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Dissertations / Theses on the topic 'Philosophy Of Performance'
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1
Haas, Benjamin David. "Autobiographical Performance Poetry as a Philosophy of [Authenticity]." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/273.
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This thesis begins the process toward a concept of [authenticity] that is both fragmented and performative. I outline a history in philosophy and performance studies where authenticity has been deployed, and demonstrate how it is often tied to modernist ideologies. I then offer "[authenticity]," with brackets, as a means to allow for this term to challenge these modernist conceptions of the self. I then track the ways in which "[authenticity]" opens the possibilities for a new approach to performing by exploring my performance of the poem, "Hydrangeas."
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Fleming, Chris 1970, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Theoria : performance and epistemology." THESIS_FSI_XXX_Fleming_C.xml, 1999. http://handle.uws.edu.au:8081/1959.7/407.
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What might it mean to attempt to figure theatre as thought? More specifically, what possible relations hold between theatre and epistemology - that area of philosophy concerned with theories of knowledge? This study is a series of cross-disciplinary engagements that seek to articulate some of the relations between theatre, performance, and epistemology, to investigate performance as a 'deployed logic' in relation to those disciplines concerned with discovering and generating knowledge. For some thinkers in the continental tradition, the very thought of writing about the relations between performance and the anachronistic; hasn't the idea of 'performance' undermined most of the central tenets of the discourse concerned with knowledge and the Real, with truth and falsity? This, of course, remains an open question, one pursued in this work. The thesis draws on a diverse series of wide-ranging examples in order to relate the inquiry to current work being done in philosophy and performance studies, but notes the theoretical incompleteness of studies relating theatre and performance to conceptions of knowledge.It attempts to fill a void in the literature by offering analyses that think the relations between dramatic and philosophical activity. In short, it hopes to re-open the dialogue between performance and epistemology by showing how philosophy regularly attempts to expunge its foundational elements from its imaginary.Doctor of Philosophy (PhD)
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Nichols, Bridget. "Liturgical hermeneutics : interpreting liturgical rites in performance." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5953/.
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This thesis applies the resources of philosophical hermeneutics, especially as represented in the work of Paul Ricoeur and Hans-Georg Gadamer, to the project of interpreting liturgy as simultaneously text and performance. The result is a new field, defined as liturgical hermeneutics. The research breaks away from attempts to find objective meaning in liturgy. Through readings of Church of England forms of the eucharist, baptism and burial it argues that meaning happens when worshippers appropriate the promise of the Kingdom of God which liturgical rites propose. Such acts of appropriation occur when worshippers find themselves in a threshold position with respect to the Kingdom. From here, they can make their own the promises enshrined in the biblical tradition and transmitted through liturgical action, by an act of faith. The result is a reconfiguration of the worshipper's subjectivity, or a new mode-of-being-in- the-world, conditioned by his or her claim to citizenship of the Kingdom. The notion of liturgy as a practice raises the questions of intentionality and repeatability in ritual. I have pursued these topics with reference, initially, to J.L. Austin’s theory of speech acts. The deficiencies in Austin's theory, especially as treated by Jacques Derrida, can be shown to address particular instances in liturgy. In the end, it has proved more profitable to use Derrida's own discussion of the written performative in order to demonstrate the way in which liturgical proposals are taken up by their recipients. The techniques of analysis applied in the thesis show that liturgy shares the conventions of secular language. The last chapter extends this recognition to demonstrate that liturgy also has an investment in other concerns of secular life. With special reference to the discourses of ethics and politics, it proposes that liturgy itself is capable of standing as a paradigm for secular cultural practices.
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Gibson, John H. "Performance v results : a critique of values in contemporary sport /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487598748016594.
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Raffan, Mary. "Joyce, philosophy and the drama of authorship." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10650.
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This thesis will examine the representation, consequence and transformation of the idea of authorship in the work of James Joyce and suggest a way of re-addressing the contentious question of authorship. While postmodern criticism has emphasised the “revolutionary” cultural and political ramifications of Joyce’s response and the ways that his work has helped to deconstruct this question for modernity and postmodernity, this thesis will trace the ideas and ideologies, individuals and characters, historical, cultural and biographical circumstances that contributed to both the prominence and the hermeneutical consequence of the question of authorship in Joyce’s work. Highlighting Joyce’s awareness of and fascination with the multivalency of a question shaped by theological, historical, political, philosophical, philological, epistemological, methodological and hermeneutical ideas as well as literary representations, it will examine Joyce’s reformulation and response to this question through four pervasive models of authorship in his work: critic, philosopher, bard and theologian. While each chapter will make a distinction between these models in order to analyse their characteristics and significance, as a way of tracing not only the evolution of these models but also the complex network of interrelation that is established between these distinctive but also intertwining ideas of authorship, the thesis will be structured historically, biographically and “ergographically” (in Barthes’ definition of an ‘ergography’) as well as thematically. As a way of approaching the ideologically overdetermined concept of authorship, but also avoiding another postmodern “renaming” of this concept, these models will be proffered in order to examine the construction, fabrication and invention as well as the deconstruction of the idea of authorship and the representation of the role of the author in fiction, culture, society and history in the work of Joyce. The “drama” of authorship will be interpreted in terms of Joyce’s fictional and hermeneutic dramatisation of the role and idea of the author, but also in terms of the consequence of Joyce’s interest in and early idealisation of the genre of drama. This thesis will finally suggest that Joyce’s “failure” to become a dramatist and engagement with philosophical analyses of this genre contributed significantly to his deconstruction, reconstruction and dramatisation of the role and “exagmination” of the author. The thesis as a whole will delineate how each of these four models gradually becomes more distinctive but simultaneously also inextricable from a variegated template that is only methodologically divided into four parts; the four exegetes in Finnegans Wake inconspicuously multiply. The first three chapters will follow the attempt outlined in Joyce’s early draft of the Portrait ‘to liberate from the personalised lumps of matter that which is their individuating rhythm, the first or formal relation of their parts’- the growing self-consciousness of the artist’s understanding of his role(s) as an artist and of the idea(s) of authorship. In the last two chapters that will look at Ulysses and Finnegans Wake these four models will be more clearly differentiated although the growing theatricality in their portrayal and widening nexus of relations will complicate and indeed undermine the idea of a “model”.
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Humphries, Carl. "Musical expression and performance." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192757/.
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This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation.
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Bresnahan, Aili. "Dance As Art: A Studio-Based Account." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/173544.
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PhilosophyPh.D.
This dissertation is an attempt to articulate the conviction, born of ten years of intensive experience in learning and practicing to be a dance performer, that the dance performer, through collaboration with the choreographer, makes an important contribution to how we can and do understand artistic dance performance. Further, this contribution involves on-the-fly-thinking-while-doing in which the movement of the dancer's body is run through by consciousness. Some of this activity of "consciousness" in movement may not be part of the deliberative mentality of which the agent is aware; it may instead be something that is part of our body's natural and acquired plan for how to move in the world that is shaped by years of artistic and cultural training and practice. The result is a qualitative and visceral performance that can, although need not, be a representation of some deliberative thought or intention that a dancer can articulate beforehand. It is also the sort of thinking movement that in many cases can be conceived as expression; an utterance of dance artists that is not limited to the communication of emotion that can be appreciated and understood, at least in principle, by a public or audience. What this means for the Philosophy of Dance as Art includes the following: 1) there may not always be a stable, fixed "work" of dance art that can be identified, going forward, as the only relevant work on which critical and philosophical attention should be focused because of variable, contingent and irreducibly individual features of live dance performances, attributable in large part to the efforts, style and improvisation of particular dance performers; 2) the experience of dance artists is relevant to understand dance as art because experiential evidence of practice can supplement and ground the appreciable properties that we can detect in artistic dance performances; 3) artistic dance performance can be conceived as expression without being expressive of either an artist's felt emotion or of human emotion in general - no particular content is needed as long as there is a content; 4) artistic dance performance conceived as expression can, but need not, function as representation in both the strong (imitative) and weak (referential) sense; and 5) artistic dance performance is real, not illusory and not necessarily either a transformation or transfiguration of the real. Dance as art, like theatre, like music and even, perhaps, like painting, sculpture and architecture, although in less clearly artist-present, extemporaneous and embodied ways, is human-constructed, human-understood, human-driven and a full, rich, interactive and meaningful part of human life.
Temple University--Theses
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Mattingly, James E. "Stakeholder salience, structural development, and firm performance : structural and performance correlates of socio-political stakeholder management strategies /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099618.
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Ntsholo, Vukani Patrick. "Improving the performance of SME building contractors through the implementation of TQM philosophy." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1018741.
