Law and Power in Russia: Making Sense of Quasi-Legal Practices (original) (raw)
Back to the USSR" En förklaring av Rysslands energipolitik
2007
Ryssland är en av världens största olje-och gasproducenter. Detta tillsammans med landets bristande demokrati utgör ett hett debattämne i dagens energikonsumerande samhälle. I uppsatsen analyseras den ryska energipolitiken ur ett nationellt såväl som internationellt perspektiv. Den politiska och ekonomiska dimensionen utreds men uppsatsen går också djupare in på olika gruppers identiteter och hur deras intressen styr politikens utformning. Resultatet pekar mot att den syn som det ryska folket och ledarna har på sig själv spelar en stor roll. Minnet av den svunna stormaktseran ligger tungt på ryssarnas axlar och gör att de legitimerar Putins maktfullkomliga, realistiska agerande. Det innebär också att det är skillnad på politiken mot länderna i före detta Sovjetunionen och resten av världen. Om Rysslands ekonomiska uppsving ska fortsätta krävs mer samarbete med utlandet och att de ryska normerna förskjuts i västliberal riktning.
Elektroniska dokument i informationspolitisk belysning. en fråga om makt, kontroll och förhandlingar
2004
This article applies an information policy perspective on electronic document research, technology and practice. Notions of emergent, global, information and knowledge economies, some of whose basic requirements are the proliferation and commodification of flexibly accessible information in the form of electronic documents, serve as conceptual background. In this setting, electronic document technologies are developed in a social context characterised by strong interests and actors, a context which is also, in turn, affected by new technology. Therefore, power, control and negotiations are central concepts in the analysis of this low transparent process of mutual shaping. The conclusions suggest that an information policy analysis of electronic documents can help disclose ontological elements in the form of embedded ideologies and epistemologies; norms and values that de facto determine the issue of power and control over information resources in society. In conclusion, promising avenues for future research on electronic documents from information policy perspectives are presented.
2018
Uppsatsen ar en kartografisk analys av en dom fran Hogsta forvaltningsdomstolen 2017 gallande ratten till stod fran Socialtjansten for den som saknar uppehallstillstand i Sverige (HFD 2017 ref. 33). Fallet gallde tva barn och deras mamma vilka saknade formell ratt att vistas i Sverige och darfor levde som gomda. Familjen ansokte om bistand enligt socialtjanstlagen (2001:453) (SoL) i form av forsorjningsstod for tre manader ar 2015. Kommunens vard- och omsorgsnamnd avslog ansokan. Efter overklagande till forvaltningsratten bestamdes att familjen hade ratt till forsorjningsstod. Forvaltningsratten ansag att bestammelsen om att den som omfattas av lagen (1994:137) om mottagande av asylsokande m.fl. (LMA) inte har ratt till bistand enligt SoL tar sikte pa den som faktiskt har ratt till bistand enligt den forstnamnda lagen. Eftersom familjen levde som papperslosa saknade de ratt till sadant bistand och LMA hindrade darmed, enligt forvaltningsratten, inte bistand enligt SoL, i den situati...
