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Milton-Smith, Melissa. "A conversation on globalisation and digital art." University of Western Australia. Communication Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0057.
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Globalisation is one of the most important cultural phenomena of our times and yet, one of the least understood. In popular and critical discourse there has been a struggle to articulate its human affects. The tendency to focus upon macro accounts can leave gaps in our understanding of its micro experiences.1 1 As Jonathon Xavier Inda and Renato Rosaldo argue there is a strong pattern of thinking about globalisation 'principally in terms of very large-scale economic, political, or cultural processes'. (See: Jonathon Xavier Inda and Renato Rosaldo (Eds.), The Anthropology of Globalisation: A Reader, Malden, Blackwell Publishing, 2002, p. 5.) In this thesis, I will describe globalisation as a dynamic matrix of flows. I will argue that globalisation's spatial, temporal, and kinetic re-arrangements have particular impacts upon bodies and consciousnesses, creating contingent and often unquantifiable flows. I will introduce digital art as a unique platform of articulation: a style borne of globalisation's oeuvre, and technically well-equipped to converse with and emulate its affects. By exploring digital art through an historical lens I aim to show how it continues dialogues established by earlier art forms. I will claim that digital art has the capacity to re-centre globalisation around the individual, through sensory and experiential forms that encourage subjective and affective encounters. By approaching it in this way, I will move away from universal theorems in favour of particular accounts. Through exploring a wide array of digital artworks, I will discuss how digital art can capture fleeting experiences and individual expressions. I will closely examine its unique tools of articulation to include: immersive, interactive, haptic, and responsive technologies, and analyse the theories and ideas that they converse with. Through this iterative process, I aim to explore how digital art can both facilitate and generate new articulations of globalisation, as an experiential phenomenon.
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Silpasart, Chayanoot. "Contemporary Thai art : globalisation and cultural identity." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.617061.
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The drastic changes in Thai life since the 1980s, led by the impact of globalisation and economic growth, has made the Thai people to become more aware of the concepts of nationhood and cultural/national identity or "Thai-ness", especially through the form of cultural activities including visual art. The fear of losing national identity has led to the revival of traditional art, namely "neo-traditional Thai Art". This style is strongly supported by the government and is regarded as the mainstream of the Thai art scene since it has been the most effective catalyst for arousing patriotism and creating a sense of Thai unity. - Thai-centrism is promoted by artists and art instructors as a necessary means to distinguish national characteristics from the influence of Western art styles. Consequently, modern and contemporary Thai art is geared toward the conservative value of national identity. The assumption is that such art should reflect characteristics that are uniquely Thai. Yet, globalisation also gives some Thai artists, who are the subject of this thesis, confidence as the new internationalism opens up a wide range of opportunities. This thesis presents the work of distinctive avantgarde/ contemporary Thai artists, particularly Montien Boonma, Manit . Sriwanichpoom, Michael Shoawanasai, Rirkrit Tiravanija, and Navin Rawanchaikul. They struggle against the dominance of traditional styles and the professional hierarchy, yet are challenged to make distinctive contributions to contemporary Thai art. Thai-ness is defined and redefined in many contemporary contexts, despite the government's favouring neo-traditional art. While neo-traditional Thai art is favoured at home, neo-traditional artists have not really succeeded on the international art scene, even though they have exhibited in major museums around Asia. On . the other hand, avantgarde/ contemporary Thai artists, who always struggle to survive at home, have been selected by foreign curators, who had • developed an appreciation for cutting-edge/ experimental Thai artistic expression to participate in many prestigious international platforms.
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Yardimci, Sibel. "Meeting in Istanbul : cultural globalisation and art festivals." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421830.
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Hunter, Roderick Dundas. "Curating 'the eternal network' after globalisation." Thesis, University of Dundee, 2019. https://discovery.dundee.ac.uk/en/studentTheses/ace49e4a-c7c1-406d-9762-5286c65f7233.
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This practice-based research project investigates the production, distribution and reception of network art practice before and after globalisation. It does so to engage with the Internet as 'the most material and visible sign of globalisation' (Manovich 2001) whose emergence as the pre-eminent network technology arrives concurrently with the disappearance of its utopian promise. Taking Robert Filliou's 1968 conception of The Eternal Network as a starting point, the research seeks to understand the opportunities and limitations of network art practice through identifying and developing a range of curatorial and artistic methods in practice. Methodologically, it presents the researcher as an artist-curator-performer. Doing so enables 'inhabitation' (rather than 're-enactment') of the concepts and principles of Filliou's work. Filliou thus becomes a medium of research for the development of network art practice after the Net and vice versa. Curating only the second edition of The Art-of-Peace Biennale becomes the primary output of the research. Filliou conceived of the Biennale in 1970, proposed it in 1982 and René Block organised the first edition at the Kunstverein, Hamburg, Germany, in 1985. The contemporary edition, The Next Art-of-Peace Biennale 2015-17, occurred mainly but not exclusively through the online platform, www.peacebiennale.info. It did so to respond to the radical shift in modes of online production, distribution and reception since the first edition. The research describes, contextualises and reflects on the emergence of The Next Art-of-Peace Biennale 2015-2017 and describes a final exhibition, What is Peace? (Answer Here), held in 2018. It presents a contribution to knowledge through artistic and curatorial practice exploring online and offline exhibition-making, video, performance, correspondence art and writing. Through developing an ontology of 'curatorial behaviour' exploring the 'locations', 'durations', 'materialities' and 'interactions' of network art practice, the research identifies artistic and curatorial principles able to withstand the 'high-tech gloom' (Thompson 2011, p. 49) of mendacious globalisation in a late Web 2.0, postmedium condition.
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Régis, Luc. "Communautés de peau : art corporel et scarification à l'ère de la globalisation." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0393.
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La thèse s'appuie sur un large corpus relatif à l'art corporel, ce dernier étant entendu comme l'ensemble des pratiques visant à transformer l'apparence du corps (des peintures à la scarification en passant par le piercing et le tatouage). Elle se fonde, d'une part, sur l'observation et les connaissances livresques des différentes formes d'art corporel passées et présentes, développées tant dans les sociétés occidentales que non occidentales, et, d'autre part, sur un terrain conduit au Burkina Faso sur les scarifications faciales des Bwaba sur plusieurs séjours totalisant deux années d'enquêtes. L'analyse confronte les arguments tirés de la connaissance des différents arts corporels à travers le monde avec le système des scarifications inventés par les Bwaba. L'objectif est de contribuer à la constitution d'une théorie générale de l'art corporel. Après un chapitre d'introduction générale, l'art corporel est interrogé tant à partir de la théorie de l'art, que de l'anthropologieThe thesis draws on a wise corpus on body art, set of practices transforming the appearance of the body (paintings, scarification, piercing and tattooing). It is based on observation and knowledge of various forms of past and present body art, both in developped western societies and non-western, and on two years of fieldwork investigations in Burkina Faso on Bwaba facial scarification. The analysis compares the arguments of various body arts in the system of scarifications invented by Bwaba. The goal is to help build a general theory of body art. After an introductory chapter, body art is examined from both the theory of art and anthropology
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Querol, Núria. "The impact of globalisation on curating contemporary art in India, 1990-2012." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1654/.
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Lock, Katrin. "Imagining wealth : Globalisation and the visual language of luxury investigated through a contemporary art practice." Thesis, Leeds Beckett University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532162.
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In this practice-based PhD project I investigate the categories of wealth, luxury, aspiration and desire. Through a collaborative approach using artistic means, I explore a range of subjective responses to these categories against the background of the / current global proliferation of cultures produced by the neo-liberal age: 1. Through the analytical approach of a lecture, using contextual images, artist's video andtext, Fairy Tales of Wealth, investigates how the changing landscape of the global rich shapes the visual language associated with luxury and wealth. In this lecture I also identify commonalities between the luxury goods sector and the world of contemporary art such as the mechanisms of value creation and its function as a form of social distinction. 2. In a series of 23 photographs, Service World, I examine car wash businesses in different metropolitan contexts as an example how the semiotics of wealth, big business and success, become inscribed into the urban space. Visual references to global brands play an important part in the layout and presentation of these businesses. The photographic series explores the everyday practice of amalgamating local and global signs as a way to assimilate into local cultures. 3. In the After Gertrude Stein film trilogy, I collaborate with young actors in Johannesburg, Berlin and Brussels, and employ narratives and acting as a methodology to articulate aspirations. The Gertrude Stein script, Dr. Faustus lights the lights, functions as a starting point and methodological reference. By assembling and merging narratives, developed in teamwork and by individual participants, the trilogy stages a multitude of voices. The methodologies applied in this research project uniquely produce and capture local and.translent individual singularities. Yet when seen within the broader context of the research project, these sensibilities also become expressive of globalisation, as is contextualised in the lecture manuscript and the written document.
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Jackson, Deborah. "Shifting focus of the traditional centres of contemporary art : Scotland's evolving position from periphery to prominence." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9484.
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My thesis considers the distinctive characteristics of contemporary artistic production and display in Scotland from the 1960s to the present. The main objective is to make manifest the diversification of global sites of contemporary art away from traditional centres by examining less exposed aspects of art practice in Scotland. My methodology is driven by a set of case studies of artist-run initiatives (ARIs), which provide models of enquiry into alternative methods of production and display of contemporary art and that demonstrate the role of ARIs in producing art scenes, and not merely representing those that already exist. I focus on counter-histories of self-organised ARIs and their legacies, and adopt a genealogical approach to examine how recent praxis and infrastructures came into existence and how their initial impetus intersected with their historical conditions. Anthony Giddens’ structuration theory is employed to examine local forms of power and infrastructure, as well as the wider, global structures of the art world. The emphasis is on how ARIs and established institutions can and do negotiate with each other and in recognising the interpenetration of different scales of art institutions. I apply a bifurcated approach in order to bring Scotland into dialogue with anthropological discussions of cultural globalisation. I ask how locality, nationalism and globalisation are configured in (visual) culture generally and as applied specifically to a Scottish context. This is underpinned by a consideration of Scottish Devolution as a disintegration of hierarchical domination, which correlates to the ideologies of artist-run practice. Finally, I propose the eradication of top-down delivery in favour of horizontal distributions of knowledge and practice via self-organisation.
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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.
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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Castets, Sylvie. "L'exotisme : un art du débordement." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1005/document.
