Tesis sobre el tema "Identity creating processes"

This thesis is concerned with the work of business leaders. The interest lies in the holders of positions as Chairpersons, Boardmembers and Managing Directors. This study, however, goes beyond the position holder to consider the actions of actors, as they operate within networks with concurrent multiple business activities. The purpose is to generate knowledge and understanding of the activities and relations of multibusiness leaders involved in managing small and medium-sized companies. Major schools of thought on the manager's job are described. The review relates the scientific debate about different schools and emphasises the need for more inductive research. The call for processual and contextual analysis leads to an epistemological position grounded in understanding through interpretation. The method used in this study adopts such an approach, and thus aims to discover qualities of the studied phenomenon based on social constructivism. Empirical reality is approached by means of intensive studies of a few cases. Case descriptions of the work of multibusiness leaders in the National, Regional, Intermediary, Independent, and Developing Networks are undertaken, where the inter­action processes of the different actors are described according to the working life his­tory of the actor, and to the networking and work activities carried out. The analysis is based upon four themes (the actor's 'task legitimacy', 'economic legi­timacy', 'idea development' and 'network'). The first two themes have been given the generic term 'legitimacy concept', not only to reflect the interactive and changeable aspects of work, but also to illustrate how work in itself is intimately interwoven in an institutional context. The creation of 'task legitimacy' and 'economic legitimacy' of the leaders is analysed. The analysis of the actors' idea development results in a description of differing visions in the individual networks. This description takes up visions covering long-term industrial leadership, regional co-operative leadership, restructuring leadership, flexible market-adaptive leadership and network-based leadership. In a survey of the existing literature, the role of a leader is seen as one of many managerial roles, a view that is based upon the work of Mintzberg (1973). This study contrasts with the above picture, by discussing a reciprocal dependency between the leader's leadership role and his/her other roles. This reciprocity and concurrency is dealt with by introducing the concept of identity as a theoretical aid, thus reflecting in a more appropriate way the complex and interactive actor. The social identity concept (Tajfel, 1982) is used, in order to answer more profoundly the research questions. As leaders are reciprocally dependent on a network for their own existence, we must both look inward in order to be able to understand at a deeper level the actors' motives, and look outward to be able to look at identity creation in a wider industry context. What I have termed näringslivsledaridentitet (the Identity of Multibusiness Leaders), is a substantial part of this study's findings. The concept is used in order to be able to describe how the actors' inner and outer motives merge in identity creating processes. The actors' different patterns of interaction are absorbed into a composite whole.
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The two aims of the study are to describe and analyse: i) how drug abusers have transformed their lives from the time when they did not use drugs, to becoming drug abusers, and finally leaving drugs behind them; and ii) what it means to be socially integrated with one's experience of having been a drug abuser. The study builds on qualitative research interviews with seven women and seven men. With symbolic interactionism as the point of departure the interviewees' lives are described and discussed as existential, meaning-creating processes characterised by modulations in the meaning they have given their lives. Most of the interviewees have grown up under disadvantageous conditions. They began us­ing drugs in adolescence. Over time their lives became very difficult to the point that they occa­sionally questioned their lives as drug abusers. The interviewees faced serious situations when they decided to leave the drug abuse life. No matter what motives they describe for beginning to change their lives, their decisions were influenced partly by negative social consequences gen­erated by drug abuse, and partly by positive social changes. Most of the interviewees went through institutional treatment to cease drug abuse. But their experiences of treatment can be regarded as a part of a prolonged change process which is influenced by many other factors outside of the treatment context. Today the interviewees live "normal lives". They are working or studying. The family is an important part of their lives. Most of them are engaged in different organisations, for example sport clubs, political parties, or Narcotics Anonymous. The fact that they succeed in ceasing drug abuse and today are leaving "normal lives" can not be explained by the possibility that they as group were better equipped socially, by hereditary, or by acquired characteristics, than people who continue to use drugs. Rather, changes in their existential conditions made it possible for them to cease drug abuse. Of decisive meaning was that they took part in social contexts where they built relationships to people who gave them confidence and who were able to see and meet the interviewees during their initial fragile striv­ing for change. The interviewees ambivalence and insecurity about building a life without drugs was reduced by the fact that they felt acceptance and respect from people who assumed the interviewees had resources and knowledge that were important for living "normal lives".
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An embedded, single case study was carried out at Southern Virginia University, a small, private, religious, liberal arts university in the United States, to develop an understanding of organisational identity and strategy processes from an institutionalist perspective. This research traced the processes associated with organisational identity creation and strategy- making that attended the recreation of an existing organisation after the installation of a new board of trustees. Semi-structured interviews were conducted with 35 participants using purposive sampling from among senior administrators, trustees, faculty, staff, students and parents. Documents and other relevant organisational artefacts collected included: the minutes of management and trustee meetings, recruiting and public relations materials, news media, student newspapers, course catalogues and student handbooks. Qualitative methods of analysis led to the development of 'historical concepts' and 'identity claims' that supported 'higher-order constructs' on identity innovation based on multiple identities and institutional resources, the reflection of institutional level conflict in organisational processes, and on the formative impact of external regulatory.and cultural forces. Key findings cover: the inextricable relationship of identity and strategy, the impact of accreditation on identity and strategic responses to regulatory regimes, institutional resources as providing useful enablers and constraints toward the creation of an innovative university identity, and the role of individuals as' carriers' of institutional influences within the university. The study confirms existing theories on institutional mechanisms and organisational identity, contributing to the nexus of these areas of scholarship, and demonstrating the usefulness of institutional perspectives in illuminating organisational identity and strategy-making processes. It further asserts that institutions play a supportive role in identity innovation that complements the traditionally emphasised isomorphic forces of institutional mechanisms. Suggested topics for future research touch upon organisational identity and institutional theory, and continued higher education scholarship from business studies perspectives is encouraged.

