In the rural water scheme projects across sub-Saharan Africa, the participatory Community Based Management model has become the norm. Through initial financing by oustide funders, the goal is for communities to independently take on the financing of the operation and maintenance (O&M) of the improved water schemes, thereby ensuring sustainability and functionality of the pumps. Evidence has been gathering, however that this model, combining ideals of collective action with the logics of commodification, has been frequently failing, one in three hand pumps in Africa are out of function, and communities struggle to meet the financing needs of O&M in infrastructures which perpetuate isolation. This, however, does not lie fully in the fault of the communities, or implementation, but also in theoretical downfalls of the CBM. Looking at a community-based rural project in the Tikar region of Central Cameroon as well, this research reveals the limits of CBM to achieving sustainable water access, as well as reveal new angles and paradigms to pursue.

Small-scale fisheries represent an important sector for Tanzania’s economy and the contribution to the livelihood of people. In Lake Babati, fish stocks are decreasing, mainly because of illegal fishing methods. This study therefore aims at examining how the problems of illegal fishing affect the fishermen, as well as their perceptions of the implemented fish ban. By using semi-structured interviews, a seasonal calendar and a Venn diagram, the data was analysed through a Critical Institutionalist lens. The results show that the fish ban has not improved the situation and that the fisheries co-management in Lake Babati is weakly practiced. Furthermore, the complexity of socially embedded relations constrains the organisation among the fishermen. As a response to the inadequate management, the fishermen suggest other solutions for preventing illegal fishing.

Made available in DSpace on 2016-07-27T13:46:27Z (GMT). No. of bitstreams: 1 HULDA SILVA CEDRO DA COSTA.pdf: 2734160 bytes, checksum: a0146805d81523745399983125973f20 (MD5) Previous issue date: 2013-12-19 / This thesis analyzes the Umbanda religion and its consolidated training process through a continuous syncretism that began in the late 17th Century, with the first black religious communities, mostly Bantu s origin. This formation process of Umbanda presented four phases. The first one began with the Calundu, in the 17th Century, advancing to Cabula, in the early 19th Century, the Macumba, in the middle of this same century, resulting in Umbanda, which emerged in the early 20th century, and has become the fourth phase of this syncretic religious and continuous process. The research is intended to open a discussion about the formation process of the structural basis of The Umbanda Religion, which origin comes from the fusion of several elements of African origin, the Spiritualism of Kardecista, the elements of indigenous origin and even the elements of Catholicism. This way, it characterizes a highly syncretic process, and because of its approach to Christianity, a significant separation from its African headquarters occurred. Nowadays, some theorists do not want to use the term syncretism, relating it to situations of domination, as something impure, and therefore, relegated as a negative term, considered a pejorative concept, such as bringing in its essence, a conception of the mixture, thus denying the originality and identity of the African s descent people. Thus, some researchers prefer to use the terms hybridity and bricolage(DIY), stating that these terms are different from the term syncretism. As a result of this debate, we can clearly identify in which parts of the discussion these authors either match or differ in their points of view, and how different and distant they are in their theories about these terms, in order to verify the applicability of the Umbanda Religion. We approach the search process of its legitimation as a Brazilian Umbanda religion, and to be accepted by the ruling class. Accordingly, we analyze its passage by the Vargas era, its relationship with the Catholic Church and the military dictatorship, when it reached its zenith. We analyzed its precipitous decline, from the 1980s on, with the growth of neo- Pentecostal movements. Since then, the Umbanda has been in decline, but revived in the 21st. century, represented by three major religious segments namely: Initiative Umbanda, Holy Umbanda and Cross Line Umbanda. / A presente tese analisa a religião Umbanda e seu processo de formação consolidado por meio de um sincretismo contínuo que teve início no final do século XVII, com as primeiras comunidades religiosas negras, em sua grande maioria de origem banto. Esse processo formador da Umbanda apresentou quatro fases. A primeira, se iniciou com o Calundu, no século XVII, perpassando pela Cabula, no início do século XIX, pela Macumba, em meados deste mesmo século, resultando na Umbanda, que surgiu no início do século XX, e se