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Eloy, Florence. "Apprendre à écouter la musique : culture légitime, culture scolaire et cultures juvéniles." Paris, EHESS, 2012. https://acces.bibliotheque-diderot.fr/login?url=http://www.cairn.info/enseigner-la-musique-au-college--9782130625551.htm.
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Cette thèse de doctorat se propose d'interroger les liens entre culture légitime, culture scolaire et cultures juvéniles sur un terrain très spécifique et pouvant apparaître à première vue comme un « petit objet » : l'enseignement de la musique au collège. En effet, ce lien s'est profondèment renouvelé du fait d'évolutions concomitantes de ces trois dimensions de la culture, par ailleurs très poreuses les unes par rapport aux autres. Si l'affinité élective entre culture scolaire et culture légitime a été souligné par Pierre Bourdieu et Jean-Claude Passeron, de nombreux travaux ont montré que les savoirs scolaires tendent depuis plusieurs décennies à se décloisonner et à s'ouvrir davantage à l'expérience quotidienne des élèves, tandis que le consensus sur les canons culturels devant être transmis par l'École se fait moins fort. Le cas de l'enseignement scolaire de la musique, qui occupe à la fois une place dominée dans le curriculum et une position médiane entre « culture libre » et « culture scolaire », permet de saisir sous une forme presque pure les tensions pouvant exister entre cultures juvéniles et cultures scolaires dans le cadre du processus de diversification des répertoires culturels mobilisés par l'Ecole. A travers une étude des textes officiels de la discipline depuis 1938, une enquête par observations et entretiens de cours de musique dans des établissements contrastés du point de vue socio-scolaire, et une analyse secondaire des données de l'enquête par panel du Ministère de la culture sur les univers culturels des adolescents, la thèse montre le déplacement et le brouillage des hiérarchies culturelles via l'émergence de la norme de l'éclectisme éclairé<br>This research explores the connections between legitimate culture, school culture, and youth cultures, drawing on the study of music education in middle and high school, a case study that might appear as a "small object" at first sight. Yet my research emphasizes the ever changing relationships between three forms of culture delineated above. Though Bourdieu and Passeron have analyzed the elective affinities between school culture and legitimate culture, many recent works have emphasized in contrast how school curricula are currently changing in order to incorporate the daily and profane experiences of students. In parallel, observers have noted a decline in the consensus over the classical canon to be taught to the students. Within this larger trend, the case of music is particularly interesting since music education is a dominated discipline within school curricula, but also on of the disciplines where teachers make particular efforts to incorporate the profane experiences of students. Hence, it affords a better understanding of the tensions between youth cultures and school culture, in the broader context of the diversification of cultural repertoires gradually integrated in the curriculum. More specifically, my research relies on several types of data : an analysis of the programs of musical education since 1938, observations and interviews conducted with middle and high school students and their teachers, and a quantitive analysis of the survey of the French Ministère de la Culture on the cultural universes of youths. My analysis documents the shifting of cultural hierarchies with the emergence of the norm of "enlightened eclecticism"
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Souza, Júnior Climério Brito de. "Encontro de culturas na petroquímica brasileira: um estudo de caso." Universidade Federal da Bahia, 2004. http://www.repositorio.ufba.br/ri/handle/ri/10452.
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Previous issue date: 2004<br>Esta Dissertação apresenta um estudo de caso sobre a formação e consolidação da cultura
organizacional em uma empresa recém criada, fruto de processo de fusão que envolveu seis
outras empresas. Para tanto, utiliza uma pesquisa tipo survey para levantar a percepção dos
integrantes e análise de documentação. É investigado o processo de formação e consolidação
da cultura, analisando a aderência ao modelo de gestão adotado pela empresa, bem como as
características e diferenças observadas nas diferentes unidades que vieram a compor a nova
empresa e sua evolução ao longo dos seus dois anos de vida. São, também, apresentados
conceitos e definições sobre cultura organizacional, incluindo a discussão sobre a cultura
organizacional nos processos de fusões e aquisições. O presente trabalho visa, também,
contribuir para a organização estudada, refletindo sobre o resultado das ações empreendidas e
fornecendo elementos que podem ser usados para o gerenciamento do processo de mudança
ainda em curso.<br>Salvador
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Sales, Franck. "Sommières : culture des lieux, lieu de cultures /." Nîmes : C. Lacour, 2008. http://catalogue.bnf.fr/ark:/12148/cb41456607v.
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Soncini, Luana. "Política de patrimônio cultural imaterial na América Latina: análise dos processos de identificação e registro no Brasil e no México." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/84/84131/tde-12072012-155540/.
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Há cerca de uma década a noção de Patrimônio Imaterial vem sendo incorporada às políticas de patrimônio dos Estados latinoamericanos, e também no contexto internacional mais amplo, a partir da Convenção para a Salvaguarda do Patrimônio Imaterial (UNESCO, 2003). Nesta dissertação são analisadas as experiências de identificação e registro de bens culturais desta natureza no Brasil e no México, por meio da apreciação de documentos oficiais produzidos no âmbito desta política, os Dossiês de registro realizados no Brasil e o Inventario del Patrimonio Inmaterial mexicano. Considera-se, a partir do histórico das políticas culturais e da relação entre Estado e cultura popular, que este tipo de reconhecimento tem características específicas na América Latina, configurando as potencialidades e desafios da implementação de tal política neste contexto. Partindo desta preocupação e da análise dos documentos mencionados, foram definidos dois eixos temáticos relacionados, que nortearam a comparação entre Brasil e México. O primeiro deles refere-se aos desdobramentos da ampliação da noção de cultura, que caracteriza este tipo de bem cultural, para as políticas de patrimônio destes países. Verifica-se que tal alargamento resulta na incorporação de tensões sociais igualmente amplas no universo de atenção desta área de intervenção estatal. No segundo eixo são privilegiadas questões relativas ao processo de atribuição de valor a estas manifestações, práticas e expressões culturais como patrimônio. Identifica-se a politização deste tipo de reconhecimento, na medida em que tem o sentido de corroborar oficialmente o valor já atribuído a tais bens em seus contextos de produção. Nesse sentido, a partir da documentação oficial são analisados os processos de negociação de critérios e conceitos de valoração, bem como da legitimidade dos sujeitos coletivos, Estado e grupos detentores dos bens culturais, no processo de reconhecimento.<br>For about one decade the notion of Intangible Cultural Heritage is being incorporated within the cultural heritage policies by the Latin American states, and also in an international context, from the Convention for the Safeguarding of the Intangible Cultural Heritage (UNESCO, 2003). In this thesis the experiences of identification and registry of this category of heritage in Brazil and Mexico are analysed, by means of an appreciation of official documents produced within this policy, the Registry Dossiers (Dossiês de registro) made in Brazil and Mexican Inventory of Intangible Heritage (Inventario del Patrimonio Inmaterial). Based on the history of the cultural policies and the relationship between State and popular culture, it is considered that this kind of acknowledgment has specific characteristics in Latin America, setting the potentialities and challenges of the implementation of such politics in this context. Begining by this concern and the analysis of the mentioned documents, two related thematic axes were defined, which guided the comparison between Brazil and Mexico. The first of them refer to the deployment of the widening of the notion of culture, which characterizes this type of cultural heritage, to the heritage policies of these countries. It is verified that such widening results in the incorporation of social tensions, equally broad, within the universe of concern of this area of state intervention. The second axis privilege questions related to the process of attribution of value to cultural manifestations, practices and expressions as heritage. There has been identified the politization of this kind of acknowledgement, as far as it means to corroborate officially the values previously attributed to such heritage in its production context. In this sense, as of the official documentation an analysis is developed about the process of negociation of criteria and concepts of valuing, as well as the legitimacy of collective beings, State anda other groups of holders of cultural heritage in its recognition process.
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Harding, Tobias. "Nationalising Culture : The Reorganisation of National Culture in Swedish Cultural Policy 1970–2002." Doctoral thesis, Linköping : Department for Studies of Social Change and Culture, Linköping University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9896.
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Pereira, Tânia Sofia Gonçalves. "Influência da cultura chinesa na instalação de empresas no mercado chinês." Master's thesis, Instituto Superior de Economia e Gestão, 2015. http://hdl.handle.net/10400.5/10526.
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Mestrado em Marketing<br>Numa época em que a globalização avança a largos passos e vários investigadores consideram que as práticas de gestão e produtos tendem para uma uniformização nos mais diversos países, as culturas nacionais continuam a colocar um travão a este fenómeno. Cada cultura contínua a marcar fortemente a sua identidade, causando um dos possíveis principais problemas de gestão a uma organização que pretenda iniciar um processo de expansão internacional. O investimento de empresas portuguesas na China tem sofrido um aumento substancial nos últimos anos. Desta forma é relevante estudar se a cultura tem sido um entrave à instalação destas empresas, uma vez que estamos perante duas culturas tão distintas. Para tal, recorreu-se a um estudo de caso sobre uma joint-venture entre uma empresa portuguesa e uma chinesa. Foi possível detetar que na fase de instalação o choque cultural não é forçosamente negativo e sugerido que na gestão corrente o impacto seja talvez maior.<br>At a time when globalization is increasingly and more researchers consider that products and management practices tend to uniformity in several countries, national cultures still put a stop to this phenomenon. Each continuous culture strongly marks its identity, causing one of the possible significant management problems for an organization wishing to start a process of international expansion. The investment of Portuguese companies in China has been increasing a lot in the past few years. In this way is relevant to study if the culture has been an obstacle to the instalation of these companies, since we are dealing with two cultures so different. It was possible to detect that during the installation fase, the culture shock is not negative and is suggested that perhaps the impact on current management may be bigger.
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Bretel, Ronan. "L'appréhension juridique du marché de l'art : entre jeu de marché et enjeux patrimoniaux." Electronic Thesis or Diss., université Paris-Saclay, 2023. http://www.theses.fr/2023UPASH002.