Virtual worlds give us the opportunity to explore another self, a virtual character of the real life you. Massively Multiplayer Online Role Playing Games (MMORPGs) have become extremely popular over the last decade. It has also grown into a lucrative business. To keep the players, the game needs to be more than just a game. This study aimed at finding out what factors that determine which features of the character creation interface that are most important to players. The following research question was formed; “Which underlying factors affect how important different features of the character creation interface are to experienced MMORPG players? To be able to answer the question an extensive literature review was conducted. A qualitative approach was taken. Long interviews were made with five participants, two female and three male players. The interviews took place while they created a number of avatars in different MMORPGs. The interviews were then followed up. During the follow-ups, the impact the character creation process had for the players, were discussed. The findings indicate that the character creation interface is important for the players to get a good gaming experience. However different types of players require different things. Important features for the users to change were mainly; the head; the name; and adding parts of yourself on your character. The factors that determined the importance of these features were found to be; Player types; Identity types; Immersion levels; and whether or not the game or the gaming experience were new to the player. Another finding showed that the longer you have played a game the less bizarre the different races, classes and gender will seem. The study also indicated that the female participants had a hard time identifying with their male characters.

Organizational Identity Formation Processes: A Case Study Examining the Relationship between the Emergence of Organizational Identity Labels and the Creation and Negotiation of their Meanings The social constructionist perspective of organizational identity (OI) is that it resides in collectively shared beliefs and understandings about central and relatively permanent features of an organization. Gioia, Schultz and Corley (2000) suggest that the content of an organization's identity consists of two tangled aspects: labels and the meanings associated with them. This qualitative case study explored the OI labels and their associated meanings of a newly established organization focused on diabetes. The research objective was to examine the relationship between the emergence of OI labels and the creation and negotiation of their meanings during the organizational identity formation processes (OIFP). Data were gathered from audio visual materials, documents, interviews, and observations. Findings demonstrated that four OI labels emerged and associated meanings were created during the OI formation processes. The OI label "not-for-profit" originated during the initial phase of development of the now-established organization and was predetermined by the State of New York and the IRS. The OI label "focused on diabetes" described the specific disease that the organization addressed. The OI label "healthcare practitioner driven" described the occupation of NEO members. The OI label "educators" described the community outreach activities NEO offered. The phrase "African American-based" and term "young," which were used at the intrasubjective level to describe the organization, did not move beyond the individual level; there was no "interchange or synthesis of two, or more, communicating selves" (Wiley, 1988, p. 258) related to these terms/phrases or their associated meanings. Conclusions offer refinements to OI theory, suggesting the utility of the two tangled aspects of the content of OIFP, the emergence of the labels and the creation and negotiation of their associated meanings, and provide a practical application to newly established organizations.

A presente dissertação desenvolvida na área de poéticas visuais, linha de pesquisa em “contextos e processos de criação, inserção e documentação”, centra-se sobre o processo criativo de ações artísticas realizadas em âmbito urbano e inseridas no contexto cotidiano. Visando a prática de trabalhos próprios, este estudo se desenvolve a partir de ações realizadas no período de 2009-2011, nas cidades de Porto Alegre/ Brasil e Valência/Espanha. Esta produção é aqui analisada recorrendo a referenciais teóricos e práticos do campo da arte, problematizando cada proposição por variados conceitos.
The current dissertation developed in the area of visual poetics, line of research on “contexts and processes of creation, insertion and documentation”, focuses on the creative process of artistic actions undertaken in the urban context and inserted into everyday life. Aiming on practice of own works, this study develops from actions taken during the period of 2009-2011, at the cities of Porto Alegre/Brazil and Valencia/ Spain. This production is also analyzed using theoretical and practical references of the field of art, questioning each proposition on several concepts.