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The study focused on identifying ways in which the delivery of the building infrastructure projects that are executed by SME contractors can be improved. TQM, which has been widely used in other sectors with great success, has been explored as the tool that can be used to improve the delivery of building projects. The literature review that was conducted focused on the entire spectrum of the project cycle. It first addressed the functioning of the public sector and the legislative mandate of the DPW. Then it addressed the construction industry and SME contractors that are working in the built environment. TQM together with its elements were explored in detail to determine its applicability in terms of the delivery of building projects. The empirical study was undertaken to test the outcomes of the literature review in the context of the built environment. A quantitative research method was adopted for the study which achieved a response rate of 44 percent. Descriptive statistics were computed during the analysis of the data with the mode being used as the main measuring tool. The findings revealed that there was an uneven distribution of human capital in the industry and the consulting firms were the biggest benefactors of this. The study also revealed a high turnover rate in the SME contractors while the public sector has the oldest employees. Architects and construction managers were found to be the least represented profession. There was also a high concentration of role players in the Amathole Region. The recommendations were four fold and the Department of Public Works (DPW) as client body had to take the centre stage in implementing such recommendations. The recommendations are meant to address: the development of technical people to enhance their capacity, the reduction of the high turnover rate of technical people, the uneven distribution of resources, and specifying of the roles and responsibilities of all the people that are involved in building infrastructure projects.
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Richardson, Francine Williams. "Enhancing Strategies to Improve Workplace Performance." ScholarWorks, 2014. https://scholarworks.waldenu.edu/dissertations/106.
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When employees become dissatisfied at an organization, they may develop negative behaviors that can impede profits and productivity. The purpose of this single case study was to explore what strategies are essential for organizational leaders to improve workplace performance. Maslow's hierarchy of needs served as the conceptual framework for this study. Data collection involved face-to-face, semistructured interviews of 20 managers, floor employees, and clerical staff from a business organization in Southwest Georgia. Participant selection was based on employees' tenure of at least 1 year of experience within the organization. Interviews were transcribed and then coded for common patterns and themes. Five themes emerged: (a) workplace environment, focusing on the level of flexibility given to employees in the organization; (b) feedback sources in organizations, centering on measurable standards such as written evaluations and other resources provided to employees; (c) management relationships, focusing on managers' influence on the performance of employees; (d) barriers in the workplace, examining internal and external sources that impede performance; and (e) recruitment/promotion strategies, centering on the organization's compensation incentives. Study outcomes suggest that organizational leaders may increase employee work performance by enhancing strategies that provide a positive assortment of abilities, motivational tools, and opportunities. In addition, these findings suggest that collaborative decision making between management and employees has a positive relationship with work attitudes and the engagement of employees. Leaders in organizations may apply these findings to develop an enriched workplace environment, one that could improve employee retention rates and organizational commitment.
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Unwin, Charles. "Dramatization and philosophy of history in Orange Book explication of a site-responsive work and its research." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10876.
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Includes bibliographical references.The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.
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Gray, Victoria Kent. "A somatics of affect : articulating affective-kinaesthetic experience through BMC approaches to performance and writing." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13454/.
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In the past two decades, there has been a ubiquitous turn to affect theory in discourses within the humanities and social sciences. Whilst it is the overarching intention of affect theory to bring the body back into focus in critical and cultural debate, this thesis identifies a paradoxical lack of theorisation regarding kinaesthetic experience in ‘the affective turn’ (Clough, 2007). Specifically, I identify a kinaesthetic gap in affect studies literatures, whose genealogy can be traced to a process philosophy lineage, thereby theorising affect as nonconscious, autonomic, and non-phenomenological (Clough, 2007; 2010a; 2010b; Gregg and Siegworth, 2010; Grosz, 2008; Hansen, 2006; Manning, 2009a; 2013; 2014; 2016; Massumi, 1995; 2002; 2011; 2015; Thrift, 2004a; 2008). I contend that this non-phenomenological movement has had significant consequences for practice-led researchers, such that, embodied articulation of affective experiences remains outside the frame of critical affect studies. In response, I coin the original term affective-kinaesthetic, to close the gap between affect and kinaesthesia, arguing that, the experience of affect is kinaesthetic in nature. These critiques are informed by my affective-kinaesthetic experience of conservatoire dance training, spinal injury, and my ongoing somatic performance practice. Thus, my research imperative is defined as affect-led, and my research approach is defined as somatic. By putting somatic practice, specifically, Body-Mind Centering (BMC), in conversation with affect studies, I develop a somatic approach to analysing and articulating affect, coined, a somatics of affect. Through the creation of two bodies of research-led performance works titled Prone (2011-2012) and Ballast (2014-2015), and attendant processes of what I term, somatic writing, I contribute a kinaesthetic epistemology of affective experiences to the field of affect studies. I conclude that somatic, and specifically practice-led voices are critical to the development of affect studies, despite being inaudible amongst more dominant affect theorists and philosophers; in short, that somatic voices are the critical, kinaesthetic future of affect theory.
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Lucas, Abigail Rose. "Childhood anxiety, working memory and academic performance." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/197295/.
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The aim of this thesis is to explore the relationship between anxiety on Working Memory (WM) performance and academic achievement. Research has highlighted negative effects of anxiety on cognition showing effects on both WM performance (e.g. Shackman et al., 2006; Schoofs et al., 2008) and academic tasks (e.g. Gumora & Arsenio., 2005). Research has aimed to understand the conditions under which anxiety impacts on cognition through considering the role of different threat manipulations on the interrelationship between anxiety, WM and academic performance (e.g. Owens et al., 2008). This has led to further research examining the role of implementing universal anxiety based interventions and WM skills training within both clinical and non-clinical samples to counteract the negative impact of anxiety on school performance. Following previous research (e.g. Shackman et al), the current thesis highlighted that spatial WM was selectively impaired by a physical threat in those who experienced increased levels of physiological arousal (study 1), and levels of worry impaired verbal WM under the same threat (studies 1 and 2). In addition, verbal WM was selectively impaired when individuals with increased levels of worry experienced a social threat (study 3). Both CBT interventions and WM training was shown to improve WM and academic performance (study 4) and CBT treatments decreased the level of anxiety and worry experienced (study 4). With future research in mind, considering the benefits of implementing universal CBT and WM treatment programmes to reduce the detrimental effects of increased anxiety and poor working memory on academic performance is crucial for young people to achieve their best in an academic environment
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Wong, Ching-ping. "The manifestation of Chinese philosophy and aesthetics in the performance of the pipa music." Thesis, Kingston University, 1989. http://eprints.kingston.ac.uk/20532/.
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This thesis attempts to identify the philosophical and aesthetic concepts of pipa music. The discussion is approached from a performer's point of view and is supported by the author's demonstrations on the pipa, in conjunction with the discussion of artistic theories of other Chinese traditional arts. The introductory chapter involves an examination of thehistorical perspective of the pipa, a discussion of the problems of pipa notation and an explanation of the approach of this thesis. Part I (Chapters 1-6) concentrates on the discussion of theoretical matters. An investigation of the various meanings and the evolution of the concepts qi and yun is the first step to approaching Chinese philosophy and aesthetics. The “three levels of qi” involve playing technique, aesthetic and philosophical considerations. The capturing of “qi of intentional effort” is determined by “combined technique” and breathing methods. The articulation of timbre and “slide” are the essence of “yun”. The manipulation of “qi-yun” deals with the art of performance, interpretation and re-creation, as well as major aesthetic concepts and philosophical ideas of other traditional arts. The final approach of Part I (Chapter 6) probes in to the relationship of poetry and music. Pipa music shares a similar artistic appreciation of consummate beauty to that of Chinese poetry. The focus of Part II (Chapters 7 & 8) attempts to present a detailed analytical study of pipa right-hand “combined technique” and left-hand “slide” skills, accompanied by the study of their historical context. Apart from these matters, Part II acts as a support for the aesthetic and philosophical concepts of Part I.
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Tims, W. Keith. "Masks and Sartre's Imaginary masked performance and the imaging consciousness /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04182007-210215/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Greg Smith, committee chair; Angelo Restivo, Gayle Austin, Shirlene Holmes, Thomas Flynn, Raphael Miller, committee members. Electronic text (252 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 12, 2007. Includes bibliographical references.
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Fleming, Christopher J. "Theoria : performance and epistemology /." [Richmond, N.S.W.] : University of Western Sydney, Hawkesbury, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030527.091228/index.html.
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Carling, Christopher James. "Physical performance in professional soccer match-play : factors affecting, characteristics and consequences for training and preparation." Thesis, University of Central Lancashire, 2012. http://clok.uclan.ac.uk/6644/.
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This thesis presents, discusses and critically evaluates the content and contribution of a selection of research papers published in international peer-reviewed sports science journals. Collectively, these works make a novel contribution to the field of motion analysis of physical performance in official professional soccer competition. Rather than being the result of an initial grand working plan, the programme of research represents the evolution and expression of the author's work over a period of 4 years in a professional soccer club. The research was partly shaped by the author's concomitant experience of the industry and academia but mainly driven by emerging and evolving needs-analyses identified within his work. A total of 1 review (presented in the thesis as an introduction to the field of study) and 9 original peer-reviewed articles are included. This thesis introduces and critically comments on papers within two main streams of work investigating competitive physical performance in the author’s own professional soccer team: a) general characteristics and position-specific demands of play, and; b) factors potentially affecting performance. The original research papers are presented in a conceptual sequence within the two themes, rather than a strictly chronological order so as to demonstrate the coherence and synergy within the two collections. The thesis provides critical reflection on the overall contribution to the current body of scientific knowledge and the collective impact of the papers that has been achieved. Limitations in study designs encountered over the course of the work are discussed as are current and future themes for research.
