The economic crisis has affected the airline industry as much as it has affected all other industries in the world. The small airlines and maintenance organisations must find new opportunities and options in order to survive the harsh crisis. Priority Aero Maintenance is now an approved maintenance organisation performing maintenance on aircrafts, engines and components. The company sees economic gains in the future by becoming an approved organisation that follows the European Aviation Safety Agency guidelines (EASA) and meets the requirements outlined in the rules of Part-M. In order for the company to become an approved organization, responsible for continuing airworthiness of aircraft, a handbook should be presented to the local authority. This handbook describes the company’s responsibility for the continuing airworthiness in order for the authorities to get an insight into the company and its work. This thesis resulted in a draft of CAME (Continuing Airworthiness Management Exposition) and this draft has been approved by Priority Aero Maintenance. The CAME will in the future be used by the company as a basis for developing a more detailed manual to be presented to and approved by the Swedish Aviation Authority (Transportstyrelsen).

In this thesis, I am interested in transnational feminist scholarship and dialogue. Through close readings of Helena Maria Viramontes's texts, I place her writing in conversation with several transnational feminist scholars and themes. I begin with home, a frequently discussed topic within transnational feminism, as the experiences of diasporic and migrant populations challenge the notion of home. I locate the multiple homes presented in Viramontes's texts, arguing that these homes are unreliable spaces for their residents. I then consider male characters and masculinity in Viramontes's stories, as these men significantly influence the homes of women. In Viramontes's later texts, some of these characters support the women in their lives, as well as embrace the multiplicity of masculinity. I also explore invisibility and hypervisibility, two themes which figure prominently within transnational feminism and Viramontes's texts. Viramontes makes visible women, workers, and youth, challenging their invisibility and hypervisibility. In my analysis, I include Viramontes's two novels, Under the Feet of Jesus (1995) and Their Dogs Came With Them (2007), as well as two short stories, "Growing" (1983) and "The Jumping Bean" (1992). By analyzing these works, which were published over a period of twenty four years, we can more intricately see Viramontes's exploration of transnational feminist themes.

This thesis sets out to examine how feminist struggle can be negotiated, defined and motivated. By using Oral history as a theoretical and methodological framework, three persons narrative are being constructed, explored and discussed throughout the thesis. All the interviewees define themselves as women and feminists and have all practised music in different separatist rock and pop-groups from 1970 to present. Themes as music as political action, and separatism for persons who define themselves as women are discussed. The tree informants agree about some feministic goals such as equality and the right to be able to play and perform music regardless of gender identity, although the means to reach these goals are formulated differently.

In classrooms and textbooks the “Director's Vision” is often identified as the unifying concept for the production, and my goal in returning to graduate school was to explore my own vision as a director. In my own practice as a director, I tend to “hear” the play in my head before visualizing it. From my interpretation of the text, to the staging of the performers, to my collaboration with design team, my approach to the production of theatre stems from a place of musicality. Seeking a Vision, Finding a Voice explores my creative journey as multi-disciplinary theatre artist through a series of case studies detailing my practice as a Director/ Sound Designer. It examines my evolving process, which often utilizes audio collage to shape the dramatic arc of a piece or scene, experiments with using music to inform character, emotion, and movement, and values the impulses of the cast and creative team as important collaborative resources. By detailing my process on three productions (as Director/ Sound Designer of the University of Central Florida's Theatre for Young Audience's Tour, Emily Freeman's And Then Came Tango, as the Assistant Director/ Dramaturg/ Sound Designer for UCF's production of Paula Vogel's The Baltimore Waltz, and as the Director/ Sound Designer of John Patrick Shanley's Doubt: A Parable, for Titusville Playhouse, Inc.), my process as director/designer is critically analyzed and reflected upon. Through my analysis, I explore the benefits and challenges of being a Director-who-Designs and a Designer-who-Directs, utilizing aural dramaturgy, collaboration, rhythm and emotion as essential tools in practicing theatre production. Seeking a Vision, Finding a Voice reflects on my practice through the lens of David Roesner's Musicality as a Paradigm for the Theatre: A Kind of Manifesto, analyzing the ways in which the 'notion of musicality' was exemplified in the preparation, performance, and perception of my work. This thesis examines the benefits and challenges of multidisciplinary artistry, pondering the merits and pitfalls of taking on multiple roles in each of my processes. It further explores the impact applying musicality to theatre practice can have on both actors and audiences and cherishes sound design as a valuable tool capable of enriching theatrical storytelling.

This study analyzes two successful exhibitions on American slavery in the South: In Bondage and Freedom: Antebellum Black Life in Richmond, Virginia, 1790-1860 by the Valentine Museum and Before Freedom Came: African American Life in the Antebellum South by the Museum of the Confederacy. It puts the exhibitions in the context of the social history movement, and explains the difficulties exhibiting a sensitive topic. It examines the creation of the exhibitions, the controversies because of the subject, both real and potential, and the overwhelmingly positive reaction.

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This essay argues that Sara Ahmed’s methodology for reading the emotionality of texts, through its focus on the relationships between emotions, language and bodies, can be applied to the emotional responses of Australians to refugees and asylum seekers. This essay specifically focuses on the emotions of disgust and pain in the participants of Go Back To Where You Came From, a three-part Australian documentary/realia TV series, because these two emotions’ preoccupation with surface and proximity provide a useful metaphor for what can be observed in the participants’ emotionality. Sensuous proximity in the form of sight, taste, smell, touch and hearing underlies the disgust experienced by the Go Back participants, while shared surfaces enable the participants to feel the pain of others. The essay concludes that Ahmed’s methodology is indeed an effective tool for analysing the emotions of people “affected” by the transnational movements of others.