L'œuvre de Wajdi Mouawad – auteur, comédien et metteur en scène francophone d'origine libanaise – s'est imposée au cours des vingt dernières années : dans cette thèse nous parcourons les identités de cette création nouvelle. Il s'agit de comprendre les liens entre identité maternelle et identité acquise et surtout de déceler la manière dont celles-ci impriment leurs marques dans l'œuvre. Ces jeux d'interculturalité sont très vite abreuvées de nombreuses intertextualités venues des confins de la littérature occidentale. Wajdi Mouawad puise dans sa langue maternelle et dans les images qui lui reste de son enfance libanaise, il nourrit ses textes du théâtre québécois qui l'a vu naître, il passe par Shakespeare, les mystères médiévaux, remonte jusqu'aux écritures bibliques et aux tragédies grecques. De si nombreuses influences font de son œuvre le lieu de mouvements incessants. L'auteur est un marcheur reconnu, créant au fil de ses périples. Il impose cette marche à ses personnages. A leur tour, c'est par le voyage qu'ils acquièrent leur identité. Le rythme de l'œuvre se lit dans chacun des mots de l'auteur, dans les échos, les boucles, les répétitions mais aussi les soubresauts, les ruptures qui jalonnent ses textes. La cadence se poursuit des mots à la scène, en passant par la structure même des pièces. Identités et créations se répondent encore au travers de la figure de l'auteur. Il se créé entre les lignes des œuvres fictionnelles ; nous l'y traquons au travers du prisme de l'autofiction. Il se déploie au delà des lignes dans la relation avec le public, dans les entretiens et articles qu'il signe créant un véritable mythe. Toutes ses questions prennent place dans la thèse. Elles proposent de nombreuses pistes de réflexions afin de parvenir à définir l'identité artistique de Wajdi Mouawad
The work of Wajdi Mouawad, play writer, novelist, poet and essayist, has emerged as one of the most significant of the French Canadian literature of last twenty years. This dissertation studies the complex identity that underlies Mouawad's creative process. His Lebanese background and Arabic culture – he was born in 1968 in Lebanon and left with his parents his homeland during the civil war for France and Canada – his education at the prestigious National Theater School of Canada, his involvement as artistic director of National Art Center in Ottawa, the numerous cultural influences he has undergone from his childhood in the Middle East up to his establishment in Quebec, has turned his literary work into an interwoven fabric of multicultural rhizomes and rootstocks. This intercultural interplay is founded upon a network of intertextuality deeply rooted into the Western literary heritage. On the one hand Mouawad draws from his mother tongue the remains of his Lebanese childhood; on the other hand he got acquainted with the Quebec theatrical tradition where after a few years he made a name for himself as a successful author. Although he belongs to the French Canadian theatrical modernity, Mouawad's work appears to be deeply influenced by the sources of Western continental literature: the Bible, the Greek tragedy, the medieval mystery plays and Shakespeare whose shadow haunts the whole work. The dissertation emphasizes more accurately the narrative dimension of Mouawad's work which is that of a walk, of a journey. Being himself a walker, a traveler, the author compels his characters to walk all over the stage as they walk and travel inside the fictional world of the play. It is by walking and travelling that Mouawad's characters will gather their scattered identities as Mouawad gathers and heals through them his own split and wounded identity. Thus Mouawad's drama is characterized by a strong autobiographical, autofictionnal tonality accompanied by sharp theoretical reflections on writing, drama and stage

Les adolescents approchés dans cette recherche font l'objet d'un placement en Maison d'Enfants à Caractère Social. Pour sortir l'adolescent des représentations négatives qu'il éprouve ou dont il fait l'objet dans ce contexte particulier, en fonction à la fois de ce placement et d'une responsabilité parentale défaillante, nous l'appréhendons à partir non pas des sentiments d'échecs vécus ou qu'on lui restitue mais de ses propres ressources internes. Pour cela, nous l'invitons à un cheminement dans la création picturale à travers une rencontre avec le monde de l'art, suivi par la mise en œuvre d'une production personnelle de grande dimension et son exposition publique ; des photographies des œuvres au fur et à mesure de leur réalisation permettent de suivre et d'évaluer leur progression et celle de leur créateur. Ce travail est complété par une approche de la personnalité de chaque jeune à partir d'épreuves d'expression (Figure de Rey, AT9 et Rorschach). La sollicitation du discernement et du jugement esthétique incite l'adolescent à un nécessaire ajustement entre son monde intérieur et d'autres sensibilités artistiques. Cette rencontre est fondatrice d'images : susceptibles de stimuler et d'élargir ses capacités expressives et son éprouvé du temps vécu, elles participent à une évolution personnelle
The teenagers approached in this study are placed in a Social Youth Center. To extricate the adolescent from any negative representations he may feel or of which he is the object in this particular context, due both to this affectation and of a Weak parental authority, we apprehend him neither through experienced failures nor those reminded to him, but through his own personal resources. To achieve this, we invite him towards a progression through pictorial creation and the encounter of the art world, followed by a personal production of wide dimensions and its public exhibition. Photographies of works taken at each step of their realization, enables to follow and assess the process of their making and the progression of their creator. This study is completed by a focus towards understanding the personality of each youth through series of expression tests (Rey’s Figure, AT9 and Rorschach). The search for discernment and aesthetic judgment brings the adolescent to a necessary adjustment between his own individual world and other artistic sensibilities. From this confrontation emerge images which might stimulate and widen his capacity of expression and representation of experienced time, at the same time that they participate in a process of personal evolution

This thesis investigates the impacts of introducing creative experiences in a rigid organization. Based on the methodology suggested by Strauss and Corbin (1998) I have conducted a qualitative study through 8 semi-structured interviews of heterogeneous profiles in an organization where I worked for two years as an apprentice. Specific creative experiences were introduced in order to improve the internal communication, facilitate an organizational change transition and sustain a better social climate. I aimed at understanding the impacts resulting from experiencing such activities both at an individual and organizational level. My findings reveal three positive categories (well-being, corporate affiliation and organizational change facilitation) and three negative categories (individual irritations and a lack of coherence with the corporate identity). I conclude my work with the possible reasons justifying unexpected negative results, stating that trustworthy leadership and the corporate culture are essential when introducing such collaborative activities. My thesis might contribute to the discussions of creative problem solving for the sake of communication and values-added resulting from creative interventions in organizations.