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L'appréhension juridique du marché de l'art en droit français s'est faite à partir des activités plutôt qu'à partir de l'objet de marché. Cette construction historique fit opposer fondamentalement la vente volontaire de meubles aux enchères publiques à la vente de gré à gré. Cette première qui connaît un régime propre dans le Code de commerce a été longue et complexe à définir et singulariser. Elle s'est également trouvée fragilisée face à l'apparition du courtage en ligne de biens culturels et à l'hybridation des formes de ventes.Cette construction par le mode de vente a abouti à instaurer une figure aveuglante du droit de la vente à l'encan, à la fois en construisant tout ce droit des ventes aux enchères, pourtant d'origine judiciaire, autour des réalités artistiques ; mais a réciproquement eu tendance à résumer le marché de l'art aux seules enchères.L'encan mis à part, le droit français connaît un éclatement statutaire des opérateurs. Les divers revendeurs de biens meubles d'occasion (antiquaire, brocanteur, galeriste …) n'ont pas de statut juridique propre. Les auxiliaires de marché (experts, spécialistes, comités d'artistes, foires, courtiers …), pourtant devenus centraux dans cette économie demeurent également relativement ignorés. Ce secteur est néanmoins caractérisé par l'omniprésence du mandat, notamment dans les modèles économiques des galeries d'art ainsi que par la figure centrale du « commissaire-priseur de ventes volontaires ». Une police de marché fut également mise en œuvre ces vingt dernières années, à la fois en libéralisant partiellement les ventes aux enchères qui demeurent réglementées ; mais également en luttant contre l'atomisation des commissaires-priseurs, en vain. Les opérateurs du marché de l'art se sont quant à eux montrés résistants à toute intervention publique dans cette économie traditionnellement discrète : défiants du droit classique, craignant la concurrence normative, et défendant des logiques d'autorégulation.Le droit du marché de l'art mériterait d'être repensé à partir de l'objet des transactions : l'oeuvre‑marchandise et ses risques spécifiques. L'intérêt patrimonial de celle-ci modèle en effet une commercialité singulière, tant par ses contraintes de conservation qu'avec une circulation atypique, notamment à l'exportation. L'oeuvre-marchandise est en outre dotée d'une aura qui va intéresser des tiers, tant en droit d'auteur qu'au regard de sa dimension de « commun » et en tant que support mémoriel. L'oeuvre-marchandise est également au cœur d'une économie de l'incertitude. Du fait même de son absence de nature fonctionnelle, elle génère une « orthodoxie de l'authentique » avec un aléa omniprésent que le droit tente de corseter. L'incertitude est également liée aux risques pénaux. Le législateur tente de prévenir la porosité du marché de l'art licite aux comportements criminels (ex. blanchiment ou recel). Il ambitionne également d'opérer une purge des œuvres illicites en circulation par une généralisation des diligences requises. Elles aboutissent régulièrement à des reconstitutions de propriété pour des biens spoliés ou sortis du domaine public.C'est enfin cette nature artistique des marchandises atypiques propres à ce marché de l'art qui rendent l'État actif à son égard. Il agit comme soutien (au patrimoine national, aux opérateurs et par une fiscalité incitative) ; mais l'État est plus directement encore un acteur du marché de l'art. Il se comporte comme collectionneur, avec des institutions et des prérogatives de puissance publique dédiées (préemption, dation, acquisition de trésors nationaux). Se pose finalement la question de l'opportunité d'un État-vendeur, position qu'il occupe déjà à la marge, mais qui si elle était généralisée remettrait en cause une tradition d'inaliénabilité des biens du domaine public, particulièrement artistiques<br>The legal understanding of the art market in French law has been based on activities rather than on the object of the market. This historical construction fundamentally opposed the voluntary sale of furniture at public auction to the sale by mutual agreement. The former, which has its own regime in the Commercial Code, has been long and complex to define and distinguish. It has also been weakened by the appearance of online brokerage of cultural goods and the hybridisation of forms of sale.This construction by the mode of sale has led to the establishment of a blinding figure of the law of auction sales, both by constructing the entire law of auction sales, even though it is of judicial origin, around artistic realities; but has reciprocally tended to summarise the art market to auctions alone.Apart from auctions, French law has seen a splintering of the status of operators. The various dealers in second-hand goods (antique dealers, second-hand dealers, gallery owners, etc.) do not have their own legal status. The market auxiliaries (experts, specialists, artists' committees, fairs, brokers, etc.), which have become central to this economy, are also relatively ignored. This sector is nevertheless characterised by the omnipresence of the mandate, particularly in the economic models of art galleries, and by the central figure of the "voluntary auctioneer". A market policy has also been implemented over the last twenty years, both by partially liberalising auctions, which remain regulated, and by fighting against the atomisation of auctioneers, in vain. Art market operators, for their part, have shown themselves to be resistant to any public intervention in this traditionally discreet economy: defiant of traditional law, fearful of normative competition, and defending self-regulatory logics.Art market law should be rethought from the point of view of the object of transactions: the work of art as a commodity and its specific risks. The patrimonial interest of the latter in fact models a singular commerciality, both through its conservation constraints and through its atypical circulation, particularly for export. The artwork is also endowed with an aura that will interest third parties, both in terms of copyright and in terms of its "common" dimension and as a memorial support. The artwork is also at the heart of an economy of uncertainty. Because of its lack of functional nature, it generates an "orthodoxy of the authentic" with an omnipresent randomness that the law tries to corset. Uncertainty is also linked to criminal risks. The legislator is trying to prevent the porosity of the legal art market to criminal behaviour (e.g. money laundering or concealment). It also aims to purge the illicit works in circulation by generalising the required diligences. They regularly lead to the reconstitution of ownership of looted goods or goods that have been taken out of the public domain.Finally, it is the artistic nature of the atypical goods specific to this art market that makes the State active in its regard. It acts as a supporter (of the national heritage, of the operators and through a tax incentive); but the State is even more directly an actor in the art market. It acts as a collector, with dedicated institutions and prerogatives of public power (pre-emption, dation, acquisition of national treasures). Finally, the question arises as to the appropriateness of a State as a seller, a position it already occupies on the margins, but which, if generalised, would call into question a tradition of the inalienability of public property, particularly art
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Haynes, Peter D. "American culture, military services' cultures, and military strategy." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1998. http://handle.dtic.mil/100.2/ADA359941.
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Thesis (M.A. in National Security Affairs) Naval Postgraduate School, December 1998.<br>"December 1998," Thesis advisor(s): James J. Wirtz. Includes bibliographical references (p. 115-122). Also available online.
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Akehurst, Jessica Marie. "Culture, cultural discontinuity and the need for change : understanding Canadian and Chinese cultures of learning." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/40274.
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The purpose of this thesis is to examine sources of potential cultural discontinuity between Chinese students and Canadian teachers at an International school in China. Cultural discontinuity is a school-based process whereby culturally-based learning preferences and practices of students are discontinued at school (Ogbu, 1995). Since curriculum and classroom practices at International Schools are rooted in mainstream Western cultural values and worldviews, this dominant ideology may result in the discontinuance of cultural, value-based learning behaviours by Chinese students. This thesis delineates some of the issues that illustrate the incongruence between primary culture (home-based values) and secondary culture (school-based cultural values) and the implications for teaching and learning in British Columbian Offshore Schools. Conceptions of teaching and learning, the value and use of questioning, the issues of silence and plagiarism, and the role of the teacher and students are examined.
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Langlois, Marilyne. "Didactique des langues-cultures & citoyenneté transculturelle : le rapport citoyen entre culture singulière et culture universelle." Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10118.
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Cette recherche a pour objectif d'encourager le projet éducatif de la dimension éthique de la citoyenneté transculturelle dans le domaine des langues-cultures. Cette orientation éducative permet de favoriser la formation d'une "compétence citoyenne transculturelle" chez l'apprenant de la langue. Elle est un apport à la réflexion sur les idéologies face aux problèmes des conflits sociaux et culturels qui se posent inévitablement dans la classe de langue. Cette finalité dans l'enseignement/apprentissage des langues interroge la délicate question des contenus culturels. Se pose alors le rapport aux valeurs des uns et des autres et le rapport entre la culture singulière et la culture universelle en co-construction dans l'espace social qu'est la classe de langue. De façon générale, ce travail propose des approches et des démarches pédagogiques nouvelles. Il est une contribution à la mise en place d'une "compétence éthique" en Didactologie-didactique des langues-cultures<br>This research aims to develop the ethical dimension of transcultural citizenship in langage-culture education. This concept proposes to aid students of foreign language-culture develop their "competence in transcultural citizenship" and focuses on different ideologies in an atmosphere of social and cultural adversity, which inevitably affects languages classes. The "transcultural citizenship" educational concept in foreign language-culture reflects on the delicate question of cultural content. It ficuses on people's different value systems and also the relationship between singular culture and universal culture. In general terms, this work contributes to an "ethical competency" un language and culture didactics
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Tiongson, Antonio T. "Filipino youth cultural politics and DJ culture." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3199265.
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Thesis (Ph. D.)--University of California, San Diego, 2006.<br>Title from first page of PDF file (viewed February 28, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-220).
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Abbassi, Amir. "Culture and Anxiety: a Cross-Cultural Study." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279124/.
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By measuring interactions among and between anxiety and the independent variables of country of origin, gender, level of education, and age, this study attempted to gain insight into how students from different countries experience anxiety on a U.S. college campus. Results of the Multivariate Analysis of Variance (MANOVA) and the univariate test(ANOVA) indicated that the gender and level of education of the subjects made no significant difference. However, when it came to country of origin, there were
significant differences between two of the cultural groups and respective anxiety level. Findings also support a positive correlation between age and anxiety levels, with the youngest participants having the lowest anxiety levels.
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Santos, João Rafael Coelho Cursino dos. "A cultura como protagonista do processo de reconstrução da cidade de São Luiz do Paraitinga/SP." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-11042016-105654/.
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A cidade de São Luiz do Paraitinga, localizada no Vale do Paraíba, estado de São Paulo, nos primeiros dias do ano de 2010, foi atingida pela maior inundação de sua história. As águas do rio Paraitinga subiram aproximadamente doze metros acima de seu leito habi-tual, causando a destruição de grande parte do patrimônio histórico arquitetônico e causando diversos prejuízos à população atingida. O processo de reconstrução da cidade foi marcado por ter a cultura local como pro-tagonista que, em diversas situações obrigou o poder público e os órgãos de preservação do patrimônio histórico a reverem projetos pré-concebidos e contemplar a identidade local como objetivo primordial. Para estudar a cultura popular protagonizando o processo de reconstrução de São Luiz do Paraitinga, primeiramente apresentei o lugar que a memória e as manifestações da cultura popular têm na construção da identidade da cidade. Diretamente envolvido no pro-cesso que também era meu objeto de estudo, coletei uma rica documentação que, com minha vivência, fundamentou a análise apresentada. Nela, ressalto o lugar central que o modo de viver dos moradores ocupou em diferentes momentos ligados à tragédia ocorrida, às ações voltadas para a retomada da normalidade e à reconstrução do que havia sido destruído. A experiência trouxe contribuições relevantes não só para a vida pública de São Luiz do Parai-tinga, como para a reflexão acerca das situações resultantes de tragédias que alteram a vida de cidades, transformando completamente seu cotidiano e envolvendo ações e relações ex-cepcionais de órgãos públicos, entidades coletivas e da população.<br>The city of Sao Luiz do Paraitinga, located in the Paraiba Valley, State of Sao Paulo, in the first days of calendar year 2010, was hit by the biggest flood in its history. The waters of the river Paraitinga rose about twelve meters above its usual riverbed, causing destruction of a great portion of the architectural heritage and causing several damages to the affected population. The process of reconstruction of the city had the local culture in a leading role since in various situations the government and agencies responsible for national heritage preser-vation were forced to review pre-designed projects and contemplate the identity of that community as an essential goal. In order to study this leadership of popular culture in the process of rebuilding São Luiz do Paraitinga, I first brought up the significance that memory and expressions of pop-ular culture have for the identity of the town. Directly involved in the process, which was also my object of study, I collected rich documentation that along with my experience jus-tified the analysis presented. In that analysis, I highlight the main role that peoples life-style played in different moments which are linked to the tragedy that occurred, to the ac-tions taken to return to normality and to the reconstruction of what had been destroyed. The experience brought significant contributions, not only to the people of Sao Luiz do Paraitinga, but also to the understanding of situations resultant from disasters that change the living conditions in cities, completely transforming its daily routines as well as the practices of governmental and collective agencies and the population.