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Fernandez, Quentin. "Performance indicator design and implementation on semi-automated production lines : Overall Equipment Effectiveness (OEE) philosophy adaptation." Thesis, KTH, Industriell produktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-183103.
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The context of fierce competition among industrial companies forces them to continuously improve their performances. The development of ‘Lean Manufacturing’ programs to fulfil this purpose brings out the popularity of the Overall Equipment Effectiveness (OEE); a measurement tool assessing the productivity of an equipment depending on its availability, performance and quality.The OEE philosophy has been adapted to fit the requirements of companies where processes are automated and companies where processes are manual. However, implementing this concept in a company with semi-automated processes (i.e. processes that requires both manual and automated interventions) remains a challenge. This thesis intends to design and implement a performance indicator inspired by the OEE philosophy on semi-automated production lines.In order to reach this aim, this thesis has been carried out in a company that develops and produces aircraft navigation instruments. The manufacture of these products is realised on semi-automated production lines requiring both the intervention of qualified operators and reliable machines. Investigations have been led with the company managers to understand the specifications of semi-automated environments. To design a performance indicator relevant regarding to these analyses, working groups composed of engineers of the company have been set up. Discussions with the operators have then been performed to implement this indicator on the company production lines. At the same time, the author of this paper developed a tool to display visual information on the performances measured on the lines.The discussions performed during the working groups resulted in defining the performance as the percentage of products that are not impacted by time losses. The collection of these time losses is ensured through the implementation of a table on the production lines that enables the operators to report the issues they undergo. This method underlined that the involvement of all employees from top management down to shop floor workers is a key success factor in the implementation of the performance indicator.Moreover, the studies carried out by the author of this paper reveal that the overall performance of semi-automated production lines is influenced by the organisation, the production means and the product performances. These analyses point out that expressing the overall performance as the average performance of the three entities mentioned above reflects the actual productivity of the semi-automated production lines. The classification of the time losses regarding to the entity they belong to enables to detect the limiting factor of the overall performance. In addition, the Pareto charts displayed in the tool developed by the author provide a visual identification on the areas where improvement actions have to be set up first.Hård konkurrens mellan industriföretag tvingar dem till att ständigt arbete med att förbättra sina prestationer. Utvecklingen av "Lean Manufacturing" program för att uppfylla detta syfte bidrar till populariteten av Overall Equipment Effectiveness (OEE); ett mätverktyg som används för att bedöma produktiviteten hos en utrustning beroende på dess tillgänglighet, prestanda och kvalitet.OEE filosofin har anpassats för att uppfylla krav hos företag där processer är automatiserade och företag där processer är manuell. Men implementeringen av detta koncept i ett företag med halvautomatiserade processer (dvs. processer som kräver både manuella ingrepp och automatiserade åtgärder) är fortfarande en utmaning. Denna avhandling avser att utforma och implementera en prestanda indikator, inspirerad av OEE filosofi, på halvautomatiska produktionslinjer.För att nå detta mål, har denna avhandling utförts i ett företag som utvecklar och tillverkar flygplans navigationsinstrument. Tillverkningen av dessa produkter realiseras på halvautomatiska produktionslinjer, som kräver både ingripande av kvalificerade operatörer och pålitliga maskiner . Undersökningar har utförts i samarbete med företags managers för att får förståelse för specifikationerna för halvautomatiska miljöer. För att utforma en prestanda indikator relevant för dessa analyser har arbetsgrupper bestående av ingenjörer i bolaget bildats. Diskussioner med operatörerna har sedan gjorts för att implementera denna indikator på företagets produktionslinjer. Samtidigt utvecklade författaren till denna uppsats ett verktyg för att visualisera information om den uppmätta prestandan på dessa linor.Diskussionerna som utförts inom arbetsgrupperna resulterar i definitionen av prestanda som andelen produkter som inte påverkas av tidsförluster. Insamlingen av dessa tidsförluster säkerställs genom införandet av en tabell på produktionslinorna som gör det möjligt för operatörerna att rapportera problem de stöter på. Denna metod understryker att engagemang från alla medarbetare, från högsta ledningen ner till arbetarna på verkstadsgolvet, är en viktig framgångsfaktor för implementeringen av prestanda indikator.Dessutom visar studierna som utförts av författaren till denna uppsats att den övergripande prestandan hos halvautomatiska produktionslinjer påverkas av organisationen, produktions medel samt produktens prestanda. Dessa analyser påvisar att uttrycka den övergripande prestandan som den genomsnittliga prestandan av de tre entiteter som nämns ovan återspeglar den faktiska produktiviteten hos halvautomatiska produktionslinjer. Klassificeringen av tidsförlusterna med avseende på den entitet som de tillhör gör det möjligt att detektera den begränsande faktorn för den övergripande prestandan. Utöver detta så förser Pareto diagrammen, som visas i verktyget som utvecklats av författaren, en visuell identifiering av de områden där förbättringsåtgärder måste sättas in först.
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Naqvi, Erum. "Comparative Ontology and Iranian Classical Music." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/341647.
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PhilosophyPh.D.
My project explores why it is so difficult to reconcile questions about the nature and meaning of music in philosophy with the case of Iranian classical music. This tradition is highly performative, musicians rarely use scores, and, importantly, that anyone who calls herself a musician but cannot extemporize is not really considered much of a musician in Iran at all. Yet curiously, despite the emphasis on extemporization in this tradition, there is, nonetheless, a resounding sonic familiarity among performances considered as falling in the classical genre, so much so that it seems odd to say that extemporization is the extemporization of something new. Moreover, there is very little concern with musical works, as understood in the western classical sense. My first chapter articulates the methodology I advocate. This methodology is adapted from Lydia Goehr’s The Imaginary Museum of Musical Works (1992). Goehr offers a reading of the history western classical music that looks for the concepts around which its discourses center. I argue that the application of similar analysis to what scholars in other music traditions have to say about music will reveal something about the concepts around which their practices center. The emphasis is on reading the discourses of a practice for the concepts that dictate the thinking about it. This, I suggest, helps to make sense of what musicality means in the tradition in question. My central claim is that when Iranian classical music is read this way, one concept emerges as centrally significant. This concept is not of the work, but of embodied activity: a notion of doing in musical practice that relies heavily on the idea of musical dexterity in the performing moment, without this doing being oriented to the creation of something work-like. My second, third, and fourth chapters articulate and situate this reading against discussions about the ontological significance of performance in the philosophy of music. In my second chapter, I argue that the historical attention to mentally composed sound structures in Eduard Hanslick’s 1854 book, On the Musically Beautiful—a foundational text for the contemporary philosophy of music—leaves out the performing activity in musical practice. This, I suggest, is captured in the difference of approach to the musical nightingale: a metaphor that serves to illustrate musicality in the Iranian context but stands in Hanslick’s theory, for everything that music is not. In my third chapter, I offer a detailed reading of Iranian classical music to expose more fully the conceptual shape and force of the sort of embodied activity that the trope of the nightingale captures, when scholars of Iranian classical music analogize it—as they so often do—as the metaphorical aspiration of classical musicians, because it is considered the most musical being on earth in virtue of its dexterity. This, I contextualize using Polanyi’s notion of tacit knowledge (1966). In my fourth chapter, I explore the extent to which the reading I offer of Iranian classical music may be accommodated by contemporary discussions in the ontology of performance by turning to contemporary discussions that move away from addressing performances of works, but center on the significance of performative activity itself. This happens most commonly for the case of musical improvisation, after the question is introduced by Philip Alperson in “On Musical Improvisation” (1984). My claim here is that there is a crucial difference between the two cases. This difference is that embodied activity is not product-oriented in Iranian classical music practice, but rather, dexterity or technique oriented. In my final chapter, I explore how this insight can be extended more broadly into philosophical analysis, particularly in its comparative dimensions. I suggest there are implications not only for the ontology of performance, but notions of self-expression, creativity, and aesthetic attention, when they are considered in this culturally comparative light. In doing so, I hope to raise questions about the potential for doing non-reductive comparative ontology, and what can be gained, in a broad sense, from the effort of looking at artistic practice through a culturally different lens.
Temple University--Theses
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Santos, Domingos Ogando dos. "Lean performance measures in a supply chain." Master's thesis, Faculdade de Ciências e Tecnologia, 2013. http://hdl.handle.net/10362/10507.