Un tissu classique est réalisé par l’entrecroisement de 2 réseaux de fils (appelé armure), un longitudinal, la chaîne et un transversal, la trame. L’introduction des tissus dans les applications techniques a nécessité le développement de réseaux de fils beaucoup plus complexes permettant la réalisation d’entrecroisement en 3D. Toutefois, ces tissus complexes ne sont constitués que de fils textiles de même nature. Dans un futur proche, il sera nécessaire d’entrecroiser d’une part des fils textiles, mais aussi d’autres éléments tels que des capteurs, des tubes d’alimentation liquide, des fils électriques ou tout autre objet. Le but de notre travail est de développer un nouveau concept de machine pouvant répondre à ces nouvelles exigences. Dans le cadre du développement d’un nouveau concept de tissage, nous souhaitons mettre en mouvement les divers mécanismes de la machine à tisser de manière indépendante et remplacer la synchronisation mécanique de ces mécanismes, par une synchronisation électronique. Ce nouveau type de synchronisation permettra de « déstructurer » l’horloge de tissage et ainsi apporter de nouvelles fonctions. La réalisation de cette nouvelle machine a conduit à la conception d’une partie mécanique et d’une partie électronique.L'automatisation développée lors de la réalisation de cette machine est fondée sur la mise en place d'une structure avancée d'automatisation, constituée d’un contrôleur de mouvement, d’un IHM, d’une automate déporté, connectés sur un bus de terrain CANmotion, essayant de répondre au mieux aux besoins des utilisateurs. La flexibilité et la synchronisation électronique présente dans cette machine architecturée autour de cames électroniques, sont les points forts, et laisse la porte ouverte à l'utilisation de cette machine pour de nouvelles applications. En particulier la réalisation de tissus multicouches hybrides complexes. / Woven fabric is basically produced by interlacing two set of threads, warp yarns, or ends, which run lengthwise in the fabric and the filling yarns (weft), or picks, which run from side to side. The traditional system of ends and picks interlacing is identified as a two dimensional weave or pattern. Involving woven fabrics into technical applications require the evolution of advanced patterns in which ends and picks can be interlaced to build a 3D woven fabric. Moreover, these advanced patterns can allow the integration of new elements other than textile yarns such as sensors, liquid-feeding tubes, electric wires, etc. The goal of this study is to develop a new concept of weaving machine that fill these requirements by moving the various mechanisms of weaving machine independently and replacing the mechanical synchronization by an electronic one. Such a new synchronization will take the timing diagram apart and thus to bring new functions. The new concept of the weaving machine lies on two parts; a mechanical part and an electronic part. The developed automation for this new concept is based on an advanced automation structure. This structure is composed of motion controller, IHM, a distance PLC connected to a CANmotion bus to meet the user's needs, this new concept of weaving machine based on electronic cams which is one of the strongest point. This new machine electronically synchronized allows a great flexibility and gives a great opportunity to develop a wide range of new woven fabric structures

The idea of International Division of Labor (IDL) came along with the diffusion of the capitalism as production way. However, had a IDL background in the block of socialist countries that if it organized since the scope of the Council for the Economic Mutual Assistance (CMEA). Throughout the decades where the CMEA was effective, the countries that were part of the Council had created an important scene of interdependences uncountable to the exchanges of merchandises and services, economic control, promotion of cooperation institutions and specialization, and an infrastructure in which if they supported the economic relations between the members. However, chain instead of net interdependences no if show mature and solid to resist, without being damaged, to the re-approach with the capitalist countries, from the Seventies and to the collapse of the real socialism in the Nineties. Concerning this aspect, we believe that the referring limitations to the CMEA have origin in the historical and structural formation of the proper Council. Thus, this work aims to analyze the trajectory of four decades of existence of the CMEA (1949-1991) from its beddings and proper structures of functioning and to point elements that can have contributed for the process of weakness and posterior dissolution of the Council. / A idéia de Divisão Internacional do Trabalho (DIT) surgiu com a difusão do capitalismo como modo de produção. Contudo, houve historicamente uma DIT no bloco de países socialistas que se organizou desde o âmbito do Conselho para o Auxílio Mútuo Econômico (CAME). Ao longo das décadas em que esteve vigente o CAME, os países que constituíam o Conselho criaram um importante cenário de interdependências em relação às trocas de mercadorias e serviços, regulação econômica, promoção de instituições de cooperação e especialização, e uma infraestrutura na qual se apoiavam as relações econômicas entre os membros. No entanto, esta rede de interdependências não se mostrou madura e sólida para resistir, sem abalos, à reaproximação com os países capitalistas, a partir dos anos setenta e ao colapso do socialismo real nos anos noventa. Nesse sentido, acreditamos que as limitações referentes ao CAME têm origem na formação histórica e estrutural do próprio Conselho. Dessa forma, este trabalho tem como objetivo analisar a trajetória de quatro décadas de existência do CAME (1949-1991) a partir de seus fundamentos e estruturas próprias de funcionamento e apontar elementos que possam ter contribuído para o processo de enfraquecimento e posterior dissolução do Conselho. / Mestre em Economia

This thesis examines the captivity narrative, Three Came Home, written in 1947 by Agnes Newton-Keith, and the poverty narrative, Without a Net: Middle Class and Homeless (with Kids) in America: My Story, written in 2005 by Michelle Kennedy. When examined together through the lens of Trauma Theory, these narratives provide evidence of how similar the survival skills and strategies are between the American female POW's and the American females experiencing downward mobility. This thesis will also show how language uncovers and decodes the presence of Post Traumatic Stress Disorder not often associated with women in poverty.