constituiu a quarta fase deste processo religioso sincrético e contínuo. A pesquisa tem a finalidade de abrir uma discussão acerca do processo formador da base estrutural da religião Umbanda, que nasceu da fusão de vários elementos de origem africana, do Espiritismo Kardecista, de elementos de origem indígena e ainda de elementos advindos do catolicismo, caracterizando dessa forma, um processo altamente sincrético, e por causa da sua aproximação com o cristianismo, ocorreu um afastamento significativo de suas matrizes africanas. Atualmente, alguns teóricos não querem utilizar o termo sincretismo, relacionando-o às situações de dominação, como se fosse algo impuro, sendo, portanto, relegado como um termo negativo, considerado um conceito pejorativo, no sentido de que ele poderia trazer em seu bojo uma concepção de mistura, negando assim a originalidade e a identidade dos povos afro descendentes. Assim, alguns pesquisadores preferem utilizar os termos hibridismo e bricolagem, afirmando que esses termos são diferentes do termo sincretismo. Diante desse debate, verificamos onde esses diferentes autores se encontram e onde se distanciam em suas teorizações acerca desses termos, para verificar a aplicabilidade na religião Umbanda. Abordamos o processo de busca de legitimação da Umbanda como uma religião brasileira, e para ser aceita pela classe dominante. Nesse sentido, analisamos a sua passagem pela era Vargas, sua relação com a igreja católica e com o regime militar, momento este último, que lhe proporcionou vivenciar o seu apogeu. E analisamos a sua queda vertiginosa, a partir dos anos de 1980, com o crescimento dos movimentos neopentecostais. A partir daí, a Umbanda entrou em declínio, mas ressurgiu no século XXI, representada por três grandes segmentos religiosos a saber: a Umbanda Iniciática, a Umbanda Sagrada e a Linha Cruzada.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-02-27T13:09:03Z No. of bitstreams: 2 Dissertação - Nayala Nunes Duailibe - 2014.pdf: 4258454 bytes, checksum: 15d1bd75853d756c3d3c632a197fc5c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-03-04T11:49:56Z (GMT) No. of bitstreams: 2 Dissertação - Nayala Nunes Duailibe - 2014.pdf: 4258454 bytes, checksum: 15d1bd75853d756c3d3c632a197fc5c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-04T11:49:56Z (GMT). No. of bitstreams: 2 Dissertação - Nayala Nunes Duailibe - 2014.pdf: 4258454 bytes, checksum: 15d1bd75853d756c3d3c632a197fc5c5 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-05-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at presenting ethnographically called historic center of São Luís - Maranhão, World Heritage since 1997. Anthropology focuses on this category showing the region delimited as the historical center from multiple possibilities of understanding. The city has an ancient urban layout with a core of civil architecture from the eighteenth and nineteenth centuries, whose characteristics, mostly from colonial origin, were maintained: irregular urban layout, churches, houses, properties of domestic and commercial use. To IPHAN the brand's historic center is the maintenance of urban layout and the preservation of "mansions". For people who live transit and appropriate other issues relate to the conflict marked by heritage. In this place, are direct relationships with property issues on which we can realize appropriations, senses of places, sociability. On the other hand, the memories lead to understanding of a plural place, thus the DIY category is used as a tool to make sense of the present experiences of place in the historic center. Also apprehends the idea of a polyphonic place through the list of names given by the speakers: Praia Grande, Revive and historic center. These categories are used to show that the place used, subverted and even recollected, too, is one of places, a polyphonic discourse. / Este trabalho tem por objetivo apresentar etnograficamente o chamado centro histórico de São Luís - Maranhão, Patrimônio Mundial desde 1997. A Antropologia debruça-se sobre esta categoria mostrando a região delimitada como centro histórico a partir de múltiplas possibilidades de entendimento. A cidade apresenta um núcleo antigo com um traçado urbano de arquitetura civil dos séculos XVIII e XIX, cujas características, em sua grande maioria de origem colonial, foram mantidas: traçado urbano irregular, igrejas, casario, imóveis de uso doméstico e comercial. Para o IPHAN a marca do centro histórico é a manutenção do traçado urbano e a preservação dos ”casarões”. Para as pessoas que vivem transitam e se apropriam outras questões relacionam-se ao conflito marcado pelo patrimônio. Nesse lugar, estão relações diretas com questões patrimoniais sobre as quais pode-se perceber apropriações, sentidos de lugares, sociabilidades. Por outro lado, as memórias conduzem a compreensão de um lugar plural, dessa forma, a categoria bricolagem é utilizada como instrumento para entender o sentido das experiências de lugar presentes no centro histórico. Apreende-se também a ideia de um lugar polifônico por meio da relação dos nomes dada pelos interlocutores: Praia Grande, Reviver e centro histórico. Estas categorias são usadas para mostrar que o lugar, usado, subvertido e mesmo rememoradas é, também, um entre lugares, um discurso polifônico.