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Augrand, Alexandre. "Le Dj, médiateur de transferts culturels dans la Dance Culture : comment des cultures locales sont devenues globales." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLE021/document.
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À travers ma thèse intitulée "Le Dj, médiateur de transferts culturels dans la Dance Culture. comment des cultures locales sont devenues globales", je mets en avant l'implication des DJs dans l'émergence des principaux mouvements musicaux formant la Dance Culture dans l'espace Atlantique.Dans le premier chapitre, je retrace l'émergence de la culture musicale jamaïcaine qui se trouve être à la base du DJing au sens créatif du terme.Dans le deuxième chapitre, je montre le développement des quatre mouvements phares qui forment la Dance Culture apparue sur la côte Est des États-Unis.Dans mon troisième chapitre, je parle de l'expansion de la Dance Culture en Europe en m'appuyant principalement sur les cas du développement de la House et de la Techno en Angleterre, en Allemagne et en France<br>Through my thesis entitled "DJ, cultural transfers mediator in the Dance Culture, how local cultures became global", I put forward the DJs' involvement in the emergence of the main music movements which formed the Dance Culture in the Atlantic area.In the first chapter, I recall the Jamaican music culture's emergence which is on the basis of the DJing in the creative sense.In the second chapter, I show the development of the four main movements which formed the Dance Culture appeared in the East coast of the United States.In my last chapter, I speak about the expansion of the Dance Culture in Europa with the example of the House and Techno development in England, in Germany and in France
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Valtysson, Bjarki. "Access culture : the remixable culture of prosumers and the cultural policy of the European Union /." Roskilde : Department of Communication, Business and Information Technologies, Roskilde University, 2008. http://hdl.handle.net/1800/3999.
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Araújo, Sérgio Sobreira. "Cultura, política e mercado na Bahia: a criação da Secretaria da cultura e turismo." Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10813.
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Previous issue date: 2007<br>A presente dissertação examinou os enlaces entre cultura, política e mercado na Bahia tendo como horizonte temporal os fenômenos ocorridos nas duas últimas décadas em nosso Estado com as transformações ocorridas no campo da criação e da produção cultural contemporânea. A pesquisa ancorou-se em dois eixos de análise: 1) na compreensão da relevância dada aos campos político e econômico na configuração que a cultura adquiriu a partir do século XX; 2) na compreensão das transformações ocorridas no campo da gestão pública da cultura, orientadas pela interseção, cada vez mais presente, entre cultura e entretenimento, política e economia, adotando-se como célula de análise a criação da Secretaria da Cultura e Turismo do Estado da Bahia. Os resultados desta investigação possibilitaram inferir que, ao priorizar as áreas da cultura e do turismo como agendas de destaque, o empreendimento do grupo político liderado pelo senador Antonio Carlos Magalhães estava atento à crescente demanda por bens culturais, fenômeno ocorrido em escala global. O esteio deste empreendimento foi a adoção de uma ampla intervenção no campo da criação e da produção cultural, centrada na celebração da singularidade e diversidade da identidade baiana como elemento de diferenciação simbólica.<br>Salvador
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Inat, Pedro. "Organisational culture and sub-culture /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsi35.pdf.
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Pauzet, Anne. "Peinture et culture partagée en didactique des langues-cultures." Paris 3, 2001. http://www.theses.fr/2001PA030146.
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"Les oeuvres picturales sont actuellement utilisées dans un triple objectif, illustratif, langagier ou artistique. Pourtant les tableaux sont aussi une porte d'entrée dans la culture de l'autre, il s'agit de véritables outils interculturels. Les idées de Robert Galisson sur la nature partagée ayant fait souche, cette recherche propose une approche permettant de comprendre le fonctionnement de "l'individu collectif" français à travers ses productions visuelles. La peinture comme univers de référence : les images mass-médiatiques les plus courantes font souvent référence à la peinture. Un travail sur les "palimpsestes iconiques" qui déclinent à l'infini des scènes assimilées par la culture (nature morte, portrait, paysage. . . ) permet d'accéder à ce fond de culture commune. . . "<br>At the present time, pictorial works are used with three objectives in mind : to illustrate, communicate and for artistic purposes. Yet, paintings which are real intercultural tools are also a way to enter someone else's culture. Robert Galissson's ideas on shared culture being recognized in this field, this research suggests an approach to understand the working process of the French "collective individual" through his/her visual productions. Painting as a world of reference : the most common mass media images often refer to painting. A work on the reference images which repeatedly use scenes which have been culturally assimilated (still-life, portraits, landscapes. . . ) helps to reach the basis of this shared culture. .
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Lee, Luqman. "Malay culture & minority cultures : performing Malay on 'Senario'." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/26167/.
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The thesis examines the articulations of a dominant interpretation of Malay identity as observed within the Malaysian Malay situation comedy (sitcom) 'Senario', produced from 1996 to 2013. As the longest running sitcom in Malaysian broadcast history, 'Senario's performance of a specific interpretation of Malayness embodies, among other things, the nuances of critical social and political issues across a period of 17 years, thereby providing an understanding of the relationship between Malay nationalist ideology and Malay social desires. While other episodes are referenced, primary to the discussions are eight episodes ranging from 1997 to 2011: 'Negara Chekpa Merdeka', 'Raya ... Raya ... Raya', 'Kantoi', 'Gong Xi', 'Ta Ti Tu', 'Salah Sangka', 'Dalam Hati Ada Taman', and 'Bina Semangat'. The thesis begins by charting the evolution of the Malay primacy narrative, its conflation with Malay Islamic discourse from a socio-political dimension, and their impact on Malay gender relations. The focus then shifts to developments within the broadcasting sphere where the bearing of the Malay and/or Islamic primacy narratives towards the development of national television is examined. Theoretical ideas and frameworks that will direct the close textual reading of the sitcom are then discussed. This is followed by the three chapters of analysis which will address in turn the themes of Malay nationalism and ethnic stereotyping, Islamic didacticism and Pan-Malay identity, and Malay gender relations. The conclusion discusses the overarching problematics of Malayness identified on 'Senario' when located within a contemporary and globalized, 21st century Malaysian society.
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Hadley, Graham John. "Performance culture meets police culture : the relationship between political ideologies, police reform and police culture." Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/performance-culture-meets-police-culture(31510fe4-4810-449b-8117-1c2d20956344).html.
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This thesis explores successive police reform agendas over the period 1979 – 2012 in terms of the relationship between political ideology, police reform and police occupational culture. The thesis addresses the interplay between ideologically driven police reform and the reception of reform agendas within the central mindset of policing. It examines the significance of political and economic drivers in police reform agendas and literature on police occupational culture, with emphasis upon change and reform and the response within the police. As a means of exploring the relationship between reform and police culture the thesis gathers data through empirical research based upon documentary analysis and semi-structured interviews. Research upon street and management cops (Reuss-Ianni 1983) and the analytical model of cultural knowledge and change outlined by Chan (1997), was used to analyse and present the research findings. The main conclusions concern how ideology in police reform agendas was received by police occupational culture. Utilising the theoretical frameworks of Reuss-Ianni and Chan, the thesis argues that the ideology in police reform agendas is received and assessed through cultural knowledge. This places into context documented features of police occupational culture such as the sense of mission, conservatism, resistance to change and the street – management divide. As a result, this thesis contributes to the understanding of police occupational culture through the prism of reform and the implications for practice, outlining how ideologically driven police reform agendas are received and interpreted through police occupational culture.
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Vilutis, Luana. "Cultura e juventude: a formação dos jovens nos Pontos de Cultura." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-23092009-132908/.
