From the socio-economic turmoil of the 20th century, Japan has repeatedly revealed its resilience. During these trying times, scientific work has been an important element in Japan's economic development. However, the 1990s revealed weaknesses in this “economic miracle.” During this period, several socio-structural factors have contributed to this social landscape. Future successes in Japanese socio-economic spheres will partially depend on scientific work. In this study, it is suggested that identifying structural factors in the Japanese “system” that contribute to its scientific organizations is key to ascertaining a more coherent assessment of scientific work in Japan. This assessment can lead to more in depth analyses of the interconnections between science and society. The focus of this study is on scientific institutes and their organizational structure. The social networks that interconnect these institutes and couple their scientific work with other elements of Japanese culture are essential in the analysis of Japan's scientific enterprise. In the present study, a qualitative case study methodology is used to explore socio-structural networks within the cultural field of scientific work in Tsukuba, Japan. The structure of scientific work in Japan is composed of several cultural and material elements which have been distilled into two themes for evaluative purposes. These themes include cultural factors and scientific production/economic affairs. Through a reflexive-thematic lens an analysis of scientific work is conducted. Central to the method used in this study is a series of structured and un-structured in-person interviews using a format of open-ended questions. Most informants in this study were chosen by administrators of the institutes involved. Although, I did participate in assuring diversity in the sample, there is possible bias inherent in management's choices of particular informants. These interviews were held during the month of October 2002 in five separate university and non-university institutes in Tsukuba, Japan. The findings in this study reveal common, contradictory and idiosyncratic aspects that have important cultural and scientific/economic effects across organizational types. Common attributes include the observation of universal “top-down” organizational hierarchies with networks of labor being accumulated through elite scientists. Generally, informants perceived little to no effect from the national economy on their particular institute's funding of science. Scientists spent an extraordinary amount of time at work and conducted highly specialized work tasks. The publishing activity concentrated among elite scientists while utilization of foreign scientists and contingent workers were segregated. Also, the use of tacit knowledge as a principal training tool was universally observed across institutes. Contradictory attributes include scientists' attitudes toward their work versus the city they live in, government policy versus actual laboratory work, and publishing versus conference presentations. The idiosyncratic attributes focus on levels of organizational formality across organizations. The organizational formality is related to the individual scientists' perceptions of what they enjoyed most about their work. Thus, scientists that enjoyed the 'processes' of their work tended to be located in more formal organizations whereas those scientists who enjoyed “discovery” were situated in less formal organizations. It is likely that the different levels of organizational formality observed in this study are associated with other elements of laboratory culture. Also, the composition of foreigners and women varied remarkably across institutes. Yet, their use in laboratories is relatively similar. / Ph. D.

