Transitional justice as a research field has for a long time only focused on countries in conflict. However, even established democracies can undergo a process of change and reconciliationprocesses, including the reconciliation process between the Sami and Sweden. The purpose of the study is to map the process of establishing the Truth Commission for the Sami people, and to analyze this process based on central concepts of transitional justice. To examine whether these concepts are suitable for analyzing processes of reconciliation in established democracies. The central concepts of reconciliation, truth, justice, mercy, and peace have thus been used as a theoretical framework to analyze the process of establishing the Truth Commission in Sweden through a qualitative content analysis. The finding show that the theoretical framework cannot fully explain and understand processes of reconciliation in established democracies. Adevelopment of the research field of transitional justice is needed to be able to apply it to the context of established democracies.

Detta är en kvalitativ innehållsanalys av Sveriges styrdokument för svensk grundskola, med fokus på samisk representation. Analysen är avgränsad till tidsperioden 1962-2022 då denna tidsperiod innefattar alla läroplaner för den obligatoriska allmänna grundskolan. Arbetet tar en historiekulturell teoretisk ansats med postkolonial teori som ytterligare en byggsten i analysen. Syftet med detta arbete är att undersöka samernas representation i svensk skolundervisning under tidsperioden 1962-2022 och varför den sett ut som den gjort.  Tidigare forskning utförd i Kanada har visat att när elever lär sig om urfolk gynnar det inte bara eleverna i sig, utan även urfolken i landet. Samerna är Sveriges enda urfolk och Europas enda urfolk. Med denna kanadensiska forskning i ryggen går det att hävda att det bör ligga i allmänhetens intresse, och även samernas intresse, att elever lär sig om urfolk. Detta gav ytterligare skäl att utföra denna undersökning med fokus på urfolket samerna i Sverige, då det skulle kunna gynna alla. Resultatet av denna undersökning är att samernas representation i svenska styrdokument har ökat ganska stadigt över tid sedan 1962 fram till 2022, med en minskande representation i 2011 års läroplan, Lgr11. Störst representation fanns i 1994 års läroplan Lpo94 och det var också enda läroplanen som talade om hur samisk historia och kultur hänger ihop med svensk och nordisk historia och identitet. Anledningen till att representationen har ökat är att samernas rättigheter också ökat under samma tidsperiod. Samerna har under tidsperioden blivit erkända som urfolk, blivit grundlagsskyddade som ett eget folk samt bildat en egen statlig myndighet, Sametinget. Även om samernas representation har ökat under tidsperioden är den fortfarande inte stor, samt har samisk kultur och historia blivit förbisedd i den senaste läroplanen Lgr22. Detta verkar bland annat bero på, baserat på det material som undersökts, att Sverige fortfarande bedriver kolonialism.

This essay has combined a discourse analysis with a postcolonial theory to investigate how Sami and Romani people were portrayed in Swedish encyclopedias between the years 1885 – 1955. The period for the essay circle around the time where thoughts about race where strong in the Swedish society and the racial biology institutes where built. A lot of political laws were aimed at the groups Sami and Romani and this essay aims to see if the discrimination of these groups could be seen in the educational sphere that reached out to the people of Sweden at the time. The use of a discourse analysis helps to see how the power of language and use of specific words built up stereotypes in a specific discourse. The purpose of combining it with a postcolonial theory is to see in what way the language is used to portray the groups as “the others” from the norm society.  The results shows that the encyclopedias at the period between 1885 – 1955 is highly influenced with racial thoughts where the groups are portrayed as underdeveloped to the main society with characteristics that is hugely different from the norm which are making them to “the others” compared to the normal.

No description available.

This paper has three aims: to identify how Islam and Muslims are pictured in Muslim popular music, to examine if the message has been adjusted dependig on the listener, and if the music can be used in the construction of identities. To achieve this aim, music by the artists Sami Yusuf and Maher Zain have been analyzed. The research questions are; which images of Islam and Muslims are being portrayed through the music of Sami Yusuf and Maher Zain? Are there any differences in the images and the messages depending on who the listener is? What meaning can the music have for the constuction of individual and collective forms of identity? The material consists of 52 song lyrics which have been studied using the method of content analysis. The data were analyzed in relation to Mediatization Theory as described by Hjarvard, Schofield Clark and Lövheim, as well as Ammerman's theory on identity and religion. The result of the study shows that Muslim popular music portray Islam as a religion of love that promotes peace. According to the themes that were identified Muslims are pictured as people who have gone through hardships, who have left their old life behind them and found inner peace with the help of Allah. Muslims are portrayed as people who love their families and the Prophet Muhammad, and they worship Allah and believe in an afterlife. Only small differences in the music's message depending on the receiver were found. One difference is that songs in English tend to contain a smaller amount of references to religion than songs that are sung in for example Arabic. The result show that muslim popular music can help the construction of identities because it portrays a different kind of image of Islam compared to the negative image portrayed by the media. The music also provides the listener with biographical stories to identify with and invities people to Islam. Moreover, the songs challenge both Western modernity and traditional Islam.