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L'art actuel est fait, pour partie, de mobilités et de formes si diverses, que d'après certains critiques et commissaires, tels que Jean-Hubert Martin ou Bao Dong, la sensation d'exotisme existe encore. On peut d'ailleurs s'étonner, qu'à l'heure de la globalisation, elle soit toujours aussi vivace. Elle l'est effectivement ; mais elle est aussi distincte de ce sentiment particulier qui offrait aux voyageurs occidentaux du XVIII et XIX èmes siècles, l'assurance de leur supériorité. Victor Segalen a, en effet, donné à l'exotisme une autre définition, chargée, celle-là, de valeurs esthétiques et éthiques. Par exotisme, il ne s'agissait donc plus de qualifier une chose, une région ou encore un être, mais d'envisager une expérience profonde de la différence perçue comme étant irréductible. Quant au monde de l'art, il s'est laissé pénétrer d'exotismes et a produit une multitude d'oeuvres, provoquant, à leur manière, des débordements de différentes natures. Il s'agira dans cette recherche d'en analyser les caractéristiques et les enjeux, en prenant pour prétexte l'étude des constituants plastiques d'un tableau peint. Le jeu des analogies entre les espaces – réels ou représentés – permettra ainsi de dégager, dans le détail, certains aspects d'une géo-esthétique, et de manière plus générale, de rendre manifeste le fait qu'il n'y a pas un, mais des mondes de l'artArt today is partly made of mobilities and forms so diverse that according to art critics and curators such as J. H Martin or Bao Dang, the feeling of exoticism still exists. Besides one may be surprised that in the age of globalization that feeling is so vivid . Indeed it is,but it is also different from that particular feeling that gave the European travellers of the eighteenth and nineteenth centuries the certainty that they were superior to the other people. Indeed V. Segalen gave exoticism another definition laden with aesthetic and ethical values.Through exoticism it was no longer a question of describing a thing, a region or even a human being but of considering a profound experience of the difference viewed as being resolutely different.As for the world of Art, it let itself be filled by exoticism and it has produced a vast number of masterpieces, creating in their own way diversions of all kinds. The purpose of my research will then be to analyze the characteristics and what is at stakes in exoticism, under the pretence of studying the plastic constituents of a painting.The game of analogies between the spaces- either realistic or as they are represented- will allow to single out in detail some aspects of a geo- aesthetics and more generally to make it obvious that there is not ONE world of Art but several
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Hest, Femke Josepha Johanna van. "Territorial Factors in a Globalised Art World ? : The Visibility of Countries in International Contemporary Art Events." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0177.
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Nous proposons dans cette thèse d'analyser l'orientation internationale des événements d'art contemporain, telles que les expositions muséales, les biennales, les écuries des galeries et les foires d'art. Dans le monde de l'art, le phénomène de globalisation est souvent considéré comme ayant contribué à une distribution plus égale de la visibilité des artistes originaires de différentes parties du monde. Cette idée n'est pourtant pas confirmée par cette thèse : les positions des pays n'ont guère changé et l'hégémonie occidentale demeure intacte. De plus, les événements ont tendance à privilégier les artistes nationaux. Considérées comme le symbole de l'internationalisation du monde de l'art contemporain, les biennales, sur lesquelles cette étude se concentre, révèlent en outre une orientation essentiellement régionale. Le pays organisateur et ceux qui l'entoure, y sont surreprésentés, mais ne sont guère visibles aux biennales organisées dans d'autres régions. Les Pays-Bas, présentés comme un cas exemplaire dans cette thèse, se situent dans les classements juste après les pays dominants, où les artistes étrangers résidant dans ce pays contribuent considérablement à la visibilité de l'art néerlandais dans le monde international d'art contemporain, représentant en moyenne 40% des participations néerlandaises pour les événements étudiés. Comparés aux autres pays, les Pays-Bas parviennent donc à attirer davantage d'artistes étrangers, contribuant à contrebalancer l'intérêt croissant pour des artistes non-occidentaux dans le monde de l'art. Les écoles d'art et les programmes postdoctoraux jouent dans ce sens un rôle notable dans le flux de ces artistes étrangers vers les Pays-Bas. Nous montrerons également que la politique culturelle et les curateurs d'art actifs à une échelle internationale constituent d'autres facteurs qui ont une influence positive sur la position des Pays-Bas dans le monde international de l'art contemporainThe dissertation addresses the international orientation of contemporary art events held all over the globe, such as museum exhibitions, biennials, gallery stables and art fairs. In the contemporary art world, globalisation is generally thought to lead to a more equal distribution of the visibility of artists from around the world. This is, however, not confirmed by this dissertation: the positions of countries have hardly changed and Western hegemony remains intact. Despite a growing interest in non-Western art, contemporary art events remain dominated by the US, Germany and the United Kingdom, and tend to give primacy to their national artists. Biennials, on which the research focuses in particular as they are generally considered to symbolise the very internationalisation of the contemporary art world, appear in fact to have a predominantly regional orientation. The country hosting the biennial, along with other nations from the same region, are overrepresented, yet these countries are barely visible at biennials in other parts of the world. The Netherlands, which was used as a case in this dissertation, belongs to the level just below the leading countries. Foreign artists residing in the Netherlands largely contribute to the visibility of Dutch art in the international contemporary art world, representing on average 40% of the Dutch representations in international contemporary art events. Compared to other countries, the Netherlands has been one of the most successful ones in attracting foreign artists, which helps to counterbalance a declining interest in art from Western countries. Dutch educational and post-doctorate programmes play a crucial role in this. This thesis also reveals other factors that may positively influence the position of the Netherlands, such as cultural policy tools and internationally active curators
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Hosseinioun, Mishana. "The globalisation of universal human rights and the Middle East." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8f6bdf79-2512-4f32-840a-3565a096ae8d.
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The goal of this study is to generate a more holistic picture of the diffusion and assimilation of universal human rights norms in diverse cultural and political settings such as the Middle East and North Africa (MENA). The overarching question to be investigated in this thesis is the relationship between the evolving international human rights regime and the emerging human rights normative and legal culture in the Middle East. This question will be investigated in detail with reference to regional human rights schemes such as the Arab Charter of Human Rights, as well as local human rights developments in three Middle Eastern states, Egypt, the United Arab Emirates, and the Islamic Republic of Iran. Having gauged the take-up of human rights norms on the ground at the local and regional levels, the thesis examines in full the extent of socialisation and internalisation of human rights norms across the Middle East region at large.
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Gaffney, Kiley. "Cosmopolitan tendencies in recent intersubjective art." Thesis, University of Queensland, 2015. https://eprints.qut.edu.au/89196/1/Kiley%20Gaffney%20PhD%20Thesis%20for%20QUT.pdf.
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This thesis uses cultural studies approaches to ask in what ways can intersubjective art act on the disparities brought about by late capitalism through the auspices of cosmopolitanism? How do the same processes that oppress others allow the artist to be mobile and self-reflexive while accruing and deploying a broad range of knowledges and competencies? The answer is paradoxical: those oppressed by the processes of late capitalism become the focus, theme, and content of the intersubjective artwork while the artists benefit from a system they seek to problematise and critique. Three case study chapters highlight these complex and disconcerting politics.
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Gabriella, Johansson. "Participatory Art for Social Change? : A study of the quest for genuine participation." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36700.
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A number of theories suggest that participatory arts based approaches have the potential to contribute to development and social change. However, the nature of participation and participative approaches is multi-layered and complex, and critics have voiced concern for depicting participatory art initiatives in an oversimplified, uncriticised positivistic manner. The danger of such assumptions lay in the risk of manipulation, where non-genuine participation could contribute to the reinforcement of oppressive power structures and the dominating hegemony. This study explores the intersection of art, participation and development, and further aims to discuss the process of identifying the emancipatory possibilities and limitations of participatory art for development and social change. Using a combination of a constructivist case study approach and critical discourse analysis, two participatory art organisations are analysed with the intention to define each organisations’ understanding of the nature of participatory art, and further how this is reflected in the implementation of their work. The findings suggest that both organisations, to a certain degree, communicate an understanding of participation that reflect previous theories on genuine participation. Additionally, the findings suggest that this understanding is reflected in the practical work of the organisations.
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Drake, Suzanne. "L’art contemporain du Moyen-Orient entre traditions et nouveaux défis." Thesis, Pau, 2014. http://www.theses.fr/2014PAUU1012/document.
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Dans les pays du Moyen Orient, nous sommes face à une réalité complexe, qui est encore peu comprise en Europe. Les médias nous dépeignent souvent une société majoritairement islamique fondamentaliste. Cette image, qui pourrait relever d’une représentation tardive du Moyen Orient par l’Occident est empreinte de problématiques d’ordre économique et sociétal. Une analyse précise permet de mettre au jour des singularités nationales et intranationales. Les développements artistiques profitent de ces sources multiples. Pour inclure les artistes du Moyen Orient dans l’histoire de l’art du monde, et comprendre les œuvres d’art contemporain, nous nous sommes servis de plusieurs approches. Outre l’analyse esthétique et la recherche d’influences formelles, il s’agit de comprendre les positions politiques de l'artiste, sa psychologie, son rôle dans la société, mais aussi la place de la religion dans la vie publique, la valeur attribuée à l’art contemporain et sa réception dans la société. Les marchés de l’art sont manifestement mondialisés, les critiques et commissaires d’expositions influencés par les goûts et jugements occidentaux et pour tout compliquer, nombre d’artistes qui se réclament d’un pays du Moyen Orient sont nés et vivent dans un pays occidental. Nous pouvons, en lien avec tous ces paramètres, constater des développements rapides dans le domaine de la production artistique et celui de sa diffusion dans la région. Notre recherche concerne ici à la production artistique actuelle de six pays et/ou peuples de la région: l’Egypte, la Jordanie, la Syrie, le Liban, la Palestine, Israël, et les KurdesWe face complexe realities in the countries of the Middle East and they are still often ignored in Europe. The media usually show us societies which are basically Muslim fundamentalist. This image is a shadow of the late colonialisation of the Middle East and is influenced by our own social and economic problems. The differences between countries, and inside the actual countries, are analysed in order to understand artistic development and to include the artists of the Middle East in the world’s Art history. To understand the contemporary works of artists, we used a variety of approaches. Besides the aesthetic analysis and the research of formal influences, we also regarded the political position of the artist, his or her psychology, his or her role in society, but also the place of religion in public life, the value given to contemporary art inside the society and the way it is perceived. The world art markets are globalised, art critics and curators are however influenced by the tastes and judgements of the West, and to complicate the whole matter, a great number of artists who claim to come from a certain place in the Middle East are actually born somewhere else and live in diaspora. We can, in using all these parameters, see the rapid developments in the production of art and its appreciation in the region. This research aims to scrutinize the actual artistic production of six peoples in the region: Egypt, Jordan, Libanon, Palestine, Israel and the Kurds
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Crenn, Julie. "Arts textiles contemporains : quêtes de pertinences culturelles." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30054/document.