Объектом исследования явились эссе студентов – участников арт-терапевтических тренингов. Предметом исследования стали лингвистические маркеры рефлексии студентов - участников арт-терапевтических тренингов. Магистерская диссертация состоит из введения, трех глав, заключения, списка литературы (89 источников) и приложения, включающего в себя бланки применявшихся методик. Объем магистерской диссертации 112 страниц, на которых размещены 3 рисунка и 19 таблиц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, указываются методы и эмпирическая база, а также задачи проведения исследования, научная новизна, теоретическая и практическая значимость работы. Первая глава включает в себя обзор теоретических подходов к изучению рефлексии как показателя психологического здоровья. Представлены разделы, посвященные понятию психологического здоровья, феномена рефлексии в психологии, описана роль рефлексии студентов колледжа в образовательном процессе. Вторая глава включает в себя обзор иностранной и отечественной литературы по теме арт-терапии как метода активизации рефлексивных процессов. Представлены разделы, посвященные общим понятиям об арт-терапии, арт-терапевтическому психологическому тренингу и лингвистическим маркерам рефлексии в обратных связях участников такого тренинга. Выводы по первым двум главам представляют собой итоги по изучению теоретического материала. Третья глава посвящена эмпирической части исследования. В ней представлено описание организации и методов проведенного исследования и результатов, полученных по всем использованным методикам: методика определения уровня рефлексивности личности А. В. Карпова, дифференциальный тест рефлексивности Д. А. Леонтьева. Также в главе представлены корреляционный и однофакторный дисперсионный анализ результатов исследования. Выводы по главе 3 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики. / The object of the study was the essay of students - participants in art-therapeutic training. The subject of the study were linguistic markers of reflection of students participating in art-therapeutic trainings. The master's thesis consists of an introduction, three chapters, a conclusion, a list of references (89 sources) and an appendix, which includes the forms of the applied methodologies. The volume of the master`s thesis is 112 pages, which include 3 figures and 19 tables. The introduction reveals the relevance of the research problem, the development of the problematics, the goal and objectives of the research are set, the object and the subject of research are determined, the basic and additional hypotheses are formulated, the methods and the empirical base are stated, as well as the tasks of conducting the research, the scientific novelty, the theoretical and practical significance of the work. The first chapter includes a review of theoretical approaches to the study of reflection as an indicator of psychological health. The sections devoted to the concept of psychological health, the phenomenon of reflection in psychology are presented, the role of the reflection of college students in the educational process is described. The second chapter includes a review of foreign and domestic literature on the topic of art therapy as a method of activating reflexive processes. The sections on general concepts of art therapy, art-therapeutic psychological training and linguistic markers of reflection in the feedbacks of participants in such training are presented. Conclusions on the first two chapters are the results of the study of theoretical material. The conclusions of Chapter 3 include the main results of the empirical study. In conclusion, the results of the theoretical and empirical parts of the work, as well as conclusions on the hypotheses put forward, are presented in a generalized form, the practical significance of the study is substantiated and possible prospects for further development of this problem are described.

Stefanie Gerke untersucht in der vorliegenden Dissertation die Frage, in welcher Weise sich Künstler*innen mit verfallender Architektur der 1960er und 1970er Jahre beschäftigen. Sie analysiert Fotografie-, Film- und Videoarbeiten seit 1990, die gezielt ikonografische Traditionen des Topos Ruine erweitern, aktualisieren und unter den Bedingungen ihres Mediums neu orientieren. War die Ruinenikonografie bislang durch die Ästhetik der Romantik sowie Georg Simmels geprägt, der den Reiz verfallender Bauten in der Rückeroberung durch die Natur sah, bestehen die modernen Ruinen aus industriellen, schwer vergänglichen Baustoffen und sind häufig die Folge menschlicher statt natürlicher Zerstörung. Die Analyse der Werke zeitgenössischer Künstler*innen, die sich maßgeblich mit dem Verfall von Nachkriegsbauten beschäftigt haben, führt in der Dissertation daher zu einer Aktualisierung der für den Ruinenbegriff prägenden ästhetischen Kategorien des Pittoresken und des Erhabenen für das 21. Jahrhundert. Einige der analysierten Arbeiten nutzen Nachkriegsarchitektur als zeitgemäßes Symbol der Vergänglichkeit und widmen sich in pittoresker Tradition vor allem Wahrnehmungsfragen, um die Konstruktionsmechanismen ihrer eigenen Medien zu reflektieren, wie etwa die 16-mm-Filme Tacita Deans (*1965), die Polaroid-Serie Cyprien Gaillards (*1980) und die Fotomontagen Beate Gütschows (*1970). Andere Künstler gewinnen den radikalen Bildern abgerissener oder dem Abbruch geweihter, gescheiterter Nachkriegsarchitektur und den damit einhergehenden sozialen Folgen eine ästhetische Komponente ab, die in der Tradition des Erhabenen Lust und Schrecken miteinander verbindet, wie etwa Julian Rosefeldt (*1965), Clemens von Wedemeyer (*1974) und Tobias Zielony (*1973). Die Dissertation verortet sich nicht nur innerhalb der Diskussion um das Erbe der Nachkriegsmoderne, sondern steckt systematisch ein Feld ab, in dem sich zeitgenössische Kunst momentan bewegt. / In this dissertation, Stefanie Gerke investigates the question of how artists deal with decaying architecture of the 1960s and 1970s. She analyzes photographic, film, and video works since 1990 that specifically expand the iconographic tradition of the ruin, update it, and rearticulate it within the specific conditions of new media. While the iconography of ruins was previously influenced by the aesthetics of Romanticism as well as Georg Simmel, who saw the appeal of decaying buildings in their reconquest by nature, modern ruins are made of industrial building materials that are difficult to decompose and are often the result of human rather than natural destruction. In the dissertation, the analysis of the works of contemporary artists who are dealing with the decay of post-war buildings therefore leads to an update of two aesthetic categories that characterize the concept of ruins, for the 21st century: the picturesque and the sublime. Some of the works analyzed use postwar architecture as a contemporary symbol of transience and, in the picturesque tradition, devote themselves primarily to questions of perception in order to reflect on the construction mechanisms of their own media, such as Tacita Dean's (*1965) 16mm films, Cyprien Gaillard's (*1980) Polaroid series, and Beate Gütschow's (*1970) photomontages. Other artists extract an aesthetic component from the radical images of demolished or condemned, failed postwar architecture and the accompanying social consequences, which combines pleasure and horror in the tradition of the sublime, such as Julian Rosefeldt and Piero Steinle (*1965/1959), Clemens von Wedemeyer (*1974), and Tobias Zielony (*1973). The dissertation not only locates itself within the discussion about the legacy of postwar architecture, but also systematically delineates a field in which contemporary art is currently active.