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-03-09T12:38:50Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_GambiarraCenaPoetica.pdf: 1850814 bytes, checksum: 726214d8ab8d72413d5d3ce7c7497d27 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-03-09T12:39:51Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_GambiarraCenaPoetica.pdf: 1850814 bytes, checksum: 726214d8ab8d72413d5d3ce7c7497d27 (MD5) / Made available in DSpace on 2017-03-09T12:39:51Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_GambiarraCenaPoetica.pdf: 1850814 bytes, checksum: 726214d8ab8d72413d5d3ce7c7497d27 (MD5) Previous issue date: 2011-03-18 / O objeto de estudo desta pesquisa é a reflexão sobre a apropriação da gambiarra de luz para a cena expositiva. De forma específica serão tratados os mecanismos culturais favoráveis a esse processo, transversal na sua essência, sua contribuição para uma cena expositiva dramatizada, com um recorte no final do século passado até os nossos dias, delimitando-se o problema estudado à realidade de Belém do Pará. Tem como finalidade a compreensão dos processos de criação, construção e recepção das gambiarras como artefato iluminante na ativação de obras de arte. Para tanto, é discutida a iluminação dentro do universo da galeria de arte a partir da apropriação das gambiarras de luz que fazem parte do cotidiano urbano de Belém do Pará, a fim de avaliar a iluminação enquanto potência na ativação de obras de arte. Na sequência argumentativa do estudo, articulam-se o entendimento da relação do iluminante com os outros elementos da exposição de arte, visto que o mesmo opera como agente de ativação não só da obra, mas da situação espacial em que ela se encontra, com o intuito de produzir teoria e fortalecer a arte como campo de conhecimento. A gambiarra tem caráter de implicação conceitual de sentido, não apenas enquanto objeto, mas a partir do que ela produz, o que denominamos de efeitos socioestéticos. Estes deverão ser lidos a partir dos quinze anos de experiência desta pesquisadora na apropriação, ressignificação e recondução de artefatos luminosos para a função de ativadores de espaços expositivos, em uma afirmação da práxis como elemento principal de articulação dos caminhos da pesquisa, tendo em vista que, no decorrer deste tempo, um método foi se desenhando e encontra-se em consonância com esta pesquisa. Para operar de maneira mais eficiente dentro da complexidade dos campos da materialidade e reprodutividade do objeto, dos dispositivos de instauração das obras de arte, da gambiarra como caminho inventivo e de solução investigativa que acontece num campo de subjetividade, empregou-se a abordagem metodológica da bricolage. / The object of this research is the reflection about the appropriation of the gambiarra lights to the scene exhibition. In an specific way there will be treated the cultural mechanisms favourable to this process, transversal in its essence, its contribution to an expository scene dramatized, with an indentation at the end of last century to the present days, outlining the problem studied to the reality of Belém do Pará. The research has the purpose of understanding the creating processes, building and reception of gambiarras such as illuminating artifact in the activation of artistic creation. For this, the study discusses about light within the universe of art gallery from the appropriation of gambiarra lights, that are part of daily urban of Belém do Pará, in order to evaluate the illumination while potency in the activation of art works. In the argumentative sequence there are articulated the understanding of relationship between illuminating and the other elements of art exhibition, since that operates as an activation agent not only of the work, but from the spatial situation in which it is located; producing theory, strengthening the art as a field of knowledge. The gambiarra has character of meaning conceptual implication, not while object, but what it produces, which is denominated as social and aesthetic effects, that are read from fifteen years of experience of this researcher in the appropriation, re-signification and re-transportation of luminous artifacts for the activators function of exhibition spaces, in a statement of the praxis like main element of joint research paths, considering that during this time, a method has been constituted and it is in perfect accord with this research. To operate more efficiently within the complexity of the materiality fields and reproducibility of the object; from the devices to establish the art works; from the gambiarra lights as an inventive way and of investigative solution that takes place in a subjectivity field, we used the methodological approach of bricolage.