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L’étude propose une vue d’ensemble de la création textile à travers différents prismes puisque nous abordons les pratiques artistiques utilisant les costumes d’époque, la broderie, l’assemblage textile, les cheveux, les tissus traditionnels, la tapisserie ou encore l’art du quilting. Qu’il s’agisse des oeuvres de Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja ou Tracey Emin, chacun des artistes sélectionnés pour notre étude, propose une recherche visant une pertinence culturelle grâce à l’élaboration d’une pratique plastique où expériences personnelles et collectives s’entremêlent. La pertinence culturelle étant entendue ici comme une reconstruction critique et théorique d’une histoire par l’appropriation de matériaux et/ou de techniques textiles spécifiques. Nous avons opté pour un travail thématique afin d’analyser au mieux ce que nous appelons la scène textile globale. Une première partie propose l’analyse des travaux d’artistes réfléchissant sur l’histoire et la culture noire. Nous étudierons une sélection d’oeuvres mettant en lumière deux traumas : l’esclavage et le colonialisme, ainsi que leurs répercussions actuelles sur la culture et la société. Ainsi les travaux de Faith Ringgold, Yinka Shonibare, Hassan Musa et Maria Magdalena Campos-Pons seront analysés afin de parler de problématiques comme « l’hybridité culturelle », la créolisation, la situation de l’art contemporain africain ou encore la représentation du corps noir dans l’art. Une seconde partie est axée sur les notions d’exil, de diaspora et de l’inconfort induit par le nomadisme, le statut « entre-deux ». Les pratiques de Mona Hatoum, de femmes artistes arabes comme Lalla Essaydi, Shadi Ghadirian ou Ghazel, ainsi que les travaux de Kimsooja, Janine Antoni et Ana de la Cueva nous permettrons d’entrer au coeur d’une scène artistique dont les enjeux critiques nous portent à réfléchir sur la mondialité, dans ses aspects positifs (enrichissement, échange, dialogue) comme négatifs (uniformisation, standardisation, perte des spécificités locales). Grâce au vecteur textile, chacun de ces artistes appréhende le monde et la société d’une manière à la fois poétique, critique et politique. Une troisième partie est dédiée aux artistes (majoritairement des femmes) ayant choisi l’utilisation de techniques textiles traditionnelles comme la broderie, le tissage ou la tapisserie. Avec l’explosion de la scène féministe depuis les années 1970 jusqu’aux travaux actuels, la broderie n’est désormais plus considérée comme un loisir typiquement féminin, mais comme une véritable arme politique. Une arme dirigée vers le machisme, le patriarcat ou encore les inégalités liées au genre. Dans ce cadre, les pratiques d’artistes comme Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, permettront d’aborder la broderie dans l’art contemporain de manière diversifiée et hétérogène. À travers ces différentes analyses, nous observons la déconstruction de la hiérarchie des arts et le fait que l’art textile contemporain apparaît comme un art engagé et pertinent, proposant des perspectives de réflexions riches en lien avec les problématiques du monde actuelThe study advises an overview of the textile creation in the widest sense because we approach the artistic practices using period costumes, embroidery, textile assembly, hair, traditional fabrics, tapestry or quilting art. That it is about works of Yinka Shonibare, Louise Bourgeois, Hassan Musa, Faith Ringgold, Kimsooja or Tracey Emin, each of the artists chosen for the study, is in search of a cultural relevance within his artistic practice where personal and collective experiences are interwoven. The cultural relevance being understood here as a critical and theoretical reconstruction of a (his)story by the mean of appropriation of specific textile materials and techniques. We opted for a thematic work to analyze at best what we call the global textile scene. A first part proposes the analysis of works from artists who think about Black culture and history. We will study works that shade light on two traumas: Slavery and colonialism, as well as their echoes on nowadays culture and society. So the works of Faith Ringgold, Yinka Shonibare, Hassan Musa and Maria Magdalena Campos-Pons will be revealed to speak about issues such as “cultural hybridity”, creolization and the situation of the African contemporary art or also the representation of the Black body in art. A second part is centred on the notions of exile, Diaspora, discomfort caused by nomadism and the “in-between” status. The practices of Mona Hatoum, Arab women artists such as Lalla Essaydi, Shadi Ghadirian or Ghazel, and the works of Kimsooja, Janine Antoni and Ana de la Cueva will allow us to enter the heart of an artistic scene the critical stakes of which carry us to think about the globalisation, within its positive (enrichment, exchanges, dialog) as negatives aspects (standardisation, losing of local specificities). Each of these artists dreads the world and the society in a poetic and political way. The third part is finally dedicated to the women artists who chose the use of traditional techniques as embroidery, weaving or tapestry. Since the explosion of the feminist scene during the 1970s until current works, embroidery is henceforth no more considered as a typically feminine leisure, but as a real political weapon. A weapon steered towards the male chauvinism, patriarchy or gendered disparities. In this frame, the practices of such artists as Elaine Reichek, Judy Chicago, Louise Bourgeois, Joana Vasconcelos, Tracey Emin, Ghada Amer, Cathy Burghi, will allow to approach the embroidery in contemporary art in a diversified and heterogeneous way. Through these various analyses, we observe the deconstruction of art hierarchy and that contemporary textile art appears as a committed and relevant art, proposing perspectives of rich reflections in connection with the actual issues of our world
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Eriksson, Olov. "Sverige och Art- och Habitatdirektivet - i samförstånd eller avvikande : En studie om reglerande dokuments roll i implementeringsprocessen." Thesis, Umeå universitet, Statsvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85153.
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Within the political science literature that deals with the implementation process a central part has long been what is sometimes called the implementation deficit. This means that the effect of a policy decision doesn´t turn out as it was originally intended. The often used explanation is that the policy decisions moves through many levels during its implementation where different actors can change or alter the decision in various degrees. This phenomenon has gradually become more and more attended within the legislative process in the European Union and has been addressed in numerous studies. The purpose of this paper is to examine the implementation of The Habitats Directive, as its embodied in regulatory documents, in the Swedish multi-level system. To concretize this purpose, I´ve used two research questions; [1] How well has The Habitats Directive been implemented in the regulatory documents? and [2] Which deviations from the Directive are there? To answer these questions I conduct an analysis of ideas of the regulatory documents that constitute the written implementation of the Directive. I compare the degree of consensus in the multi-level system based on two dimensions of the Directive, the Conservation dimension and the Habitats/Species dimension. The result shows that the agreement between the EU Directive and the implementation of the Authority level is probably greater than that on the Parliamentary level . This contradicts the theory that the implementation of the multilevel system creates a cumulative implementation deficit and the result can be a contribution to further understanding and interpreting the practical implementation of the Directive.
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Bernard, Marie-Hélène. "Les compositeurs chinois au regard de la mondialisation artistique : Résider-Résonner-Résister." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040156.
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Après la Révolution culturelle, toute une génération de compositeurs de Chine continentale a émergé sur la scène internationale. Ce mouvement est indissociable de la mondialisation artistique, puisque beaucoup de ces compositeurs se sont dispersés dans le monde pour se construire hors de leur contexte culturel d’origine. C’est à Chen Zhen, un plasticien chinois de la même génération, que nous avons emprunté les trois concepts de « résidence, résonance et résistance », pour éclairer leurs trajectoires. 1 Résidence Comment relier par cette notion des compositeurs qui vivent aux États-Unis, en Europe, et même … en Chine ? Ce n’est pas dans la géographie qu’il faut chercher un ancrage commun, mais plutôt dans l’histoire. Dix années de Révolution culturelle, suivies de dix années d’ouverture, ont façonné très fortement cette génération.2 Résonance Dans la délicate alchimie à opérer entre techniques occidentales et traditions musicales chinoises, on repère une sorte de circulation entre différentes couches de mémoire. L’étude des œuvres permet de voir combien les influences s’enchevêtrent.3 Résistance On note chez nombre de compositeurs chinois une volonté de se démarquer de la musique contemporaine occidentale : univers incontournable pour être reconnu, elle semble avoir opéré à la manière d’une sorte de « surmoi ». On peut y voir la résurgence de l’idéal esthétique chinois ancien du naturel (ziran), mais aussi un accommodement aux lois du marchéAfter the Cultural Revolution, a whole generation of Chinese composers arrived on the international music scene. It is not possible to dissociate this movement from the artistic globalisation, since almost all of these composers are spread out over the different continents and are working outside of their original cultural context. To clarify the paths taken by these composers, we shall use the categories (“residence, resonance and resistance”) elaborated by Chen Zhen, a Chinese visual artist of the same generation1. ResidenceHow can we possibly group together under this term composers living in the United States, Europe and even … in China? We cannot look to geography to find a common basis but rather to history. Ten years of the Cultural Revolution followed by another ten where China had opened to the West have had a very strong impact on this generation of composers.2. ResonanceIn the delicate alchemy that takes place between Western technique and Chinese musical tradition, we can see a certain inter-penetration of different layers of memory. Studying the works of these composers, we can see how much these influences become entangled.3. ResistanceWe can notice with many of these Chinese composers a growing tendency to take distance from Western contemporary music, a world essential to be part of, if one wants recognition, acting as a kind of Super-Ego. We can see this phenomenon like the resurgence of very old Chinese aesthetic concept, the ideal of the “natural” (ziran) or like a compromise with the market power
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Maybury, Terrence, and n/a. "Internal+/-External Terrains: A Meditation On the Productive Skein of Electracy." Griffith University. School of Film, Media and Cultural Studies, 2002. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031009.112120.