Through the small-scale and imaginative application of a Speculative Institutional Ethnographical study, fictionalised stories have been created based upon observations in the field at three different Youth Care Home Facilities in Sweden. The locations and characters in these stories are composite narratives comprised of actual details from multiple real life places and people, amalgamated to form fictionalised narratives so as to protect the anonymity of real life people. The researcher’s primary motivation with the research is to develop a better understanding of the way in which individual differences between staff members working at these facilities impact their decision making in an environment which is supposedly value-neutral. It is argued that a multitude of factors will influence staff members perceptions of youths at these homes and that a degree of bias or partiality is unavoidable. An awareness of this and a development of critical reflexivity is encouraged. Through drawing data from real life observations in the field to create credible, realistic fictionalised stories, the research project is combining academic and creative writing processes in an innovative and progressive way. The goal of the research is not to prove or disprove a specific hypothesis but rather to explore an issue and develop a better understanding of the complexity and nuances of working at a Youth Care Home facility in view of Intersectional Gender Studies.

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In recent years, Sweden has introduced new laws and undergone changes indicating a shift towards a society heavily focused on controlling and minimizing risks, such as those related to serious crimes. This trend mirrors Ulrich Beck's theoretical concept of the Risk Society. The aim of risk minimization is to ensure collective security, but this often comes at the expense of individual rights, as seen in recent Swedish legislation. This thesis explores the conflict between collective security and individual freedom in a Risk Society. The objective is to highlight the issues of potentially evolving into such a society. The study examines Beck’s Risk Society theory through John Stuart Mill's political philosophy on rights. Mill, a utilitarian and liberal, argues that individuals have certain rights and obligations towards society and that the only legitimate reason to restrict individual rights is to prevent harm to others. The thesis concludes that the Risk Society is characterized by paradoxical structures that create a reflexive loop, wherein subjective perceptions of risks are reinforced, leading to increased anxiety and political pressure to minimize these risks. Proposed solutions include raising awareness about our misunderstandings and exaggerations of risks and fostering a more open debate climate where ideas and opinions can be freely exchanged.

No / In this article we explain how the development of new organization theory faces several mutually reinforcing problems, which collectively suppress generative debate and the creation of new and alternative theories. We argue that to overcome these problems, researchers should adopt relationally reflexive practices. This does not lead to an alternative method but instead informs how methods are applied. Specifically, we advocate a stance toward the application of qualitative methods that legitimizes insights from the situated life-with-others of the researcher. We argue that this stance can improve our abilities for generative theorizing in the field of management and organization studies.

The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.