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Esta pesquisa tem como objetivo identificar a relação entre o acesso à cultura, o processo pedagógico de formação de jovens e sua inserção comunitária. Para tanto, baseamos este estudo na experiência de jovens que participaram da formação realizada em Pontos de Cultura, instituições contempladas no programa Nacional de Cultura, Educação e Cidadania - Cultura Viva e que implementaram a ação Agente Cultura Viva. Situamos esse programa na cena pública cultural brasileira do período de 2003 a 2008, marcada pelo debate sobre a formulação de políticas de valorização da diversidade de expressões culturais. Para fundamentar a análise desta pesquisa, partimos da compreensão de que a cidadania cultural e o direito à cultura são pressupostos da pluralidade da criação cultural. É nesse contexto de interculturalidade que os agentes mediadores de cultura assumem papel relevante para o desenvolvimento da ação cultural, pois são sujeitos que circulam por diferentes espaços, transitam em contextos variados e participam de iniciativas diversas. A prática educativa dos jovens estudados se constituiu em uma ação problematizadora e organizadora da experiência cultural que potencializa as escolhas dos jovens em termos de seu trabalho e da expressão de sua identidade. O trabalho de campo foi realizado nos anos de 2007 e 2008 e reuniu entrevistas com 17 jovens homens e mulheres que participaram da formação da ação Agente Cultura Viva em dois Pontos de Cultura da Zona Leste da cidade de São Paulo. É possível identificar recorrências nos relatos dos jovens entrevistados, que revelam o significado do processo de formação marcado pela experimentação de diversas linguagens estéticas, pela vivência intergeracional e pela convivência comunitária. Essas ações, por sua vez, estimularam a ampliação do espaço público de fruição cultural e a sociabilidade criadora, que impulsiona o trabalho coletivo e juvenil de criação. Do ponto de vista teórico, este estudo foi orientado pela categoria de ação cultural de Paulo Freire, em diálogo com as abordagens de Teixeira Coelho. O estudo do direito à cultura e da política cultural teve como subsídio a leitura de instrumentos legais, normas jurídicas e declarações internacionais sobre a temática. A análise das entrevistas, por sua vez, se apoiou na noção de mediadores desenvolvida por François Dubet para a compreensão do papel desenvolvido pelos jovens agentes culturais.<br>This research\'s objective is to identify the connection between the access to culture, the pedagogical process of young people\'s formation and their communitarian insertion. In order to do so, this study was based in the experience of young people who have participated in formations at Culture Points, institutions that were benefited by the Programa Nacional de Cultura, Educação e Cidadania - Cultura Viva (National Culture, Education and Citizenship Program Living Culture) and that implemented the ação Agente Cultura Viva (Living Culture Agent). This program is situated in the Brazilian culture public scene from 2003 to 2008, when there was strong debate on defining policies for promoting the diversity of cultural expressions. We base the analysis in this research in the understanding that cultural citizenship and the right to culture are prerequisites to the plurality of cultural creation. It is in this context of interculturality that the culture mediator agents take on relevant roles for the development of cultural action, since they are subjects that circulate through different spaces, transit through various contexts and participate on diverse initiatives. The educative practice of the young people studied consisted in a problematizing and organizing action of their cultural experience that fosters young peoples choices regarding their work and expressing their identity. The field work was carried out in 2007 and 2008 and assembled interviews with 17 young men and women who participated in the formation of ação Cultura Viva in two Culture Points of the East Area of São Paulo. It is possible to identify recurrent themes in the young peoples accounts that reveal the significance of experimenting different aesthetic languages, intergenerational living experiences and shared community life that influenced their formation process. These actions stimulated the widening of the public space for cultural enjoyment and creating sociability, that boosts the collective and youthful work of creating. From a theoretical point of view, this study was oriented by the Paulo Freires category of cultural action dialoguing with Teixeira Coelho approaches. The study of the right to culture and of cultural policy was based on the reading legal instruments, norms and international declarations on the theme. The analysis of the interviews was founded on the notion of mediators developed by François Dubet for understanding the role young cultural agents played.
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Carvalho, Beatriz Sequeira de. "O processo de legitimação cultural das histórias em quadrinhos." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-31102017-123128/.
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O presente trabalho objetiva buscar um maior entendimento da história em quadrinhos como produto cultural e compreender como, com o passar dos anos, ela passou por um processo de legitimação que a tirou do estigma de mero artigo de massa, sem nenhum valor cultural, para um objeto culturalmente valorizado. Buscou-se em um primeiro momento compreender de onde surge o preconceito contra a cultura de massas e, consequentemente, contra as histórias em quadrinhos, e como tal preconceito pode ser entendido a partir de uma relação de poder estabelecida pelo uso do conceito de \"cultura\". Para tal, a abordagem metodológica inicial baseou-se nos Estudo Culturais, especialmente a partir da reformulação do conceito de cultura proposto por Raymond Williams, além das premissas de outros estudiosos da cultura, focando principalmente nos conceitos de ideologia, de John B. Thompson, e de distinção, de Pierre Bourdieu. Dentro de uma abordagem fenomenológica, foi selecionada a Hermenêutica da Profundidade proposta por John B. Thompson. A técnica de coleta de dados utilizada é a documentação indireta, formada pela pesquisa bibliográfica (os textos, acadêmicos ou não, afins com o objeto e metodologia adotados) e a pesquisa documental (o conjunto das histórias em quadrinhos selecionado). Traçou-se, a partir daí, uma linha do tempo no contexto norte-americano que buscou demonstrar que o processo de legitimação cultural teve início na década de 1960 com o movimento intelectual europeu e o movimento underground norte-americano, seguidos pela publicação de Maus, de Art Spiegelman, e da chegada das graphic novels ao mercado. Ademais, buscou-se elucidar como as histórias em quadrinhos constituem-se como um campo de produção cultural específico e autônomo, que pouco tem a ver com o campo da literatura ou das artes plásticas. Para tal, voltamo-nos ao conceito de campo de Pierre Bourdieu. Como resultados principais, foi identificado que os quadrinhos passaram a ser valorizados como um produto cultural legítimo e instâncias que antes os desprezavam, passaram a reconhecer seu valor e importância no espectro cultural mundial. Com esses resultados, visa-se contribuir para a cristalização do entendimento da história em quadrinhos como um campo de produção cultural legítimo, fazendo com que o debate sobre o mesmo cresça e se diversifique cada vez mais.<br>This study aims to seek a greater understanding of comics as a cultural product and to understand how, over the years, it has undergone a process of legitimation that has removed it from the stigma of mere mass article, with no cultural value, for a culturally valued object. We sought at first to understand where prejudice against mass culture and consequently against comics arises, and how such prejudice can be understood from a relation of power established by the use of the concept of \"culture \". For this, the initial methodological approach was based on the Cultural Studies, especially from the reformulation of the concept of culture proposed by Raymond Williams, in addition to the premises of other culture scholars, focusing mainly on the concepts of ideology, by John B. Thompson, and of distinction, by Pierre Bourdieu. Within a phenomenological approach, the Depth Hermeneutics proposed by John B. Thompson was selected. The technique of data collection used is indirect documentation, constituted by bibliographic research (texts, academic or not, related to the object and methodology adopted) and documentary research (the set of selected comics). A time line was drawn, in the North American context, which sought to demonstrate that the process of cultural legitimacy began in the 1960s with the European intellectual movement and the North American underground movement, followed by the publication of Art Spiegelman\'s Maus and the arrival of graphic novels in the market. In addition, we tried to elucidate how comics constitute a specific and autonomous field of cultural production that has little to do with the field of literature or the plastic arts. To this end, we turned to Pierre Bourdieu\'s field concept. As main results, it was identified that the comic books came to be valued as a legitimate cultural product and instances that previously despised them, began to recognize its value and importance in the world cultural spectrum. With these results, it aims to contribute to the crystallization of the understanding of comics as a legitimate cultural production field, making the debate about it grow and diversify more and more
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Niemand, Johannes R. "The autonomy of culture : a cultural-philosophical analysis." Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85680.
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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: Multicultural conflicts pervade our world and have sparked considerable
debate about their possible resolution. We argue that how culture is
conceptualized is crucial to the continued dialogue about multicultural
conflicts. Specifically, we argue that approaches that argue for the protection
of cultures run into significant problems if they do not employ a conception of
cultures as delineated entities. However, we also hold that the notion that
cultures cannot be distinct in any way, does very little to contribute to
dialogue. From the very beginning, it excludes the notion of a culture that is to
be protected and thus stops the dialogue there and then. To be true to the
principle of audi ad alteram partem, approaches to multicultural conflicts must
conceive of an alternative model, provided that such a model is logically
possible. This may provide the dialogue with a much needed point of common
understanding from which to proceed. Accordingly, we develop a model of
culture whereby it is possible to delineate cultures. In this model, a culture can
be delineable in a manner analogous to how we delineate persons. Our model
of personal delineation suggests a dual structure whereby a trivial personal
boundary contains a unity of conflict within the person. In persons, this unity of
conflict lies in the relationship between the “I” and repressed meanings. This
relationship must be characterised by self-referential decisions and the
capacity to make self-referential decisions is central to our definition of
personal autonomy. In cultures, we argue that multicultural conflicts provide
the necessary conditions that enable us to conceptualize trivial boundaries in
cultures in terms of the communicative relationships between members of a
particular culture. Multicultural conflicts prompt self-categorizations by
individuals and such self-categorizations are made in terms of group
membership. Though all members may not agree as to who belongs to the
culture and who does not, the claims made about membership serve to
differentiate the communicative relationships inside the culture from those
outside it. Furthermore, we show that, inside this trivial boundary, a unity of
conflict analogous to the one found in personal autonomy, can be exhibited by
cultures. We show how a culture, through its institutions, particularly through an institutionalised exit possibility, 1) may exhibit self-reference and 2) relate
to a source of authority in the same way as a person does when making selfreferential
decisions. In this regard, we argue that institutionalised exit
possibilities embody adherence to the consensus vs. power criterion,
according to which the dominant account of a culture is achieved through
consensus, as opposed to through the exertion of power. Furthermore, we
argue that with a strong analogy between cultures’ and personal delineation, it
becomes reasonable to extend concepts we usually apply to persons, such as
fairness, attachment and viability, so that they can also apply to cultures. We
show that the application of these concepts clarifies certain current
multicultural issues. The application of theses concepts also leads to the
development of a decision making process to deal with multicultural issues.<br>AFRIKAANSE OPSOMMING: Multikulturele konflikte kom wêreldwyd voor en het reeds aansienlike debat
oor die resolusie van sodanige konflik ontlok. Ons voer aan dat hoe kultuur
gekonseptualiseer word, besonder belangrik is vir die voorgesette dialoog oor
multikulturele konflikte. Meer spesifiek voer ons aan dat benaderings wat vir
die beskerming van kulture argumenteer, beduidende probleme ondervind
indien dit nie `n konsepsie van kulture as delinieerbare entiteite gebruik nie.
Die gedagte dat kulture nie op enige manier afgebaken kan word nie, dra
egter ook weinig by tot dialoog. Dit sluit van meet af die gedagte dat kulture
beskerm moet word, uit en staak dus die dialoog daar en dan. Ten einde
getrou te wees aan die beginsel van audi ad alteram partem, moet
benaderings tot multikulturele konflik `n alternatiewe model van kultuur
bedink, mits so `n model logies moontlik is. So `n model kan die dialoog van
`n broodnodige gemeenskaplike uitgangspunt voorsien. Ons ontwikkel
dienooreenkomstig `n model van kultuur waarvolgens dit moontlik is om
kulture te delinieer. Volgens hierdie model kan `n kultuur delinieer word in
analogie met hoe persone delinieer word. Ons model van persoonlike
deliniëring stel `n tweeledige struktuur voor, waarvolgens `n triviale
persoonlike grens `n eenheid van konflik binne die persoon omspan. In
persone lê hierdie eenheid van konflik in die verhouding tussen die “ek” en
onderdrukte betekenisse. Hierdie verhouding moet deur self-referensiële
besluite gekenmerk word. Die vermoë tot self-referensiële besluite, so voer
ons aan, is ook die sentrale kenmerk van persoonlike outonomie. Ons voer
aan dat multikulturele konflikte die noodsaaklike toestande skep wat ons in
staat stel om triviale grense in kulture te definieer in terme van die
kommunikatiewe verhoudings tussen lede van `n spesifieke kultuur.