abstract: ABSTRACTO La identidad y el pluralismo se debaten cuando hablamos de dos escritoras chicanas. Ellas reclaman una herencia judía e indígena en sus obras literarias: María Speaks: Journeys into the Mysteries of the Mother in My Life (2004) de Sarah Amira de la Garza y The Desert Remembers My Name:On Family and Writing (2007) de Kathleen Alcalá. En sus obras se examina el proceso de la construcción de identidad dentro de la comunidad cripto-judía en el suroeste de los Estados Unidos. Dicha comunidad ejemplifica y pone en cuestión la construcción de la identidad en el mundo moderno, deconstruyendo la historia tradicional. Se aplican dos conceptos derivados del estructuralismo para analizar el proceso de integrar una identidad más en identidades ya existentes. Bricolaje, concepto teórico de Claude Lévi-Strauss en su obra: El pensamiento salvaje (1962); bricolaje proporciona el modelo a seguir para entender los diferentes patrones culturales que conforman la construcción de una identidad. Jonglerie de Seth Kunin o la manipulación de las identidades, extraído del artículo: “Juggling Identities Among the Crypto-Jews of the American Southwest” (2001). Acudimos al deconstructivismo de Jacques Derrida y al poscolonialismo de Gloria Anzaldúa y Emma Pérez. Este estudio revela que María Speaks deconstruye una educación católica al haber contradicciones eclesiásticas y cotidianas que producen un agudo sufrimiento en el sujeto femenino, ejerciendo como bricoleur, éste acude a la historia chicana de resistencia, a los mitos aztecas y coloniales, y al conocimiento y creencias judías para construir una nueva identidad chicana que incluye la cara sefardita. En The Desert Remembers my Name, el sujeto femenino, partiendo de una conciencia mexicoamericana de los 1950 y los 1960 donde se dan indicios culturales judíos, deconstruye su temprana identidad chicana y, como bricoleur, emprende investigaciones históricas y de familia para recuperar hechos, figuras, prácticas y símbolos para reconstruir una identidad sefardita y opata como parte de una actualizada identidad chicana. El método teórico aplicado, Bricolaje, Jonglerie, deconstructivismo y el poscolonialismo han sido útiles para recuperar la cara sefardita de la identidad chicana heterogénea. Creemos que este estudio representará un punto de partida para futuros estudios de la literatura judea-chicana. / Dissertation/Thesis / Masters Thesis Spanish 2019

This exegesis frames my studio thesis, which explores whether visual art can be a site for reconciliation, a tool for healing, an educational experience and a political act. It details how my art work evolved as a series of cycles and stages, as a systematic engagement with people, involving them in a process of investigating 'their' own realities - both the stories of their inner worlds and the community story framework of their outer conditions. It reveals how for my ongoing work as an indigenous artist, I became the learner and the teacher, the subject and the object. Of central importance for my exploration was the concept and methodology of bothways. As a social process, bothways action-learning methodology was found to incorporate the needs, motivations and cultural values of the learner through negotiated learning. Discussion of bothways methodology and disciplinary context demonstrated the relationships, connections and disjunctions shared by both Aboriginal and Western domains and informed the processes and techniques to position visual art as an educational experience and a tool for healing. From this emerged a range of ARTsongs - installations which reveal possible new alternatives sites for reconciliation, spaces and frames of reference to 'open our minds, heart and spirit so we can know beyond the boundaries of what is acceptable, so that we can think and rethink, so that we can create new visions, transgressions - a movement against and beyond boundaries' (hooks, 1994 p.12). Central to studio production was bricolage as an artistic strategy and my commitment to praxis - to weaving together my art practice with hands-on political action and direct involvement with my communities. I refer to this as the trial and feedback process or SIDEtracks. These were documented acts of personal empowerment, which led to a more activist role in the political struggle of reconciliation. I conclude that, as aboriginal people, we can provide a leadership role, and in so doing, we can demonstrate to the wider community how to move beyond a state of apathy.

<p>Syftet med studien är att ta reda på hur ungdomarna tänker kring sin och andras klädsel och beteende, samt om dessa fenomen påverkar hur de blir uppfattade. Syftet är även att ta reda på för vem ungdomarna klär sig. Som metod genomfördes tre fokusgruppsintervjuer, som sedan analyserades. Intervjuresultaten som framkom har sedan kopplats till begrepp som: bricolage, in- och utgrupp, social identitetsteori och identitet.</p><p>Från analysen av de genomförda intervjuerna framkom att ungdomarna medvetet klär sig för sin egen skull, men undermedvetet för andras. Det framkom även att kläderna är det första ungdomarna bedömer i möte med en ny person, men även att de bedömer andra negativt om de bryter mot beteendets ”normalnorm”. Genom intervjuerna framkom det att klädsel och beteende har mindre betydelse med tiden. Efter en längre tid får personligheten en större betydelse. Då klär sig gruppen inte längre för den grupp de tillhör utan de klär sig istället för de individer som inte är del av den egna gruppen.</p>

<p>The adoption of information technology as an aid to organisational efficiency and effectiveness has a long history in business and public administration, but its application to the processes of teaching and learning in education has been relatively limited. At the dawn of the new millennium this began to change, as educational institutions around the world began to experiment with new ideas for the use of information technology. This happened at the same time that commercial organisations began to realise that they themselves could &ndash / because of the availability of IT based systems &ndash / invest in educational services focused on their own needs. It was against this background that this research project set out to study how South African higher education has incorporated new learning technologies in the delivery of programmes. The study began by exploring the emerging patterns of the use of e-learning in South African higher education. This was to establish a broad understanding of how e-learning was incorporated into the core business of universities. As the study progressed interviews with both teaching and support staff provided course descriptions which were used to expose the kind of considerations that were made in designing, developing and delivering those courses. The main purpose of the study was to answer the question: what pedagogical considerations are necessary for successful course design when using e-learning? By placing the course descriptions on a continuum developed as a part of the conceptual framework in the study it was possible to analyse the course design features that emerged. The framework and its differentiated learning designs (LD1/2/3) can be used for both design and evaluation of courses and can facilitate the use of technology in enhancing teaching and learning.</p>