Organizations across the United States and in many parts of the globe are increasingly focused on providing their customers with an excellent service experience by implementing organizational emotion display rules (Hochschild, 1983). These display rules dictate the requisite employee emotions for a particular encounter (Ekman, 1973). However, over the course of a work day display rules may call for expressions that contradict an employee's genuine emotions, thus prompting a discrepancy between felt emotions and required emotions -- emotional dissonance (Hochschild, 1983). Emotional labor involves employee efforts to reduce emotional dissonance in order to adhere to organizational display rules (Hochschild, 1983; Grandey, 2000). Hochschild (1983) identified two emotional labor strategies that may be used by employees -- surface acting (managing observable expressions to obey display rules) and deep acting (corresponds to managing feelings in order to actually feel the emotion required by the display rules). This study examined emotional intelligence, affectivity and gender as potential antecedents of an employee's choice of emotional labor strategy in order to meet organizational display rules. I also investigated the differential impact of the emotional labor strategies on the individual outcomes of emotional exhaustion and job satisfaction, and service performance.Correlation and moderated regression analyses as well as structural equation modeling were employed to test the proposed hypotheses. Two hundred and twenty-three employee-supervisor pairs completed surveys to examine the research hypotheses. Correlation results indicate that emotional intelligence, affectivity and gender related to the emotional labor strategies in the expected directions. Similarly, deep acting and surface acting displayed differential relationships with emotional exhaustion, job satisfaction and service performance. Moderated regression analyses suggest that females were more likely to report negative outcomes when engaging in surface acting. Structural equation modeling results indicate that affectivity predicted choice of the emotional labor strategies, which in turn predicted the outcomes of emotional exhaustion, job satisfaction and service performance.

Syftet med denna studie är att undersöka hur kriminalvårdare vid häktet Kronoberg på avdelningen för polisarrest och säkerhet hanterar sina emotioner i det dagliga arbetet med personer som är gripna, anhållna, häktade samt personer som är omhändertagna enligt lagen om berusade personer. Studien behandlar även frågan huruvida det går att urskilja några känslomässiga konsekvenser av att arbeta på denna avdelning. För att genomföra studien intervjuades totalt fem stycken kriminalvårdare, tre män och två kvinnor. Respondenterna hade olika lång anställning och ålder. Studien utgår ifrån emotionssociologin och det dramaturgiska perspektivet.Sammantaget visar studien att kriminalvårdarnas egen inställning till hur en bra kriminalvårdare ska vara stämmer väl överens med hur kriminalvården själva definierar tjänsten som en professionell kriminalvårdare. Personalens försök att leva upp till detta stämmer överens med Hochschilds teorier om surface acting och deep acting, där de genom surface acting trycker undan sina egna känslor för att visa andra känslor och på det sättet kan de påverka hur en situation ska sluta. Den vanligaste förekommande känslan hos personalen i samband med de tillfällena kriminalvårdarna var tvungna att aktivt arbeta med sina känslor genom surface acting var ilska och aggression. En intressant iakttagelse från studien var att det fanns en gräns för personalen där de inte längre kunde, ville eller orkade tillämpa surface acting och handlandet rättfärdigades med att den intagne var så pass våldsam eller svårhanterlig att det inte längre gick att spela med längre. Var den gränsen gick var dock inte helt självklart och berodde på hur situationen såg ut och vilken kriminalvårdare som ställdes inför gränsprövningen.Miljön på häktet beskrivs som relativt hotfull och våldsam. Personalen bearbetar arbetet och miljön de befinner sig i nästan uteslutande genom att prata med sina kollegor och använda sig av en viss jargong eller som Crawley beskriver det som en ”svart humor”. Avslutningsvis visar studien att kriminalvårdarna påverkas negativt av arbetet på häktet genom att bli mer cyniska, fördomsfulla och få en ökad misstro mot människor.