MAKING SENSE OF PERCEPTION AND POWER IN PARTICIPATORY PERFORMANCE. Horizons of Change and Politics of the Sensible in Lois Weaver’s What Tammy Needs to Know, Tellervo Kalleinen and Oliver Kochta-Kalleinen’s Complaints Choir, and Claudia Bosse’s dominant powers. was also tun?, 2020
This study discusses the transformative potential of contemporary participatory performance practice and the possibilities for locating and interrogating it through performance analysis that pays special attention to the dynamic of human perception. The writer suggests that the crucial ideological assumptions, power relations, as well as the processes of exclusion and inclusion of participatory projects, are not to be seen solely in their “goals” or “themes”, but, even more distinctly, in the modes of bodily participation that they employ. The study consists of a theoretical part and three case study analyses. In the theoretical part, the writer presents a novel analytical framework for addressing the ways in which artistic performances engage and affect their participants, and for understanding the culture-bound dynamic of perception, power, knowledge and the body both in participatory performance situations and in our everyday lives. This framework provides a detailed account of the material-performative human perceptual apparatus, a theme less explored in the field of theatre and performance studies. Drawing especially on the views of human perception, power, and experience of Jacques Rancière, Marcel Mauss, and Michel Foucault, the main concepts of this framework are “sensory fields”, “experience fields” and “body techniques”. As for the verbalization of experiences through performance analysis, the framework draws on Joe Kelleher’s and Alan Read’s notions of “theatre images”. Based on the analytical framework, the writer locates and interrogates “politics of the sensible” i.e. modes of participation; underlying assumptions regarding the participants and the efficacy of the chosen participatory strategy; potential inclusions and exclusions; and horizons of change in Lois Weaver’s What Tammy Needs to Know (2006) and What Tammy Needs to Know about Getting Old and Having Sex (2008), the Complaints Choirs of Helsinki (2006), Singapore (2008) and Vienna (2010 –) based on the Complaints Choir project concept by Tellervo Kalleinen and Oliver Kochta-Kalleinen, and dominant powers. was also tun? (2011) by Claudia Bosse and her group, theatercombinat. This study also shows how all of these projects embody features of post-Fordist work and how they relate to the ethos of de-alienation in participatory art practice. Besides locating productive transformatory potential and tendencies in all of these performances, this study brings about critical perspectives and notions that have not been addressed in previous research on Weaver’s, Kalleinens’ and Bosse’s projects. In Weaver’s performances, being introverted, shy or reluctant appeared as an “inhibition” that needed to be cured. Sexuality – and the belief that we can learn to enjoy it more through facilitated taboo-breaking speech – was conveyed as a given fact, which can be seen as othering shy and introvert spectator-participants, and spectator-participants in whose lives sex, and sexuality do not play a central role and who do not adhere to the therapeutic undertone of the performances. That said, Weaver’s performances challenged social myths and taboos around and about the elderly, sex problems and sex toys. The performances also highlighted identities as social and performative processes and may thus have affected the world-view of some participants and helped them to understand our own position in the processes of social passing. These performances also hinted at the possibility of coalitional feminist identity politics that emphasizes dialogue between individuals and groups with different identities to locate grounds for alliance-making and co-operation. Simultaneously, they can be seen as productive feminist and LGTBQ+ consciousness-raising and community-building events. The Kalleinens’ Complaints Choir relies strongly on the assumption of the therapeutic power of harmonic and affirmative group-based action; however, this study suggests that the project may risk a proto-totalitarian dynamic through performances built on spectacularity and a uniform mode of performance. Furthermore, while the project relies on a grounding open-access policy, its basis in choir singing – a skill and practice not familiar to everyone but adopted in formal and informal learning situations – and its references to demographic representation, have an exclusionary tendency. On the other hand, Complaints Choirs have political potential in that they give complaints audibility and visibility through attention-raising choral performances at public sites. The wide Internet presence of the project contains much potential for distribution; for devising new Complaints Choirs; for fighting censorship; and for linking people concerned about similar issues at a grassroots level, beyond the frames of national and local politics. As a concept, the Complaints Choir can also be seen as eschewing the problematic assumption about a pre-existing community with a shared set of interests to be activated and included in the project, prevalent in much community-based practice. In Claudia Bosse’s and theatercombinat’s dominant powers. was also tun?, the reliance on proactivity, navigating on one’s own on the performance site, and the decentral non-theatre location, give rise to an potentially exclusive ambience that limits its audience base to art aficionados. Moreover, while the performance de-stabilized and challenged glib classifications of “nation” and “democracy”, it problematically hinted at demographic representation at the level of video interviews and the naming of the volunteers’ choir that were part of the performance. This said, dominant powers. was also tun? may have affected the participants’ ways of viewing and interpreting news stories and, more broadly, media representations of revolutions as critical media consumers and art audiences. The performance can be seen as a novel form of critical immersive performance practice that employed immersive strategies without offering its participants any consumerist spectacle in which to immerse themselves. The writer suggests that the analytical framework presented in this study provides new insights into perception, power and the body in performance theory and analysis, and may also offer productive inputs for artist-researchers, curators and art educators in planning and reflecting on their projects, and for scholars in areas such as epistemology, semiotics, and political science. Doctoral Dissertation, University of Helsinki, 2020 ISBN 978-951-51-6418-6 (paperback) ISBN 978-951-51-6419-3 (PDF) Open access PDF also available at the HELDA Database/University of Helsinki: https://helda.helsinki.fi/handle/10138/320573?locale-attribute=en