In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike. However, as Hollywood’s shifting feminist landscape becomes increasingly prevalent in the mainstream media, content incorporating the oppositional “female gaze” have become the new norm in both the film and television mediums. Through an extended analysis of the gaze as socialized through gendered learning in children, the “safe space” afforded through the formulaic platform of “boy bands,” and the function of romantic comedies and the emerging feminist rhetoric prevalent in such films as “Magic Mike: XXL,” the conceptual “female gaze” is defined and explored through the demographic of young girls as they grow and push their understanding of desire, particularly as they develop into the mature, media-cosuming women that have become increasingly vocal in the Hollywood sphere.

This thesis studies a classic single-period stochastic optimization problem called the newsvendor problem. A news-boy must decide how many items to order un- der the random demand. The simple model is extended in the following ways: endogenous demand in the additive and multiplicative manner, objective func- tion composed of the expected value and Conditional Value at Risk (CVaR) of profit, multicriteria objective with price-dependent demand, multiproduct exten- sion under dependent and independent demands, distributional robustness. In most cases, the optimal solution is provided. The thesis concludes with the nu- merical study that compares results of two models after applying the Sample Average Approximation (SAA) method. This study is conducted on the real data. 1

Este trabalho tem como objetivo central a análise da obra AvóDezanove e o segredo do soviético, do escritor angolano Ondjaki, em que o autor, relacionando memória e ficção, recria, pela perspectiva de um narrador-menino, o tempo e o espaço de sua infância vivida em Luanda nos anos 1980. A análise tem como base o conceito de memória coletiva desenvolvido pelo sociólogo francês Maurice Halbwachs e objetiva demonstrar de que forma esse conceito pode ser relacionado à elaboração da narrativa Avó Dezanove e o segredo do soviético e, mais especificamente, qual o papel que as duas avós do menino-narrador, AvóAgnette e AvóCatarina, desempenham na construção dessa memória coletiva. Procuraremos demonstrar também como AvóDezanove e o segredo do soviético está inscrita em um projeto literário do autor que, por meio da memória da infância, oferece elementos de reflexão sobre a história de Angola independente. / This work has as main objective the analysis of AvóDezanove e o segredo do soviético, by the Angolan writer Ondjaki, in which the author, relating memory and fiction, recreates, from the perspective of a narrator-boy, the time and space of his childhood lived in Luanda in the 80s. The analysis is based on the concept of \"collective memory\" developed by the French sociologist Maurice Halbwachs and aims to show how this concept can be related to the elaboration of the narrative AvóDezanove e o segredo do soviético and, more specifically, what role the two boy-narrators grandmothers, AvóAgnette and AvóCatarina, play in building this collective memory. We will also demonstrate how AvóDezanove e o segredo do soviético is entered in a literary project of the author who, through childhood memory, offers some reflection elements on the history of independent Angola.

Une activité pédagogique est un ensemble d’actions s’additionnant et se croisant en faveur d’un objectif déterminé au préalable et qui est au-delà d’un exercice ou d’une évaluation. C’est un processus qui, d’une part fait apparaître un produit unique tel que le nouvel apprentissage en termes de compétences et de savoir-faire et, d’autre part, amène une réorganisation de schèmes, connaissances et compétences en faveur d’une nouvelle strate de stabilité dans le sens piagétien du terme. La construction du savoir est une tâche individuelle effectuée par l’apprenant lui-même par le biais de l’enseignant qui doit jouer le rôle de médiateur pédagogique, cognitif et social. Ce rôle demande à l’enseignant des compétences professionnelles à la fois solides et délicates, solides parce qu’il doit se doter de connaissances suffisantes relatives à la matière enseignée et à la didactique de cette matière, et délicates parce que l’enseignement est un travail qui se base forcément sur les affects et les émotions. Ce travail dépend, d’une part, des représentations que se fait l’enseignant de l’élève dans ses trois statuts, à savoir en tant qu’élève comme statut social, apprenant comme statut didactique et enfant comme statut psychologique et d’autre part, il s’appuie sur l’ensemble des autres facteurs qui peuvent être opérationnels dans l’activité pédagogique tels que l’espace, au sens général du terme, et la planification.Les représentations que se fait l’enseignant de son élève s’inspirent, d’une façon consciente et/ou inconsciente, de maints facteurs qui ont servi (ou servent) à forger sa personnalité et l’orientation de ses propres choix, tels que les facteurs socio-économiques et culturels et la sphère politique. Ces facteurs forment ce qu’on a appelé les inputs des représentations de l’enseignant. Les outputs sont les différents choix relationnels et pédagogiques en termes de comportements et de décisions instantanées. L’activité pédagogique est un travail de communication et de relation. En effet, elle s’appuie, d’un côté sur les contenus scolaires, et d’un autre, sur les aspects comportementaux des personnes intervenantes tels que l’enseignant et les élèves en tant que groupe et individus. La nature des représentations que chaque partie se fait de l’autre contribue à orienter, d’une façon radicale, le processus de l’apprentissage et de l’appropriation. Ces représentations sont des facteurs déclencheurs dans toute action pédagogique. Dans ce travail, nous tentons d’approfondir l’idée que les représentations que l’enseignant se fait de son élève en tant que tel, en tant qu’apprenant et en tant qu’enfant, influencées par la sphère politique et les facteurs économico-socioculturels, orientent ses choix pédagogiques en termes de comportements relationnels et communicationnels. Il contient trois parties distinctes. Tout d’abord une partie théorique où nous avons tenté d’approfondir notre réflexion sur les différents concepts-clés et de tisser les éventuelles relations qui les lient. Une deuxième partie nous a servi à envisager successivement de mettre en lumière l’importance des principaux facteurs historiques, socio-économiques, anthropologiques et politiques qui déterminent les empreintes intrinsèques consciemment et ou inconsciemment de la personnalité de l’enseignant. Dans la troisième partie, la partie analytique, nous avons objectivement, quantitativement et qualitativement traité les données recueillies. Les résultats obtenus nous ont permis de valider l’hypothèse centrale et les quatre sous-réponses que nous avons proposées. Ces travaux de recherche servent à améliorer la réflexion sur le perfectionnement des relations qui se produisent au sein d’un groupe-classe. Cette amélioration vise, selon nous, le bien-être, le savoir-faire et le savoir-être de l’élève. Par conséquent, dans l’action d’apprendre, le rôle de l’école ne se limite plus aux apprentissages scolaires / An educational activity is a set of actions added and crossed for a specific purpose in advance and that is beyond a year of assessement. This process is, on the one hand shows a unique product such as a new learning in terms of skills and knowledge and, secondly, induces reorganization schemes, knowledge and skills in favor of another layer of stability in Piaget's sense. The construction of knowledge is an individual task performed by the learners themselves. however, the teacher plays the role of pedagogical, cognitive and social mediator. This role requires the professional skills of the teacher which should be sometimes both strong and delicate times, solid because it needs to have sufficient knowledge of the subject matter and the teaching of this material, and delicate because education is a work that is necessarily based on the affects and emotions. This work depends, on the one hand, on the representations that the teacher does on students in the three status, firstly, a student as a social status, secondly, a learner as a teaching status and thirdly, a child as a psychological status. From another perspective, he relies on all the other factors that may be operating in the educational activity such as space in a general sense and planning. The representations that the teacher has on his inspired pupils, consciously and / or unconsciously, have served many factors (or are serving) that forging his personality and directing his own choice, such as the socio- economic and cultural factors and political sphere. These factors consists of what is called the input representations of the teacher. The outputs are not only different in relational and educational terms of behavior but also on instant choice of decisions. The pedagogic activity is a communicative task and a set of relationships. Indeed, it relies on the one hand on the academic content, and on the other hand on the behavioral aspects of the intervening people such as teachers and students as a group and individuals. The nature of these representations, that each party has, which an influence on the other helps to direct, in a radical way, the process of learning and ownership. These representations are triggers in any teacher. In this activity, we try to develop the idea of the representations that the teacher has on his student, as a learner and as a child, influenced by politics and economic socio-cultural factors, guide its educational choices in terms of relationship and behavioral communication. It consists of three distinct parts .The first part is a theoretical part where we tried to reflect further on the different key concepts and build any relationships between them .In the second part, we used to consider successively highlight the significance of historical key, socio-economic, anthropological and political factors that determine the intrinsic fingerprints, consciously or unconsciously, the personality of the teacher. In the third part, the analytical part, we objectively analyse the quantitative and qualitative analyzed the collected data. The results allowed us to validate the central hypothesis and the four responses that we proposed. This research is used to improve the reflection on the development of relationships within a class group. This improvement is, in the well-being, the expertise and know- being of the student. Therefore, in the learning action, the role of the school is no longer limited to academic learning but will be a workshop where children learn how to build a real relationship into knowledge and life.