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Dissertação para obtenção do Grau de Mestre em
Engenharia e Gestão IndustrialIn the existing global economic context it is crucial that companies understand the importance of the supply chain, so that they can maintain their respective competitive advantage. Several of the supply chain’s approaches consider the customer and the definition of value as key features. One easily associates the Lean philosophy to supply chains, with its basis of continuous improvement and elimination of waste. Companies which employ this philosophy begin with lean thinking, which highlights the customer and the definition of value. Therefore it is vital that companies identify what constitutes added value to the customer. Thus we arrive at the reasons which have led to the creation of this dissertation. The motivation concerns the small amount of data found upon reviewing the existing literature of the application of Lean philosophy to the Wood-Plastic Composite Industry (WPC). Consequently the study’s main goal is the identification of Lean performance measures. This dissertation contains concepts of Lean philosophy and strategy to provide background for its practical part, after which, we explain the applied methodology: identification of the performance measures, application of strategy analysis tools, the development of a survey and its statistical treatment and finally interviews to management. The results of the surveys have provided results which have helped identify the most important categories: time and flexibility; and the most relevant performance measures. The interviews’ results provided input on management’s knowledge and expectations of Lean, and the discovery of possible areas for improvement. The major conclusion of this study is the importance given to Lean performance measures in the WPC industry’s context, which can help in the implementation of Lean.
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Cronin, Colum James. "'Being' a youth performance coach : a hermeneutical phenomenological investigation." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6913/.
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Sport coaching is a complex phenomenon in need of greater conceptual and grounded understandings. Since Heidegger’s influential text; Being and Time (1927/2005), the phenomenological question of what it means to ‘be’ has aided understanding in areas such as nursing and teaching. It is logical then, that this thesis sought to identify what it means to ‘be’ a youth performance coach. The phenomenological tenet that those best placed to elucidate a phenomenon are those that experience it, guided the thesis to explore the lived experiences of four case study coaches. Findings revealed three constituent ‘essences’ of youth performance coaching; (i) care; (ii) a commitment to educate athletes authentically for corporeal challenges to come; (iii) working with others to achieve a specialised corporeal excellence. These findings redirect coaches, researchers and educators ‘back to the thing itself’. The thesis also includes further novel contributions: 1) Phenomenological philosophy and methodology are introduced to coaching research. 2) The essential constituents of youth performance coaching are humanised by describing the incidental experiences and lifeworld of four case study coaches. 3) Fresh concepts (e.g. forms of care), sources (e.g. Sartre, 1943/1984), and areas for future research (e.g. coaching imagination) extend extant sport coaching literature.
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Lamont, Ruth Alice. "Older people's responses to age stereotypes : implications for performance outcomes, and health and well-being." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/56691/.
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Age stereotypes are the different and often negative expectations and attitudes held by individuals about a given age group. Not only can age stereotyping lead to the unequal treatment of older people through differences in affective (age prejudice) and behavioural responses (age discrimination) toward them, but older people's own reactions to these stereotypes can have negative and damaging consequences. This thesis addresses the extent to which older adults' responses to negative age stereotypes impact on their performance on tests, and their health and well-being, further increasing age-based inequalities. Chapters 1 to 4, the introduction and theoretical chapters, introduce the thesis and the background for the subsequent studies. Areas reviewed include that of age stereotyping, how this may reflect negatively upon older adults' social identities, 'stereotype threat' as a specific response to this and evidence that perceiving ageism is associated with worse health and well-being in later life. Having identified research gaps, Chapter 5 then presents Study 1 (N = 105) which addresses the question of whether people are conscious of being judged negatively because of their age, what age stereotypes they are most conscious of and in what settings they believe they are applied. Findings confirmed that adults (particularly those aged 18-69) have a strong awareness of age-based judgement and that adults aged 60+ in particular are concerned about negative stereotypes of their competencies in a range of domains. Chapters 6 to 8 present studies 2, 3 and 4 which aimed to extend 'stereotype threat' research (Steele & Aronson, 1995). Stereotype threat theory posits that stigmatised individuals may fear confirming negative stereotypes about their social group. This negative experience ironically disrupts performance making it more likely that they act in line with negative stereotypes. Study 2, a meta-analysis including 82 effect sizes (N = 3882) split into multiple analyses, confirmed that age stereotypes have the potential to negatively impact older adults' memory and cognitive performance through age-based stereotype threat (ABST). Building on the findings from the meta-analysis, Study 3 experimentally tested whether uncertainty surrounding stereotype-based judgement explains why more subtle stereotype-based cues to stereotype threat have a greater impact on performance than fact-based cues, as was found in Study 2. Further, Study 4 examined whether the presence of a young observer or the giving of help to older participants might cue ABST and negatively impact maths performance. Although the hypotheses derived from stereotype threat theory were not supported by studies 3 and 4, these studies contribute to the stereotype threat literature by examining the potential everyday cues to ABST and the mechanisms through which it occurs. Finally, Chapter 9 presents Study 5 which uses survey data to examine different reactions-threat or challenge responses-to perceived ageism and whether these responses are associated with better or worse subjective health and well-being. Findings suggest that challenge responses may be a more adaptive reaction to ageism, with potential benefits for health and well-being in later life. Overall, the thesis highlights the damaging effects of older adults' threat responses to negative attitudes to ageing. Both negative societal attitudes and the way older people respond to and cope with negative stereotyping need to be addressed.
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Chung, Ka Wai. "Leadership, innovation capability, and SME's product innovation performance :the moderating roles of reward philosophy and entrepreneurial culture." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/727.
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Innovation is vital to the survival and prosperity of small and medium-sized enterprises (SMEs). Such firms have the inherent liability of limited resources, which creates a barrier to their pursuit of innovative activities. To compete with larger incumbents and sustain competitive advantages, leaders, the principal decision-makers, play a key role in devising innovation strategies and have overall responsibility for firms' ultimate performance. This study draws on the resource-based view (RBV) and dynamic capabilities perspective (DC) to develop a model linking leadership (resource) to innovation (dynamic capability) and product innovation performance (sustainable competitive advantage). In addition, it suggests that reward philosophy and entrepreneurial culture can enhance or hinder the effect of transformational and transactional leadership on exploratory and exploitative innovation in the context of SMEs. Using a quantitative research method, 151 valid pairs of questionnaires (i.e. 302 respondents) were collected from the top management of small and medium-sized manufacturing firms in China. The empirical findings showed that transformational leadership behaviors could foster both exploratory and exploitative innovations. Transactional leaders, consistent with the literature, could facilitate exploitative activities, but not exploratory innovation. The data analysis also indicated that different types of innovation delivered different benefits to firms. In addition, reward philosophy and entrepreneurial culture had divergent moderating effects on the relationship between leadership style and innovative outcome.
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Cull, Laura Katherine. "Differential presence : Deleuze and performance." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/97094.
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This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and ‘the people to come’. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Chapter Three defines differential presence in relation to Deleuze’s concepts of affect and becoming-imperceptible and Kaprow’s concepts of ‘experienced insight’, nonart, ‘becoming “the whole”’, and attention. The chapter argues that Kaprow and Deleuze share a concern to theorize the practice of participating in actuality beyond the subject/object distinction, in a manner that promotes an ethico-political sense of taking part in “the whole”. Finally, Chapter Four focuses on the temporal aspect of differential presence, arguing that through slowness, waiting, repetition and imitation, Goat Island’s performance work acknowledges and responds to ‘the need to open ourselves affectively to the actuality of others’ (Mullarkey 2003: 488).
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Babcock, Kimberly John. "Modern Dramatic Tragedy and Aristotle's Poetics: A Comparison." W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625396.
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Richards, Alison 1951. "Bodies of meaning : issues of field and habitus in contemporary Australasian theatrical performance practice." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7815.
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Hadley, Bree Jamila. "Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.
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Wren, Carla. "Employee Perceptions of Leadership Styles That Influence Workplace Performance." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/7360.
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The leadership style found in government is usually diverse in nature, with the chain of command being top-down and focused on bureaucracy. There are some leadership styles that can adversely impact or vastly improve workplace performance. This descriptive phenomenological study was used to understand employee perceptions of leadership styles that affect their workplace performance. Bass's transformational leadership theory guided this study to explore how a supervisor's leadership style impacts an employee's workplace performance. The primary research question focused on positive and negative perceptions employees held related to supervisors' leadership behaviors and characteristics. The data collection was derived from in-depth interviews with 10 mid-level management employees aged 27 to 55 years of age, who are currently or were previously employed with a local government agency. Using Moustakas's method of data analysis, four primary themes were disclosed: (a) perceptions of three leadership styles, (b) insights on workplace performance, (c) observations of leader behaviors and characteristics, and (d) work ethics, indicating that a supervisor's leadership behaviors and characteristics do impact employees' workplace performance. The 4 primary themes indicated that participants preferred leader characteristics and behaviors associated with transformational leaders than they did with transactional or laissez-faire leaders. An organization's culture is influenced by leadership style, and consequently, leadership style affects an employee's workplace performance. The social change implications, as related to the findings, enable a leader to evaluate the perceptions of an employee's view of appropriate leadership styles that increases their workplace performance.