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Internal+/-External Terrains is a meditation on the nature of electronic creativity, primarily from a production point of view. It seeks to arbitrate and synthesise a range of skills, attributes and ideas that might constitute the field of electronic aesthetics. It does this from the perspective of electronic artists, and the socio/economic/cultural system they increasingly serve. The aesthetics of electronic production, as looked at through the framework of electracy, serves as a model through which to locate some specific shifts in both self-making, and capitalism, in both their Post-Fordist, and globalising manifestations. Internal+/-External Terrains is a meditation on the re-conceptualisation going on in electronic meaning-making, as it is currently happening at the interfaces of the psyche, the politico-cultural domain, and in the techno-aesthetic apparatus of its production. Through the compilation of a possible program in electracy (of its various aesthetic components as used in production), along with a brief outline of the electronic artist, Internal+/-External Terrains situates both, as role-model and epicentre, of an increasingly accepted mode of abstraction: Radial-Logic©. And it is this omnidirectional form of abstraction currently lighting the cyber-cohering logic of an already arrived future.
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Salami, Shahnaz. "Enjeux et perspectives de la politique du droit d'auteur en Iran à l'heure de la globalisation et à la lumière du droit français et international : exemple du cinéma." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2112.
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La reconnaissance du droit d’auteur en Iran rencontre d’importantes difficultés à l’heure de la globalisation où la standardisation du droit d’auteur au niveau international se heurte aux problématiques nationales : telle est l’idée principale de la première partie de cette thèse. Dans un premier temps, une étude du droit d’auteur en République Islamique d’Iran montre que la politique culturelle iranienne en matière de propriété littéraire et artistique s’inspire de l’approche française du droit d’auteur. Dans un deuxième temps, une analyse du droit positif international permet de constater les enjeux socioculturels, politiques et économiques qui expliquent la tendance du législateur iranien à instaurer un équilibre entre le particularisme iranien et le droit positif international par le biais d’une série de réformes. Cette partie illustre enfin les difficultés auxquelles le législateur iranien doit faire face afin de trouver une harmonisation entre les conventions internationales d’une part, et le niveau de développement du pays d’autre part. La deuxième partie de cette thèse analyse le développement du piratage cinématographique, l’essor du marché noir du film et l’évolution des réseaux de l’économie informelle de la communication qui constituent autant d’obstacles à la volonté de conformer le droit d’auteur iranien au droit d’auteur international. Le piratage des films mérite d’être vu comme étroitement imbriqué dans l’environnement social, politique, culturel et économique de l’Iran d’aujourd’hui. Telle est l’idée sur laquelle est fondée cette deuxième partie. Traversant l’histoire technologique, économique, sociale et politique du cinéma iranien, cette étude tente de découvrir les raisons du développement de l’activité pirate en Iran, ses conséquences sur l’industrie du cinéma iranien et sur la société iranienne. À travers cette analyse sur le piratage, cette thèse présente enfin ce phénomène comme une voie souterraine et méconnue par laquelle opère dans l’ombre la mondialisation culturelle en Iran. Cette analyse montre en filigrane comment les réseaux du marché pirate de films donnent corps à une « économie souterraine » organisant une mondialisation culturelle "underground" en IranThe recognition of copyright in Iran encounters significant difficulties in globalization times when international standardization of copyright clashes with national issues : such is the assumption that we will endeavor to check in the first part of our thesis. First, a study of copyright in Iran will show that the Iranian cultural policy concerning literary and artistic property is inspired by the French approach to copyright. Secondly, an analysis of international positive law will see cultural, political and economic issues that explain why the Iranian legislator tends to strike a balance between the Iranian distinctiveness and international positive law through a series of reforms. Finally, this study will illustrate the difficulties the Iranian legislator has to face in order to find a harmonization between international conventions on the one hand, and level of development of the country on the other. The second part of this thesis analyzes the development of film piracy and counterfeiting, the rise of black market and network evolution in the informal economy of communication, that all impede the efforts to comply the Iranian copyright with international copyright. Film piracy deserves to be seen as closely interwoven into the social, political, cultural and economic environment of today's Iran. This is the idea on which this part of our thesis is based. Through the technological, economic, social and political history of Iran's cinema, this study aims at discovering the reasons for the development of pirate activity in Iran, its consequences for the Iranian film industry and Iranian society. Through this analysis on piracy, this thesis finally presents it as an underground and misunderstood way of developing cultural globalization in Iran in the shadows. In filigree, this analysis shows how business network which pirate market films embody an « underground economy » organizing an underground cultural globalization in Iran
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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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Peeters, Jolanda Johanna Wilhelmina. "Globalisation, location and labour markets /." [Nijmegen] : [Universiteit Nijmegen], 2001. http://catalogue.bnf.fr/ark:/12148/cb377258142.
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Bell, Graham. "NATURAL HYSTERIA (a queer response to ecocide): An exercise in Living Art, Participatory Rituals and Queer Ecology -or- How I discovered Geyserbird, the Transgender Shaman within." Doctoral thesis, Universitat Politècnica de València, 2018. http://hdl.handle.net/10251/111925.
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Resumen
Natural Hysteria... es una investigacio'n basada en una pra'ctica transdisciplinaria que documenta el proceso de produccio'n de un ciclo de performances basadas en el texto: rituales, presentaciones teatrales, acciones callejeras y presentaciones de video, canciones y talleres.
Es una respuesta arti'stica al deterioro de nuestro medio ambiente y los ataques contra la diversidad cultural y biolo'gica que esta'n llevando a cabo un sistema capitalista basado en la acumulacio'n de riqueza a toda costa que nos esta' llevando al borde de un colapso ecolo'gico.
Se procede a trave's de un ana'lisis de otras pra'cticas arti'sticas disidentes que comparten una perspectiva queer, feminista, postcolonial o ecolo'gica que las vincula a los conceptos explorados en mi trabajo para contextualizarlo en el campo expandido de las artes contempora'neas.
La "histeria" alternativa que forma la base conceptual de este proyecto tiene sus inicios en los albores de la edad moderna y traza una historia de dominacio'n de los "otros": se centra principalmente en las mujeres, en el ge'nero y en los disidentes sexuales, las personas de color y los animales.
La explotacio'n de los recursos naturales y humanos es una consecuencia de una cosmovisio'n basada en el establecimiento de oposiciones binarias que permiten que el "otro" sea clasificado y dominado.
Por ejemplo: hombre / mujer, blanco / negro, hetero / homosexual, cultura / naturaleza. La construccio'n de estos "otros" - "femenino", "nativo", "queer", "naturaleza" - excluye a estos sujetos de la construccio'n de una identidad dominante que, sin embargo, depende de estas categori'as para su existencia.
En el Renacimiento, los campos de las ciencias y las humanidades no estaban separados. La visio'n mecanicista del mundo no habi'a superado por completo las creencias paganas en la magia y en una fuerza espiritual que reside en todos los seres. Esta visio'n era una reliquia de la era precristiana y finalmente seri'a erradicada por
las fuerzas unidas del Estado y la Iglesia a trave's de los procesos de la Inquisicio'n, la caza de brujas, la colonizacio'n y la nueva religio'n de la "Ciencia".
Todos estos procesos han producido un gran cambio en nuestra relacio'n con la naturaleza, que en la actualidad se considera una entidad totalmente inerte. La naturaleza ya no forma parte de nuestro ser y se ha convertido simplemente en materia prima.
La colonizacio'n continu'a hoy bajo una poli'tica neoliberal que utiliza el concepto de desarrollo para requisar territorio de los pueblos indi'genas a fin de explotar sus recursos naturales. Esto se justifica clasificando estas personas como primitivas porque su modo de vida se basa en vivir en equilibrio con la naturaleza.
La funcio'n de una pra'ctica arti'stica poli'ticamente comprometida es desafiar la nocio'n de que no existe una alternativa al sistema actual.
El marco teo'rico y arti'stico de esta investigacio'n ha conducido al desarrollo de un alter ego performativo, el chama'n transge'nero Geyserbird, y a la configuracio'n de una serie de performances que incluye rituales participativos, instalaciones con presencia y la reapropiacio'n queer de espacios industriales abandonados.