Esta dissertação propõe uma tradução comentada de um excerto do romance Lenfant multiple, de Andrée Chedid, para o português brasileiro. Inicialmente apresentamos a autora e a obra, desconhecidas do público leitor brasileiro, para em seguida analisar as etapas de tradução e revisão de onze trechos por nós selecionados do original. Tendo como equivalência tradutória a busca pela reescritura do ritmo, sendo ele a organização do movimento da palavra/fala [parole] na escritura (MESCHONNIC, 1999, p. 69) por um sujeito, entendemos que a tradução é reveladora do pensamento da linguagem e da literatura (MESCHONNIC, 1999, p.11), o que nos fez analisar nosso movimento tradutório dos seguintes pontos de vista: o das normas (estratégias) como sendo intrínsecas ao ato tradutório; o da tradução como sendo um intenso exercício de crítica literária; e o do movimento do processo em direção ao Outro que, a nosso ver, é a tradução literária. Para tanto nos baseamos em Toury (1995, p.53), segundo o qual a aquisição de um conjunto de normas é um pré-requisito para o tradutor, uma vez que ele integra um ambiente cultural; em Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) e Britto (2011) para tratarmos do Tradutor-(re)criador: crítico por excelência, trazendo novamente à discussão Meschonnic e Toury; e, por fim, em Lévinas (1971, 1985), Laygues (2004) e outros, que nos levaram a começar a desenvolver o conceito de identidade tradutória: defendemos que o tradutor busca a alteridade para, posteriormente, eliminá-la, proporcionando assim a criação de um Novo Outro (a tradução). À guisa de conclusão, relacionamos o processo criativo da escritura (do original) com o da reescritura (da tradução) e, questionando-nos sobre a tradução comentada em âmbito acadêmico, vemo-la como um instrumento pedagógico, indutor da autoconsciência e da tradução responsável
This thesis proposes a commented Brazilian Portuguese translation of an excerpt of the L\'enfant multiple novel written by Andree Chedid. Initially, we introduce the author and her work, unknown to the Brazilian public, to analyse the stages of translations and reviews of the eleven excerpts selected from the original. Considering the translation equivalence the search for the rhythm rewriting the rhythm being the \"organization of the movement of speech [parole] in writing\" (MESCHONNIC, 1999, p. 69) by someone , we understand that translation reveals the thought of language and literature (MESCHONNIC, 1999, p.11), which made us to analyse the translation movement from the following viewpoints: the rules (strategies) as intrinsic to the translation act; the translation as an intense exercise of the literary criticism; and the movement of the process towards to the Other, which from our perspective is the literary translation. Hence, we rely on Toury (1995, p.53), who consider the adoption of a set of norms as a pre requirement for the translator, since he is part of a cultural environment; on Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) and Britto (2011) to treat the \"Translator-(re)creator: critic par excellence\", bringing back to discussion Meschonnic and Toury; and finally on Lévinas (1971, 1985), Laygues (2004) and others, which led us to start developing the concept of translational identity. We defend the thought that the translator seeks alterity to eliminate it posteriorly, thus enabling the creation of a New Other (the translation itself). To conclude we relate the writing creative process (from the original) with the rewriting (of translation) and questioning ourselves on the commented translation in the academic context, we see it as a pedagogical instrument, conducive to self-awareness and responsible translation

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Romantic love is one of the most habitual subjects in the international pop-rock songs since the 1950 s. It is a regular topic in the Brazilian pop-rock songs in the same period, too. Those Brazilian and international pop-rock songs have built a romantic love imaginary that has been disseminated by the cultural industry and mass communication media. In this research, we look for understanding the processes that have participated in the building of the Brazilian pop-rock songs imaginary, based on their lyrics and music, and in the histories, tastes, world visions and networks of a group of Brazilians composers that are representatives of this kind of song. This research looks for understanding through the imaginary the cultural identification process established among the composers and the audience of these songs. The mapping of romantic love imaginaries and the investigation of their construction processes can be revealing of a individual feeling of sharing and belongingness to specific imaginaries in the songs universe. The hypothesis is that the Brazilian pop-rock imaginary is produced by world visions convergence and by seduction, cultural identification and adhesion of composers and audiences to a specific musical ethos, that transcend boarders and result in an aesthetic, ethic and behavior approximation between Brazilian and international pop-rock songs. The investigation maps the romantic love imaginaries in the international pop-rock hits, in the second half of 20th century, and that built in the Erasmo Carlos, Rita Lee, Lobão and Pato Fu songs, Brazilian composers representatives of these musical genres in the same period. The investigation looks for identifying, using a semantic romantic love mapping, what are the main symbolical elements in these imaginaries that came from the creative processes of Brazilian composers, and became references of the approaching between Brazilian and international pop-rock songs. The theoretical reference in this research brings authors in the imaginary field, such as Gilbert Durand and Michel Maffesoli, semiotics, such as Charles Sanders Peirce, Roland Barthes and Umberto Eco, and culture and communications, such as Jesus Martín-Barbero and Stuart Hall. The conclusion shows how songs and creative processes of Brazilian composers built a romantic love imaginary that could be a expression of the feeling of belongingness and cultural identification process, that brings closer local and global aesthetics, ethics and behaviors established by successful songs
O amor romântico é um dos temas mais presentes no pop-rock internacional de maior sucesso desde os anos 1950. Ele também é um tema frequente no pop-rock brasileiro que fez sucesso no mesmo período. As canções do pop-rock brasileiro e internacional construíram imaginários do amor romântico que foram disseminados e compartilhados pelos meios de comunicação de massa e pela indústria cultural. Nesta pesquisa, procura-se compreender os elementos que participaram da construção desse imaginário no pop-rock brasileiro, a partir das letras, das músicas, das trajetórias, dos gostos, das visões de mundo e das redes de relações de um grupo de compositores brasileiros representativos desse tipo de canção midiática. A investigação busca entender também, através do imaginário, o processo de identificação cultural entre os criadores e os apreciadores dessas canções. O mapeamento dos imaginários do amor romântico e a investigação de como eles foram construídos podem ser reveladores de como ocorre o processo de adesão dos indivíduos, incluindo os compositores, a determinados éthos que se constituem tendo a canção midiática como elemento central. A investigação parte da hipótese de que o imaginário que emerge do poprock brasileiro é fruto de uma convergência de visões de mundo e de um processo de identificação cultural e adesão de criadores e apreciadores a determinados éthos musicais, que transcendem fronteiras e resultam em uma aproximação estética, ética e de costumes entre o pop-rock brasileiro e o internacional. A investigação mapeia os imaginários do amor romântico que surgem no pop-rock internacional de sucesso, da segunda metade do século 20, e aquele construído nas canções de Erasmo Carlos, Rita Lee, Lobão e Pato Fu, compositores brasileiros representativos desses gêneros no mesmo período. A partir da realização de uma cartografia do universo semântico do amor romântico nas canções e dos depoimentos de seus criadores, a investigação busca identificar quais foram os principais elementos simbólicos desse imaginário que emergiram do processo criativo dos compositores brasileiros estudados e tornaram-se índices dessa aproximação entre o poprock local e o internacional. O referencial teórico apresenta autores do campo do imaginário (Gilbert Durand e Michel Maffesoli), da semiótica e semiologia (Charles Sanders Peirce, Roland Barthes e Umberto Eco) e da cultura e comunicação (Jesus Martín-Barbero e Stuart Hall). A conclusão mostra como o processo criativo dos compositores e as canções investigadas construíram um imaginário do amor romântico revelador do fenômeno de pertencimento e identificação cultural local e global a determinadas estéticas, éticas e costumes estabelecidos pela canção midiática