Multikulturele konflikte ontlok self-kategorisering deur individue en sodanige
kategorisering word in terme van groeplidmaatskap gedoen. Hoewel alle lede
van die kultuur nie noodwendig saamstem oor wie aan die kultuur behoort en
wie nie, maak die bewerings wat oor lidmaatskap gemaak word dit moontlik
om die kommunikatiewe verhoudings binne die kultuur te onderskei van dié
buite die kultuur. Verder demonstreer ons dat, binne hierdie triviale grens, kulture `n eenheid van konflik ten toon kan stel wat soortgelyk aan die
eenheid van konflik by persoonlike outonomie is. Ons wys hoe `n kultuur, deur
sy instellings, en vernaam deur `n geïnstitusionaliseerde uitgangsmoontlikheid
(‘exit possibility’) 1) self-referensie ten toon kan stel en 2) in verhouding met `n
bron van gesag kan staan soos `n persoon wanneer s/hy self-referensiële
besluite maak. In dié verband voer ons aan dat geïnstitusionaliseerde
uitgangsmoontlikhede die beliggaming is van die nakoming van die
konsensus vs. mag-kriterium, waarvolgens die dominante weergawe van `n
kultuur bereik word deur konsensus, teenoor deur die uitoefen van mag.
Verder voer ons aan dat `n sterk analogie tussen kulture en persone se
deliniëring dit moontlik maak om begrippe soos regverdigheid, binding en
lewensvatbaarheid, wat gewoonlik op persone toegepas word, op kulture toe
te pas. Die toepassing van hierdie begrippe verbeter ons begrip van sekere
huidige multikulturele kwessies en lei ook tot die ontwikkeling van `n
besluitnemingsproses vir multikulturele kwessies.
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Baker, Joseph O. "Sasquatch: Cultural Mythology Meets the Culture of Science." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/488.
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Chan, Yiu-yeung Daniel. "Culture forum : transformation of the Cultural Centre, T.S.T /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946651.
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Jones, Tod. "Indonesian cultural policy, 1950-2003: culture, institutions, government." Thesis, Curtin University, 2005. http://hdl.handle.net/20.500.11937/403.
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This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards.The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.
27
Jones, Tod. "Indonesian Cultural policy, 1950-2003 : culture, institutions, government /." Curtin University of Technology, Department of Media and Information, 2005. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=16663.
Full textAbstract:
This thesis examines official cultural policy in Indonesia, focussing on the cultural policy of the national governments from 1950 until 2003. Drawing on Michel Foucault’s writings about government and debates about cultural policy in Cultural Studies, the study proposes that the features of cultural policy in Indonesia are primarily determined by the changing ways that the state has put culture to work in its versions of modern governance. Part I of the thesis provides a history of official cultural policy, including a background chapter on the late colonial era and the Japanese occupation. Although contemporary cultural policy was first articulated within Western liberal democracies to shape self-governing national citizens, the Dutch colonial cultural policy differed in that it assumed indigenous subjects had reduced capacities and focussed on managing ethnic populations. The cultural policies of subsequent governments maintained the twin imperatives of ‘improving’ individuals and managing populations, but with different understandings of both imperatives. While a more autonomous subject was assumed during Constitutional Democracy, Guided Democracy exercised greater state guidance as part of Sukarno’s mobilisation of the population behind his political program. Cultural policy during the New Order era rejected Sukarno’s ‘politicisation’ of culture, replaced ‘improvement’ with ‘development’ and further strengthened the role of the state in providing cultural guidance, a move justified by designating Indonesians backward by modern standards.<br>The Japanese administration was the first government to address a national population. Relations among indigenous ethnic populations and between ethnicity and the nation were addressed in cultural policy from 1956 and were central to cultural policy throughout the New Order era. Part II of the thesis consists of two case studies of cultural programs in the New Order and Reform eras: (1) the arts councils and cultural parks and (2) a cultural research project. It explores New Order centralism, demonstrating the heterogeneity between different levels of the state and how governmental goals imbued particular practices and objects with special significance and meaning by constructing them as culture. Cultural policy in the post-Suharto period is addressed in both Parts I and II. While the practices of the New Order era are generally continuing, decentralisation created the possibility of a plurality of cultural policies across Indonesia, as lower levels of government are responsible for administering cultural policy. Decentralisation could result in a more participatory cultural policy as more cultural practices are addressed or a narrowing of cultural policy if conservative ethnic identity politics drives changes.
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Oliveira, Marcos Antônio de 1972. "Paisagens biográficas pós-coloniais : retratos da cultura local sul-mato-grossense." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285216.
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Orientador: Mauricius Martins Farina<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T10:43:18Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Esta pesquisa propõe um estudo epistemológico das representações da identidade cultural local na contemporaneidade, tendo o estado de Mato Grosso do Sul como espaço geográfico de investigação a partir de algumas das pinturas de paisagens dos artistas plásticos sul-mato-grossenses Wega Nery (1912-2007), Henrique Spengler (1958 ¿ 2003), Jorapimo (1937 ¿ 2009) e Ilton Silva (1943) realizadas, respectivamente, nas décadas de 1980, 1990, 2000 e 2010. Valendo-me das discussões acerca das identidades culturais, e tomando as pinturas de paisagens dos referidos artistas como registro das mudanças socioculturais na última virada do século, especialmente, e o avanço da globalização, a pesquisa visa discutir a forma de representação contemporânea das identidades culturais dos indivíduos locais na produção artística desses artistas sul-mato-grossenses. Como aportes teóricos que sustentarão as discussões na pesquisa serão tomados conceitos e reflexões oriundos das teorias pós-coloniais, da crítica biográfica e da crítica cultural, especialmente as formuladas na América Latina e por estudiosos brasileiros<br>Abstract: This research proposes an epistemological study of the representations from the local cultural identity in the contemporaneity, it has the state of Mato Grosso do Sul as the geographical space of investigation specially some landscapes¿ paintings of the sul-mato-grossenses artists Wega Nery (1912-2007), Henrique Spengler (1958-2003), Jorapimo (1937-2009) and Ilton Silva (1943) produced, respectively, in the 1980, 1990, 2000 and 2010 decades. Using the discussions concerned to cultural identities, and taking the landscapes¿ paintings of the previous artists as a register of the sociocultural changes in the last turn of the century, mainly, and the globalizations advances, the research aims to discuss the contemporary representation form of the cultural identities from the local individuals in the artistic production of the Artists from the State of Mato Grosso do Sul. As theoretical background that will support the discussions in this research, it will be used concepts and reflections related to the post-colonial theories, the biographical criticism and cultural criticism, mainly those formulated in the Latin American and by Brazilian scholars<br>Doutorado<br>Artes Visuais<br>Doutor em Artes Visuais
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Balieiro, Mauro Campos. "Consonância cultural e depressão na comunidade: um estudo longitudinal." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-19052009-102416/.
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A influência da cultura como variável independente associada a processos de sofrimento fisiológico e psicológico tem sido apontada com freqüência na literatura. Os principais problemas desse tipo de estudo referem-se a questões de ordem conceitual e metodológica. O conceito de consonância cultural tem sido proposto como alternativa a esses problemas. Consonância cultural se refere ao grau em que cada indivíduo aproxima seu próprio comportamento ou suas crenças e pensamentos do protótipo de crenças e comportamentos codificados em modelos culturais compartilhados. O objetivo deste trabalho é analisar as correlações entre consonância cultural e depressão, avaliadas em dois períodos de tempo distintos, com intervalo de dois anos entre a primeira e a segunda aplicação. Foram examinados em um primeiro momento, 271 sujeitos, distribuídos entre quatro bairros estratificados sócio-economicamente de uma cidade do interior do estado de São Paulo. Todos os sujeitos foram novamente convidados a participar da pesquisa dois anos após a primeira aplicação, e 210 concordaram, perfazendo este o total de sujeitos da segunda amostra, o que equivale a 77,5% de participação no estudo de seguimento. Escalas de consonância cultural de quatro domínios culturais foram aplicadas nos dois períodos de tempo, estilo de vida (CCEV, CCEV2), suporte social (CCSS, CCSS2), vida familiar (CCVF, CCVF2) e características nacionais (CCCN, CCCN2), além de uma escala de depressão, também aplicada nos dois períodos (CES-D, CES-D2). Com o intuito de controlar os efeitos de consonância cultural sobre depressão foi incluído no seguimento uma medida de eventos vitais. Os resultados obtidos por intermédio da análise de correlação de Pearson demonstraram correlações entre todas as escalas de consonância cultural CCEV x CCEV2 (r = ,815), CCSS x CCSS2 (r = ,569), CCVF x CCVF2 (r = ,647), CCCN x CCCN2 (r = ,604), todas estas correlações apresentaram um nível de significância de p<0,01. A correlação entre CES-D x CES-D2 (r = ,622) apresentou um nível de significância de p<0,01. Encontramos correlações entre consonância cultural e depressão nos dois períodos de tempo. Quando considerados os domínios culturais de estilo de vida, suporte social e vida familiar, a direção nos apontou para o entendimento de que quanto maior a consonância cultural nestes domínios, menores os valores para depressão. Em outro sentido, quando o domínio cultural estudado foi o de características nacionais, os resultados apontam para outra direção, indicando que quanto maiores forem os valores de consonância cultural neste domínio, maior será também os valores para depressão. Controlando os resultados por eventos vitais importantes observou-se um efeito de consonância cultural sobre depressão nos domínios culturais de estilo de vida (r = -,355), vida familiar (r = -,308) e características nacionais (r = ,250), com níveis de significância para estilo de vida e vida familiar de p<0,01 e para características nacionais de p<0,05. Um fator geral de consonância cultural foi calculado e sua correlação com depressão, controlando por eventos vitais, verificada (r = -,267) com nível de significância de p<0,05. Estes resultados sugerem a consonância cultural como uma variável independente associada à depressão na comunidade (r2 = ,071), podendo explicar entre 5% e 10% desta distribuição. O modelo teórico e empírico de consonância cultural se apresenta como alternativa profícua para estudos na comunidade e se insere de forma importante na agenda de estudos sobre a relação entre cultura e depressão.<br>The influence of culture on physiological and psychological outcomes has been discussed frequently in the research literature. This type of study confronts serious conceptual and methodological problems. The concept and measurement of cultural consonance has been proposed as a solution for these problems. Cultural consonance refers to the degree to which each individual approximates, in his own behavior or beliefs the prototypes for belief and behavior codified in shared cultural models. The objective of this work was to analyze correlations between cultural consonance and depression evaluated in two distinct time periods with an interval of two years between the first and second applications. Initially, the study evaluated 271 subjects distributed into four socio-economically stratified districts of a city from the inland of the state of São Paulo. Two years after the first application, all subjects were once again invited to participate in the research and 210 agreed, composing the total subjects of the second sample, which is equivalent to 77.5% of participation rate in the follow-up study. Cultural consonance scales assessing four cultural domains were applied in both time periods, lifestyles (CCEV, CCEV2), social support (CCSS, CCSS2), family life (CCVF, CCVF2) and national characteristics (CCCN, CCCN2), as well as a depression scale, also applied in both periods (CES-D, CES-D2). Stressful life events, a known correlate of depression, was also included in the study. The aim of including this variable was to assess the correlation of cultural consonance with depression, controlling for a known effect on depression. The results obtained by means of the Pearson correlation analysis demonstrated correlations in all cultural consonance scales CCEV x CCEV2 (r = .815), CCSS x CCSS2 (r = .569), CCVF x CCVF2 (r = .647), CCCN x CCCN2 (r = .604), and all correlations presented significance level of p<0.01. The correlation between CES-D x CES-D2 (r = .622) also presented significance level of p<0.01. Correlations between cultural consonance and depression were observed in both time periods. When cultural consonance in the domains of lifestyle, social support and family life was considered, higher scores on each measure were associated with lower levels of depressive symptoms. On the other hand, when national characteristics domain was considered, the results obtained were the opposite, indicating that the higher the cultural consonance in this domains is, the higher the depression values will be. Controlling results by stressful life events, an effect of the cultural consonance on depression was observed in the following cultural domains: lifestyle (r = -.355), family life (r = -.308) and national characteristics (r = .250), with significance levels for lifestyle and family life of p<0.01 and for national characteristics of p<0.05. A cultural consonance general factor was calculated and its correlation with depression, controlled by stressful life events, verified (r = -.267), with significance level of p<0.05. These results suggest cultural consonance as an independent variable associated to depression in community (r2 = .071), which could explain from 5% to 10% of this distribution. The cultural consonance theoretical and empirical model seems to be a useful alternative for studies developed in the community in the agenda of studies involving culture and depression.