El chama'n transge'nero es un ser espiritual que va ma's alla' de las limitaciones del sistema de ge'nero binario y se conecta con las culturas indi'genas. El despliegue de esta figura en un contexto contempora'neo invita al pu'blico a imaginar otras posibilidades para si' mismos y para nuestra sociedad.Abstract Natural Hysteria... is a trans-disciplinary practice led investigation which documents the process of production of a cycle of text based performances -rituals, street actions, theatrical presentations, and video presentations, songs and workshops. It is an artistic response to the deterioration of our environment and the attacks on cultural and biological diversity being carried out by a capitalist system based on the accumulation of wealth at all costs which is leading us to the border of an ecological collapse. It proceeds through an analyses of other dissident artistic practices which share a queer, feminist postcolonial or ecological perspective linking them to the concepts explored in my work in order to contextualise it in the expanded field of the contemporary arts. The alternative "hysteria" that forms the conceptual basis of this project has its beginnings in the dawn of the modern age and traces a history of domination of those "others": focusing mainly on women, gender and sexual dissidents, people of colour and animals. The exploitation of natural and human resources is a consequence of a worldview based on the establishment of binary oppositions that allow the "other" to be classified and dominated. For example: man / woman, white / black, hetero / homosexual, culture / nature. The construction of these "others" - the "feminine", the "native", the "queer", "nature" - excludes these subjects from the construction of a master identity that, nevertheless, depends on these categories for its existence. In the Renaissance the fields of the sciences and the humanities were not separated. The mechanistic view of the world had not completely overcome pagan beliefs in magic and in a spiritual force which resides in all beings. This vision was a relic of the pre-Christian era and would finally be eradicated by the united forces of State and Church through the processes of the Inquisition, the witch hunts, colonization and the new religion of "Science". All of these processes have produced a huge change in our relationship with nature, currently seen as a totally inert entity. Nature is no longer part of our being and has became nothing more than raw material. Colonisation continues today under a neoliberal politics which uses the concept of development to requisition territory from indigenous people in order to exploit its natural resources. This is justified by qualifying these people as primitive because their way of life is based on living in equilibrium with nature. The function of a politically engaged artistic practise is to challenge the notion that no alternative exists to the current system. The theoretical and artistic framework of this investigation has led to the development of a performative alter ego, the transgender shaman Geyserbird, and to the configuration of a series of performances which included participatory rituals, installations with presence and the queer appropriation of abandoned industrial spaces. The transgender shaman is a spiritual being who goes beyond the limitations of the binary gender system and connects to indigenous cultures. The deployment of this figure in a contemporary context, invites the public to imagine other possibilities for themselves and for our society
Resum Natural Hysteria... e's una investigacio' basada en una pra¿ctica transdisciplina¿ria que documenta el proce's de produccio' d'un cicle de performances basades en el text: rituals, presentacions teatrals, acciones al carrers i presentacions de vi'deo, canc¿ons i tallers. E's una resposta arti'stica a la deteriorament del nostre medi ambient i els atacs contra la diversitat cultural i biolo¿gica que esta¿ duent a terme un sistema capitalista basat en l'acumulacio' de riquesa costi el que costi que ens esta¿ portant a la vora d'un col·lapse ecolo¿gic. Es procedeix a trave's d'una ana¿lisi d'altres pra¿ctiques arti'stiques dissidents que comparteixen una perspectiva queer, feminista, postcolonial o ecolo¿gica que les vincula amb els conceptes explorats en el meu treball per contextualitzar-ho en el camp expandit de les arts contempora¿nies. La "histe¿ria" alternativa que forma la base conceptual d'aquest projecte te' els seus inicis en les albors de l'edat moderna i trac¿a una histo¿ria de dominacio' dels "altres": se centra principalment en les dones, en el ge¿nere i en els dissidents sexuals, les persones de color i els animals. L'explotacio' dels recursos naturals i humans e's una consequ¿e¿ncia d'una cosmovisio' basada en l'establiment d'oposicions bina¿ries que permeten que l'"altre" sigui classificat i dominat. Per exemple: home / dona, blanc / negre, hetero / homosexual, cultura / naturalesa. La construccio' d'aquests "altres" - "femeni'", "natiu", "queer", "naturalesa" - exclou aquests subjectes de la construccio' d'una identitat dominant que, no obstant aixo¿, depe'n d'aquestes categories per a la seua existe¿ncia. En el Renaixement, els camps de les cie¿ncies i les humanitats no estaven separats. La visio' mecanicista del mo'n no havia superat per complet les creences paganes en la ma¿gia i en una forc¿a espiritual que resideix en tots els e'ssers. Aquesta visio' era una reli'quia de l'era precristiana i finalment seria eradicada per les forces unides de l'Estat i l'Esgle'sia a trave's dels processos de la Inquisicio', la cac¿a de bruixes, la colonitzacio' i la nova religio' de la "Cie¿ncia". Tots aquests processos han produi¿t un gran canvi en la nostra relacio' amb la naturalesa, que en l'actualitat es considera una entitat totalment inerta. La naturalesa ja no forma part del nostre e'sser i s'ha convertit simplement en mate¿ria preval. La colonitzacio' continua avui sota una poli'tica neoliberal que utilitza el concepte de desenvolupament per a requisar territori dels pobles indi'genes a fi d'explotar els seus recursos naturals. Aixo¿ es justifica classificant aquestes persones com a primitives perque¿ la seua manera de vida es basa en viure en equilibri amb la naturalesa. La funcio' d'una pra¿ctica arti'stica poli'ticament compromesa e's desafiar la nocio' que no existeix una alternativa al sistema actual. El marc teo¿ric i arti'stic d'aquesta investigacio' ha condui¿t al desenvolupament d'un alter ego performatiu, el xaman transge¿nere Geyserbird, i a la configuracio' d'una se¿rie de performances que inclou rituals participatius, instal·lacions amb prese¿ncia i la reapropiacio' queer d'espais industrials abandonats. El xaman transge¿nere e's un ser espiritual que va me's enlla¿ de les limitacions del sistema de ge¿nere binari i es connecta amb les cultures indi'genes. El desplegament d'aquesta figura en un context contemporani convida al pu'blic a imaginar altres possibilitats per a ells mateixos i per a la nostra societat.
Bell, G. (2018). NATURAL HYSTERIA (a queer response to ecocide): An exercise in Living Art, Participatory Rituals and Queer Ecology -or- How I discovered Geyserbird, the Transgender Shaman within [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/111925
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Lan, Yi-Chen. "Management of information technology issues in enterprise globalisation /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031217.130842/index.html.
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Velayutham, Selvaraj. "Responding to globalisation : nation, culture and identity in Singapore /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050225.115206/index.html.
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Yun, Kusuk. "Etre exotique dans l'art contemporain : la scène internationale de l'art et trois pays d’Asie – Japon, Corée du Sud et Chine – dans la mondialisation : création et stratégies de diffusion." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080135/document.
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Depuis « l’ère de la mondialisation », le monde occidental s’est vivement engagé dans la découverte de nouvelles cultures du monde dans le domaine des arts visuels. En effet, il est devenu la norme de valoriser la diversité du monde et le relativisme culturel parce que les cultures perçues comme authentiques développeraient des valeurs esthétiques et économiques considérables grâce à leur aspect original, singulier et pittoresque. Même si l’on ne peut pas réellement saisir toutes les nuances de la culture d’un pays éloigné, nous pouvons malgré tout esquisser une image plaisante de ce pays dans notre imagination, notamment grâce aux médias qui dépeignent aujourd’hui les paysages du monde à travers des images « typiques ».Par conséquent, les artistes des pays « périphériques » essaient de valoriser les attentes du monde occidental dans leurs créations, en espérant ainsi pouvoir s’intégrer dans le réseau mondial dominé par quelques pays qui se sont désormais positionnés en « leaders ». Ces artistes conçoivent, en effet, des stratégies de communication afin de favoriser la diffusion de leurs œuvres sur la scène internationale : ils représentent leurs identités culturelles dans leurs propres créations artistiques d’une manière stéréotypée facilement identifiable pour les pays occidentaux. Le pluralisme « postmoderne » influence ainsi considérablement la création des œuvres des artistes issus des pays périphériques, en mettant en scène et en valeur tout ce qui est spécifiquement typique, c’est-à-dire local et originalEver since the era of globalization began, the Western world has been strongly engaged in the discovery of new cultures of the world, in the field of the visual arts. Indeed, it has become the norm to value diversity and cultural relativism because cultures perceived as authentic can develop considerable aesthetic and economic value from their unique and picturesque features. Even if we cannot really understand all the cultural characteristics of a far-off country, we are still able to sketch a pleasant and attractive image of this place in our imagination thanks to the mass media, which repeatedly presents these landscapes through "typical" images.As a result, artists from "peripheral" countries are trying to meet the Western world’s expectations in their work, hoping in this way to break into a global system where some countries are positioned as "leaders". These artists devise communication strategies to promote their works on the international art scene; they represent their cultural identity in their artwork in a stereotypical and easily recognizable way to the West. Postmodern pluralism considerably influenced these artists’ work, whilst focusing attention on everything that is typically “local” and “original”
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Higgins-Desbiolles, B. Freya, and Freya HigginsDesbiolles@unisa edu au. "Another world is possible: Tourism, globalisation and the responsible alternative." Flinders University. School of Political and International Studies, 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20061218.155946.
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Utilising a critical theoretical perspective, this work examines contemporary corporatised tourism and capitalist globalisation. This analysis suggests that marketisation limits the understanding of the purposes of tourism to its commercial and industrial features, thereby marginalising wider understandings of the social importance of tourism.
Sklairs conceptualisation of capitalist globalisation and its dynamics, as expressed in his sociology of the global system (2002), is employed to understand the corporatised tourism phenomenon. This thesis explains how a corporatised tourism sector has been created by transnational tourism and travel corporations, professionals in the travel and tourism sector, transnational practices such as the liberalisation being imposed through the General Agreement on Trade in Services negotiations and the culture-ideology of consumerism that tourists have adopted. This thesis argues that this reaps profits for industry and exclusive holidays for privileged tourists, but generates social and ecological costs which inspire vigorous challenge and resistance.
This challenge is most clearly evident in the alternative tourism movement which seeks to provide the equity and environmental sustainability undermined by the dynamics of corporatised tourism. Alternative tourism niches with a capacity to foster an eco-humanism are examined by focusing on ecotourism, sustainable tourism, pro-poor tourism, fair trade in tourism, community-based tourism, peace through tourism, volunteer tourism and justice tourism. While each of these demonstrates certain transformative capacities, some prove to be mild reformist efforts and others promise more significant transformative capacity. In particular, the niches of volunteer tourism and justice tourism demonstrate capacities to mount a vigorous challenge to both corporatised tourism and capitalist globalisation. Since the formation of the Global Tourism Interventions Forum (GTIF) at the World Social Forum gathering in Mumbai in 2004, justice tourism has an agenda focused on overturning corporatised tourism and capitalist globalisation, and inaugurating a new alternative globalisation which is both pro-people and sustainable.
Following the development of these original, macro-level conceptualisations of tourism and globalisation, this thesis presents a micro-level case study of an Indigenous Australian tourism enterprise which illustrates some of these dynamics in a local context. Camp Coorong Race Relations and Cultural Education Centre established and run by the Ngarrindjeri Aboriginal community of South Australia has utilised tourism to foster greater equity and sustainability by working towards reconciliation through tourism. The Ngarrindjeri have also experienced conflicts generated from the pressures of inappropriate tourism development which has necessitated an additional strategy of asserting their Indigenous rights in order to secure Ngarrindjeri lifeways.
The case study analysis suggests that for alternative tourism to create the transformations that contemporary circumstances require, significant political change may be necessary. This includes fulfilment of economic, social and cultural rights to which a majority of nations have committed but have to date failed to implement. While this is a challenge for nation-states and is beyond the capacities of tourism alone, tourism nonetheless can be geared toward greater equity and sustainability if the perspective that corporatised tourism is the only option is resisted. This thesis demonstrates that another tourism is possible; one that is geared to public welfare, human fulfilment, solidarity and ecological living.
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Kamar, Bassem. "Politiques de change et globalisation : le cas de l'Égypte /." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb40128586x.
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Biyanwila, Janaka. "Trade unions in Sri Lanka under globalisation : reinventing worker solidarity." University of Western Australia. Faculty of Economics and Commerce, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0045.