Research shows that although the representation of women in the workforce has increased over the past couple of decades, there are many industries that still remain male dominated. In addition, it is generally known that such male-dominated industries have minimal female representation at their managerial levels. One such male-dominated industry in South Africa is the air traffic control (ATC) industry. Women represent about 30 percent of the industry, which suggest their status in the industry is still quite low. The purpose of this study was to examine male and female air traffic controllers’ perceptions of factors that facilitate and constrain women’s career advancement, and to determine whether there were any significant differences in their opinions. The study also identified what male and female air traffic controllers (ATCOs) think the industry can do to help prepare women for leadership positions in the industry, and how to eliminate barriers that may exist to women’s career advancement. Data for this study were collected through an online questionnaire adapted from Zhong’s (2006) study on a convenience sample (N = 147) of male and female ATCOs in South Africa. The data analysis was executed by using factor analysis and analysis of variance (ANOVA). Content analysis was used to analyse the two open-ended questions. The findings from the ANOVA suggest that there were four significant gender differences in perceptions of the Personal effort/External support, Attitude/Internal character, Equity, and Family issues. There also were significant differences in opinion on External support/Personal effort, Attitude/Internal character, Equity and Family issues, depending on the number of children the respondents had, and significant differences of marital status on the External support/Personal effort and Family issues. Finally, significant differences were found in the years’ experience variable for Attitude/Internal character. In response to the open-ended questions, most of the respondents suggested that the ATC industry should offer training programmes to improve awareness of possible barriers within the industry, as well as to offer advice on how to overcome them and improve their leadership skills. This could be done by creating programmes on the knowledge and skills needed to advance one’s career or by providing mentors or role models. Future research could compare the perceptions of employees from different race groups and their perceptions of women’s career advancement in male-dominated industries. It is also recommended that researchers conduct in-depth qualitative interviews together with the current questionnaire to evaluate perceptions of the career advancement of women more critically. / Dissertation (MCom)--University of Pretoria, 2012. / Human Resource Management / unrestricted

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Young adult (YA) romance och forskningen kring det är ofta fokuserad på flickorna inom och runt genren. Med tanke på mängden pojkkaraktärer och triangeldramer i YA romance, finns det endast lite forskning kring det. Uppsatsens syfte är därför att analysera och jämföra hur pojkkaraktärernas genuskonstruktioner presenteras i triangeldramer i YA romance, samt att se vilka ideologiska implikationer valet av pojke har. Pojkarna är Cricket och Max från Lola and the Boy Next Door (2011/2014) av Stephanie Perkins, och Rick och Xavier från Loveboat, Taipei (2020) av Abigail Hing Wen. Analysen, som görs med en kvalitativ och komparativ metod, grundar sig i genus- och maskulinitetsteori med särskilt avstamp i Raewyn Connells teorier om hegemoni (2000; 2005) och Magnus Öhrns Pojklandet (2017). Den tidigare forskningen om maskuliniteter i YA romance samt om genus över lag i triangeldramer är begränsad. Forskningsöversikten visar dock att forskning om maskuliniteter i vuxenromance, och i övrig ungdomslitteratur, samt om triangeldramernas andra aspekter har bedrivits. Analysens resultat visar att Perkins och Wen har konstruerat pojkkaraktärer där samtliga, om än i olika utsträckning, blandar hegemoniska drag med utmaningar. Pojkarna kan grovt delas in i en ”good guy”, Cricket och Rick, och en ”bad boy”, Max och Xavier (Day 2020, s. 165). Båda flickprotagonisterna väljer den snälla och ansvarstagande pojken som matchar henne utseendemässigt och intressemässigt. Pojken som väljs har i högre utsträckning en bra relation till sin familj och är villig att offra pojklandet och möta sina problem. Den största skillnaden är Wens sätt att visa det som närmar Rick och Xavier olika hegemonier som konstruktioner. Mot bakgrund av den samhälleliga kontext vi befinner oss i är det viktigt att kritiskt undersöka de maskuliniteter som sprids, och YA romance är en viktig del i det.

When directors in professional Theatre for Young Audiences (TYA) practice inclusive casting, or, in other words, cast an actor with a disability in a role that is not written with a disability, several provocative questions emerge: What are the social implications of inclusive casting? How might stories on stage change due to inclusive casting? What does inclusive casting mean for professional TYA companies and directors? How might performers with disabilities examine their personal and professional relationship to disability when participating in inclusive casting? How might a young audience’s perspective change when inclusive casting is implemented? This thesis examines these questions through interviews with directors, performers, and young audience members. / text