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Syftet med denna uppsats är att diskutera några av de minnespraktiker i efterdiktaturens Argentina som behandlar det kollektiva minnet av det Smutsiga Kriget och de som blev utsatta för tvångsförsvinnande. Praktikerna som studerats är Madres de Plaza de Mayo, minnesplatser upprättade i före detta fångläger och Parque de la Memoria. Uppsatsen anknyter till ett teoretiskt ramverk för kollektivt minne och kollektivt trauma, minnesmuseer och materiell kultur. Studien har utformats som en fallstudie. Materialet består av observationer, intervjuer och fotografier insamlade under fältarbete i Argentina 2017. Madres de Plaza de Mayo analyserades genom att använda teorier om lieux de mémoire framförda av Pierre Nora och minnesceremonier framförda av Paul Connerton. Minnesplatserna studerades utifrån ett minnesmuseumsperspektiv med hjälp av teorier av Paul Williams. Parque de la Memoria studerades utifrån teorier om krigsmonument framförda av Jay Williams. Madres de Plaza de Mayo kan förstås som lieu de mémoire eftersom de i sina artikulationer och aktioner är materiella, symboliska och funktionella. Genom dem bevaras de försvunna vid liv. Minnesplatserna presenterar ett mer ambivalent narrativ som placerar de försvunna i limbo. Parque de la Memoria är en plats för sorg och för att offentligt hedra dem som föll offer under det Smutsiga Kriget. Kontexten som dessa praktiker befinner sig i är komplex och de olika praktikerna uttrycker tre olika narrativ över de försvunna, som sträcker över spektrumet från liv till död. Detta är en tvåårig mastersuppsats i ämnet musei- och kulturarvsvetenskap The purpose of this thesis is to discuss some of the memory-practices in post-dictatorial Argentina regarding the collective memory of the Dirty War and the people who were objects of forced disappearances. The practices studied are Madres de Plaza de Mayo, sites of memory established in former centres of detention and Parque de la Memoria. The thesis draws upon the theoretical framework of collective memory and collective trauma, memorial museums and material culture. The study was formed as a case study. The materials are observations, interviews and photographs, and were gathered through field work in Argentina in 2017. The Madres de Plaza de Mayo were analysed using theories on lieux de mémoire brought forward by Pierre Nora and commemoration ceremonies brought forward by Paul Connerton. The sites of memory were studied out of the perspective on memorial museums by Paul Williams. Parque de la Memoria was studied with theories on war memorials by Jay Winter. The Madres de Plaza de Mayo can be interpreted as lieu de mémoire due to their material, symbolic and functional dimensions. Through them, the disappeared are alive. The sites of memory present an ambivalent narrative. The narrative of the disappeared is that of a state of limbo. Parque de la Memoria is a park of mourning, placing the disappeared in a narrative of death. The situation of memory-practices in post-dictatorial Argentina is complex and the practices articulates three different narratives of the disappeared, ranging from life to death. This is a two-year master’s thesis in Museum and Cultural Heritage Studies

My essay is an excursion out to a sand quarry where I have done investigative work about the place. I have researched the history of the place, what materials are there, what plants and animals live there and how we humans use the place today and how we affect its design. The essay investigates the choreography of life’s movements and transformations in the physical world, and how the physical space bends according to life, but that life also adapts to the changing space at the same time. The result of the interaction between the different agents is what I've been searching for. And how that same effect happens in my work in the studio. My design of this work resulted in an installation with photographs, sculptures and a projection. Where the works have been created with inspiration from the same acting forces that take place in the sand quarry.

This Bachelor’s Thesis discusses the Swedish artist and photographer Birger Gabriel Sjöberg. He was born in Varberg, Sweden in the year of 1835 and died 40 years later, in the year of 1875. During his short-lived life he accomplished creating both paintings and photographs connected to his hometown. These are now of value by culture-historical means. By answering question formulations regarding his living, education and esthetic production, the main purpose is to give a synoptic presentation of both his life and work. Since Sjöberg is not a part of the widely known context of art history, the thesis also strives to bring a light to a mostly unknown and unwritten artist. This study contains of two main parts, one biographical part, and one iconological part were a chosen number of his paintings and photographs are discussed. Throughout the iconological part, the works are analysed by means of Heinrich Wölfflin’s Principles of Art History. The introducing of the works is to give an overall apprehension about what he achieved concerning his creating in both work and private life.

This thesis explores the phenomenon of intramural infant burial during Middle Helladic III–Late Helladic II during the Aegean Bronze Age. Intramural graves of children aged two years or less at Málthi and Ayios Stephanos, two settlements on the Greek mainland, are studied from a number of perspectives: the physical properties of the graves and the buried infants, the spatial and intramural context of the grave, and their relationship to their social and societal context. Some things found to be relevant in the analysis were the importance of kinship and group belonging, as well as shifting funerary practices in a time of large-scale socio-economic change in the region. Denna kandidatuppsats utforskar fenomenet intramurala spädbarnsgravar under Mellanhelladisk III–Senhelladisk II under den egeiska bronsåldern. Intramurala gravar av barn som var två år gamla eller yngre vid Málthi och Ayios Stephanos, två boplatser på det grekiska fastlandet, studeras ur ett antal perspektiv: gravarna och de begravda spädbarnens fysiska egenskaper, gravens rumsliga och intramurala kontext, och dess relation till dess sociala och samhälleliga kontext. Några ting som visade sig vara relevanta i analysen var vikten av släktskap och grupptillhörighet, såväl som föränderliga begravningsskick under en tid med storskaliga socioekonomiska förändringar i regionen.

Part of book: ISBN 978-1-009-10023-6QC 20221219

High-resolution geophysical evidence on the seafloor morphology and acoustic stratigraphy of the Yermak Plateau and northern Svalbard margin between 79°20′ and 81°30′N and 5° and 22°E is presented. Geophysical datasets are derived from swath bathymetry and sub-bottom acoustic profiling and are combined with existing cores to derive chronological control. Seafloor landforms, in the form of ice-produced lineations, iceberg ploughmarks of various dimensions (including features over 80 m deep and down to about 1000 m), and a moat indicating strong currents are found. The shallow stratigraphy of the Yermak Plateau shows three acoustic units: the first with well-developed stratification produced by hemipelagic sedimentation, often draped over a strong and undulating internal reflector; a second with an undulating upper surface and little acoustic penetration, indicative of the action of ice; a third unit of an acoustically transparent facies, resulting from debris flows. Core chronology suggests a MIS 6 age for the undulating seafloor above about 580 m. There are several possible explanations, including: (a) the flow of a major grounded ice sheet across the plateau crest from Svalbard (least likely given the consolidation state of the underlying sediments); (b) the more transient encroachment of relatively thin ice from Svalbard; or (c) the drift across the plateau of an ice-shelf remnant or megaberg from the Arctic Basin. The latter is our favoured explanation given the evidence currently at our disposal.