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This study examines trade union resistance to the post 1977 Export Oriented Industrialisation (EOI) strategies in Sri Lanka, and the possibilities of developing new strategic options. In contrast to perspectives that narrow unions to political economic dimensions, this study emphasises the cultural and the movement dimensions of unions. The purpose of the study is to understand the ways unions can regain their role as civil society actors on the basis of building worker solidarity. The study is divided into two main parts. The first part focuses on the features and tendencies of social movement unionism as advancing new possibilities towards revitalising unions. Under globalisation, unions are faced with an increasingly casualised labour force with more women absorbed as wage workers. The promotion of labour market deregulation and privatisation, endorsed by neo-liberal ideologies of competitive individualism, illustrates the narrowing of unions to the workplace while undermining worker solidarity. The first part of this research describes the impact of :neo-liberal globalisation on trade unions; conceptualisation of and resistance to globalisation; the essence of trade unions; social movement unionism and labour internationalism. According to social movement unionism perspectives, party independent union strategies, based on elements of internal democracy and structured alliances open the possibility of emphasising the movement dimension of unions. The second part explains the context of unions in Sri Lanka, focusing on three unions - the Nurses, Tea Plantation workers, and Free Trade Zone workers. In terms of the structural context, Sri Lankan unions faced a multi-faceted weakening under the post-1977 EOI policies. The assertion of an authoritarian state, promoting interests of capital, enhanced the fragmentation of unions along party differences that were further compounded by divisions along ethnic identity politics. Moreover, the increasing militarisation of the state, which maintains a protracted ethnic war, reinforced coercive state strategies restraining union resistance and shrinking the realm of civil society. In confronting state strategies of labour market deregulation and privatisation, the enduring party subordinated unions are increasingly inadequate. In contrast, the three unions in this study express forms of party-independent union strategies. By analysing their modes of resistance related to the articulation of worker interests, their organisational modes, and their engagement in representative and movement politics the study explores the possibility of developing a social movement unionism orientation in order to regain their role as civil society actors
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Biyanwila, Janaka. "Trade unions in Sri Lanka under globalisation : reinventing worker solidarity /." Connect to this title, 2003. http://theses.library.uwa.edu.au/adt-WU2004.0045.
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Griffiths, Patrick, and patrick griffiths@rmit edu au. "Confluence and consequence: globalisation, viscosities and transformation of HIV risk environments in Vietnam." RMIT University. Applied Communication, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070626.162522.
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This thesis shows that illicit drug consumers in Vietnam who administer product via injection are vulnerable actors in a paradoxical global/glocal phenomenon rooted in historical complexities of globalisation. Therefore, responsibility for HIV risks should be shifted upstream from the level of individuals toward institutional processes that manufacture environments of harm. At the global level, the UN Milennium Development Goals do not provide the required level of leadership on HIV prevention for drug injectors. Association between globalisation, opiates and blood-born disease in Vietnam is not new and is inseparable from historical transportation, migration and trade processes. As a key locale in the Cold War, after 1975, and 1979 in particular, Vietnam was 'at distance' from increasing intra-regional trade flows across its western frontiers and northern border. As a consequence, it was hermetically sealed to nearby HIV sub-epidemics unfolding among heroin cons umers. A latent HIV risk environment awaited Vietnam should geopolitical grievances be resolved and it became re-integrated among Mekong sub-regional flows. Neo-liberal financial flows returned to Vietnam in 1993 and the Mekong was spanned in 1994. In 1995 it normalised relations with the United States, joined ASEAN and announced the resurrection of transportation linkages across the northern border with China. Mid-decade, its borders were made more porous at the same time as local opium production was reduced as part of the UN global programme against drugs. Exploiting enhanced trans-boundary mobilities intended for goods, opiate traffickers quickly transformed Vietnam into a transit nation and a marke for high-quality heroin well suited to a youthful population experiencing socio-economic change including new consumerism. Following traditional pathways, a radical transformation in the fluidity of drug consumption environs ensued, enabling more widespread and efficient flows of blood across complex boundari es. Analysis reveals that a spatio-temporal confluence of structural factors has created conditions which enabled this process. These factors are overlapping and they range from global influences, such as the collapse of the USSR, to micro-economic reform such as privatisation and modernisation of the domestic pharmaceutical sector. The transformation in opiate consumption from injecting opium to heroin injecting occurred faster than expert-driven prevention systems responded, even in time and space where this was most forseeable. Although the opiate transformation was highly predictable, there has been a time-lag of almost a decade between risk transformations and policy responses equated with harm reduction principles. The thesis shows that blame for HIV sub-epidemics in Vietnam should not be attributed to vulnerable youths and young adults. Expert-driven economic transition associated with global inegration has manufactured circumstances in which drug availability has risen dramatically at a time when emp loyment growth has been insufficient and a commercial sex industry has expanded. This research confirms the cimportance of new methods of risk environment analyses, particularly in relation to trans-boundary hazards associated with global flows, including trade and human mobilities.
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Hallam, Adrienne Louise, and n/a. "Globalisation, Human Genomic Research and the Shaping of Health: An Australian Perspective." Griffith University. School of Science, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040812.114745.
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This thesis examines one of the premier "big science" projects of the contemporary era - the globalised genetic mapping and sequencing initiative known as the Human Genome Project (HGP), and how Australia has responded to it. The study focuses on the relationship between the HGP, the biomedical model of health, and globalisation. It seeks to examine the ways in which the HGP shapes ways of thinking about health; the influence globalisation has on this process; and the implications of this for smaller nations such as Australia. Adopting a critical perspective grounded in political economy, the study provides a largely structuralist analysis of the emergent health context of the HGP. This perspective, which embraces an insightful nexus drawn from the literature on biomedicine, globalisation and the HGP, offers much utility by which to explore the basis of biomedical dominance, in particular, whether it is biomedicine's links to the capitalist infrastructure, or its inherent efficacy and efficiency, that sustains the biomedical paradigm over "other" or non-biomedical health approaches. Additionally, the perspective allows for an assessment of whether there should be some broadening of the way health is conceptualised and delivered to better account for social, economic, and environmental factors that affect living standards and health outcomes, and also the capacity of globalisation to promote such change. These issues are at the core of the study and provide the theoretical frame to examine the processes by which Australian policy makers have given an increasing level of support to human genomic research over the past decade and also the implications of those discrete policy choices. Overall, the study found that globalisation is renewing and extending the dominance of the biomedical model, which will further marginalise other models of health while potentially consuming greater resources for fewer real health outcomes. While the emerging genomic revolution in health care may lead to some wondrous innovations in the coming decades, it is also highly likely to exacerbate the problems of escalating costs and diminishing returns that characterise health care systems in industrialised countries, and to lead to greater health inequities both within and between societies. The Australian Government has chosen to underwrite human genomic research and development. However, Australia's response to the HGP has involved both convergences and variations from the experiences of more powerful industrial nations. The most significant divergence has been in industry and science policy, where until the mid-1990s, the Australian Government displayed no significant interest in providing dedicated research funding, facilities, or enabling agencies to the emerging field. Driven by the threat of economic marginalisation and cultural irrelevance, however, a transformation occurred. Beginning with the Major National Research Facilities Program of the Department of Industry, Science and Technology, and then the landmark Health and Medical Research Strategic Review, support for human genomic research grew strongly. Comprehensive policy settings have recently been established to promote the innovation, commercialisation, promotion and uptake of the products of medical biotechnology and genomics. As such, local advocates of a broader model of health will be forced to compete on the political and economic stage with yet another powerful new area of biomedicine, and thus struggle to secure resources for perhaps more viable and sustainable approaches to health care in the 21st century.
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Dayot, Liliane. "Globalisation et projet social pratiques différentes à l'école élémentaire, Vitruve, Paris 20e /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37604290p.
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Mortal, Patrick. "Les armuriers de l'État : du Grand siècle à la globalisation, 1665-1989 /." Villeneuve-d'Ascq : Presses universitaires du Septentrion, 2007. http://catalogue.bnf.fr/ark:/12148/cb41078050j.
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Texte remanié de: Thèse de doctorat--Histoire--Lille 3, 2004. Titre de soutenance : Des armes et des hommes : les travailleurs des arsenaux de terre en France.En appendice, choix de documentation. Bibliogr. p. 311-320. Index.
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Ahmadi, Hala Abdel Magid Mohamed Abdel Magid Al. "Globalisations, islamism and gender : women's political organisations in the Sudan /." [Pays-Bas] : [s. n.], 2003. http://catalogue.bnf.fr/ark:/12148/cb391377094.
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com, Rebeccajanebennett@gmail, and Rebecca Jane Bennett. "Moving off the Beaten Track: Developing a Critical Literacy in Backpacker Discourse." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080625.140648.
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Reaching beneath the market surface of backpacker culture, this doctoral research probes uncomfortable politics, excluded voices and global inequalities. It questions why, in a context of economic inequality, environmental crisis, terrorism and war, the tourism industry continues to grow, unhampered by politically fractured and uneasy mediations of the world. Arguing that tourist modalities are defined in a popular memory matrix where the rules and norms for becoming a tourist are negotiated through conversation, television, popular literature, travel guides and the Internet, this research project critiques both popular and academic tourist pedagogy.
In forging an interdisciplinary dialogue between Cultural Studies and Tourism Studies, this doctoral research seeks new ways of theorising depost-globalisation. Market-driven renditions of the tourable world displace, marginalise and exclude oppositional, negative, violent and discriminatory narratives. Placing a spotlight on the discomforts found in backpacker discourse requires the application of progressive meta-theoretical discourses, alongside postcolonial and poststructuralist analysis. A serious study of touristic popular culture implicates tourism in terrorism, backpacking in poverty, imperialism in globalisation, mobility in power and backpacker discourse in the re-writing of a contemporary subaltern.
The original contribution to knowledge emerging from this doctorate is via the application of Bauman and Saids late work to independent tourist discourses. The innovation is formed through disciplinary connections and popular cultural applications. There is also a re-theorisation of Spivaks most famous study, applying metaphors of the pyre to sites of backpacker tourism, with the aim of developing listening literacies. My research justifies the introduction of two new theoretical trajectories for the Tourism Studies academy. The first new approach encourages and frames a listening literacy amongst tourist cultures so they can acknowledge silenced and displaced agents in host guest interaction. The second new approach aims to infuse touristic popular culture with a powerful and political pedagogy that teaches mobile citizens to read difference and diversity.
