<p>The Swedish old-age care will in the near future face an extensive need to recruit enrolled nurses by virtues of the demographical development. The generation born in the 1940s will soon retire, and at the same time the rest of the population is growing older. One thing that becomes more important in how to draw more people to the old-age care, is to understand how the ones who allready work there experience their own worksituation.</p><p>The purpose of this study was to find out how enrolled nurses from two different generations experienced their own occupational role and make similarities and differences between the two generations experiences visible. The topics of interest in our study are the respondents own thoughts about their education, their worksituation today, what they think of the future and how they believe others regard their work. To fulfill the purpose of our study we used qualitative interviews. We have performed interviews with three enrolled nurses between 50 and 57 years of age and four enrolled nurses between 20 and 25 years of age.</p><p>The result was then analyzed with the help of Ingleharts theory “The silent revolution” and the concept of generations. The results showed that there were differences between the two generations. We can´t either on the basis of the small selection of respondents in our study draw any general conclusions. But some differences that show is that the older generation in a larger extent identify with their own occupational role. We also experience that the older are more satisfied with their work situation. They see possibilities to develop in their profession, which the younger don´t. The younger make demands on more possibilities and are more restless then the older generation. From the result we can also see that eatch generation is relative homogeneous. When their is differences between the generations their is often similarites within the own generation. One thing that both generations have in common and that shows clear in the interviews are the importens of empathy and good treatment.</p>

The Swedish old-age care will in the near future face an extensive need to recruit enrolled nurses by virtues of the demographical development. The generation born in the 1940s will soon retire, and at the same time the rest of the population is growing older. One thing that becomes more important in how to draw more people to the old-age care, is to understand how the ones who allready work there experience their own worksituation. The purpose of this study was to find out how enrolled nurses from two different generations experienced their own occupational role and make similarities and differences between the two generations experiences visible. The topics of interest in our study are the respondents own thoughts about their education, their worksituation today, what they think of the future and how they believe others regard their work. To fulfill the purpose of our study we used qualitative interviews. We have performed interviews with three enrolled nurses between 50 and 57 years of age and four enrolled nurses between 20 and 25 years of age. The result was then analyzed with the help of Ingleharts theory “The silent revolution” and the concept of generations. The results showed that there were differences between the two generations. We can´t either on the basis of the small selection of respondents in our study draw any general conclusions. But some differences that show is that the older generation in a larger extent identify with their own occupational role. We also experience that the older are more satisfied with their work situation. They see possibilities to develop in their profession, which the younger don´t. The younger make demands on more possibilities and are more restless then the older generation. From the result we can also see that eatch generation is relative homogeneous. When their is differences between the generations their is often similarites within the own generation. One thing that both generations have in common and that shows clear in the interviews are the importens of empathy and good treatment.

Perhaps, under the consciousness of today, “neoliberalism” has defined our world during the previous and current centuries more than any other socioeconomic system. But the evolution of this ideology, which initially aimed to enhance, or rather, reinvent capitalism and individual freedom, has, in essence, induced an unrecognized problem. I argue that neoliberalism is the catalyst for much of the hostility in this globalized society where tensions and poverty are casualties of individual and corporate prosperity. Because of this revelation, I argue that neoliberalism inadvertently instills violence that is both unseen and gendered. In order to formulate my argument, I introduce a historical chronology to the ideological origins of neoliberalism and how it manifested its way to its socioeconomic prominence. I then concentrate my attention to neoconservatism, most notably, Reaganism, with the year 1984, which I feel is the official christening of neoliberalism. From that year, I bring forth, three films about the crisis of farming in the 20th century, Country, Places in the Heart, and The River. Through these “farm crisis films,”which centers their themes around pastoral virtues, I argue that the violence conveyed in these films critiques neoliberalism. On the surface, these films demonstrate violence through an invisible and unrecognizable antagonist. But at the heart of this violence is a gendered angle that has much more to do with neoliberalism than with feminist debates. The gendered violence of neoliberalism is, in actuality, linked to the characters’ struggle to maintain some sense of autonomy, but this possibility is always uncertain because of their failure to recognize their inevitable interdependencies.

