I staden finns olika slags rum varav vissa benämns som mellanrum. En av orsakerna till mellanrummens uppkomst är planering som skriver in oanvändbarhet i dessa platser. Somliga mellanrum lämnas åt naturen och förfallet och kan te sig osynliga för många. Medan andra mellanrum tas i besittning av människor i marginalen som värdesätter rummets karaktär. Fokus för denna uppsats är hur olika grupper hävdar mellanrum genom appropriation och domination. För att undersöka detta har fallet Container By i Köpenhamn studerats genom intervju, innehållsanalys och observation.  Container By är ett mellanrum beläget invid högbanan i Nørrebro som har approprierats med tillåtelse av Köpenhamns kommun. Appropriationen i Container By är både social och fysisk, samtidigt som Köpenhamns kommun delvis dominerar rummet. Det finns dock önskningar från både Köpenhamns kommun och brukarna om att Container By skall frigöras från kommunens ramar.  Brukarnas val av det studerade mellanrummet är påverkat av Lefebvres levda rum genom det uttänkta rummet. Det uttänkta rummet fungerar som en produkt av planeringen, där rummets existens utgörs av att det är en buffertzon till högbanan. Samtidigt är det just rummets karaktär som gör att brukarna känner ett stort mått av frihet där. Det finns dock tecken på att brukarna inte valt rummet själva utan snarare förpassats dit. Det finns skilda framtidsföreställningar hos brukarna och tjänstemännen, men alla informanter har en samstämmig bild av att projektet på något sätt kan fortlöpa. Den godkända visionen från arkitektfirman Cobe beskriver dock en annan bild av platsens framtid. Om Cobes vision förverkligas fungerar istället Container By endast som platsmarknadsföring med följd att appropriationen och dess brukare förr eller senare tvingas bort, samtidigt som dominationen av rummet förstärks. Om dock brukarna lyckas inkludera de boende i området skulle projektet i sin form kunna fortsätta.

In today’s global religious landscape, many beliefs and practices have been dislocated and thrust into unfamiliar cultural environments and have been forced to adapt to these new settings. There has been a significant amount of research on this phenomenon as it appears in various contexts, much of it centred on the concepts of globalisation/localisation and appropriation. In this dissertation, the same process is explored in relation to the traditions of contemplative prayer from within Eastern Orthodox Christianity known as the Jesus Prayer and hesychasm. These prayer practices have traveled from a primarily monastic Orthodox Christian setting, into general Orthodox Christian usage, and finally into wider contemporary Western culture. As a result of this geographic shift from a local to a global setting, due mainly to immigration and dissemination of relevant texts, there has been a parallel shift of interpretation. This shift of interpretation involves the way the practices are understood in relation to general conceptions of authority and tradition. The present work attempts to explain the divergence of interpretations of these practices by reference to the major themes of authority and tradition, and to several secondary themes such as appropriation, cultural transmission, “glocalisation,” memory, and Orientalism. By looking at accounts of the Jesus Prayer and hesychasm from a variety of sources and perspectives, the contentious issues between accounts will be put into a wider perspective that considers fundamental differences in worldviews.

When computational systems become increasingly mobile and ubiquitous, digital information and the use of computational systems may increasingly be immersed into the physical and social world of objects, people and practices. However, the digital, physical and social materials that make up these hybrid spaces have different characteristics and are hard to understand for users. In addition, users are themselves part in constructing and re-constructing the hybrid spaces. The main question addressed in this thesis is whether making aspects of the digitally mediated hybrid spaces observable and accessible provides support to users. The observability may provide support for the specific task at hand or help in building an understanding for what the system does and how, an understanding that is needed to explain system output and to cope with service breakdowns. The fundament of the approach is to empower users of computational systems to actively make sense of the system themselves. Two prototype services are described, Socifer and MobiTip. Their common denominator was to make digitally mediated parts of the hybrid spaces observable to users. Without disqualifying other kinds of information, the work focussed on digitally mediated social trails of other users. Building on experience from the prototype work and an investigation into in seamful design, observability and awareness, I have investigated the effects of making a computational system’s social context observable to users in a way that - is separated from the service’s main functionality in the interface, allowing it to become peripheral and non-obtrusive; - uses simple models and little interpretation; - to some extent opens up the service to allow for user appropriation of both service content and functionality; and - is informative rather than proactive in order to empower the user rather than acting on the user’s behalf. By designing systems that fulfil these criteria I claim that the user will be supported in performing the task at hand, with or without the service, and that with service use, the user will become more and more aware of the possibilities and limitations of the underlying technology. In addition, the digitally mediated hybrid spaces where physical, social and digital contexts meet constitute application domains in themselves, domains that users may enjoy exploring. / Mobile Life

Ao atender o telefone no fim de 2009, ouvi uma voz feminina com sotaque anunciando, \"Aqui é Sheila Ribeiro\". \"O QUÊ?!\", quase caí para trás. Ela estava me convidando para integrar e escrever textos para seu projeto 7x7. Após alguns segundos de hesitação, aceitei. Há vinte e cinco meses eu não criava um texto original, mas com a ajuda de vários autores, com quem estudei desde 1992 e ainda estavam firmes e fortes, vasculhei meus arquivos, me debrucei sobre velhos cadernos e fotos antigas, texto-coreografei um material novo, acrescentei alguns pronunciamentos famosos e outros nem tanto, que seriam ditos a partir das coreografias. Fiz um mix de nove textos curtos que depois intitulei coreoescrituras. A referência às vanguardas e seus proverbiais - hoje disseminados - procedimentos artísticos foram intencionais, é claro, embora as frases venham tanto de um poema concreto como de uma canção popular e isso também já foi usado por Jérôme Bel no título de sua coreografia de 2001, The show must go on. O período de seis anos com o 7x7 na Bienal SESC de Dança e no Festival Contemporâneo de Dança foram maravilhosos. Eu amo trabalhar com os coreógrafos. Eles sabem exatamente o que são capazes de fazer e por que estão onde estão. Eles estão acostumados a dar duro e à limitada recompensa material que o trabalho traz. O 7x7 fez turnê por vários festivais no Brasil antes de ser premiado pela APCA na categoria iniciativa em dança, em 2014. O restante da tese é um amálgama de clipes de diálogos e falsas entrevistas em que eu mesma, Jérôme Bel e Xavier Le Roy, entre outros, nos alternamos no meu papel à medida que encenamos trechos de conversas originalmente ocorridas comigo e vários artistas e autores. Coreoescrituras - texto e dança em diálogo faz parte de uma pesquisa interminável que se originou na interação entre coreografia e escrita e inclui minha trajetória artística combinando fragmentos de dança e textos que abordam o embate entre arte e política no novo milênio. Ao editá-la descobri as maravilhas das estratégias de apropriação. Posso dizer francamente que nunca me diverti tanto. O elenco e a equipe racharam de rir, eu mais que todos. Desde 2002 tem havido mais remontagens e reconstruções. Fantasio sobre uma nova coreografia a partir de quatro extratos de peças icônicas. Em algum momento no meio disso, uma horda invade o palco em uma revolta política. Durante alguns anos depois de 2011, ano em que parei de performar e coreografar espetáculos - minha cabeça ainda inundada em imagens de movimentos - eu oferecia por brincadeira ideias de coreografias para outros coreógrafos. As imagens ressurgiram nos anos seguintes, em que me envolvi com a escrita. Não sei o que essa relação/oposição entre palavra e corpo significa ou pretende. Ao retornar à dança nos anos 2000, eu parei de escrever. E então novamente a linguagem do movimento suplantou a linguagem verbal. Falo comigo mesma, \"Não se preocupe. A mente trabalha por meios misteriosos, mais misteriosos ainda que o corpo\". O corpo declina, a mente continua a produzir linguagem. Aguardo ansiosamente as perambulações de ambos - mente e corpo - pela próxima década. Sendo assim, esta tese pode ser lida como outra coreografia. / Upon answering the phone toward the end of 2009, I heard an accented female voice announce, \"This is Sheila Ribeiro\" \"WHAT?!\" I nearly peed in my pains. She was inviting me to integrate and write texts for her 7x7 Project. After a few seconds of hesitation, I accepted the invitation. I hadn\'t written an original piece for twenty five months, but, assisted by various authors, who I have been studying with since 1992 and were still going strong, I raided my icebox, pored over old notebooks and vintage photos, choreographed some new text material, added pronouncements of famous and not-so-famous people, to be uttered based on the choreographies, and came up with a mélange of nine short texts that I later called choreowriting. The references to avant-garde proverbial - now widespread - artistic strategies were of course intended, although the phrases originated from a concrete poem and popular song which had already been used by Jérôme Bel to title his 2001 choreography, The show must go on. The six years period with 7x7 at Bienal SESC de Dança and the Festival Contemporâneo de Dança were exhilarating. I love working with choreographers. They know exactly what they can do and why they are there. They are accustomed to hard work and the limited material rewards that it brings. 7x7 toured various festivals in Brazil before being awarded for best dance initiative by APCA in 2014. The rest of the thesis is an amalgam of clips from dialogues and faux interviews in which I am alternately played by myself, Jérôme Bel, and Xavier Le Roy, among others, as we enact parts of a conversation that originally took place between artists, writers and myself. Choreowriting - text and dance in dialogue is part of a lifetime research that originated from the interplay between choreography and writing and includes my artistic career combining fragments of dance and texts that deal with the clash of art and politics in the new millennium. While editing it I discovered the wonders of appropriation strategies. I can honestly say it was just about the most fun I\'ve ever had in my life. The cast and crew bellowed with laughter, myself loudest of all. Since 2002 there have been more revivals and reconstructions. I have a fantasy about a new piece of choreography, from four extracts of iconic pieces. Somewhere in the middle of it, a horde of people rushes onto the stage in a political riot. For some years after 2011, the year I stopped performing and choreographing shows - my head still awash in movement images - I would jokingly offer others ideas for choreography. The images receded in the intervening years as I became involved with writing. I don\'t know what this relation/opposition between words and body means or pretends. As I returned to dance in the 2000s I stopped writing. And then again movement language superseded verbal language. I tell myself, \"Don\'t worry. The mind works in mysterious ways, even stranger than the body.\" The body declines, the mind continues to extrude language. I look forward to the perambulations of both - mind and body - in the next decade. It follows, then, that this thesis can be read as another choreography.

This dissertation examines symbolic representations of British imperial power through the appropriation and display of Indian “things.” The objects and spectacles examined here—the Koh-i-Noor diamond, tigers and tiger hunting, and turbaned men on display—are all invested with a range of social and symbolic meanings within both their indigenous and imperial contexts. The things appropriated into the British Empire’s styling of itself that are discussed in this study were each traditionally associated with masculinity and kingship in their native Indian context and subsequently displayed on and around the bodies of British women. This study advances a relationship between the theatrics of British imperial power, and the emasculation and objectification of Indian men. A list of images has been submitted as a supplemental digital file with this dissertation.

The sex shop aimed primarily at the female consumer is a phenomenon which forms part of our everyday understanding of the sexualisatian of culture or the mainstreaming of sexual representation and consumption. The women's sex shop privileges notions of female empowerment achieved through the consumption of goods and spaces dedicated to the pursuit of female erotic pleasure. Prioritising women's interpretations of the visual presence of the women's sex shop, this project establishes how the sex shop is re-made for its female consumers, making it both acceptable and desirable to a new audience. Primarily its aim is to interrogate the ways in which design is put to use to reflect, materialise and contribute to discourse around feminine sexuality and sexual pleasure. Utilising a feminist research methodology this thesis takes as a starting point the voices of women consumers and retailers, facilitating a new reading of the ways in which women negotiate the meanings invested in the spaces of gendered sexual consumption. In line with the testimony of participants, investigation begins by positioning the women's sex shop in relation to its progenitor, the traditional male sex shop, the model without which the women's shop could not be envisaged or designed. Secondly it investigates the ways in which the design of the women's sex shop and its goods, appropriate or resist established , normative and classed representations of female sexuality expressed in the geographical position of the shops, the interior layout, the external façade and the use of visual references. In conclusion, drawing on consumer narratives, research exposes a visual and spatial symbiosis between the 'seedy' masculine and the stylish women's sex shop. Key tensions and contradictions are unearthed in the things and spaces of the women's shop, calling into question the notions of female sexual agency and empowerment it proposes.