A pleasure filter obscures the costs and consequences of global markets, often at the expense of local communities and individuals. This thesis focuses on the inequalities disseminated in and through backpacker tourism. It posits that it is not only important to change the way the tourist industry operates but also that it is necessary to change the way tourists tour. Moving off the beaten track in approaches to the study of tourism, this research project forges a new path for Tourism Studies that merges cultural theory and everyday life to develop a critical academic literacy for backpacker discourse.
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Kelly, Sarah Frances. "Who's Jackson? : construction of sense of place in the era of globalisation : a case study /." View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030701.095654/index.html.
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Thesis (M.Sc.) (Honours) -- University of Western Sydney, Hawkesbury, 2000.A masters thesis submitted in fulfilmant of the requirements for the degree of Master of Science (Honours) at the University of Western Sydney, Hawkesbury, August, 2000. Bibliography : leaves 147-160.
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Mazeran, Hélène. "Contribution à l'étude de la "globalisation" des intérêts occidentaux le cas de l'océan indien /." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37601240d.
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Reiser, Dirk, and n/a. "Connecting and changing places : globalisation and tourism mobility on the Otago Peninsula, Dunedin, New Zealand." University of Otago. Department of Tourism, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090515.161047.
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Globalisation, localisation and tourism are processes that are closely interconnected. They relate to historical mobilities and non-mobilities of humans, ideas and capital that impact on environment, economy, culture, politics and technology. Yet, these impacts on local tourism destinations are not well researched.
Small destinations are not researched in relation to the impact of globalisation and tourism overtime. The thesis develops an historical understanding of globalisation, localisation and tourism within the context of the Otago Peninsula in Dunedin, New Zealand. It portrays the �glocalisation� processes, the specific mix of local and global forces that shaped the Otago Peninsula and created the basis for the current conditions, especially for tourism.
The research on the Otago Peninsula clearly identifies different stages of mobilities to the place, generally following a similar pattern to other places in New Zealand settled in the latest phase of colonialism. The first settlers, the Polynesians, were followed by white explorers, sealers and whalers at the beginning of the 19th century who exploited a local resource that was valuable to international markets. After the over-exploitation of the resource white settlers arrived to �conquer� nature and to improve on their living conditions in a new country. They provided the basis for the following mobilities by developing or facilitating a local, national, regional and international infrastructure. Towards the end of the 19th century the major European migration had ended. The next major mobility movement was recreationists from the close urban centre of Dunedin who used the infrastructure on the Otago Peninsula at weekends, as time, money and technology limited mobilities to places further away. From the 1920s onwards, when these limitations were reduced by, for example, a better infrastructure and new technological developments such as the car and more disposable income and time, New Zealanders started to more widely discover their own country. Finally, international travellers started to arrive in the 1960s after the main obstacle, the distance and time needed to travel to New Zealand and the Otago Peninsula, was reduced by technological development, especially airplanes. During all of these phases of mobility, the Otago Peninsula became increasingly interconnected with other places on the globe, creating the conditions for tourism.
In this study, within the context of the phase model of mobilities, a variety of research methods were used to assess the impact of globalisation, localisation and tourism on the Otago Peninsula. These methods include literature, newspaper, local promotional materials and photographic images analysis, as well as participant observation and historical interviews.
The research clearly highlights the changes to the Otago Peninsula created by historical events that happened as a consequence of human mobility. Internal and external conditions at different geographical scales, ranging from the local to the global, changed the economy, the environment, culture, politics and the use of technology on the Otago Peninsula. The place was (and still is) constantly glocalised. Consequently, international tourism, as one of the more recent forces, has to be managed within this historical framework of stretched social relations, the intensification of flows, increasing global interactions and the development of global infrastructure and networks.
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Fouilleux, Eve. "La politique agricole commune et ses réformes : une politique européenne à l'épreuve de la globalisation /." Paris ; Budapest ; Torino : l'Harmattan, 2003. http://catalogue.bnf.fr/ark:/12148/cb39005858b.
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Texte remanié de: Th. doct.--Sci. polit.--Grenoble--Institut d'études politiques. Titre de soutenance : Idées, institutions et dynamiques du changement de politique publique : les transformations de la politique agricole commune.Bibliogr. p. 365-389.
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Favre, Anaïs. "Globalisation et métissage : approche comparée de la population antillaise en France et en Grande-Bretagne /." Paris ; Budapest ; Kinshasa [etc.] : l'Harmattan, 2006. http://catalogue.bnf.fr/ark:/12148/cb401692505.
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au, dweston@ncwa com, and Delys Eleanor Weston. "Democracy and political economy of genetic engineering." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070327.143205.
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This thesis aims to provide a more critical framework for the assessment of future technologies and therefore social directions and to help to bring an understanding to the relationship between global political economy, corporate power, ideology, science and technology. This is essential given the many issues facing contemporary society issues of sustainability and humanitys place in the broad ecology, of the need for a diversity of economies, societies and cultures, of the need for greater economic equality and equity across the globe.
The relationship between globalisation, science and technology, democratic governance and citizens is explored using the case of genetic engineering technologies. The thesis draws on a conceptual framework provided by the theory of political economy to facilitate the assessment of the impact of a technology on society . It provides a critical framework for looking at individualised, sectoral and short term interests versus the often conflicting interests of what is termed the common good. The juxtaposition of the neo-liberal, conservative and contemporarily dominant world view with that of the more radical, political economy stance exposes the tension between these two ways of viewing human history and the future of humankind.
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Mzimba, Nomlindelo. "The significance of the amendments made to section 198 of the Labour Relations Act 66 of 1995." University of the Western Cape, 2018. http://hdl.handle.net/11394/6549.
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Magister Philosophiae - MPhilIn the South African employment context, temporary employment service (hereinafter referred as TES), also known as labour broking, is regulated by the Labour Relations Act.1 Under the previous LRA (prior 2014 legislative amendments), employees of TES have been challenged in respect of exercising their labour law rights and that subjected them to exploitation. Such exploitation called for the government of South Africa to effect some amendments on the LRA with a view to protect TES employees. This was done through Labour Relations amendment Act no 06 of 2014, which came into force in August 2014. The relationship in TES involved three parties, such as, client, labour broker and an employee. A labour broker entered into a commercial contract with a client, in terms of which the former would provide employees to the client. An employment contract will then be entered into between labour broker and an employee. The duration of employment contract would mostly be determined by as long as the client requires services of a placed employee. No employment contract was entered into between an employee and the client. This is despite the fact that a client had directly enjoyed services of the employee.
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au, J. Hutchison@murdoch edu, and Jane Hutchison. "Export Opportunities: Women workers organising in the Philippine garments industry." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050201.155254.
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Transnational production arrangements have been widely argued to lessen the organising capacities of industrial workers, none more so than in the case of women workers in export or world market factories in developing countries. This thesis contests this assertion by showing that women workers ability to form enterprise unions in the Philippine garments industry are enhanced by transnational production arrangements involving an overseas market. Specifically, the thesis demonstrates that, in order to meet the quality and delivery requirements of overseas buyers and contractors, local owners and/or production managers are forced to routinely keep more production in-house in order to exert more direct controls over the work processes of their women sewers. By thereby limiting the amount of local subcontracting which is done, women workers are agglomerated in larger numbers in the one place and, consequently, their capacities to engage in collective action as indicated by the establishment of enterprise unions is markedly increased.
Empirically, the argument of the thesis draws on a multiple-case study of sixty-five garment-making establishments located in and around Manila. The study involved interviews with owners, production managers and/or trade union officials about the local subcontracting practices of their establishments. The conclusions drawn about the links between export production and enhanced labour organising capacities at the enterprise level are corroborated by the commodity chain literature on industrial deepening in the international garments industry and the status of the Philippine industry in this regard. But rather than think simply in terms of industrial deepening, this thesis is concerned with the impacts of exporting on class processes.
Theoretically, the thesis thus draws on the Marxist view that capitalist development entails changes in the social form of labour, through the real subsumption of labour. But, whereas Marx linked the real subsumption of labour to greater capitalist controls over the labour process, in this thesis the real subsumption of labour is also tied to concomitant changes in the spatial form of the labour process. From this standpoint, the thesis engages with labour process theory after Braverman (accusing it of often failing to link capitalist control to class processes) and with theories of class (which often ignore the social and spatial form of the labour process). In tying organising capacities of women workers at the enterprise level to changes in social and spatial form of the labour process, it is nevertheless argued that these capacities are also shaped at the national level by the legal framework for legitimate organising and by political space in which the law in fact operates. In this regard, it is argued that, whilst the state often passes laws to protect labour standards, it does not grant workers the means to ensure such standards are actually enforced.
The thesis also challenges the view that the recruitment of women is a strategy which employers deliberately use in the Philippine garments industry to limit industrial conflict. Against this assertion of a rational economic basis to womens employment, the thesis argues that women are employed for sewing jobs as a result of the sex-typing of such jobs; but that this is also more an effect than a cause as the feminisation of sewing in the modern garments industry is embedded in class processes in the nineteenth century in Europe and the United States. Gender is a dimension of labour control, but women workers in the garments industry are not employed to limit enterprise unionism.
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Luo, Weihua, and weihua luo@dlmu edu cn. "English Language Teaching in Chinese Universities in the Era of the World Trade Organization: A Learner Perspective." RMIT University. Global Studies, Social Science and Planning, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080501.100805.
