal while seeming to be proper and normal members of society. The boundary between juvenile delinquents and young law-abiding Japanese individuals ceased to exist, and every young girl or boy could potentially be a criminal regardless of their circumstances or socioeconomic background. The discourse strongly influenced the Japanese society ideologically and legally, and labeled its youth as "invisible monsters". This study presents the beginning, development, and consequences of this particular discourse that led to the negative portrayal of the Japanese youth in the first decade of the 21st century. Key concepts used as characteristics of this cohort are examined, breaking down the discourse into sociocultural and ideological reasoning and systems. The study also demonstrates the incoherence and inadequacy of the representation of juvenile delinquents, which are a far cry from the actual reality of juvenile criminality.

This thesis researches Kāpō Māori (Māori who are blind or sight impaired) and their pursuit of Te Reo Māori. Te Reo Māori is a very significant cultural marker for Kāpō Māori to identify themselves as Māori. Kāpō Māori face many challenges, challenges that are unknown to the mainstream. The thesis surveys the fortunes of Te Reo Māori as it struggles to survive and find acceptance in Aotearoa/New Zealand, outlines attitudes towards disabled persons, who suffer discrimination and marginalisation, and summarises the story of the Blind in Aotearoa/New Zealand, especially through the history of The Royal New Zealand Foundation of the Blind, to provide context for the challenges faced by Kāpō Māori. For Kāpō Māori, discrimination and marginalisation is increased because all Māori suffer the disabilities that are a result of colonisation. The thesis sets out a methodology for field research, and draws from interviews with research participants to present the experiences of Kāpō Māori. This thesis provides an insight into the issues Kāpō Māori encounter when trying to engage Kāpō Māori , and draws those issues forward from darkness, where they are unknown, into the world of light by providing Kāpō Māori with a forum for discussion of these issues.

<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.</p>

The Garífuna are the smallest ethnic minority group in Guatemala, living primarily in the city of Livingston (known as Labuga, Wadimalu in Garífuna) located along the Caribbean coastline. Their unique history, ethnicity and culture has allowed them to preserve their way of life for centuries on the one hand but has also separated them from mainstream Guatemalan society on the other hand. The afro-descendent Garífuna community forms a small part of the overall indigenous group in Guatemala alongside the Maya and the Xinca groups; however unlike the larger indigenous groups and the remaining non-indigenous population, the Garífuna are ignored and are not included in the groups in need of development assistance for education, health, employment and security. The exclusion is even more pronounced for Garífuna women. This study was conducted to understand the reasons for the discrimination, socio-economic exclusion and vulnerability of Garífuna women within the Guatemalan society, what is currently being done to address the challenges and barriers Garífuna women are facing, and what further changes need to take place to bring about a transformation in their situation.

Prenant le relais sur les formes écrites dites traditionnelles, les images cinématographiques et télévisuelles, issues de cette nouvelle ère des communications dans laquelle nous baignons depuis quelques décennies à peine, ont désormais une importance capitale. Puisque c'est bien souvent à travers ces médias de masse que l'on se forge une opinion et un point de vue sur le monde qui nous entoure, l'énorme pouvoir politique et économique lié à ceux qui contrôlent ce qui sera vu ou non sur nos écrans est donc aujourd'hui indéniable. Or, les femmes québécoises ont longtemps été exclues de la sphère publique, la place qui leur était réservée au sein de l'industrie audiovisuelle reflétant ce que l'on attendait d'elles dans la société traditionnelle en général, soit un rôle de soutien et d'assistance aux hommes, une place de second ordre. Et jusqu'à ce qu'elles parviennent à la réalisation, elles n'avaient aucune emprise sur les représentations féminines à l'écran. Ainsi, les hommes cinéastes ont-ils véhiculé à outrance les stéréotypes de la femme au foyer ou de la femme hypersexuée : des femmes passives, dépendantes et soumises au regard des hommes L'arrivée des femmes aux commandes de la réalisation à la fin des années soixante, dans la foulée de la seconde vague féministe québécoise, leur a donc permis de revisiter l'univers que l'on dit propre aux femmes et de proposer de nouveaux modèles dans lesquels le public féminin était enfin en mesure de se reconnaître. Mais comme le système de production québécois est de nos jours basé sur une critériologie purement commerciale, le cinéma des femmes a connu un recul inquiétant ces dernières années et l'on peut se surprendre de ce que les femmes réalisatrices, représentant pourtant plus de 50 % de la population, se fassent aujourd'hui si rares dans les postes créatifs de l'industrie québécoise. Privées du pouvoir et des privilèges que confère l'accès aux médiums cinématographique et télévisuel, les femmes se retrouvent minorisées et marginalisées au sein de cette industrie développée, contrôlée et financée de tout temps par des hommes. Désormais, on tend à occulter l'apport culturel des femmes réalisatrices et à minimiser la pertinence de la vision des femmes, la diversité des points de vue étant pourtant nécessaire à toute société démocratique, particulièrement la nôtre qui se targue d'être un modèle de multiculturalisme. Se pourrait-il que les industries cinématographique et télévisuelle québécoises privilégient un sexe plutôt que l'autre? Se pourrait-il aussi que le manque de reconnaissance des compétences des femmes et des thématiques dites féminines soit à la base du mépris social dont elles sont victimes dans l'industrie de la part des producteurs, des techniciens et des diffuseurs? Est-ce que ce manque de reconnaissance pourrait expliquer pourquoi l'histoire de notre cinématographie nationale n'a pas jugé bon jusqu'ici de s'attarder au cinéma des femmes? C'est ce que cette recherche tentera de comprendre en mettant en lumière les enjeux importants liés au pouvoir de se raconter et à la place accordée aux minorités dans l'espace public, en l'occurrence ici les femmes québécoises. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Femmes, Réalisatrices, Reconnaissance, Identité narrative, Mépris social, Technologie de genre, Industrie audiovisuelle.

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism.