Abstrakt: Den illegala fildelningen har blivit ett omdiskuterat ämne runt om i världen sedan fildelningstjänsten Napster skapades av unge Shawn Fanning. På senare år har flera nya fildelningstekniker utvecklas och upphovsrättskyddat material delas ut och laddas ner av hundratusentals tals personer runt om i Sverige. Syftet med rapporten är att ge en beskrivning av tekniker och lagar som tillämpas inom illegal fildelning. Samt att beskriva olika aktörer som figurerar inom den illegala fildelningen och vilka åtgärder de tillämpar för att fortsätta och skydda sin verksamhet. / Abstract: Illegal file sharing has become a hot topic around the world. The topic has been heavily discussed since the young Shawn Fanning created the file-sharing service Napster. In recent years many new file sharing technologies has been developed and copyrighted files is now shared and downloaded by hundreds of thousands of peoples in Sweden. The thesis purpose is to give a description of technology and laws which are applied in the area of illegal file sharing. And also to describe different actors which appear within the area of illegal file sharing and which measures they apply to continue and protect their activities.

This study explores different actors’ perceptions on how the democratization process is being influenced in Kosovo. It is based upon empirical facts gathered during a field study in Kosovo. The material was mainly gathered through interviews with different representatives from international organizations present in Kosovo and with members of the Kosovar political elite. The theoretical standpoint in the study draws on the theory of polyarchy for defining the concept of democracy, and the two-level game. The interaction between domestic and international actors within the democratization process is highlighted. The conclusions are that different actors are influencing the ongoing democratization process in Kosovo, mainly international external ones acting in several ways and on different levels. This influence is considered by the international community and the domestic political elite to be necessary both for the continued development of democracy and for the preservation of stability. However as the influence has more or less become institutionalized, problems occur when responsibility is handed over to domestic authorities without accountability being made clear.

Nous comptons au total vingt-deux « comédiens-poètes », dont deux sont des femmes, entre le dernier tiers du XVIe siècle jusqu’à la fondation de la Comédie-Française en 1680, soit une période de cent ans environ. Afin de comprendre la naissance puis la montée en puissance de cette pratique d’écriture propre aux comédiens, nous commençons à étudier les conditions de création des pièces de Châteauvieux et Hardy au début du siècle. Dans la première partie, nous étudions l’apparition de cette pratique chez les comédiens parisiens dans les années 1640 à travers Desfontaines et Montfleury. Dans la deuxième partie, nous mettons en lumière l’importance du rôle des commandes et des institutions lors de l’émergence des comédiens-poètes itinérants dans les années 1650 et 1662, à travers des recherches archiviques qui nous révèlent les rapports entre Des Carreaux, Dorimond et Rochefort, comédiens-poètes contemporains de Molière, et les commanditaires de fêtes en province. Dans la troisième partie, toujours selon la même méthode, nous suivons principalement l’activité de Dorimond, Rosidor et Rochefort, dans les années 1660. Nous examinons la concurrence qui se joue entre eux à La Haye et à Bruxelles concernant la création de leurs propres pièces et la reprise de pièces d'auteurs, en particulier celles à machines. Dans l’épilogue, nous mettons en lumière la singularité des habitudes de composition chez les comédiens-poètes, qui sont tout à fait différentes de celle des auteurs, à travers l’analyse des ouvrages de Villiers, Madeleine Béjart, La Thorillière, tous comédiens-poètes occasionnels, et nous perçons à jour le secret de la rapidité de composition des comédiens-poètes en général. / We count in total twenty-two actors-authors, including two women, from the last third part of the XVIth century until the creation of la Comédie-Française in 1680, so upon a hundred years period of time. To understand the birth and then the rising of this actors’ very writting way, we start to study in the prologue Chateauvieux and Hardy’s plays’ first productions’ conditions at the beginning of the century. In the first part, we study the emergence of this practice among parisian actors around 1640 through Desfontaines and Montfleury. In the second part, we light up the important role of plays made to order as well as the institutions while strolling actors-authors emerging in 1650 and 1662. To that purpose we use archivic methods revealing us relationships between Des Carreaux, Dorimond and Rochefort, three contemporaneous actors-authors of Molière, and also provincial parties’ sponsors. In the third part, still with archives’help, we mainly follow Dorimond, Rosidor and Rochefort’s activities around 1660. We study the competition between them in La Haye and Bruxelles regarding their own plays’s first productions as well as authors’plays revival, especially plays with stage effects. In the epilogue, we light up the specificity of the actors-authors writting way, quite different from the authors’way, through the analysis of Villiers, Madeleine Béjart, La Thorillière’s works, all chance actors-authors, and we find out the writting swiftness of actors-authors generally speaking.