Notre thèse porte sur la communication contre les violences faites aux femmes, et en particulier sur des dispositifs mobilisant le détournement du genre (DDG). De plus, ces dispositifs intègrent les hommes (dans le champ de la caméra) et les incluent dans le public-cible. Ces violences sont des actes d’hommes en tant qu’hommes qui ciblent les femmes en tant que femmes. Elles relèvent d’un phénomène social d’ampleur et collectif. Elles s’envisagent par le prisme des femmes. Le DDG désigne les perturbations des relations, normes ou représentations socialement construites relevant des femmes et des hommes, du féminin et du masculin. Nous cherchons à mieux comprendre cette notion de DDG. Considérant la communication mobilisant le DDG comme forme d’interactions humaines et sociales médiatisées, trois axes de recherche se dessinent : l’étude des formes du DDG à travers ses dispositifs (ses créations) ; l’étude empirique de la création, les processus créatifs et intentions d’influence des concepteur·trice·s (les créatifs) de tels dispositifs ; l’étude empirique de la réception, des processus de réception et d’influence en réception, c’est-à-dire sur des publics constitués de sujets sociaux.Premièrement, une analyse des dispositifs de DDG hétérogènes permet d’identifier leurs formes multiples qui illustrent l’hypertextualité du genre et des violences. Deuxièmement, des entretiens semi-directifs et d’explicitation avec les créatifs permettent l’étude de la création du DDG. Enfin, troisièmement, nous nous penchons sur la réception du DDG (focus groups et quasi-expérimentation)
Our thesis focuses on communication combatting violence against women, and especially on plans mobilizing gender diversion. In addition, these plans integrate men (in the camera range) and include them in the target audience. These violences are acts of men as men who target women as women. They are a social and collective phenomenon. These violences are considered via the prism of women. Gender diversion refers to disturbances of socially constructed relationships, norms or representations of women and men, female and male. We seek to a better understanding of the gender diversion concept. Considering the communication mobilizing gender diversion as a form of human and social interactions, three areas for improvment emerge: the study of gender diversion forms through their plans (their creations); the empirical study of creation, the creative processes and the producers’ intentions of influence with such plans (the creatives) ; the empirical study of the reception, reception processes and influence in reception, namely on publics made up of social subjects.First, an analysis of heterogeneous gender diversion plans, allows to identify their multiple forms that illustrate the gender hypertextuality and violence. Secondly, semi-structured and explicitation interviews with creatives allow the study of gender diversion creation. Thirdly, we are looking at the gender diversion reception (focus groups and quasi experiment)

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The overall objective of the study of the short story "O Recado do Morro," the writer João Guimarães Rosa (1908-1963), integrated into the Corpo de Baile anthology (1956), to elucidate the work of hybridization of form, structure and language of the tale Using data from the traveler's field notebooks author and reported in narrative creation process. The understanding of the work designed by us as fictional trans interested in with regard to how the empirical reality is translated by the books (and Boiada 1 Boiada 2) and transformed by the antics of the fictional narrator-traveler, reader, creator and witness simultaneously. The emergence of history, from the perspective of the author diplomat, pointed to the difference reflected in latu and strict sense - the movement of time and space travel through the memory in fable flow of images and maps of the rich nature of the Hinterland Miner. Scenarios and field trials of poetic language in the telling of stories in sync. In this deployment of meta-narratives, the dialogism is the method that implements the parallel tale books and field - between the last collection (Travel, 1952) and present the report (in constant update.) The major effect is marked by the journey of the invention (Seven Stories and seven Messegers), through the other, human and geographical otherness that are meant to represent and refract the author's intentions in terms of a universal message: "O Recado do Morro , o Morro da Garça in the region of Cordisburgo in trans poetry to" The Scrap of Earth. " In the dynamics of travel, the polyphonic narrative finds its dual core, the poetic and linguistic identity uniqueness Rosa, once degenerated by the memory flow, point to the utopia of this unfinished the work in virtual coexistence and current. These are the basic principles raised by the reading of discovery and invention, crossing, contemplation and interactivity, this dissertation
O objetivo geral do estudo do conto O Recado do Morro , do escritor João Guimarães Rosa (1908-1963), integrado à antologia Corpo de Baile (1956), é elucidar o trabalho de hibridação da forma, estrutura e linguagem do conto com os dados das Cadernetas de Campo do viajante autor e a narrativa relatada em processo de criação. A compreensão do trabalho concebido por nós como transcriação ficcional interessou-nos no tocante à maneira como a realidade empírica é traduzida pelas cadernetas (Boiada 1 e Boiada 2) e transformada pelas artimanhas ficcionais do narrador-viajante, leitor, testemunha e criador simultâneos. O emergir da história, sob o olhar do autor diplomata, apontou-nos a diferença refletida, em lato e stricto sensu o movimento do tempo e espaço da viagem pela via da memória em fluxo fabular de imagens e da cartografia da rica natureza do sertão mineiro. Cenários e campos de experimentação da linguagem poética em relato de histórias em sincronia. Neste desdobramento de meta-narrativas, a dialogia é o método que concretiza o paralelismo conto e cadernetas de campo entre o passado da recolha (Viagem de 1952) e o presente do relato (em permanente atualização). O grande efeito final é marcado pela viagem da invenção (sete histórias e sete recadeiros), por meio do Outro, humano e geográfico, alteridades que têm a função de representar e refratar as intenções do autor em função de um recado Universal: O Recado do Morro , o Morro da Garça na região de Cordisburgo, em transcriação poética para O Recado da Terra . Na dinâmica das viagens, a narrativa polifônica encontra seu duplo centro, a singularidade poética e a identidade lingüística rosiana que, uma vez degeneradas pelo fluxo da memória, apontam para a utopia do presente inacabado na obra, em coexistência virtual e atual. Estes são os princípios básicos levantados pela leitura de descoberta e invenção, travessia, contemplação e interatividade, nesta dissertação

En 2010, le bilan sur les objectifs du millénaire pour le développement (OMD) a révélé que l’ensemble des pays ainsi que les différents acteurs impliqués dans ce processus devaient redoubler leurs efforts afin de mettre en place des projets adaptés à la nature des diverses sociétés. À cet effet, la question de la « culture » s’est imposée comme un facteur évident et inhérent à l’accomplissement de ces objectifs. C’est dans ce cadre que se pose notre problématique de recherche à travers une zone géostratégique qui subit de grands bouleversements au niveau politique, économique et social. De cette manière, la culture peut-elle constituer un élément de base dans les programmes de développement entrepris dans les États arabes ? Cette présente thèse s’achemine à travers trois principales étapes. D’abord l’intégration de la culture dans ce processus en tant que secteur à part entière. Ensuite, les moyens et les méthodes utilisés par les différents acteurs engagés et concernés par le domaine de la culture dans les pays arabes. Enfin, les indicateurs spécifiques à la région à travers lesquels apparaissent les limites, mais également le potentiel des États arabes. Pour finir, cette démarche fait office de défrichement, car le développement à travers le secteur culturel reste peu exploité dans le monde arabe. Toutefois, les changements qui s’opèrent depuis quelques années dans la région peuvent conduire à une véritable reconsidération du secteur culturel et de sa relation avec le processus de développement
In 2010, the appraisal of the Millennium Development Goals (MDGs) indicated that all the countries and the different actors involved in this process should underlay their efforts to implement projects adapted to the nature of the various societies. To this end, the issue of "culture" has emerged as an obvious and inherent factor in achieving these goals.Our research issue raises in this context through a geostrategic area which undergoes great changes in the political, economic and social level. Thus, can the culture constitute a basic element in the development programs undertaken in the Arab States? The present thesis is developed through three main stages. First, the integration of culture in this process as a real sector. Then, the means and methods used by the different actors involved and concerned with the field of culture in the Arab countries. Finally, specific indicators related to the region which could show the limits, but also the potential of Arab States.This approach acts as clearing, insofar as the development through cultural sector remains largely untapped in the Arab world. However, the changes occurring in recent years in the region can lead to a genuine reconsideration of the cultural sector and its relationship with the development process