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Wikstrom, Josefine. "Practices of relations in task-dance and the event-score : towards a new concept of performance in art." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/39282/.
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The main aim of theis thesis is to construct a critical concept of performance within a generic concept of art through a two-fold operation. Firstly, it reconstructs the development of a generic concept of performance - distinct from the performing arts - in the period of post-WWII art in North America by focusing on task-dance and the event-score as two emblematic artistic strategies of this period. Task-dance and event-score practices, it argues, had a central role in the practical transformation from a medium-specific to a generic concept of art. Secondly it examines the key philosophical concepts that are inseparable from a generic concept of art, and are necessary for the reconstruction of a generic concept of performance: 'practice', 'labour', 'autonomy', 'abstraction', 'medium', 'mediation', 'subject', 'object', 'structure' and 'abstraction'. The central argument of the thesis is that a critical reconstruction of the concept of performance within the context of post-WWII art must take into account a generic and a autonomous concept of art. The latter refers to a post-medium-specific concept of art, which is still autonomous in Theodor Adorno's understanding of the term: art as derived from, yet distinctively and formally separated from empirical reality. Embedded but formally abstracted from the social relations from which it comes, the category of 'performance', the thesis argues, is a practice of relations. It is a practice in the sensein which Karl Marx formulates practice in his early writings as social and sensuously empirical. It also refers to practice in the sense in which Marx articulates a radically new concept of the subject through this category. The thesis also aims to make a contribution to art theory through its critical methodology. It forces a reconsideration of performance within the framework of 'art in general', and more specifically, it emphasises dance's central role in this history. It employs a number of terms and categories central to task-dance and event-score practices that, it argues, are internal to the generic category performance as it operates within the context of a generic concept of art. The central problem from which this thesis sets out concerns the way in which the dominating concept of performance - derived from cultural theory - is used within art theory. Cutting across disciplines such as Cultural Studies, Performance Studies and Theatre Studies, this conception fails to distinguish between art and culture more generally, and between art and other modes of reality. In short, the thesis confronts a cultural concept of performance - and the related category of performativity - as well as its application to performance practices in art, with a critical one that is reconstructed through a different set of philosophical categories and methods. Chapter 1 argues that the development of a generic concept of art and performance is best described as a shift towards practice, primarily through Marx's account of this. Chapter 2 confronts art-theoretical conceptions of the event-score and task-dance, based in structuralism and pragmatism with Immanuel Kant, and demostrates how John Dewey;s notion of art relies on a conflated notion of Aristotle's practice/poiesis-distinction. Drawing on Husserl's 'phenomenological reduction' and Kant's 'acts of abstraction', Chapter 3 argues that they negation of a medium-specific conception of the object in event-score and task-dance practices constructed a new conception of the art object: the performative structure-object. Chapter 4 considers the role of negation in task-dance, in relation to Adorno's concept of autonomous art and Marx's notion of abstract labour. Chapter 5 demonstrates the way in which the performative-structure object is transcendental and performative, and argues that it must be understood as the practical condition for the generalisation of the category of performance within art.
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Purdy, Shelby R. "Spaces of Visibility and Identity." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/346.
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“Spaces of Visibility and Identity” is an exploration on how being immersed in constant visibility has an effect on an individual’s identity. Visibility is not a narrow term meant to signify solely observation; rather, visibility is the state of existing within a world that does not allow for total isolation. To exist within the world is to be visible to others, and this visibility is inescapable. Visibility can be seen as a presentation or a disclosure of oneself to other beings. Existing within the world inevitably implies that one is presenting oneself to others, whether or not the presentation is deliberate. I will be going over two different spaces of visibility throughout this paper: “space of surveillance” and “space of appearance.” The “space of surveillance,” discussed by Michel Foucault, is the space where normative standards of identity are created through discursive acts. This space is meant to control, coerce, and normalize. The “space of surveillance” is important for an exploration of identity formation, because it cannot be ignored that each individual is disclosing themselves in the context of a pre-existing world. This ‘pre-existing world’ is full of normative standards that affect identity formation, but it does not have to ultimately determine an identity. The “space of appearance,” as articulated by Hannah Arendt, is meant to be a supplement to the dogmatic normative standards created within a “space of surveillance.” The “space of appearance” gives those that do not, or do not want to, adhere to the normative standards created by the “space of surveillance” a space to disclose an identity that can challenge and rearticulate what is consider normal or culturally intelligible in the first place. The “space of appearance” is not meant to replace the “space of surveillance;” rather, it has the “space of surveillance” as a contextual background that can be challenged. I have found that both spaces of visibility are necessary for an exploration on identity formation, and I have used gender identity as a concrete example to exemplify both spaces.
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BHAT, MANOJ MANJUNATH, and VIGNESH BHANDARKAR. "Investigating the impact of lean philosophy for identification and reduction of delays associated with performance of production line." Thesis, Tekniska Högskolan, Jönköping University, JTH, Produktionsutveckling, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49420.
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In the present world scenario, the rapid industrialization and growth of manufacturing sector has led to the rise of large number of companies focusing on increase in profitability for sustaining the company’s profit margin at a higher level. While most of the companies fail to differentiate between productivity, profitability and performance as all the three growth indicators have different factors affecting them. The productivity of a system is evaluated through the ratio of output and input whereas the profitability is evaluated by measuring the capital flow. But the performance of any system is measured by the speed, quality and time consumed for delivery of a product. Thus, the preliminary growth indicator to be focused by any company must be productivity as it defines the effective input and efficient output of a system or production line and further provide attention for performance. Any productive system to function smoothly must include less amount of wastes, these wastes need not be a particular form. According to lean philosophy there are basically eight wastes arising in a system which has to be considered for elimination or reduction preferably. These wastes not only affect a particular process, while causes negative effects on the performance of entire system by causing delays in the process which increases nonvalue added time and reduces the actual operating time of a process. The present study focuses on exploring lean philosophy for identifying the existing delays of a production system and to further investigate the root causes influencing these delays which effect delivery of product. This study involves a deductive approach of qualitative type of research and the methods used for data collection includes a single case study with systematic literature review of data on which analysis is carried out and derived results are concluded in the final chapter of this research. The conclusion will be based on the results obtained from analysis of data carried out with the aid of tools existing under lean philosophy. The research is concluded by suggesting the solution for reducing delays utilizing simple tools of lean philosophy which can be utilized by manufacturing firms with effective utilization of existing machinery, men and methods and low investment of capital.
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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.
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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.School of Music
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Sullivan, Kristen (Kristen Janell). "An Analysis of Emma Diruf Seiler's Teaching Philosophy and Contribution to Voice Pedagogy." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505229/.
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Emma Diruf Seiler (1821-1886) was a Bavarian-American voice teacher and scientist who wrote and published Altes und Neues über die Ausbildung des Gesangorganes mit besonderer Rücksicht auf die Frauenstimme (Old and New in the Art of Singing, with Special Attention to the Female Voice) in 1861 while working in Leipzig. It was translated by William Henry Furness and published in Philadelphia as The Voice in Singing in 1868. This pedagogue and her writings are largely unknown to those who study historic bel canto pedagogy. In the opening of Seiler's pamphlet, she explained her purpose for writing was "to bring into harmony things which have always been treated separately, the Science and the Art of Singing..." Aside from brief comments in a few books on vocal pedagogy, Emma Seiler is largely unknown. Neither her contribution to voice science and pedagogy, nor the impact of her integrated philosophy on teaching have been subjected to scholarly scrutiny. The purpose of this document is to explore her philosophy on teaching, her method of female vocal instruction, and her impact on voice instruction. This dissertation historicizes evidence-based pedagogy through Seiler's example.
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Frimer, Stephaine. "The Impact of Student and Teacher Attitudes and Beliefs on Fifth-Grade Student Performance in Mathematics." Thesis, Northern Arizona University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638809.
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Extensive research on attitudes and beliefs relating to mathematics has been conducted over the past 30 years. Although the focus of this research has fluctuated at times, the results of this past research has often been applied to educational reform efforts, especially in the areas of curriculum planning and professional development. However, as suggested by Clements (2003), Woodward (2004), Ellis and Berry (2005), and Berry, Ellis, and Hughes (2014), the impact of this research on the implementation of mathematics education reforms may have been limited, at least in part, due to the complexities surrounding the study of attitudes and beliefs (Pajares, 1992; Richardson, 1996; Philipp, 2007), and the complexities surrounding teacher change (Ertmer, 1999; Cuban, 2013).
In an attempt to provide expanded support for the inclusion of attitudes and beliefs as a fundamental consideration addressed in the implementation of mathematics reform efforts, this study was designed to test what, if any, correlation exists between fifth-grade student performance in mathematics and the attitudes and beliefs held towards mathematics by the students and their teachers, and then to identify some elements that may contribute to the formation of these attitudes and beliefs. To achieve these goals, this study applied a mixed-methods approach as defined and supported by researchers such as Creswell and Clark (2007, 2011) and Crabtree, Magill, Scammon, Tomoaia-Cotisel, and Harrison (2013). According to this mixed-methods design, only the common findings that arose in the triangulation of the quantitative and qualitative data were identified as the results of this study.