Syftet med denna uppsats är att undersöka hur mediebevakningen av Kallak-konflikten sett ut och hur samiska intressen och värden gjorts förståeliga i och genom bevakningen av konflikten. Metoden som har använts är det diskursanalytiska logikperspektivet, vilket strukturerar materialet genom att identifiera och beskriva de logiker som används för att förstå situationen. Teorin är baserad på internationell forskning kring ursprungsfolk som behandlar hur marken förstås och värderas, och även behandlar vilka större komplexa implikationer en markkonflikt kan ha för ursprungsfolk. Analysen består av citat eller utdrag ur tidningsartiklar, och i slutsatsen diskuterar jag de tre större logikerna som har identifierats i materialet: Ekonomilogiken, Miljölogiken och Rättighetslogiken. / The aim of this thesis it to examine how the 'Kallak-conflict had been portrayed in the news coverage and how Sami interests and values has been made comprehensible through and by the news coverage. The method that has been used is the discourse analytic logic perspective, which, by structuring the material can identify and describe the logic’s that are used to understand the situation. The theory is based on international research on indigenous people that handle how the land can be perceived and valued, and handle the bigger more complex implications a land conflict can have for indigenous people. The analysis is based on quotes, or sections from newspaper articles, and in my conclusion I discuss the three major logic’s I found in the material: The economic logic, the environmental logic and the logic of rights.

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.

Thesis (D.Tech. - Electrical Engineering, Dept. of Process Control and Computer Systems, Faculty of Engineering and Technology)--Vaal University of Technology. / In recent years, industrial plant maintenance has changed dramatically. These changes are due to a considerable increase in the number and variety of physical plant assets, increased design complexity, new maintenance techniques and changing perspectives regarding on how to perform maintenance effectively. Managers at modern process plants are becoming increasingly aware of the extent to which equipment failure affects safety and the environment. Process plant personnel are limited in their ability to accurately and consistently evaluate the health of plant assets. Due to poor record keeping, maintenance staff often has little defence against aging equipment and asset failures. As a result companies have undertaken to implement planned equipment maintenance schedules and install new technology to allow for efficient tracking and analysing of equipment health across the board. The introduction of an integrated asset management solution is presented in this thesis. The integrated asset management solution will assist maintenance staff to cost-effectively predict the probability of asset failure prior to the occurrence of any actual plant incidents. The integrated solution documented in this thesis will be implemented at the Sasol Solvents site to enhance plant availability, maximum up time for all plant assets and plant safety. Strategic Asset Management Inc. (SAMI) uses the Operational Reliability Maturity Continuum model to improve profitability, efficiency and equipment reliability. The SAMI empirical model employs various stages to address improved performance and asset management and was used as a guideline to develop an integrated solution to optimise plant performance and profits. The integrated asset management solution, documented in this thesis, was developed with the intended function of bringing information from diverse plant based systems and field equipment to the maintenance personnel in an understandable interface so that the information can be used to improve the reliability and availability of all plant assets.

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.

This dissertation is a study of the changing living conditions for the Sami in Swedish Såpmi (Samiland) throughout the twentieth century with an analysis based on a gender and ethnic perspective. At the turn of the century, the Sami lived as nomadic reindeer herders and were primarily self- sufficient. This changed as the reindeer herders shifted from a self-sufficient lifestyle to a money economy tor a variety of reasons. Over time they became more integrated in the dominant Swedish society and even more dependent on it. Reindeer herding has become increasingly mechanized since the I960's with rationalizations as a result. Even in to the 1990's the industry was the object of streamlining ettorts. A process of masculinization has also occurred and today's reindeer herding is a distinctly male coded profession. Women do not regularly participate in the daily work of reindeer breeding and their ability to have any direct influence on the herding districts (sameby) is limited. This is also largely true in terms of the Sami Parliament, the Sami popularly elected body. The Sami population has experienced unfavorable special legislation and regulation from the State. The population was divided into several different categories with different rights. Sami women were marginalized two-fold and subordinated, partly because of their ethnic affiliation (as Sami) and partly because of their sex (as women). This continues to be true today. The analysis of gender division of labor shows that a married couple had their own autonomous areas of power within the household. The wife was however still subordinate to her husband in his role as master of the family. The older reindeer herding society was not noted for its equality. There was a distinct hierarchy based on sex, age, and social status. Division of labor in modern reindeer breeding is in principle based on the same normative system as the older nomadic society. The study of the ethnic processes in Såpmi shows among other things that from a Sami perspective, a person is Sami who is related to other Sami and whose actions are based on a Sami identity. It is also clear today that there are many different Sami identities, that an individual person draws from a number of such identities and that it is the context that determines which of these are active in any given situation. The Sami identity is sex-based, i.e. there is a difference between a "male Sami" and a "female Sami." Sami women, unlike Sami men, cannot be politically active while also being active based on their sexual identity. Were they to do so, they would be excluded by definition from their ethnic group. Sami women must therefore subordinate themselves as women to be "genuine" Sami. They thereby contribute to their own marginalization and help maintain their own subordinated position in the Sami society. / digitalisering@umu