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Pilão, Valéria. "As diferentes formas de inserção da cultura no processo de acumulação de capital : a particularidade brasileira /." Marília, 2017. http://hdl.handle.net/11449/148689.
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Orientador: Fátima Cabral<br>Banca: Francisco Corsi<br>Banca: Marcos Tadeu Del Roio<br>Banca: Cleiton Daniel Alvaredo Paixão<br>Banca: Maria Orlanda Pinassi<br>Resumo: Nas últimas décadas ocorreu uma singular aproximação entre as produções culturais e o mercado. Na imediaticidade do cotidiano observa-se a utilização da cultura como forma de valorizar a imagem da cidade, como uma modalidade de marketing para grandes corporações bem como uma forma de investimento especulativo. A partir dessas manifestações aparentes, mas não se limitando a elas, buscar-se-á a explicação do processo de cooptação da cultura pelo mercado, elucidando a particularidade brasileira e vinculando-a ao movimento de mundialização do capital. A presente tese tem como objetivo, portanto, explicitar e apreender como e por que, entre os anos de 2003 a 2013, houve um movimento de intensificação da mercantilização da cultura. Para tal apreensão, partindo da imediaticidade do real, realiza-se a análise das empresas fomentadoras de cultura que se beneficiam da Lei nº 8.313/91 que trata do incentivo à cultura, popularmente conhecida como Lei Rouanet. A hipótese apresentada é a de que a cultura se insere de diferentes formas no movimento de reprodução do capital: como um serviço, agregando valor à marca e à cidade e, assim, contribuindo para processos especulativos e criadores de renda; e como uma mercadoria que permite a realização de outras mercadorias que contêm um alto grau de tecnologia, como os aparelhos eletroeletrônicos e informacionais. Cabe ao Estado brasileiro, por meio da ampliação da lei de incentivo, realizar o papel de mediador entre as produções culturais e o merc... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: In the last few decades there has been a unique approach between cultural productions and the market. In the immediacy of daily life, there can be noticed the use of culture as a means of enhancing the image of the city, as a method of marketing for large corporations, as well as a form of speculative investment. From these apparent manifestations, yet not limited to them, this research will seek to explain the process of co-optation of culture by the market, elucidating Brazilian's peculiarity and linking it to the movement of capital globalization. Therefore, this thesis aims to clarify and understand how and why, between the years of 2003 and 2013, there has been a movement of intensification of cultural commodification. For such understanding, starting from the immediacy of the real, there will be carried out an analysis of the companies that promote culture and are benefited by Law 8,313/91 - popularly known as Lei Rouanet -, a Federal Law for cultural incentive. The hypothesis presented here is that culture is inserted in different ways in the movement of capital reproduction: as a service, adding value to the brand and to the city, thus contributing to processes of speculation and income creation; and as a commodity that enables the achievement of other goods with high technology, such as electronic and informational appliances. It is up to Brazilian State, through the expansion of the incentive law, to play the role of mediator between cultural productions and the market, contributing institutionally to the process of production and reproduction of capital both in national, international, and speculative sectors. One can notice at the end of the research that the movement of capital expansion over culture takes place at a time when there is a financial preponderance in the economy and that the ... (Complete abstract electronic access below)<br>Doutor
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Domingues, Cristina Maria Rubio. "Barrancos e Encinasola: fronteira e destino." Master's thesis, Universidade de Évora, 2003. http://hdl.handle.net/10174/14781.
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A presente investigaçao incide sobre a problemática do contacto de culturas entre Barrancos e Encinasola. Especificamente pretende-se abordar a problemática do contacto entre culturas, a sua relação com a construção e manutenção" da Identidade Cultural de Barrancos e apresentar propostas de intervenção no sentido de dinamizar o contacto trensfronteriço por via do turismo cultural. Metodologicamente utiliza-se o método qualitativo, utilizando como técnicas na recolha dos dados, a pesquisa bibliográfica e documental, a observação participante, as entrevistas semi -estruturadas e as "histórias de vida". /*** Abstract - The present investigation has approached on the problem of cultures' contact, between Barrancos and Encinasola. Specifically it pretends to reach the issue of contact between cultures, it’s relation with the construction and "maintenance" of Barrancos' cultural identity and to present intervention proposals to dynamize the border contact trough cultural tourism.
Methodologically "t's used the qualitative approach, using as research technics the bibliographical and documentary search, the participant observation, the semi-structured interviews and "life stories".
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Rodrigues, Grace Kelly Marques. "Culturas regionais no Brasil: um estudo sobre as percepções mútuas de gaúchos e baianos no ambiente de trabalho." Universidade Federal da Bahia, 2008. http://www.adm.ufba.br/sites/default/files/publicacao/arquivo/grace_k_m_rodrigues_dissertacao_jun_2006.pdf.
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Previous issue date: 2008<br>A realidade brasileira é constituída por uma construção histórico-social que reúne uma profusão de tradições, de línguas, etnias, costumes, visões de mundo e de comportamentos, os quais expressam modos de ser e de se relacionar distintos, identificando a pluralidade cultural como uma das grandes características do país. Nesse contexto, esta dissertação analisa a interação entre culturas regionais no Brasil, procurando evidenciar as diferentes percepções existentes entre as culturas gaúcha e baiana durante o convívio no ambiente de trabalho de uma organização gaúcha instalada na Bahia há mais de dez anos. A revisão teórica sobre cultura, cultura organizacional, estudos da cultura nacional e a formação das culturas regionais gaúcha e baiana subsidiou o trabalho empírico e as análises dos resultados obtidos. Por meio de entrevistas semi-estruturadas com gaúchos e baianos foram verificadas diferenças na maneira como estes, embora pertencentes a uma mesma cultura nacional, percebem a si e ao outro grupo cultural distinto. Verificou-se, também, que, na percepção dos entrevistados, a organização, ambiente deste convívio intercultural, tende a uniformizar tal diversidade, não atentando em suas decisões para a relevância das diferenças presentes dentro ou fora dos limites da organização.<br>Salvador
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Meirelles, Juliana Gesuelli 1977. "Política e cultura no governo de D. João VI (1792-1821)." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281086.
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Orientador: Leila Mezan Algranti<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-22T04:16:22Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: Esta tese investiga os possíveis sentidos da política cultural durante a governança de D. João no mundo luso-brasileiro entre os anos de 1792-1821. O ponto de partida da pesquisa dá-se no início de sua Regência (1792) e encerra-se com seu retorno a Lisboa (1821). Sob as diretrizes do iluminismo luso-brasileiro, a investigação das especificidades da política cultural joanina recaiu sobre quatro locus de cultura de ampla interlocução social: a imprensa interatlântica, os Reais teatros, as Reais Academias Militares e as Reais Bibliotecas Públicas da Corte. Através de uma abordagem interatlântica, buscamos compreender as peculiaridades da administração joanina no universo da cultura em um período de grave crise política no Império Português<br>Abstract: This thesis investigates the cultural policy fostered by D. João's government in the Luso-Brazilian world during the years 1792-1891. The project has as its starting point the beginning of his reign (1792) and concludes with his return to Lisbon (1821). In the light of the Luso-Brazilian Enlightenment, the research has focused on 4 cultural locus of wide-ranging social reach: the inter-Atlantic press, the Royal theatres, the Royal military academies and the Court's Royal public libraries. Through an inter-Atlantic approach, the present study hopes to understand the intricacies of D. João's administration of the cultural sector in a period of deep political crisis in the Portuguese Empire<br>Doutorado<br>Politica, Memoria e Cidade<br>Doutora em História
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Bourcier, Claude. "Valeurs organisationnelles et délimitation des cultures : le cas d'une entreprise de services." Aix-Marseille 3, 1991. http://www.theses.fr/1990AIX32037.
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Le premier objectif principal de l'etude etait de concevoir un cadre conceptuel facilitant l'apprehension des cultures organisationnelles et en decrivant en partie la dynamique. Le deuxieme objectif etait d'identifier la culture dominante de l'organisation et ses micro-cultures. Le troisieme objectif visait a etablir la proximite entre les microcultures et la culture dominante et une relation entre les caracteristiques et les valeurs organisationnelles. Le quatrieme objectif consistait a comparer les portraits des cultures issus des demarches qualitative et quantitative pour montrer en quoi ces demarches se completent et se differencient et comment la validation des observations qualitatives peut venir du quantitatif. Le cinquieme objectif consistait a proposer des methodes et des instruments adequats pour la realisation d'un diagnostic des cultures organisationnelles<br>The first aim of this dissertation was to present a conceptual model that will facilitate the identification of organizational cultures and be able to describe the inner components in action. The second objective was to identity the prevailing culture and the sub-cultures. The third aim was to establish the proximity between sub-cultures and prevailing culture the relationship between organizational caracteristics and values. The fourth purpose was to compare results from two sets of methods aiming to describe cultures and to point out how these sets complete each other and differ on an other side. The final objective was to propose a methodology and some tools pertinent to the identification of organizational cultures
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Ilieva, Roumiana. "Conceptualizations of culture, culture teaching, and culture exploration in second language education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24163.pdf.