For students, this study found a significant relationship and strong correlation between the students’ interactions with others in regard to mathematics and their enjoyment with math, and a significant relationship and moderate correlation between the students’ enjoyment with mathematics and their performance in mathematics. For teachers, this study found a significant relationship and strong correlation between the teachers’ past experiences and how the teachers think mathematics should be taught (their disposition), and a significant relationship and moderate correlation between the teachers’ confidence with mathematics and the students’ performance in mathematics. The identified results for students and for teachers were connected to past research on attitudes and beliefs.
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Lynn, Laura. "Dialogue as performance. Performance as dialogue." [Yellow Springs, Ohio] : Antioch University, 2008. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1225369866.
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Thesis (Ph.D.)--Antioch University, 2008.Title from PDF t.p. (viewed March 25, 2010). Advisor: Carolyn Kenny, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2008."--from the title page. Includes bibliographical references (p. 250-260).
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Grenda, Michael J. "Relationship between theory of mind performance in a nonverbal task and functioning level of children with autism /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131567292.pdf.
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Bellerose, Michael Richard. "A casual-comparative study between in-residence and virtual professional military education| Principles which may impact student performance and satisfaction." Thesis, Trident University International, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10258351.
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The purpose of this research is to investigate Chickering and Reisser (1993) Seven Principles of Good Practice in Undergraduate Education and determine the relationship, if any, among these principles and student performance and satisfaction in the in-residence verses virtual Professional Military Education (PME) programs. Additionally, determine if there is a difference in satisfaction and performance between the virtual and in-residence PME. All Airmen (Amn) of the United States Air Force (USAF) must attend Airman Leadership School (ALS) as a part of their Professional Military Education (PME) (Air Force Instruction 36-2502, 2009; Air Force Instruction 36-2618, 2009). This training is offered via two venues: an in-residence program and a virtual learning program. The average age of students (Senior Airmen) attending ALS is 28.7 years of age (J. Geidner, personal communication, January 29, 2015), which aligns these individuals to the Millennial Generation (Koeller, 2012; Papp & Matulich, 2011). Despite a population of students well-versed in the use of computers and technology, the individuals attending the virtual learning program experience a failure rate which is 34.21% higher than for students attending in-residence (J. Geidner, personal communication, January 29, 2015; E. DeVoursney, personal communication, January 30, 2015). Research by Chickering and Reisser (1993) describes seven principles of good practice in undergraduate education that facilitate effective learning in both in-residence and virtual environments. Partridge and Hallam (2006) suggests these principles of good practice may align well with the characteristics of millennial learners. This research has determined we can support current literature (Koeller, 2012, Espinoza et al., 2010; Papp & Matulich, 2011, Coomes & Debard, 2004) which shows a relationship between Chickering and Reisser?s (1993) seven principles and the characteristics of the millennial students (Figure 1). It identified there is a statistical significant difference in student?s satisfaction and performance between the two learning programs. There is a moderate to strong positive correlation, in both in-residence and virtual ALS, between the seven principles, satisfaction and performance. The educational venue, with the inclusion of the seven principles, statistically significantly predict student satisfaction and performance. Therefore, the research has shown with the inclusion of Chickering and Reisser (1993) Seven Principles of Good Practice in Undergraduate Education there will be an increase in student performance and satisfaction.
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Napora, Lisa. "The impact of classroom-based meditation practice on cognitive engagement, mindfulness and academic performance of undergraduate college students." Thesis, State University of New York at Buffalo, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598720.
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This study explored the potential of classroom-based meditation practice as a tool to facilitate learning. Moreover, the impact of meditation on cognitive engagement, mindfulness and academic performance of undergraduate college students was investigated. Additionally, the relationships between mindfulness and cognitive engagement, and between these variables and students' academic performance were explored. Mindfulness was also examined for its potential as an indicator of engagement and meditation as a potential facilitator of engagement.
A quasi-experimental nonequivalent control group design was employed with a sample of 189 undergraduate students at a public Research I institution in the Northeast, enrolled in classes in the Department of Learning and Instruction. All participants completed a survey instrument comprised of two self-report measures: the Five Facet Mindfulness Questionnaire and a Cognitive Engagement Scale administered at the beginning and end of the Fall 2012 semester. GPA was utilized as a measure of academic performance. Experimental group participants participated in a 6-minute meditation at the beginning of class throughout the 15-week semester.
Many significant relationships were found between mindfulness, cognitive engagement and academic performance. Specifically, mindfulness and cognitive engagement were related at both the scale and subscale levels, and GPA was related to two facets of mindfulness, acting with awareness and nonreactivity, and one facet of cognitive engagement, self-regulation. Furthermore, nonreactivity was the best predictor of academic performance in this student sample. Moreover, mindfulness was a better predictor of academic performance than was cognitive engagement. The results suggest that mindfulness may be important in the process of learning. Implications focus on student engagement theory, pedagogy, institutional policy and practices. Evidence provided from this research supports the use of methods that cultivate mindfulness as valid pedagogical tools, further substantiating the educational efficacy of classroom-based meditation practice.
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Fung, Esther, and 馮以信. "Performance of 5- to 8-year-old typically developing children and children with autism spectrum disorder in a Chinese version of theHapp's strange stories." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B5070011X.
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This study set out to collect reference data on, and uncover the developmental changes in, advanced Theory-of-Mind (ToM) ability of Hong Kong typically-developing (TD) children and children with Asperger’s Syndrome (AS) / High-functioning Autism (HFA) aged 5-0 to 8-11 using a Chinese version of the Happé’s Strange Stories. The study also aimed to assess the difference in performance on this advanced test of ToM between Hong Kong TD children and children with AS/HFA. Cross-cultural comparisons of the performance on this advanced test of ToM between Hong Kong TD children and British TD children were also made.
The results revealed that Hong Kong TD children showed improvement in ToM ability as they grew, and so did the children with AS/HFA, although the ToM ability of children with AS/HFA developed in a manner different from that of the TD children. Results also confirmed that the children with AS/HFA had impairment of social understanding, as compared to their TD peers. Cross-cultural comparisons revealed that Hong Kong TD children may have enhanced ToM ability when comparing to their British TD counterparts, although further validation is needed to confirm this preliminary finding.
Finally, although preliminary results confirmed the discriminating power of the Happé’s Strange Stories task for young TD children and children with AS/HFA aged 5-0 to 6-11, further rigorous validation in children of varying cognitive ability and ages is needed in order to establish the clinical utility of this task as part of a comprehensive clinical assessment of high-functioning children referred for possible ASD.published_or_final_version
Clinical Psychology
Master
Master of Social Sciences
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Braddock, Christopher. "The artist will be present performing partial objects and subjects : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/441.
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Jenkins, David M. "Was It Something They Said? Stand-up Comedy and Progressive Social Change." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5710.
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From our earliest origins in every civilization across the globe, comic performances have fulfilled an important social function. Yet stand-up comedy has not attracted the serious academic inquiry one might expect. This dissertation argues that in the absence of public intellectuals stand-up comics are important to how we talk about and negotiate complicated issues like gender and race. These comic texts are sites of cultural critique, public discourse, tools for articulation, a means of persuasion, and serve to galvanize communities.
This dissertation argues that stand-up comedy performances are a vital part of modern American intellectual and social life and are heavily enmeshed in ongoing processes of progressive social change. In the absence of public intellectuals in what is generally an anti-intellectual modern America, Chris Rock, Sarah Silverman, and Louis C. K. are currently three highly relevant stand-up comics who generate and contribute to discourses that galvanize or polarize publics and counterpublics. Their comic performances, recordings, and other artifacts (like internet memes) that live on after the live event circulate in the public sphere and our most quotidian exchanges. They contribute to discourses that move us toward progressive social change and also act as a barometer for where we are as a nation during any particular moment. Through the discourses generated by their performances, their involvement in social dramas, and their role they perform as public intellectuals, stand-up comics are capable of healing, reconciling, or otherwise mediating breaches in the social order.
This dissertation uses 1) a critical examination of the construction and performance of the comic persona, 2) a close analysis of the comic routine as an aesthetic text, and finally 3) an examination of social dramas and the discourses they generate to see where and how these comics possibly contribute to progressive social change.
This study finds Chris Rock to be a potent mediator, Sarah Silverman a transgressive instigator, and C. K. a subversive healer. This study makes contributions to a wide arrat: of stakeholders: Communication, Sociology, Performance Studies, and Postcolonialism. Finally, I offer new terms to discuss the interaction of comic and audience and directions for future research.
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Ziemer, Gesa. "Verletzbare Orte : Entwurf einer praktischen Ästhetik." Phd thesis, Universität Potsdam, 2005. http://opus.kobv.de/ubp/volltexte/2006/737/.