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Since China's accession to the WTO in 2001, China has reformed its higher education system in order to meet the challenges of globalisation. In the era of WTO, China needs more and better English, which facilitates access to modern knowledge and technology and the possibility of communication with the outside world in the process of globalisation. To correspond with this trend, the Chinese government has prioritised reforms in the teaching of English at various levels of the education system. In this context, the change of policy in the foreign language education sector becomes an issue of concern. This research, with a view to informing the ongoing reform of English language teaching (ELT), investigates learners' perspectives of ELT in Chinese universities in the context of current process of globalisation. This thesis argues that the adoption of various ELT curricula in various periods is heavily influenced by broader social and political policies that shape Chinese responses to the process of globalisation. The promulgation in 2004 of the College English Curriculum Requirements (For Trial Implementation) represented an immediate response in the ELT field to China's economic globalisation. It further argues that the Global English model, with its stress on communicative competence and performance should be the ELT priority in Chinese universities to meet the new communication demands of contemporary globalisation. These arguments are advanced based on a study focusing on College English education, which represents ELT in China at the tertiary level, the final as well as most important part in the hierarchy of language education. To investigate the research problem in this project, a multi-faceted methodology was applied, including surveys, classroom observation and document analysis. The following conclusions can be drawn based on the data collected. First, English remains a priority in China's education system and globalisation of English in WTO era is to the benefit of Chinese learners. Second, there has been evident shift of the goal of ELT in China from mastery of pure linguistic knowledge to development of communicative competence and the pedagogy from single skill training, i.e. reading, to integrated development of the four macro skills. Computer-aided and competence-led curricula in English language education are recent trends that contribute to the increasing awareness of both the professionals and students that productive abilities should be the priority. From the perspective of learners, this means a switch to a learner-centred model that allows more autonomy by making the teaching and learning a computer-based process of individualized learning, collaborative learning and hyper-textual learning. Third, the 1999 Curriculum failed to address the emerging issues regarding ELT in the process of China's globalisation. This led to strong dissatisfaction from the learners and strong appeal for ELT reformation in College English education in China. Finally, the College English Curriculum Requirements (For Trial Implementation), while pinpointing the trend and model of future English education development, is confronted with serious challenges in its implementation.
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Lauritsen, Jennifer Rose. "Lei e' servito? Bliver de betjent? Are you being served? : comparing employment changes in the international hospitality industry as a result of globalisation." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phl386.pdf.
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"May 2002." Bibliography: leaves 305-360. Using the hospitality industries in Italy, Denmark and the United States as case studies, this thesis looks at the reasons why common globalising pressures in the labour market are absorbed in such diverse ways by individual states. Findings from this thesis raise challenges for modern policymakers who most commonly position labour market management at the top of the policy agenda. Policies do change, but their impact is less profound and pervasive than the deeper, ongoing social forces that are discussed in relation to the specific countries in this thesis.
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Veerapa, Koosrajoo, and nveerapa@yahoo com. "Putting knowledge in the bank: A new perspective on Corporate Social Investment." RMIT University. Global Studies, Social Sciences and Planning, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080702.162807.
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This thesis looks at the interdependencies between corporate citizenship, social capital and tacit knowledge in the present epoch of global capitalism. External local communities and society at large are a very significant reservoir of social capital for any organisation and, in a global era of constant change, relations between organisations and these wider communities need constant replenishment and repair. The business literature gives insufficient attention to this vital connection between social and the other forms of capital that have traditionally been given regarded as the mainstay of business enterprise. Through a combination of theoretical debate and field research, this thesis asserts that tacit knowledge is embedded in social capital which is itself acknowledged as the principal source of all human and information capital within organisations. Corporate citizenship programs have a pivotal role to ensure and sustain the flow of social capital and knowledge between organisations and the communities in which they are embedded. Drawing on the prior established connection between social capital and tacit knowledge, the thesis establishes that corporate community involvement by employees has the potential to develop or enhance the propensity to trust, leading to greater effectiveness in teams. Multinational Banks are widely viewed as the agents of transnational capital. The Australian banking sector has also been under constant community pressure in Australia because of rising fees and charges and a few prominent scandals. Using secondary data, practices in one Canadian bank are compared to corresponding programs at two major Australian banks to gauge relative investment strategies in social capital generation. This thesis then proceeds to present primary research data on corporate citizenship practices in two Australian banking institutions, one an Australian multinational bank and the other a self-styled 'community' bank. Literature surveyed on corporate citizenship and community involvement has not revealed awareness by corporations of the possibilities of community involvement by employees as being sources of new knowledge, skills, creativity and innovation. This is further confirmed by the field research which showed communication as being a major hurdle internally and externally. This thesis shows that in the knowledge era where learning organizations will have a definite competitive advantage, structured employee involvement in corporate community initiatives can yield long lasting dividends and sustainable competitive advantage in terms of knowledge acquisition. This can be made possible by investment in social capital of local communities and societies through employee involvement. In turn this can aid recruitment, morale and retention of staff. However, a new approach, perhaps a new 'state of mind' needs to be cultivated in business enterprises and in the business education programs of business schools worldwide.
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Flett, Edward Charles. "Virtual frontiers and the technological state : contemporary American narratives in a global context." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:608353cc-62d8-496c-b8df-d79de028f03e.
Full textAbstract:
This thesis analyses a series of threshold states located within contemporary culture. It investigates the effects of technology on spatial relations and human conditions in recent centuries, with a specific interest in the rise of virtual phenomena and the ongoing process of virtualisation. Key to the discussion is measuring the extent to which America and its narratives have influenced the virtual layer attached to contemporary global technological culture. Prevalent within this framework is the idea of the frontier as an idealised outpost, a lingering threshold state that is scrutinised in terms of its metaphoric power and socio-historical relevance. The research examines the points of interaction between the frontier, the virtual, and recent technology, as well as the areas in which technology has been produced, distributed, and consumed, as a means of building on ‘virtual frontiers’ and the ‘technological state’ as original critical concepts. Chapter one, from a socio-cultural and historical perspective, develops the idea of California as the location where the frontier spirit dispersed, transferring to an extent from land to body. Rich in posthuman ambience, the state functions as a hub from which to negotiate the position of the body in relation to the frontier: to look at the body as a frontier in itself, its virtualisation, and the now perennial dialectic between the positive and negative effects of technology on human/non-human interactivity. From the ashes of the 1960s, pockets of urban youth living in America’s inner cities gave birth to a subculture that is now globally recognised as Hip Hop. Despite Hip Hop always being a potent reflective surface, chapter two assesses its development and continuing capacity as a virtual and technological form of expression. In the decades between Malcolm X’s assassination and the election of President Obama, how has Hip Hop changed as a virtual arena and mode of resistance, as it has simultaneously been incorporated into the American mainstream? Indeed, as a cultural object and virtual space with the potential to carry evocative messages across thresholds, did Hip Hop even survive this transition? And what were the ramifications of its transformation? The third chapter examines the shadows emanating from the terrorist attacks on the US in 2001. The narratives from 9/11 are considered while investigating a diverse selection of transnational texts that touch on the subject, including works from Don DeLillo, Amy Waldman, Martin Amis, and Frédéric Beigbeder. Also considered is the day’s social and historical significance, and its power as a virtual event. More specifically, the impact on time, perception, and narrative structure is observed, each element appearing in the shadows that stretch out from the decades before and beyond the events of that clear blue September morning. Through characters in recent fiction by William Gibson and Hari Kunzru, the final chapter scans American consumption and the representations projected out from its brands and advertising. Within technological states now transmitted globally, the chapter reflects on the consequences of consumer culture as we venture further into the virtual and its realities, drawn through what Jean Baudrillard calls an irreconcilable conflict between ‘total integration’ and the ‘dual form’.
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Sadleir, Christopher John, and n/a. "Australia's policy approach to Foreign Direct Investment 1968-2004 as a case study in globalisation, national public policy and public administration." University of Canberra. School of Business & Government, 2007. http://erl.canberra.edu.au./public/adt-AUC20080304.145454.
Full textAbstract:
Since the latter half of the twentieth century patterns of economic flows
and the deployment of systems of production have encouraged greater political and
social integration between nation states. This phenomenon, called globalisation,
has reinvigorated debate about the nation state as a mode of organisation, and
created the conditions for an ongoing natural experiment concerning state
adjustment. This experiment, while on a global scale, has led to different responses
from national governments, as each grappled with how best to accommodate both
domestic and international interests. One neglected aspect of analysis in these
processes is the role played by national bureaucracy in state adjustment as a means
to move with globalising pressures or to resist their impact.
This thesis presents a qualitative analysis of the interaction of one
globalising process, foreign direct investment (FDI), and the workings of the
nation state, as a means of assessing the way in which the national government has
used regulatory processes and its bureaucracy to control FDI. An extended
historical case study is used to examine changes in policy, regulation and the
organisation of the national bureaucracy concerned with FDI in Australia. The
period examined is from 1968 to 2004 enabling comparisons to be made across the
experience of seven successive national governments (those led by prime ministers
Gorton, McMahon, Whitlam, Fraser, Hawke, Keating and Howard) in the way they
managed the domestic and international circumstances that impacted on FDI.
This thesis makes a contribution to the literature on the interaction of
globalising processes, the nation state and the role played by national public
bureaucracies where national and transnational interests intersect. In particular, this
thesis identifies the national bureaucracy as a key agent for government in enabling
and domesticating the processes of globalisation. This finding demonstrates that
national bureaucracy is significant as both a facilitator and the inhibitor of
processes of globalisation, and therefore is a key factor in understanding the issues
of state adjustment in studies of globalisation.
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Christopherson, Geoffrey John, and n/a. "Coping with cultural differences : b the development of generic capabilities in logistics graduates." RMIT University. Education, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20090625.102224.
Full textAbstract:
This thesis investigates development of generic capabilities in an RMIT undergraduate logistics degree program. Generic capabilities are those general graduate attributes that are not specifically discipline-focused, examples being communication and teamwork skills. A major research objective of this thesis is the extent to which graduates perceived that generic capabilities were developed in their RMIT logistics undergraduate program, specifically in a cross-cultural context spanning a range of organisations differing in size and ownership structure. The thesis involves two studies. In Study 1 managers from eight organisations, ranging in size from multi-national to small public and private (family-owned) companies were interviewed to develop a series of qualitative organisational case studies using grounded theory methodology. Study 2 is a quantitative survey of 31 Australian and 25 Asian (Singapore and Hong Kong) logistic graduates from 1996 to 2002. In Study 1, generic capabilities rankings in different organisations varied, depending on whether managers being interviewed were operational or human resource management specialists, but there was general agreement that communication, problem-solving, initiative and enterprise, and teamwork skills were highest priority. Study 2 results indicate that the views of both Asian and Australian graduates are in line with the management rankings, and are consistent with those reported by Australian and OECD government and industry research organisations. Both graduate groups agree that generic capabilities are covered in the RMIT logistic program, but ratings are generally in an 'adequate' to 'good' range, with no outstanding features. Although cultural diversity in the student body is seen as a major benefit, there are little data indicating a high level of Australian and Asian student networking, and a number of respondents are critical of a lack of international focus in the present program. A major issue is a n eed for more emphasis on presentation and problem-solving skills so graduates are able to carry through a project from initiation to completion.