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da, Silva Sara. "From caravelas to telenovelas : Popular culture, cultural exchange and cultural appropriation." Thesis, Stockholm University, Department of Spanish, Portuguese and Latin American Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8094.
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<p>Brazilian telenovelas have always been very popular in Portugal but in the last years this popularity is decreasing. It seems Portuguese audiences prefer Portuguese telenovelas instead. Why is this so? Within the context of the relationship between Portugal and Brazil, Portuguese identity and theories of cultural exchange and cultural appropriation, this essay, through interviews to ten different subjects, tries to analyse why this is happening.</p>
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Connolly, Mark. "Capital and culture : an investigation into New Labour cultural policy and the European Capital of Culture 2008." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/55756/.
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This thesis is an investigation into the relationship between culture in New Labour policy and within the competition for the European Capital of Culture 2008. The study interrogates a policy paradigm which it identifies as a 'creative city/urban planning' approach to urban regeneration. It locates this approach within a wider New Labour 'Third Way' politics, in that it attempts to reconcile economic instrumentalism with a rhetorical commitment to a politics of the social. Based on elite interviews and documentary analysis, this thesis argues that this approach to urban regeneration draws on a misappropriation of the work of cultural theorist Raymond Williams. It demonstrates how this misappropriation results in an unbounded anthropological definition, whereby culture colonises all areas of economic and social life. Within this template, culture becomes a surrogate economic and social policy. This is illustrated in the case-study of Liverpool's bidding for, winning of and plans for Capital of Culture 2008. This analysis shows how culture without parameters is usurped within both a neo-liberal economic agenda, and a policy template which recasts social inequality as a personal cultural deficit. Within Liverpool's urban strategy, culture is conceived as a social and economic panacea. However, when culture comes to mean everything, it invariably means nothing. This thesis attempts to put Raymond Williams' 'vague and baggy monster' back in its theoretical cage.
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Gomes, Wagner Rocha. "Construção (Inter) cultural em uma instituição federal de ensino superior." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/76204.
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A presente pesquisa investiga o encontro de diversas culturas profissionais, alicerçado no conceito de interculturalidade, o qual pressupõe uma convivência e troca de culturas de indivíduos oriundos de diversos estados ou países com as culturas de indivíduos nativos em um mesmo espaço organizacional. Tal conceito ultrapassa o encontro multifacetado dessas variadas culturas. Dessa forma buscou-se analisar o tema dentro de uma instituição federal de ensino superior na cidade de Caruaru, localizada no agreste pernambucano, região que se construiu em torno de um comércio e, que gerou na cidade onde foi instalada a instituição, a Feira de Caruaru. Ressalta-se que a interculturalidade, para esse estudo, originou-se da mobilidade dos sujeitos dentro do próprio país. Ao abordar o assunto, utilizou-se a disciplina Antropologia para embasar teoricamente o estudo das culturas em um âmbito macro e norteando sobremaneira as conclusões da presente pesquisa. Em um âmbito micro, os alicerces teóricos acerca das culturas organizacionais privadas e, sobremaneira públicas, propuseram discussões pertinentes ao tema. No intuito de atingir os objetivos do estudo ora apresentado, empregou-se um estudo de natureza qualitativa e foram realizadas entrevistas semiestruturadas com 14 sujeitos – docentes e técnicos-administrativos - da instituição denominada Centro Acadêmico do Agreste (CAA), unidade pertencente à Universidade Federal de Pernambuco. As entrevistas foram analisadas por meio da análise de conteúdo e suas falas geraram categorias discutidas por meio do referencial teórico apresentado ao longo do texto. Os resultados apontaram que, além das culturas profissionais dos sujeitos apresentarem as três perspectivas dos estudos de Martin (1992) - descritas como cultura integrada, diferenciada e fragmentada - delineou-se uma construção nascente de culturas específicas do espaço se esforçando para se sobrepor frente às culturas da instituição que originou o CAA, que é a Universidade Federal de Pernambuco. O encontro das culturas profissionais dos nativos e estrangeiros proporcionou um choque de culturas e assinalou dificuldades e facilidades em diversos momentos. Ademais, a presente pesquisa corroborou com as conclusões de estudos já elaborados que ressaltaram o respeito às culturas locais e estrangeiras como requisito essencial para um bom convívio entre os atores organizacionais em diversas instituições de cunho privado e/ou público.<br>This research investigates the encounter of different professional cultures, based on the concept of interculturalism, which assumes coexistence and exchange of cultures of individuals from different states or countries with cultures of native people in the same space organizational. This concept goes beyond the purpose of such meeting different cultures. Thus we sought to examine the topic in a higher learning federal institution in the city of Caruaru, located in rural Pernambuco region, which was built around a trade, and generated in the city where the institution has been installed, the Caruaru Fair. It is emphasized that interculturalism, for this study, originated from the mobility of individuals within the country. In addressing the issue, we used the discipline Anthropology to explain theoretically the study of cultures in a macro context and guiding greatly the conclusions of this research. In a micro context, the theoretical foundations of organizational cultures on private and, public greatly, proposed discussions related to the theme. In order to achieve the objectives of the study presented here, we used a study of qualitative and semi-structured interviews were conducted with 14 individuals - teachers and administrative technicians – from the institution called Centro Acadêmico do Agreste (CAA), a unit belonging to the Universidade Federal de Pernambuco. The interviews were analyzed using content analysis and their lines generated categories discussed through the theoretical framework presented in the text. The results showed that, in addition to the professional cultures of subjects presenting the three perspectives of studies of Martin (1992) - identified as integrated culture, differentiated and fragmented -, was outlined a construction rising crop specific space striving to overlap the front cultures of the institution that originated the CAA, which is the Universidade Federal de Pernambuco. The meeting of native and foreign professionals cultures provided a clash of cultures and pointed out difficulties and facilities at various times. Furthermore, this study corroborated the findings of studies already done that emphasized respect for local cultures and foreign as an essential requirement for a good interaction between organizational actors in various donor private and / or public.
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Júlio, Rita Mafalda Gerardo de Brito. "A relação da cultura nacional e organizacional com a crise económica em Portugal." Master's thesis, Instituto Superior de Economia e Gestão, 2015. http://hdl.handle.net/10400.5/10534.
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Mestrado em Gestão de Recursos Humanos<br>A crise é um fator cada vez mais presente no dia-a-dia de muitos países, sendo uma circunstância que influência a vida das populações. Com o presente estudo pretende-se perceber se existe uma relação entre a perspetiva que os indivíduos têm relativamente à crise e a sua cultura nacional, fazendo também a ponte para as organizações e a sua cultura. Foram analisadas as três vertentes anteriormente referidas de forma a verificar-se se existe algum tipo de relação entre elas, pretendendo-se, desta forma, aprofundar os conhecimentos existentes relativamente a estas três temáticas. A amostra é constituída por um conjunto de 104 inquiridos, tendo-lhes sido entregues questionários em formato papel, divididos em 4 escalas. Uma primeira relacionada com características sociodemográficas, uma segunda relacionada com a Crise, que foi subdividida em três subgrupos, sendo eles os "Responsáveis pela Crise", a "Intervenção do governo" e a "Perceção da Crise". Uma terceira escala sobre Fatores culturais relacionados com a crise, subdividida em "Desorganização", "Individualização", "Anulação da Incerteza" e "Despreendimento", e por fim a quarta escala relacionada com a Cultura organizacional subdividida em "Clã", "Adocracia", "Hierarquia" e "Mercado". Através da análise efetuada concluiu-se que existe uma relação entre a perceção que os inquiridos têm sobre a Crise e a sua perceção sobre Fatores culturais relacionados com o tema. No que diz respeito à Cultura organizacional não foi observada qualquer tipo de relação nem com as perceções da Crise nem com os Fatores culturais que a podem influenciar.<br>The economic crisis is increasingly more present in the day-to-day activities of many countries, affecting the lives of its population. The aim of this study is to understand if there is a connection between the individuals perspective in regards to the crisis and their national culture, also creating a parallel with organizations and their own culture. These three topics were analyzed in order to verify the existence of a connection between them, with the goal of increasing the existing knowledge regarding these three areas of study. The sample is composed of a group of 104 participants, who were given paper questionnaires, divided in 4 scales. The first is related with sociodemographic characteristics, the second one related to the Crisis, which is divided in three subgroups: "Those responsible for the Crisis", "The government's intervention" and "Perception of the Crisis". A third scale corresponds to the cultural factors related to the crisis, divided into: "Disorganization", "Individualization", "Uncertainty Annulment" e "Detachment", and finally the fourth corresponds to the Organizational culture, divided into: "Clan", "Adhocracy", "Hierarchy" and "The Market". With the of analysis finished it is possible to conclude that there is a relation between the perspective the participants have regarding the Crisis and their perspective regarding cultural factors connected to that topic. Regarding Organizational culture, no relation between the perceptions of the crisis, and cultural factors that can influence it, were observed.
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Pulla, Huillca Maria Elena. "Investigación de Espacios Regionales en un Centro Cultural Étnico Amazónico para la población de Madre de Dios." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652272.
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El trabajo de investigación propone como espacio cultural un Centro Cultural Étnico Amazónico en la Ciudad de Puerto Maldonado con énfasis en el regionalismo local. En primer lugar, se obtuvo un análisis de la situación actual el cual refleja la necesidad de un equipamiento cultural que promueva la cultura local mediante las etnias amazónicas originarias.
Por tanto, se indago sobre el lugar en cuanto a su gran potencial cultural, natural, turístico que posee como región y las problemáticas sociales, culturales y educativas. Actualmente, es necesario una propuesta de espacio cultural que complemente y fomente al sector educación y cultura, revalorando las costumbres, tradiciones locales.
También, se obtuvieron modelos no arquitectónicos mediante espacios culturales referenciales a nivel global, nacional y regional que nos aproxima a las actividades a desarrollar en el espacio cultural.
Asimismo, se analizaron libros y proyectos referenciales de la tipología y del énfasis de regionalismo con la finalidad de obtener pautas de diseño en cuanto a los aspectos de ubicación, la forma, la función y los aspectos tecnológicos más adecuados y pertinentes para la intervención de los espacios culturales.<br>The research proposes as a cultural space an Amazonian Ethnic Cultural Center in the City of Puerto Maldonado with emphasis on local regionalism. First, an analysis of the current situation was obtained which reflects the need for cultural equipment that promotes local culture through the original Amazonian ethnic groups.