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Hauptanliegen der Dissertation ist es, einen Entwurf einer praktischen Ästhetik zu lancieren, der an der Schnittstelle zwischen philosophischer Ästhetik und Kunst – genauer Performancekunst - im Zeichen der Bezugsgrösse der Verletzbarkeit steht.
In jüngeren Ästhetikansätzen hat sich eine Auffassung herauskristallisiert, die nicht über, sondern mit Kunst reflektiert. Die Pointe im ‚Mit’ liegt darin, dass diese Ästhetiken die Kunst nicht erklären, sie bestimmen und damit ihre Bedeutung festlegen, sondern dass diese entlang der Kunst die Brüche, Widerstände und Zäsuren zwischen Wahrnehmen und Denken markieren und diese als produktiv bewerten. Diese Lesart etabliert ein Denken, das nicht aus der Distanz auf etwas schaut (theoria), sondern ästhetisch-reflektierend (zurückwendend, auch selbstkritisch) mit der Kunst denkt.
Die Disziplin der Ästhetik - als aisthesis: Lehre der sinnlichen Wahrnehmung - nimmt innerhalb der Philosophie eine besondere Stellung ein, weil sie auf ebendiese Differenz verweist und deshalb sinnliche und nicht nur logisch-argumentatorische Denkfiguren stärkt. Als eine Möglichkeit, die Kluft, das Nicht-Einholbare, die brüchige Unzulänglichkeit des begrifflich Denkenden gegenüber ästhetischer Erfahrung zu stärken, schlage ich die Bezugsgrösse der Verletzbarkeit vor. Eine solche Ästhetik besteht aus dem Kreieren verletzbarer Orte, wobei diese auf zweierlei Weisen umkreist werden: Zum einen aus der Kunstpraxis heraus anhand der ästhetischen Figur des verletzbaren Körpes, wie er sich in der zeitgenössischen Performance zeigt. Zum anderen als ein Kreieren von Begriffen im Bewusstsein ihrer Verletzbarkeit.
Ausgangspunkte sind die Denkentwürfe von Gilles Deleuze und Hans Blumenberg:
Die Ästhetik von Gilles Deleuze entwirft eine konkrete Überschneidungsmöglichkeit von Kunst und Philosophie, aus der sich meine These des Mit-Kunst-Denkens entwickeln lässt. Sie kann aus der Grundvoraussetzung des Deleuzeschen Denkens heraus begründet werden, die besagt, dass nicht nur die Kunst, sondern auch die Philosophie eine schöpferische Tätigkeit ist. Beide Disziplinen beruhen auf dem Prinzip der creatio continua, durch welche die Kunst Empfindungen und die Philosophie Begriffe schöpft, wobei eben genau dieser schöpferische Prozess Kunst und Philosophie in ein produktives Verhältnis zueinander treten lässt. Wie Deleuze seine Begriffsarbeit entlang künstlerischer Praxis entwickelt, wird anhand der Analyse des bis heute wenig rezipierten Textes Ein Manifest weniger in Bezug auf das Theater von Carmelo Bene analysiert.
Eine ganz anderen Zugang zum Entwurf einer praktischen Ästhetik liefert Hans Blumenberg, der eine Theorie der Unbegrifflichkeit in Aussicht stellt. Im Anschluss an seine Forderung, die Metapher wieder vermehrt in die philosophische Denkpraxis zu integrieren, radikalisiert er seine Forderung, auch das Nichtanschauliche zu berücksichtigen, indem er das gänzlich Unbegriffliche an die Seite des Begrifflichen stellt. Definitorische Schwäche zeigt sich als wahrhaftige Stärke, die in der Unbegrifflichkeit ihren Zenit erreicht. Der Schiffbruch wird von mir als zentrale Metapher – gewissermassen als Metapher der Metapher – verstanden, die das Auf-Grund-Laufen des Allwissenden veranschaulicht. Im Schiffbruch wird die produktive Kollision von Theorie und Praxis deutlich.
Deleuze und Blumenberg zeigen über ‚creatio continua’ und ‚Unbegrifflichkeit’ die Grenzen des Begreifens, indem sie betonen, dass sich Ästhetik nicht nur auf künstlerische Erfahrungen bezieht, sondern selber in das Gegenwärtigmachen von Erfahrungen involviert ist. Daraus folgt, dass ästhetische Reflexion nicht nur begrifflich agieren muss. Die praktische Ästhetik animiert dazu, andere darstellerische Formen (Bilder, Töne, Körper) als differente und ebenbürtige reflexive Modi anzuerkennen und sie als verletzbarmachende Formate der Sprache an die Seite zu stellen. Diese Lesart betont den gestalterischen Aspekt der Ästhetik selber.
Zur Verdeutlichung dieser Kluft zwischen (Körper-)Bild und Begriff ist der von mir mitgestaltete Film Augen blickeN der Dissertation als Kapitel beigefügt. Dieser Film zeigt Performer und Performerinnen, die sich bewusst entschieden haben, ihren ‚abweichenden’ Körper auf der Bühne zu präsentieren. Das Wort Verletzbarkeit verweist auf die paradoxe Situation, etwas Brüchiges tragfähig zu machen und dadurch auch auf eine besondere Beziehungsform und auf ein existenzielles Aufeinander-Verwiesensein der Menschen. Verletzbarkeit geht alle an, und stiftet deshalb eine Gemeinsamkeit besonderer Art. In diesem Sinne sind verletzbare Orte nicht nur ästhetische, sondern auch ethische Orte, womit die politische Dimension des Vorhabens betont wird.
Vulnerable Places. Outline of a practical aesthetics
The main thrust of the thesis is to launch the design for a practical aesthetics that would be situated at the interface between philosophical aesthetics and art – performance art, to be specific – with particular reference to the notion of vulnerability.
In more recent approaches to aesthetics a mode of thinking has emerged that engages in reflection not about art but rather with art. The point is for aesthetics not so much to explain and determine the meaning of art but rather to proceed alongside art in order to mark and appreciate the breaks, resistances and gaps between perception and thought. This way of reading establishes a kind of thinking that engages in aesthetic reflection with art (looking back onto itself, sometimes self-critically) rather than looking at something from a distance (theoria).
The discipline of aesthetics – in the sense of aisthesis, the theory of sense perception – has a special place within philosophy because it points towards exactly that difference, which strengthens sensual patterns of thought as opposed to those based on logical argument. I suggest the term vulnerability as a point of reference that will provide an opportunity to intensify the gap, the incommensurability, the fragile insufficiency of conceptual thought vis-à-vis aesthetic experience. Such an aesthetics consists in the creation of vulnerable places, revolving around them in two different circles: on the one hand approaching from the practice of art on the basis of the aesthetic figure of the vulnerable body as manifested in contemporary performance art, and on the other hand as the creation of terms and concepts with an awareness of their vulnerability.
The conceptual designs of Gilles Deleuze and Hans Blumenberg form points of departure for this argument:
Gilles Deleuze’ aesthetics outlines a concrete possibility of overlap between art and philosophy, on the basis of which my hypothesis of ‘thinking with art’ can be developed. It can be argued on the basis of the underlying assumptions of Deleuzian thought - the notion that not only art but also philosophy is a creative activity. Both disciplines are based on the principle of a creatio continua through which art creates sensations and philosophy concepts. And it is exactly this creative process that allows art and philosophy to enter into a productive relationship. The way Deleuze develops his conceptual work alongside artistic practice is shown on the basis of an analysis of the little known text Un manifeste de moins with reference to the theatre of Carmelo Bene.
Hans Blumenberg provides a completely different approach to the design of a practical aesthetics, indicating a theory of in-conceptuality. Following his call for an increased integration of metaphor into the practice of philosophical thought, he takes this further in the more radical call to take into equal consideration the non-sensual by placing the non-conceptual side by side with the conceptual. Weakness in definition emerges as the true strength, which reaches its apogee in its in-conceptuality. I understand the shipwreck as a central metaphor – in a sense as the metaphor of metaphor – that illustrates the grounding and failure of omniscience. The shipwreck illustrates the productive collision between theory and practice.
Through ‘creatio continua’ and ‘in-conceptuality’, Deleuze and Blumenberg show the limits of understanding by emphasizing that aesthetics not only refers to artistic experiences but is itself involved in the process of making experiences present. That means: Aesthetic reflection must proceed in ways other than just by conceptual means. Practical aesthetics encourages us to recognize other forms of representation (such as images, sounds, bodies) as different reflective modes of equal standing, and to place them side by side with language as forms that make one vulnerable. Such a reading emphasises the creative and design aspect of aesthetics itself.
The film ‘Point of View’, which I co-produced, forms an additional chapter of the thesis in order to illustrate the gap between (body-)image and concept. The film shows performers who have consciously decided to present their ‘deviant’ bodies on stage. The term vulnerability indicates the paradoxical task to enable something fragile to carry some weight; thus it also points towards a special form of relationship, to the way human beings are existentially dependent on each other. Since vulnerability concerns everyone, it establishes a special kind of community. In that sense, vulnerable places are not just aesthetic but also ethical places, which emphasizes the political dimension of the task.