This dissertation makes a comparative analysis of the self-reflexivity in the novels of one British and one Turkish writer - John Fowles and Orhan Pamuk. The study restricts itself to three novels by each writer. In making this analysis under the light of Robert Scholes&
#8217
s theory of reality, and making use of Linda Hutcheon&
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s classification of self-reflexivity, and Jacque Lacan&
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s The Mirror Stage, it is argued that both Fowles and Pamuk create worlds within worlds which are similar to but different from each other, namely the fictional world, the world of the implied author, and the outer world, i.e. the world of the writer. Although these worlds reflect each other, it is not a one-to-one reflection of outer reality, since art/fiction is illusion. This dissertation argues that in accordance with their aims in both life and literature, and their views on reality, Fowles and Pamuk make use iv of different self-reflexive devices. While Fowles prefers overt self-reflexive devices, Pamuk chooses to employ both overt and covert ones
this may be because Fowles aims to be didactic whereas Pamuk does not. While Fowles believes in the existence of the external world, Pamuk rejects it. Whatever techniques they use, it is shown that they both write self-reflexive texts focusing on fictionality as their theme. The analysis of the six novels by Fowles and Pamuk as the representatives of two different literatures demonstrates that self-reflexivity is an indispensable characteristic of postmodern fiction and that Pamuk is more postmodernist compared to Fowles.

Tese de Mestrado em Design de Produto
O trabalho sobre a “Transposição dos Objectos Tradicionais para a Contemporaneidade” procura fazer o cruzamento de diversas questões relacionadas com a cultura tradicional e a cultura popular, numa perspectiva teórica transdisciplinar, procurando aprofundar a contextualização e legitimação de processos criativos que articulam ou traduzem o legado tradicional local para a cultura global contemporânea, no âmbito do design. Considerando a cultura contemporânea como uma realidade em constante mutação, simultaneamente articulada com o passado, o presente e o futuro, os objectos tradicionais são aqui tidos como um legado cultural significativo para a construção de sentido, como um laboratório de memórias inerente à produção de significado na nossa vivência do quotidiano. Refiro-me portanto a todos os objectos localmente reconhecíveis, de produção industrial ou artesanal, inseridos quer na cultura popular quer na cultura tradicional. Este trabalho propõe também o método etnográfico como um processo de observação participada, no âmbito do design. A transposição dos objectos tradicionais para a globalização coloca questões importantes no que se refere ao contexto funcional e produtivo original, e sobre a forma como poderá ser feita a sua transposição para o quotidiano contemporâneo, diverso e plural, procurando evitar os aspectos relacionados com o exotismo dos objectos tradicionais.
ABSTRACT - This work concerns a research on identity, traditional and contemporary culture, as conceptual tools to build a universe (panorama) of knowledge, as a fertile reading and legitimating reality, for sustained design productive opportunities, from a local into a global context. More specifically, it concerns the study of traditional concepts and typologies, which reveal themselves meaningful, now and then, consequently opportune for a contemporary material and behavioural transposition. Thought traditional objects ‘real life’ experience, at their own original context, might be an important (re)insert on today’s culture and everyday life. The work on “Traditional Objects Contemporary Transposition” searches to legitimate and contextualize different creative design processes, through traditional culture and daily life experience on an ethnographic methodology, as a laboratory, on design field. Considering contemporary culture and reality as in constant reformulation, simultaneously articulated with the past, the present and the future, traditional material culture can be taken as a collective legacy, readable by all individuals, as a meaningful memory, intrinsic on personal, social, local and global identity in permanent (re)construction.

In my BA-thesis I examine how young Gambian students´ creation of identity can be expressed in a learning environment, through image creating. I did my field study in Banjul, the Gambia, by teaching in a school.With this project I wanted to give the students a chance to focus on themselves and feel like active participants of creating their identity. I wanted to find out how Gambian students identity work could be expressed in a learning environment, through image creating and if exploring of identity and identity formation could be an entry to intercultural teaching. I wanted to show that it can be both giving and suitable to let students work with their identities through image creating. Most societies have students with a foreign background and it is important to acknowledge that we all might understand, act and express ourselves in different ways, and none of them are more accurate than the other. To have a positive attitude towards groups, such as school classes, with a versatile cultural background or students with a multiple cultural affiliation, instead of focusing on problems connected to multiculturalism, will not only help the students with their identity creating process by developing a healthy self-image, but also change the attitudes of the social and cultural environment. I hope that this essay can contribute to knowledge and reflection about intercultural teaching and cultural awareness, and I wish that it can be used as an inspiration in teaching – learning situations.In the identity project my students represented themselves in writing, visually through photographic portraits and orally. I have chosen to visualize the result of my study in a book where the portraits and written texts are presented together. Furthermore, in the exhibition I displayed 91 photographs with quotes from the students texts on the back, in a see-through plastic with pockets, that allows the visitor to pick up, have a closer look, turn, read and move around the photographs – an interactive collage.