Si la direction d’acteurs de Jean Renoir est l’un des aspects les plus importants de son art, elle n’en est pas nécessairement le fait le mieux connu. La compréhension de celle-ci est en effet souvent troublée par des a-prioris théoriques ou par la popularité de certains mythes(comme le mythe de l’improvisation par exemple). Cette thèse propose donc de reconsidérer les pratiques et les théories de la mise en scène des acteurs chez Jean Renoir en restituant ses méthodes de travail à partir de documents d’archives (Cinémathèque française, UCLA), en réexaminant ses réflexions théoriques sur ce thème et en analysant les singularités du jeu des acteurs dans ses films. Nous examinons d’abord une conversion esthétique qui s’est opérée au début de sa carrière et qui constitue le prélude de son intérêt indéfectible pour la question de l’acteur. Ensuite, nous analysons la manière dont Renoir élabore progressivement, durant les années 1930, des stratégies de casting et des méthodes de travail, qui ont toutes pour but d’« animer » ses personnages. Puis, nous évoquons la période américaine du cinéaste durant laquelle sa « méthode française » est mise à rude épreuve par les studios hollywoodiens. Enfin, nous analysons les orientations prises par le cinéaste à la fin de sa carrière, lorsque son cinéma reflète une esthétique plus artificielle et théâtrale. Nous réévaluons notamment les enjeux de sa fameuse « méthode à l’italienne »en clarifiant sa relation au théâtre. En retraçant pas à pas le développement de la direction d’acteurs renoirienne, cette thèse a pour but d’en offrir une vue d’ensemble la plus objective et la plus exhaustive possible. / While the direction of actors is one of the most important aspects of Jean Renoir’s art, it is not necessarily well-known. Its understanding has been obscured by theoretical bias or some popular myths (such as the myth of improvisation). The present thesis therefore aimsto reconsider Renoir’s practices and theories in mise en scène of actors by reconstructing his working methods based on archival documents (Cinémathèque française, UCLA), by examining his theoretical reflections on the issue of actors, and by analyzing their performance in his films. First, we will examine an aesthetic shift which occurred at the beginning of his career and which constituted a prelude to his unwavering interest in the question of actors. Next, we will analyse the way in which in the 1930s he progressively elaborated on strategic casting and working methods, seeking to “animate” the characters. We will then consider the American period of the cineaste during which his “French method” was challenged by the Hollywood studios. Finally, we will analyse the approaches adopted by Renoir at the end of his career when his cinema increasingly assumed artificialand theatrical aesthetics. We reevaluate, in particular, his famous “Italian method” of rehearsal by focusing on its relation to the theater. By retracing the development of the direction of actors by Renoir, the thesis attempts to offer as an objective and exhaustive overview as possible.

L’étude des organisations de l’économie sociale et solidaire est un champ de recherche émergent situé à la croisée des préoccupations des acteurs des réseaux, des pouvoirs publics et du monde académique. Cette recherche doctorale se veut une contribution à l’étude de la structuration de l’ESS, dans un contexte de transition en Tunisie. Elle s‘appuie sur une méthode qualitative combinant deux niveaux d’analyse. Tout d’abord, la construction de ce champ, sous l’angle de ses indicateurs et processus de structuration a été analysée. Ensuite, nous nous sommes intéressés au rôle des réseaux d’acteurs pour enrichir la compréhension de ce processus. La thèse permet de montrer la contribution des pratiques des acteurs à la structuration de l’ESS, dans un contexte d’instabilité institutionnelle. Les résultats accordent une discussion sur le rôle de l’entrepreneur institutionnel dans la construction d’un nouvel ordre institutionnel. Nous montrons également que le lien entre les réseaux et les institutions peut être conceptualisé comme un capital social qui jouerait un rôle déterminant dans la structuration.Mots clés : économie sociale et solidaire, champ organisationnel, isomorphisme, réseau d’acteur, capital social / The study of the social and solidarity economy (SSE) organizations is an emerging field research located across the convergent point for the common concerns of networks actors, public authorities and academic world. This doctoral research is a contribution to the study of the social economy structure in the context of transition in Tunisia. It is based on a qualitative method that combines two levels of analysis. Firstly, we studied the construction of this field, in terms of its indicators and structuring processes. Then, we have moved to study the role of networks actors in order to deeply understand this process. This thesis, leads to highlight the contribution of the practices of actors in the SSE structuring, in the context of institutional instability. Results discuss the role of the institutional entrepreneur in the construction of a new institutional arrangement. We, as well, show that the link between networks and institutions could be conceptualized as a social capital which plays a determinant role in the structuring.Key words: social and solidarity economy, organizational field, network actors, isomorphism, social capital

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As a new paradigm, restorative justice underlies a culture of peace, offering alternative means for a conflict resolution which can be applied not only on the legal field, but also on the fields of community, education and family. Taking this into account, in this study we sought to answer the following question: in the Brazilian context, how are the social actors represented linguistically in a didactic manual meant for the formation of social agents able to coordinate restorative justice practices? The main purpose of this work is to analyze the forms of representation of the social actors expressed in a manual of restorative justice. Thus, we based our corpus study on the manual Initiation in Restorative Justice: subsidies of restorative practices for conflict transformation (2006), which was used in the design activities of the Gaucho Project Justice for the 21st Century. Through the theories of discourse genres, we selected for the linguistic analysis the statements from the manual that belong to a guideline aimed to help the implementation of Restorative Procedures. Based on Bakhtinian assumptions, we analyzed the linguistic forms inserted in a specific socio-historical context. We conducted a socio-historical analysis of the most immediate and wider context which involve the production of the manual, and analyzed the forms of representation of the social actors based on the categories developed by van Leeuwen (1997). In this study, we verified that the linguistic choices produced in a certain context reflect a dialogic tension between distinctive realities. The analysis showed that the representations of the social actors indicate a reality constructed according to the ideals of the restorative paradigm. However, certain representations move away from these ideals. From our point of view, the language reveals that restorative justice during this initial stage of implementation has been promoting dialogue with other world visions as an attempt to establish itself as a paradigm. / Como um novo paradigma, a justiça restaurativa fundamenta-se em uma cultura de paz, oferecendo meios alternativos para a resolução de conflitos que podem ser aplicados não apenas no campo jurídico, mas também no comunitário, educacional e familiar. A partir disso, buscamos responder, com este estudo, a seguinte pergunta: no contexto brasileiro, como os atores sociais são representados linguisticamente em um manual didático voltado para a formação de agentes sociais capazes de coordenar práticas de justiça restaurativa? O objetivo principal deste trabalho é analisar as formas de representação dos atores sociais expressas em um manual de justiça restaurativa. Para tanto, tomamos como corpus o manual Iniciação em Justiça Restaurativa: subsídios de práticas restaurativas para a transformação de conflitos (2006), utilizado nas atividades de formação do projeto gaúcho Justiça para o Século 21. Selecionamos para a análise linguística os enunciados do manual que pertencem a um roteiro destinado a orientar a realização de Procedimentos Restaurativos, pelo viés das teorias de gêneros discursivos. Com base nos pressupostos bakhtinianos, analisamos as formas linguísticas inseridas em determinado contexto sócio-histórico. Realizamos uma análise sócio-histórica do contexto mais imediato e do mais amplo que envolve a produção do manual e analisamos as formas de representação dos atores sociais com base nas categorias elaboradas por van Leeuwen (1997). Por meio deste estudo, verificamos que as escolhas linguísticas, produzidas em dado contexto, refletem uma tensão dialógica entre realidades distintas. A análise mostrou que as representações dos atores sociais apontam, na maioria das vezes, para uma realidade construída de acordo com os ideais do paradigma restaurativo. Contudo, certas representações distanciam-se desses ideais. A nosso ver, a linguagem revela que a justiça restaurativa, durante esse seu período inicial de implantação, vem dialogando com outras visões de mundo, como uma tentativa de estabelecer-se como um paradigma.

The purpose of this essay is to explore actions of the representatives of the church during the first of the trials of what later developed to the great swedish witch-hunts between the years 1668–1676. The method of this study is microhistorical, where you look at local events that then can be applied on a bigger scale. The theoretical ideas applied are Michel Foucault theories of a society at war, and the dynamics between central power and peripheral power in that kind of situation. By applying these theories, the relations between central juridical directives and the enforcement of these in a local place can be studied. The main subject of interest for this essay is clerical representative Lars P. Elvius, who, during the trials, were the one responsible and the one the rest of the court relied on for interpreting the crimes of witchcraft, maleficum and other crimes of supernatural art. By looking at the directives and laws concerning witchcraft, how he interpreted the testimonies of the accused and what kind of verdict was given at the end of the trial, the relationship between central directives and peripheral enforcement is made clear. This study is part chronological and part thematic; the directives and laws presented first, followed by the interpretation during the trial categorized thematically, with correlating testimony and crime, and finally the verdict at the end of the trial.

Masters in Public Administration - MPA / The paper investigates the challenges of consolidating beneficiary participation in the planning and implementation of projects, the effects on project outcomes and the implications for community based development. It examines one of such projects in Sekondi- Takoradi Metropolis of Ghana by assessing the entire planning and implementation of the project, the participatory mechanisms used and the current state of the project in terms of its sustainability. The paper critically investigates a broad arena of literature relating to the evolution of the participatory concept and its relation to development planning and management. It further explores some of the critiques leveled against the concept. The paper argues further that beneficiary participation in Community Based Development Projects (CBDPs) in Ghana is a challenge because of the internal rigidities associated with the use of the concept. It explains through evidence from the analyzed data that understanding the strategies for the participatory process as well as the socio dynamics of the beneficiaries involved is important in ensuring positive project outcomes. / South Africa

Ville et musiques amplifiées sont intimement liées, ainsi l’étude d’une scène artistique peut éclairer le fonctionnement d’un système métropolitain et les enjeux liés aux recompositions des territoires. Cette thèse a pour objectif de le montrer au regard de l’exemple toulousain. Toulouse représente une scène riche et diversifiée, constituée d’un fourmillement d’initiatives associatives, dont les activités révèlent des logiques multiples d’ancrage au territoire, sans cesse renouvelées. L’exploitation d’une série de plusieurs enquêtes de terrain menées auprès des acteurs de la scène locale conduit à décrypter les rouages du territoire des musiques amplifiées. Ces acteurs investissent des lieux, se structurent en réseaux, impulsent des dynamiques territoriales spécifiques… Ils offrent une entrée originale pour aider à comprendre les mutations socio-spatiales et engager une réflexion sur l’implication citoyenne dans la vie de la cité. / City and amplified music are closely intertwined, thereby the study of an artistic scene can shed light on the working of a metropolitan system and the issues related to territorial recomposition. This thesis aims to show it under the example of Toulouse. Toulouse is a rich and diverse scene, consisting of a swarm of association initiatives that reveal multiple logical territorial ties, constantly renewed. The use of several field surveys conducted with actors from the local scene allows us to decipher the workings of the amplified music's domain. These actors gather into places, are structured in networks, spurring specific territorial dynamics. They offer an innovative input to help understand the socio-spatial transformation and reflect on citizen involvement in civic life.

Objective: Public projects are used to deliver policy objectives. From a financial perspective, the Major Projects Authority (MPA) estimated a whole life investment of £488 billion for 199 major projects in 2014, only a small subset of the total number of public projects. Given the financial exposure, the impact of endemic public project failures could put the economic health of the nation at risk. This thesis studies the challenges facing public projects. It applies an organisational capabilities lens to investigate projectification, when organisations shift away from functional-based organising (FBO) toward project-based organising (PBO). Research Design: This study adopts an interpretivist research paradigm, with a constructionist epistemology and an idealist ontology, and employs an abductive research strategy. Structurally, it follows the Cranfield Executive Doctorate in Business Administration (DBA) methodology, with a linking document that summarises three complementary research projects: a systematic literature review (SLR) followed by two empirical studies that investigate the Department of Health (DoH) during the early phases of the Next Stage Review Implementation Programme (NSRIP). The findings are derived from over 250 academic literature sources, 100 government publications and 41 semi-structured interviews.