The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton. / The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton.

This thesis explores the role of new Information and Communications Technologies (ICT) in political organisation. It explores the use of ICTs by singleissue groups - the emergence of which has become a salient feature of contemporary political activity. There has been considerable interest amongst politicians, activists, commentators and social scientists in the contribution of ICT (eg. social media) to democracy and the renewal of political life. Optimistic accounts are especially evident around 'the Arab Spring', though subsequent experiences have called into question the prevalent technological utopianism of the time. Despite this, we are now building a complete picture of how ICT can contribute to the political organisation. In particular, the significance of new media and technology for single issue groups has not yet been explored in developing countries context. This thesis, therefore, examines the characteristics of single issue groups and how social activists appropriated new media tools and its consequences for political organisation in a developing country: India. A qualitative study was undertaken to focus on two detailed case studies: India Against Corruption (IAC) and the Pink Chaddi campaign. IAC was the traditional activist organisation that used new media to its advantage whereas Pink Chaddi was the pioneering example of online social activism in the India. Forty-three semi-structured interviews were conducted with a range of actors involved to understand how single-issue groups appropriated technology and how new practices have emerge from this appropriation. Drawing upon the Social Shaping of Technology perspective (Williams & Edge, 1996) and its extension to Social Learning (Sørensen, 1996), the thesis refutes prevalent deterministic accounts (whether utopian or dystopian) of the impact of new technologies on political organisations. Instead, a detailed account is rendered of the adoption of various communication media and their utilisation in the particular practices and activities of the single-issue groups selected. The results demonstrate that the particular setting shapes the appropriation of new media and the development of new organisation practices: the skills resources and strategies of the local players involved as well as the availability and affordances of technology. The thesis introduces the concept of 'creative configuration' - to capture the innovative and adaptive process by which the actors involved explored the applicability of general purpose technology infrastructure and tools, assisted by forms of local expertise available to hand, to support organisational objectives. The research examines the applicability of the theory of temporary organisation (Lundin & Söderholm, 1995) to the activities of single-issue groups. It suggests an extension of this theory, highlighting how 'technology' acts as a catalyst to sustain temporary organisations such as single-issue groups. Further, a framework for sustainable local innovations is proposed to explore lessons for organisations in exploiting technologies sustainably and more efficiently.

The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton. / The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton.

Literature is always in a state of evolution. Words change; the way writers write changes. Even actual literary works transform. William Shakespeare manipulated numerous classic works of literature to make extraordinary dramas for both his lifetime and eras since. Much as Shakespeare adapted literature to suit his purposes, writers today are constantly utilizing story lines introduced by the bard over four-hundred years ago in various modern-day mediums. Shakespeare wrote most of his works for the entertainment of the masses; Shakespeare's works are adapted today for both entertainment and academic endeavors. Certainly, a Klingon (Star Trek) version of arguably one of the greatest tragedies of all time, Hamlet, may not seem appropriate in an academic debate on the original. However, there are some truly engaging adaptations that do have some legitimacy in academia. Using past and current trends in adaptations, this thesis will explore the concept that Shakespearean adaptations are, in fact, their own school of literary theory. It will examine the academic climate surrounding an assortment of adaptations in regards to how literary theory correlates to each example. Multiple genres of adaptations exist (i.e. film, novels, plays, etc.) and will thus be addressed along with multiple time periods. This thesis will examine why certain changes were made from the original text and how literary theory may have affected those changes. Finally, the thesis will establish a process for the creation of a theory-based adaptation and, utilizing this process, develop a one-act play based on William Shakespeare's The Tempest.