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Perlini, Tania. "The case of immoral art : "uncensoring" BLIND DATE." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99740.
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Looking at John Duncan's 1980 art performance, BLIND DATE, and its morally controversial content, I propose to investigate the nature of art's relationship to morality. My research consists of determining whether "immorality" represents an obstacle to the ontological identity of art and to artistic value. To question the authority of ethical criticism in art, I review a contemporary philosophical debate, which opposes two main schools, one in support of the validity of ethical criticism in art and the other against it. Following up on the second position, I elaborate a definition of art and a system of evaluation that aims to determine artistic value, both of which allow space for the potential artistic legitimacy of immoral art.
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Silva, Luciano Cesar Morais e. "Interpretação musical como hermenêutica da música: um ensaio sobre performance." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17122014-094150/.
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A interpretação musical, enquanto campo de pesquisa, trava ainda importantes embates em torno da epistemologia. A sua auto-compreensão alterna-se entre posturas subjetivas e normatividades estanques, deixando em estado latente os pressupostos históricos que validam as possibilidades interpretativas. Como a hermenêutica estuda as condições de validade da interpretação, propusemo-nos apresentar uma formulação da interpretação musical baseada nessa vertente filosófica tal qual é elaborada por Hans-Georg Gadamer. A consciência hermeneuticamente formada propõe uma sistematização que visa tanto à obra quanto ao intérprete, no potencial de crítica e superação dos limites normativos que a discussão de sua estrutura prévia de compreensão permite. Dois estudos de caso exemplificam o ganho interpretativo que a abordagem hermenêutica oferece: um manual técnico de Andrés Segovia e uma obra de Domenico Scarlatti, transcrita para violão por Sérgio AbreuPerformance, as research field, takes an argumentation about epistemology. Its self-comprehension changes from a subjectivity to fixed normativities, letting hidden the historic pre-supositions that makes valid the statements of validly. Since hermeneutics, in the proposition of Hans-Georg Gadamer, studies the conditions of validly of interpretation, we propose think musical interpretation based on this philosophical approach. The conscience hermeneutically formed makes systematic study of the interpreter as well as the work, in the potential critics and overwhelming of the normativity limits that the discussion about the previous structure of comprehension allows. Two cases give the examples of the interpretative gain of hermeneutic offers: a manual of technics by Andrés Segovia, and a Domenico Scarlatti\'s work transcribed for guitar by Sérgio Abreu.
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Fine, Hunter Hawkins. "UNDERNEATH THE STREETS, THE BEACH: DRIFTING TOWARD/FROM A PROTO-POSTSTRUCTURALIST PERFORMANCE OF EVERYDAY SPATIAL SUBJECTIVITY." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/652.
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This dissertation maps a proto-poststructuralist tradition and fuses a subsequent methodology with/in a practice derived from performance studies to uncover a spatially informed corporeal notion of subjectivity. Combining the cultural and historically radical motility of the street skateboard and precursory surfboard with an ambulatory interpretation of radical political philosophy and subjectivity this work explores, through the lens of a drifting practitioner, a quotidian routine in The Commute, and a distinctly urban practice, in The Skateboard Dérive. Functioning as case situations these performance events are used to elaborate, produce, and apply a drifting approach to critical spatial inquiry through the recognition of four elemental notions: drifting, situating, becoming, and fragmenting.
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Brandenburg, Alisa Anne. "Inducing Knowledge by Enduring Experience: the Function of a Postmodern Pragmatic Aesthetic in Linda Montano's "Living Art"." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1115104-000557/unrestricted/BrandenburgA121504f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-1115104-000557 Includes bibliographical references. Also available via Internet at the UMI web site.
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Yergens, Eric. "A study to identify and recommend alternative performance evaluation systems that will better fit within Edy's Grand Ice Cream's company philosophy of the "Grooves"." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000yergense.pdf.
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Tsai, Yau-Sheng. "Understanding market orientation : its relationship with business philosophy, the business environment, and performance : an investigation into the Taiwanese food manufacturing and department store industries." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/109762/.
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The Construct of market orientation has been widely discussed, analysed and refined in recent years, but there remain fundamental disagreements about its value and significance as an explanatory tool in the study of business organisations. In particular, the relationship between market orientation, business philosophy, the business environment and performance has been understood in different ways. This thesis offers a critical view of existing theories of market orientation and seeks to overcome some of the limitations of those theories by investigating, by means of a qualitative research study, the way in which the senior managers of firms in two industrial sectors in Taiwan (food manufacturing and department stores) apply the marketing concept. The emphasis of the present study is on four key research questions: •Is the construct of market orientation, as it has been developed in the (mainly Western) research literature, useful for understanding the actual business practice of the case study Taiwanese firms? •Are there any ways in which the construct of market orientation needs to be revised and/or refined to “fit” the actual business practice of the case study firms? •How are the relationships between market orientation, business philosophy, business environment, and performance best understood in relation to the actual business practice of the case study firms? •What does our research tell us more generally about the validity or non-validity of Western theories and models of market orientation in relation to business practice in a non-Western country, Taiwan? The findings of the research point to the following conclusions in response to each of these four questions: 1. It shows that the construct of market orientation is useful in understanding the actual business practice of Taiwanese case firms, but it does not explain all aspects of that practice. 2. It suggests that the construct of market orientation needs to be revised and/or refined to “fit” the actual business practice of the case study firms. A 3x3 matrix representation of market orientation is suggested (see Table 7.1). This differentiates between the three components of market orientation (customer orientation, competitor orientation, inter-functional co-ordination) and three levels of analysis (cultural, strategic, tactical). The synergy between the resulting nine “cells” is the source of market orientation’s dynamism. 3. It shows that in the case study firms the relationships between market orientation, business philosophy, business environment and performance are exceedingly complex and are characterised by dynamics which vary according to a wide variety of organisational and people factors. 4. It shows that in the case of Taiwanese firms market orientation serves primarily as a mechanism by which firms respond to changes in the business environment in order to achieve balance between an internal and external focus, and between continuity and change. A refined conceptualisation of market orientation, involving the inter-relationships between three components (customer orientation, competitor orientation, interfunctional co-ordination) and three levels of analysis (cultural, strategic, tactical) is proposed as a useful analytical tool to apply to the investigation of market orientation in different organisation settings. In addition, the tendency of Taiwanese firms to employ a market orientation as a mechanism with which to respond to business environment change in order to achieve balance between the imperatives of continuity and change, and between an internal and external organisational focus is highlight as a particularly significant research finding.
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Sævar, Guðbjörnssonn Alexander, and Yassin Haider Mohammed. "Flow Optimisation for Improved Performance of a Multivariant Manufacturing and Assembly Line." Thesis, KTH, Industriell produktion, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-254443.
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Stoneridge, Inc. is an independent designer and manufacturer of highly engineered electrical and electronic components, modules and systems principally for the automotive, commercial vehicle, motorcycle, agricultural and off-highway vehicle markets. A subsidiary of Stoneridge, Inc. is the company Stoneridge Electronics. They specialise in instrument clusters and tachographs which are manufactured in high quantityin their production plant in Örebro, Sweden. This master thesis focuses on the production line of an instrument cluster called Angela. In close collaboration with Stoneridge Electronics, the goal was to find ways to improve the output of the Angela line by at least 10% compared to the three best months in terms of output from the year before. The Angela line was analyzed thoroughly and from different perspectives using lean tools such as value stream mapping, spaghetti diagram and continuous improvement. Finally, the simulation software ExtendSim was used in order to simulate and analyse different suggestions. The results show that various steps can be taken to improve the efficiency and output of the manufacturing line by as much as 16.3%. Due to the fact that other production lines within the production are similar to the one that the project was carried out on, the project results could be applicable for the other lines as well.Stoneridge, Inc. är en oberoende designer och tillverkare av högteknologiska elektriska och elektroniska komponenter, moduler och system huvudsakligen för fordonsmarknaderna. Ett dotterbolag till Stoneridge, Inc. är företaget Stoneridge Electronics. De är specialiserade på instrument kluster och färdskrivare som tillverkas i produktionsanläggning i Örebro. Denna examensarbete fokuserar på produktionslinje av ett instrumentkluster som heter Angela. I nära samarbete med Stoneridge Electronics,målet var att hitta sätt att förbättra produktionen av Angela linje med minst 10 % jämförtmed de tre bästa månaderna när det gäller produktion från året innan. Angela-linjen analyserades grundligt och från olika perspektiv med lean verktyg som värdeflödesanalys, spaghetti diagram och kontinuerlig förbättring. Slutligen användes simuleringsprogrammet ExtendSim för att simulera och analysera olika förslag. Resultaten visar att olika steg kan vidtas för att förbättra effektiviteten och produktionen av produktionslinjen med så mycket som 16.3%. På grund av att andra produktionslinjer inom produktionen liknar den som projektet genomfördes på, kan projektresultaten vara tillämpliga för andra linjer också.