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EN
Scenario studies are seen as useful tools to support planning and decision making processes because they provide integrated projections of future trends and developments and their impacts on land use. They play an important role in facilitating cooperation and interaction at the science policy interface. This article contributes to new understandings of the role of science-based tools and instruments such as scenario studies at the science-policy interface. It uses a theoretical framework that connects the criteria of credibility, salience and legitimacy to the concepts of coproduction and boundary object to analyze the EUruralis project; a scenario study that addresses the future of agriculture and rural development in Europe. The findings demonstrate that aspects related to legitimacy contributed to the capacity of the EUruralis to function as a boundary object between the scientists and policymakers involved. They also show how cooperation in the EUruralis project resulted in joint learning and reflection. The article concludes by discussing the role of the EUruralis as a boundary object and connecting the findings to the concept of coproduction.
EN
This article sets out to study creative works of collective memory in contrast to state-backed representations of the past. It takes as examples for analysis the erection of statues of the title hero of Jaroslav Hašek’s novel The Good Soldier Svejk in the border region of western Ukraine. It looks at the political and social contexts of creative readings of this novel and how such readings interfered with the dominant state-backed representations of the past and upset historical interpretations that had become deeply anchored in the national discourse. The erection of these statues also had the effect of expanding room for the imagination and fostering discussion of local cross-border cooperation. Activities of this nature tend to dowplay rather than emphasise the state border that cuts through the Urkainian-Polish border region. Methodologically the article is based on an ethnographic study of the unveiling of Svejk statues in Skelivce, Uzhhorod (Ukraine) and Przemyśl (Poland). These new contextualisations of Svejk help to establish an alternative representation of the past and political geography of the borderland area and make Svejk into an object that emphasises the differences between the inhabitants of the Ukrianian-Polish borderland on the one hand and the inland populations of these two stages on the other.
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