Therefore, we inquired about the place in terms of its great cultural, natural, tourist potential that it has as a region and the social, cultural and educational problems. Currently, a proposal for a cultural space that complements and encourages the education and culture sector is necessary, revaluing customs, local traditions.
Also, non-architectural models were obtained through referential cultural spaces at a global, national and regional level that brings us closer to the activities to be developed in the cultural space.
Likewise, reference books and projects of the typology and emphasis of regionalism were analyzed in order to obtain design guidelines regarding the aspects of location, form, function and the most appropriate and pertinent technological aspects for the intervention of the cultural spaces<br>Trabajo de investigación
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Junior, Walter de Sousa. "Mixórdia no picadeiro: circo, circo-teatro e circularidade cultural na São Paulo das décadas de 1930 a 1970." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-14092009-180741/.
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O circo-teatro, presente na paisagem urbana de São Paulo em todo o século XX, constituiu-se em espetáculo popular baseado na hibridização cultural, com elementos da cultura erudita e da cultura de massa. Por sua vez, essas duas se apropriaram do discurso circense, num processo evidente de circu-laridade cultural.<br>The circus-theater, that could be seen at São Paulos urban landscape throughout twentieth century, constituted itself in a form of popular per-formance based in the cultural hybridization, with elements from learned culture and mass culture. In turn, both of these cultures assimilated the cir-cus discourse, in an unequivocal process of cultural circularity.
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Langlois, Bénédicte. "Culture de l'information, culture de l'image et culture par l'image dans l'enseignement secondaire." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30032.
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L’éducation aux médias et plus particulièrement l’éducation à l’image sont dans les programmes scolaires de l’enseignement secondaire, une éducation à partager, sans programme, sans enseignant référent. L’objectif de ses recherches est de réfléchir à la culture de l'information à construire chez l’élève afin de le rendre plus autonome, de développer son esprit critique pour lui donner la capacité de s’insérer dans une société où l’image est de plus en plus présente. Ce travail propose un parcours d’éducation à l’image photographique au collège et au lycée. Pour ce faire, une étude des textes officiels, des enquêtes auprès des élèves et des enseignants, des entretiens auprès des professionnels ont été menés. Des ressources ont été recensées, des outils pédagogiques créés : une histoire de la photographie, un lexique et un corpus d’images apprenantes conçus L’étude révèle que l’image photographique est un média peu ou pas utilisé par les enseignants pour construire des connaissances, que les élèves ne savent pas décoder ou décrypter une photographie. Une médiation nouvelle a été pensée une médiation documentaire photographique scolaire Une expérimentation a été réalisée en classe de Terminale pour déterminer les compétences nécessaires à développer chez l’élève afin qu’il puisse quitter le système éducatif formé à l’image<br>Image literacy is part of the school curriculum; it is shared teaching with no official instructions, no referent teacher and no recognition of a specific culture which would allow the pupils to acquire skills and become enlightened actors of our society where image is pervasive. So there is a need to define and build this culture of the image by rooting it in a more recognized information culture attached to a specific school subject and its scientific input. To meet this need, I studied in-depth the official instructions of the Ministry of Education, led surveys and interviews with pupils and teachers to grasp their representations and practices. The concept of image is a broad one, so I focused on the photographic image which is paradoxical: it is extensively used by the pupils in their sociability (eg.selfies) and in the media (magazines, the internet), but at the same time it is very little used by the teachers to build knowledge and even often as mere illustrations in the school books. The consequence is the inability of the pupils to decode and decipher a photograph. At this stage I called upon a third partner - professional photographers. Only they can properly explain the three layers of a photography: its technicity, its aesthetics and its significance. The product of this research work: a collection of existing resources, new pedagogical tools (a lexicon, and a corpus of images chosen for their potential to educate), methods using games, which I was able to experiment with a group of Terminales. The final outcome is a list of the skills to develop throughout the educational path and a whole new triangular mediation: documentary, photographic, and inside the school framework
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HELOU, Sabine, and Timo VIITALA. "How Culture and Motivation Interacts? : - A Cross-Cultural Study." Thesis, Umeå University, Umeå School of Business, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1196.
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<p>Motivating employees is essential for any organization aspiring to succeed. However, the process of motivating is not straightforward due to the diversity of individual’s needs. The task has been made even more difficult by the fact that personalized needs have altered in recent years. For instance, in many circumstances financial compensation is not considered as the main motivational factor of employees. Therefore, various other motivational practices have been developed, which take into consideration such issues as the work environment and the job itself.</p><p>This thesis is a comparative study between Sweden and Finland. The study has an objective of exploring how corporate culture affects the use of motivational practices in the Information Technology industry.</p><p>According to the findings gathered from two organizations, Sasken Finland Oy and SYSteam, culture does influence the choice of motivational practices. The issue of how culture affects, depends on whether corporate culture is task or person-oriented.</p>
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Chinappi, Franco. "Character culture : the cultural bargain between ownership and appropriation." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33884.
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This thesis is about the cultural bargain; the balancing relationship between author monopoly and user affect desires, as applying to the ambiguity of characters. Character culture is a hybrid of the characters that are created and sold by authors with artistic and legal concerns, and the character-affect-relationship of the audience users of those characters. This study examines the law and industry practices in the United States and Canada as it relates to character and the limited scope of the law in defining just what exactly a character is. Also, I examine the major issues in the cultural bargain between the ownership of characters of authors, and the appropriation of characters by audiences, through the dominate arguments for both authors and audiences and the issue of privileged accessibility to characters. By "appropriate", I am referring to any act of an audience member, utilizing a character they do not own, in new ways, that the original author of the character did not give permission for, or approve. Finally, I present my analysis of how the cultural bargain may experience a balance between both authors and audience, by defining characters using the audience affect interpretation as criteria.
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Garcia-Lorenzo, Luica. "Cultural transitions : organisational change and its impact in culture." Thesis, London School of Economics and Political Science (University of London), 2001. http://etheses.lse.ac.uk/120/.
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This thesis explores, from a cultural perspective, the organisational change process resulting from a string of take-overs within Blazehard, a tyre manufacturing company in Spain. It looks at the effects of these changes in the way people reconstruct the organisation and their role as its employees through the stories they share. The first part of the thesis elaborates on the uses of culture as a conceptual tool for observing organisations and, especially, on the need to account for the complementary processes of continuity and change in social experience. The thesis proposes historical recollections, as cultural manifestations, as a vehicle that reproduces and challenges a cultural order through their reproduction and generation within that order. They articulate a space where the new and the uncertain can be made safe through their integration into the traditional and the known, thereby providing possibilities for permanence and security as well as for innovation. The research combines different methods of data gathering - interviews, documents and group discussions - and of analysis - narratives and discourses to facilitate the exploration of both the commonalties and the diverse interests and perspectives existing among Blazehard employees. The exploration of the stories shows how they compose a collectively reproduced narrative that guides -and therefore constrains- employees' historical recollections. This referential narrative is the vehicle through which people reproduce but also challenge their cultural order in the organisation. As such, storytelling is presented as the constant process of reformulation that opens possibilities for individual development within the cultural constraints that the organisation imposes on its members. The results suggest when people try to make sense of a change situation both turn to their own experiential resources and use the symbols that their cultural environment provides. It is in the tension between the two, that the conditions of fluidity and ambiguity required for a cultural transition can be created.
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Brown, Adam. "Democratising popular culture : comparing and contrasting some cultural industries." Thesis, Manchester Metropolitan University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240742.
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Li, Chuang (Austin). "China's skateboarding youth culture as an emerging cultural industry." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34372.
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This thesis focuses on the skateboarding industry in China as both a youth subculture and a cultural industry. I am investigating the transition between the two and examining how the emerging skateboarding industry operates through detailed analysis of the feelings, motivations and meanings attributed to it by its participants and the emerging strata of cultural workers. In order to achieve this research objective, this thesis has positioned the analysis in a triangle of forces between the development of Chinese skateboarding culture, the emerging skateboarding cultural industry and government interventions. This ethnographic study takes into account distinctive characters in the development of Chinese skateboarding communities that signify continuities inside contemporary Chinese youth cultures. I argue that such continuity is still embedded in the organisation of the Chinese skateboarding industry as a cultural industry, in both subcultural and corporate entrepreneurial practices. Moreover, this thesis contributes to ongoing discussions in the field of not only cultural studies but also of the political economic analysis of cultural/creative industries by examining the dynamic incorporations at play between the commercial and governmental forces at the centre of current debate around the inclusion of skateboarding in the Olympic Games, and the consequences of the sportisation of skateboarding in mainstream economic structures. Last but not least, this research captures the working conditions of the cultural labourers who are at the forefront of shaping and reshaping the Chinese skateboarding industry.
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Ren, Jun. "Space + culture + identity : Chinese cultural center in Sea Point." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/18708.
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This thesis is inspired by the experience of living in two places that both have distinctive cultures. Architecture being a form of culture motivated me to enter the school of architecture. After 6 years of study, this paper attempts to answer my initial concerns on architecture and culture. For me it is very important to understand what the relationship between architecture and culture and how they influence each other. How does one present culture and tradition in the design of architecture? How can architecture represent cultural identity in a foreign context, in a more respectful way? Can architecture become the platform to connect people with distinct cultural backgrounds? Last but not least, in the contemporary city of Cape Town, what is the multi-cultural intervention that one can create for immigrants, in this case, the Chinese community in South Africa? These are the essential questions that I want to discuss and investigate in my thesis. There are three sections in this paper. The first is an introduction to Chinese culture and its national identity, looking at traditional Chinese architecture and philosophies behind their making. The courtyard house will be studied as an example. Furthermore, contemporary Chinese architecture that looks at new approaches to representing the modern Chinese identity will be discussed. The second part explores spatial and urban manifestation in Chinese cities - how urban space affects one's cultural behavior. I will look at typical conditions of Chinatown and its architectural characteristic in the foreign context, including the new Chinatown in Johannesburg. In the last chapter, the paper will bring forward my thoughts through design development on site selection, programme and concept. I explored the subject of architecture and identity of nation and the way that cultural identity can be represented through architecture. I questioned how this can be translated into architecture when making its national image into a foreign country.
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Bustamante, Luis, and Lena Mogren. "Organizational Culture as Factor for Development of Cultural Controls." Thesis, Blekinge Tekniska Högskola, Institutionen för industriell ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14852.
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CROCIATA, ALESSANDRO. "Città culture led. Il settore culturale nello sviluppo urbano." Doctoral thesis, Università Politecnica delle Marche, 2009. http://hdl.handle.net/11566/242324.
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