"...we, directors and actors, put into practice the practice - we don't practice the theory. I think that if there is no theory of acting, at least there are theoretical laws that we may find, curiously enough, in all traditions of acting. It is true that the term "theory of acting" does not seem fundamentally wrong, but it seems always somewhat imperialistic and pretentious. I prefer to use fundamental laws which we sometimes know but then sometimes lose and forget. It is only practice that all of a sudden can make law or tradition rise to the surface. I will not say then that there is no theory of acting; on the contrary, there have been many of them. Of course, what interests me in these multiple theories are the essential laws that are common to all of them." - Ariane Mnouchkine (from "Building Up the Muscle" in Re:direction edited by R. Schneider and G. Cody, Routledge, London, 2002.) I come to filmmaking from an actor's perspective and believe that the power of each individual performance is the key to audience engagement with a feature film. The technical aspects of filmmaking, for me, exist primarily to serve the story as revealed through the actors' performances. Because performance in film has been a neglected area of research, I set out to explore the different approaches to performance theory which might apply to film performance in an Australian context. In this dissertation, I have asked a number of key questions about how the director communicates with the actor to elicit the desired performance. I framed this thesis around one overarching question: What is the dominant approach used by Australian film directors when working with actors on performance? This study reveals that many Australian filmmakers have been most influenced by a wide variety of approaches to working with actors, particularly because of the way actors are trained in Australia. My interest in this project was partially triggered by my observation that many filmmaking students at QUT seem driven by the technical aspects of filmmaking. Given the complex demands made on actors, filmmakers who do not learn to speak the actor's language arguably fail to capitalize on their working relationships with actors. I have attempted to express my findings in plain English because the whole purpose of this project was to ensure that my findings would be of use to new filmmakers in a practical sense.

Thesis (M.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (viewed September 22, 2008) Includes bibliographical references (p. 50-52)

Thesis (M.F.A.)--University of Central Florida, 2010. / Adviser: Julia Listengarten. Includes bibliographical references (p. 119-121).

Tarefas: uma estratégia para criação de performances é uma pesquisa em poéticas visuais que teve origem no processo de criação de Figuras e Fantasmas e nos desdobramentos que as apresentações públicas desta performance produziram. A investigação teórica e prática desenvolvida para performance Figuras e Fantasmas conduziu este estudo à noção de tarefa, um processo de trabalho criado por Anna Halprin, no final dos anos 1950. Estudamos a tarefa em termos processuais e conceituais e, a partir desse referencial teórico, analisamos os meios pelos quais podemos empregar contemporaneamente um procedimento que espelha uma época na qual a simbiose entre arte e vida somada ao papel do artista estavam em questão. Nossa investigação propõe um recorte que elegeu a não-atuação, atuação, repetição e duração como elementos estruturais das tarefas. Constatamos que esses elementos dosados e articulados permitem que noção original de tarefa possa ser atualizada. / Tasks: an strategy to the creation of performances is a research in Visual Poetics that was originated with the process of creation of Figuras e Fantasmas and the results that unfolded from its public presentations. The theoretical and practical investigations developed for the performance Figuras e Fantasmas directed this study to the notion of task, that was a process of work created by Anna Halprin in the end of the 1950s. From these theoretical references, the task was studied in processual and conceptual terms and there was made an analysis of the means through which, contemporaneosly, we could use a procedure mirroring a period when the symbiosis between art and life in conjunction with the role of the artist were in question. In this investigation, the not-acting, acting, repetition and duration were chosen as structural elements of the tasks. It was verified that these elements - measured and articulated - allow the original notion of task to be updated.

Tarefas: uma estratégia para criação de performances é uma pesquisa em poéticas visuais que teve origem no processo de criação de Figuras e Fantasmas e nos desdobramentos que as apresentações públicas desta performance produziram. A investigação teórica e prática desenvolvida para performance Figuras e Fantasmas conduziu este estudo à noção de tarefa, um processo de trabalho criado por Anna Halprin, no final dos anos 1950. Estudamos a tarefa em termos processuais e conceituais e, a partir desse referencial teórico, analisamos os meios pelos quais podemos empregar contemporaneamente um procedimento que espelha uma época na qual a simbiose entre arte e vida somada ao papel do artista estavam em questão. Nossa investigação propõe um recorte que elegeu a não-atuação, atuação, repetição e duração como elementos estruturais das tarefas. Constatamos que esses elementos dosados e articulados permitem que noção original de tarefa possa ser atualizada. / Tasks: an strategy to the creation of performances is a research in Visual Poetics that was originated with the process of creation of Figuras e Fantasmas and the results that unfolded from its public presentations. The theoretical and practical investigations developed for the performance Figuras e Fantasmas directed this study to the notion of task, that was a process of work created by Anna Halprin in the end of the 1950s. From these theoretical references, the task was studied in processual and conceptual terms and there was made an analysis of the means through which, contemporaneosly, we could use a procedure mirroring a period when the symbiosis between art and life in conjunction with the role of the artist were in question. In this investigation, the not-acting, acting, repetition and duration were chosen as structural elements of the tasks. It was verified that these elements - measured and articulated - allow the original notion of task to be updated.