This thesis deals with the six Czech regional institutions, which aimed at unofficial art during 1980s, thereby created an alternative to Prague's galleries, which were refusing such type of an art. Among them belongs Galerie 55 (Gallery 55) in Kladno, Městské kulturní středisko (Municipal culture centre) in Dobříš, Letohrádek (Summer residence) Ostrov nad Ohří, Galerie ve věži (Gallery in the tower) in Mělník, Alšova jihočeská galerie (Aleš's South Bohemian gallery) in Hluboká nad Vltavou along with Malá scéna Domu kultury (Culture centre's Small scene) in České Budějovice and, as the only private gallery, Galerie H (Gallery H) in Kostelec nad Černými lesy. Based on period documents and memorial texts, this thesis characterize each and every art space, the groups of people who were gathering around them, the exhibition program and the most important exhibitions. It introduces these "galleries" to the period cultural-politics context and to relations with other galleries and important exhibitions of the Czech unofficial art during the eighties.

The thesis focuses on the analysis of the relations between the punk movement and Thatcherism. It explores the roots both of Thatcherism and punk in the seventies and eighties. Next it examines the social and economic crisis of Britain in these years and its consequences on the thinking of the youth and Conservatives. It show both movements had common starting- points and to a certain extent even conclusions. The thesis the focuses on punk's effect on politics and its perception by the society. It also analyses the political background in the second half of 1970s and the victory of Margaret Thatcher in the 1979 election. The last part of the thesis discusses the second punk generation and its perception of Thatcherism. In the end it examines the political conversion of old punkers.

Philosophiae Doctor - PhD / This research attempts to answer the following questions: How and why genocide became possible in Gishamvu and Kibayi? In other words, what was the nature of power at different epochs and how was it exercised? How did forms of political competition evolve? In relation to these forms of competition, what forms of violence occurred acrosshistory and how did they manifest themselves at local level up to 1994? And what was the place of identity politics? Then, what were economic and social conditions since colonial times up to 1994 and how were these conditions instrumentalized in the construction of the ideology of genocide? Finally, how did the Tutsi genocide unfold in Gishamvu and Kibayi? / South Africa

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The thesis deals with Czech art of the 1980s and with the way it was at its own time reflected in relation to the concept of postmodernism. As a widely discussed topic postmodernism enters Czech art scene in the middle of the 80s. At that time key texts were written (primarily by Jana and Jiří Ševčíks and Ludvík Hlaváček) and first unofficial exhibitions of students of Prague art academies known as Confrontations took place. "New painting" or "new art" was interpreted and perceived as an expression or manifestation of the ethical, political and life attitudes of the "postmodern generation". In this context generational theatrical, musical and performative activities were of particular importance (theatre ensembles of Pražská pětka, musical performances of Vladimír Skrepl and Martin John at the openings of their exhibitions, Vaclav Stratil's, Margita Titlova Ylovsky's and Vladimír Merta's band Apage Satanas and others). The thesis discuses some shared attributes of postmodern "mood" and in this broad framework interprets work of some particular artists (Martin John, Vladimír Skrepl, František Skála, Martin Mainer, Jiří Kovanda, Margita Titlová Ylovsky, Jiří Surůvka and others).

The music of He Yong and Zhang Chu, two of the Three Heroes of Magic Stone, has played an integral part in the development of Chinese rock. Often relegated to footnotes in the music’s history, this thesis aims to prove their cultural and musical significance during the late-eighties and early-nineties of China’s Reform and Opening period. The term “voices against an era” was chosen to define He Yong and Zhang Chu’s role as rock musicians with alternative voices during this historical period, with an investigation of the term’s role in creating an alternate dialogue. To do this, I first define what it means to be a “voice of a generation” and “cultural hero” and the mythicizing of these terms as a method of crafting a dominant discourse supporting the illusion of economic reform and globalization. He Yong and Zhang Chu’s implication in the myth is explored through their record company’s promotion of them as “heroes.” I follow this up by establishing the artists as alternative voices utilizing the tools of “noise” and “poetry” to present an alternative depiction of China’s Reform and Opening. Chinese societal issues such as identity loss, alienation, the negative effects of modernity, nature, freedom, and social pressure are then identified and analyzed as central themes in six of the artists’ songs. Lastly, I examine how He Yong and Zhang Chu navigated the paradox of fame to influence subsequent generations of rock musicians and fans through their musical legacy. By following a holistic approach that includes analysis of historical and cultural contexts, biographical information, artist interviews, music, lyrics, promotional material, music videos, and scholarly articles, this study proposes that the role of these two rockers was vital in shaping Chinese popular music and providing alternative interpretations of Reform and Opening.

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