L'appropriation culturelle possède une diffusion très large et est un phénomène essentiellement intemporel. L'appropriation culturelle est définie comme «the taking- from a culture that is not one’s own- of intellectual property, cultural expressions or artifacts, history and ways of knowledge» (Ziff et Rao 1997: 1). Cela comprend tous les aspects de la spiritualité, les objets sacrés, des valeurs, des histoires et des rites. L'appropriation est étroitement liée aux relations de pouvoir et à la politique. Avec la montée de la popularité du chamanisme et du néo-chamanisme dans la société occidentale, les peuples amérindiens de l'Amérique du Nord (ou d’Australie) expriment leurs inquiétudes et leur désapprobation en ce qui concerne l’appropriation de leurs cérémonies, rituels et croyances sacrées par les Occidentaux. Par le discours contre l'appropriation, les populations autochtones (re)gagnent et (re)créent une identité qui avait été négligée, supprimée et assimilée au cours de la colonisation. Cette création identitaire s’effectue par l'intermédiaire de l'écriture, dans les milieux universitaires, aussi non-académiques, et le partage des pratiques rituelles avec d'autres autochtones (pan amérindianisme). Les auteurs autochtones contestent le statu quo et désirent contribuer à faire avancer le débat concernant l'appropriation spirituelle, les relations de pouvoir et le néo-colonialisme. Les arguments et les opinions concernant l'appropriation spirituelle présentés ici traitent de génocide culturel, d’abus sexuels, de néo-colonialisme, de non-respect et d'inquiétude face aux dangers liés à une mauvaise utilisation des rituels et autres pratiques sacrées. Ce débat est lié au processus de guérison en contexte amérindien (Episkenew 2009). En participant à ce débat sur l'appropriation spirituelle, les peuples autochtones sont activement engagés dans la (re)définition de leur identité. C'est cet engagement actif qui permet à la guérison d’avoir lieu. Ce mémoire aborde quelques-uns des auteurs autochtones contemporains et examine leurs écrits. L'importance de l'histoire et du mot dans la création identitaire est explorée. L’analyse de certains textes portant sur la médecine, la sociologie, la religion et la culture de consommation rend explicite le lien entre identité et politique.
Cultural appropriation is a very wide spread and essentially timeless phenomenon. Cultural appropriation is defined as “the taking- from a culture that is not one’s own- of intellectual property, cultural expressions or artifacts, history and ways of knowledge” (Ziff and Rao 1997: 1). This includes all aspects of spirituality, sacred items, values, stories and rites. Appropriation is closely linked to power relations and politics. With the rise of popularity of shamanism and neo-shamanism in Western society, the Indigenous people of North America (and Australia) are voicing their concerns, disapproval and opinions with regards to Western people appropriating Native ceremonies, rituals and sacred beliefs. Through the discourse of countering appropriation the Indigenous, people are (re)gaining and (re)creating an identity which had been neglected, suppressed and assimilated during the course of colonization. It is through the medium of writing in the academic, as well as non-academic, and the sharing of practices with other Natives (Pan-Indianism) that an identity is created. Native authors are challenging the status quo and engage, contribute and advance the debate of spiritual appropriation, power relations and neo-colonialism. The arguments and opinions with regards to spiritual appropriation presented here range from cultural genocide, sexual abuse, neo-colonialism, and disrespect to concern of improper use that can be dangerous for the user/practitioner. By engaging in the debate Indigenous culture is engaging in the healing process (Episkenew 2009). By participating in the debate of spiritual appropriation the Indigenous people are actively engaging in (re)defining their identity. It is this active engagement that allows healing to take place. The thesis brings together some of the current, Native authors and examines their opinions. The importance of the story and the word as creating identities is explored. By using diverse literature, some texts focusing on medicine, sociology, religion and consumer culture the debate of spiritual appropriation and the link to identity and politics is made more explicit.

Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.

The diploma thesis deals with problems of depression in older people. Mainly the work is focused on identifying and analyzing the role of nurses in screening for depression in older people in primary care, acute care, long-term care and home care. This thesis was focused on theoretical direction and was used the method of design and demonstration. In this thesis was set one main goals with five research questions. The main goal was to identify and analyze the role of nurses in screening for depression in the elderly. RQ 1: What is the role of the nurse in screening for depression in the elderly? RQ 2: What is the role of the nurse in the primary care in screening for depression in the elderly? RQ 3: What is the role of the nurse in screening for depression in hospitalized patients in acute care? RQ 4: What is the role of the nurse in screening for depression in seniors in long-term and home care? RQ 5: What rating scales and methods are used in screening for depression in the elderly? The thesis introduce the concept of depression. The following are specified the causes of and the important factors that affect depression in the elderly. It also deals the differences in the clinical symptomatology of depression in old age. It explains possibilities and various barriers in the diagnosis of depression. Another chapter introduces complete geriatric examination, diagnostic classification systems, possible screening methods and scales for detection of depression in the elderly population. It also deals methods of pharmacological and non-pharmacological treatment and its possible complications associated with older age. By reason of increased suicide rate caused by depressive disorder the issue of suicidal behavior in the elderly is introduced. The next chapter deals with the nursing process, which is used by nurses in practice. It consists of the evaluation of the patient's health condition, making nursing diagnosis, creating nursing plan and subsequent implementation and evaluation. The nursing process is also needy for providing quality care. The nursing process in the stage of nursing diagnosis, introduces possible nursing diagnosis for a patient suffering from depression, which are based on the latest classification. Finally is described the role of nurses in screening for depression in the elderly in different health facilities and their contribution to the timely evaluation of depression in the elderly. This chapter introduces the role of nurses, nursing screening and collaboration with a physician. The role of nurses in screening for depression in different medical facilities is based on the first phase of the nursing process of assessment. On the basis of objective and subjective information, the nurse will assess the overall health and mental condition of the patient. Primarily, it was investigated what is the role of the nurse in screening for depression. On the basis of content analysis and synthesis it was necessary to used and processed domestic and foreign literature. A number of relevant sources are the results of various studies and Meta-analyzes, mostly from abroad, but also from the Czech Republic. The thesis can serve as a basis for nurses. The result of this thesis is to create e-learning material available for students in the Faculty of Health and Social Sciences of South Bohemia in Ceske Budejovice in the tutorial called Moodle.