Submitted by Gabriela Lopes (gmachadolopesufpel@gmail.com) on 2016-09-28T14:00:15Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-28T19:03:52Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) / Made available in DSpace on 2016-09-28T19:03:52Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) dissertação.pdf: 1451490 bytes, checksum: 8db111be8fc2a2a277ed6aa88f84a6e6 (MD5) Previous issue date: 2013-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / As raízes possuem uma grande variedade de funções nas plantas, incluindo absorção de água, nutrientes e suporte estrutural. A combinação de métodos clássicos de genética e melhoramento com tecnologias moleculares de análise genômica abre uma nova perspectiva para a ampliação do conhecimento das bases genéticas e aceleração de programas de melhoramento. A maioria dos conhecimentos sobre as redes gênicas envolvidas no desenvolvimento radicular vem sendo acumuladas na espécie Arabidopsis thaliana, modelo de planta dicotiledônea. O entendimento dos mecanismos envolvidos na regulação da expressão dos genes é essencial para compreender a forma e a função dos sistemas. Os elementos cis-acting são regiões do DNA que atuam como interruptores moleculares envolvidos na regulação da transcrição de uma rede gênica dinâmica. Embora freqüentemente tenham somente cinco a 20 pb de tamanho, os elementos cis-acting são críticos para o entendimento da regulação gênica. O conhecimento destes elementos presentes na região promotora de famílias gênicas, poderá contribuir para a compreensão dos sistemas reguladores da expressão da rede gênica envolvida na formação do sistema radicular. O objetivo desse trabalho é identificar os elementos cis-acting presentes na região promotora de genes de arroz (Oryza sativa subsp japonica cv. Nipponbare) similares aos genes das famílias Argonauta, Cullin e Ara de Arabidopsis thaliana. A região promotora dos genes destas famílias no arroz foi investigada quanto à abundância destes elementos. As seqüências foram analisadas utilizando o programa “Signal Scan Search” do portal “Plant Cis-acting Regulatory DNA Elements” (PLACE) para a identificação dos diferentes elementos cis-acting. Foram detectados 96 diferentes elementos, sendo cinco destes (GAREAT (TAACAAR), TGACGTVMAMY (TGACGT), CCAATBOX1 (CCAAT), LECPLEACS2 (TAAAATAT) e SV40COREENHAN (GTGGWWHG), comuns as famílias gênicas Argonauta, Cullin e Ara. / The roots have a large range of functions in plants, including acquisition of water and nutrients, as well as structural support. The combination of classical methods of genetics and breeding with molecular technologies for genomic analysis opens a new perspective to expand the knowledge of the genetic basis and to accelerate breeding programs. The most advanced knowledge regarding gene networks involved in root development has been obtained in the model dicotyledon plant species Arabidopsis thaliana. Understanding the mechanisms involved in regulation of gene expression is essential to predict the form and function of systems. Cis-acting elements are DNA regions that act as molecular switches involved in the regulation of transcription of dynamic gene network. Although often having only five to 20 bp in size, cis-acting elements are critical to the understanding of gene regulation. Knowledge of the cis-acting elements present in the promoter region of gene families, can contribute to the understanding of the expression regulatory systems of these genes and others, involved with the root system. The objective of this study is to identify the cisacting elements present in the upstream region of rice (Oryza sativa subsp japonica cv. Nipponbare) genes, similar to gene families Argonauta, Cullin and Ara in Arabidopsis thaliana. The promoter region of these rice gene families were investigated for the abundance of cis-acting elements. The sequences were analyzed using the software “Signal Scan Search” of the website “Plant Cis-acting Regulatory DNA Elements” (PLACE) to the identification of different cis-acting elements. It were detected 96 different cis-acting elements, and five of these, (GAREAT (TAACAAR), TGACGTVMAMY (TGACGT), CCAATBOX1 (CCAAT), LECPLEACS2 (TAAAATAT) e SV40COREENHAN (GTGGWWHG) were common to the gene families Argonauta, Cullin and Ara.

Tarefas: uma estratégia para criação de performances é uma pesquisa em poéticas visuais que teve origem no processo de criação de Figuras e Fantasmas e nos desdobramentos que as apresentações públicas desta performance produziram. A investigação teórica e prática desenvolvida para performance Figuras e Fantasmas conduziu este estudo à noção de tarefa, um processo de trabalho criado por Anna Halprin, no final dos anos 1950. Estudamos a tarefa em termos processuais e conceituais e, a partir desse referencial teórico, analisamos os meios pelos quais podemos empregar contemporaneamente um procedimento que espelha uma época na qual a simbiose entre arte e vida somada ao papel do artista estavam em questão. Nossa investigação propõe um recorte que elegeu a não-atuação, atuação, repetição e duração como elementos estruturais das tarefas. Constatamos que esses elementos dosados e articulados permitem que noção original de tarefa possa ser atualizada. / Tasks: an strategy to the creation of performances is a research in Visual Poetics that was originated with the process of creation of Figuras e Fantasmas and the results that unfolded from its public presentations. The theoretical and practical investigations developed for the performance Figuras e Fantasmas directed this study to the notion of task, that was a process of work created by Anna Halprin in the end of the 1950s. From these theoretical references, the task was studied in processual and conceptual terms and there was made an analysis of the means through which, contemporaneosly, we could use a procedure mirroring a period when the symbiosis between art and life in conjunction with the role of the artist were in question. In this investigation, the not-acting, acting, repetition and duration were chosen as structural elements of the tasks. It was verified that these elements - measured and articulated - allow the original notion of task to be updated.

Deparar com um sujeito que se corta pode ser, para quem inicia o percurso clínico, muito mobilizador. Uma convocação ao olhar acontece de maneira extremamente pungente. A pergunta que orienta esta pesquisa é: de que de modo o dispositivo analítico pode operar nessa tríade: olhar/palavra/elaboração? Para buscar responder, o recorte deste trabalho se estabeleceu a partir do material clínico de que dispúnhamos. Mais precisamente, abordamos o ato de cortar-se na sua apresentação em sujeitos neuróticos, mas outras investigações se fazem necessárias, por exemplo, quanto ao ato de cortar-se na psicose e na perversão. Até o presente momento, existe parca bibliografia específica sobre o ato de cortar-se em Psicanálise. Sendo assim, fizemos um breve apanhado sobre o tema na Psiquiatria, na Antropologia e na Sociologia. Também apresentamos o ato de cortar-se no seu contexto midiático, uma vez que a internet e as redes sociais são um dos meios pelos quais as pessoas que se cortam publicizam anonimamente seu sofrimento psíquico. Lançando mão da teoria freudiana, mostramos a importância de cunhar o termo ato de cortar-se do ponto de vista metapsicológico. E, depois, apresentamos dois casos clínicos, onde os conceitos de: angústia, acting-out e passagem ao ato, vistos por Freud e Lacan, se fizeram fundamentais para conduzir as análises dos casos. Com isso, esperamos contribuir para a ampliação de um campo de estudo sobre o tema / For those who are just starting clinical practice, coming across a subject who self-cuts can be very disturbing. The gaze is summoned very poignantly. The question that guides this research is: in what way can the analytical device operate in the gaze/ speech/ psychic elaboration triad? To answer this, the focus of this work is based on the clinical material at our disposal. More precisely, we approached the act of self-cutting as it presents itself in neurotic subjects. As this act also appears in psychosis and perversion, further investigations are necessary. In Psychoanalysis, there is scant literature on this specific act to date, so we did a brief survey on the topic in Psychiatry, Anthropology, and Sociology. We also present the act of self-cutting in the context of media, as self-cutters use the internet and social networks as a means to anonymously bring to public notice their psychological distress. Using Freudian theory, we show the importance of coining the term \"act of self-cutting\" from a metapsychological point of view. Afterwards, we present two clinical cases where the concepts of anguish, acting-out and passage to the act, as seen by Freud and Lacan, became fundamental in conducting the analyzes of these clinical cases. With this, we hope to contribute to the expansion of the field of study on the subject