O trabalho teve por objetivo investigar processos formativos inerentes à condição de aluno do professor, em um programa de educação em serviço, da perspectiva do processo de socialização/educação familiar e escolar. Busca analisar as relações entre os ofícios discente e docente quando exercidos de forma simultânea, examinando em que medida viver tal situação favorece processos de formação docente mais significativos, e verificar as implicações dessa formação no trabalho do professor, na escola. A pesquisa é de natureza qualitativa. O trabalho etnográfico envolveu observações em contextos de ensino on-line e off-line durante 18 meses. O referencial empírico foi o PEC Formação Universitária Municípios/São Paulo (2003-2004), caracterizado como um curso presencial com forte apoio de mídias interativas, que teve por finalidade oferecer a licenciatura plena aos docentes que tinham apenas a formação para o magistério em nível médio. Os dados da investigação constituíram-se de documentos oficiais, notas de campo, entrevistas, além de um conjunto de memórias produzidas pelos professores. O referencial teórico fundamenta-se na teoria do habitus de Bourdieu, problematizada por alguns de seus críticos contemporâneos. Os resultados obtidos apontam que os professores, em determinadas ocasiões, recorrerem às artimanhas de alunos para enfrentar as exigências do curso, afastando-se do que formalmente deles se espera quando investidos no ofício discente. Tais comportamentos estão relacionados a diversos fatores que no contexto investigado se mostraram mais associados a determinadas modalidades de ensino, ao habitus escolar e às condições de existência do professor, tal como a escassez de tempo decorrente da dupla ou até tripla jornada de trabalho. Por outro lado, vivenciar tais situações incitou os professores a refletirem sobre o exercício dos ofícios discente e docente, facultando-lhes compreender vários aspectos tanto das condutas quanto dos processos de aprendizagem de seus alunos. Além disso, permitiu-lhes o entendimento de algumas de suas práticas docentes, sobretudo no que diz respeito às atitudes em relação ao aluno e à proposição de certas atividades escolares. Muitas dessas reflexões surgiram a partir de um processo formativo não previsto pelo programa, possibilitado pelo que foi chamado neste trabalho de simetria invertida às avessas. Tendo em vista as relações com o tutor e a experiência de certas atividades, notadamente as avaliações, os alunos-professores observavam, e aprendiam, o que não deveriam fazer em sala de aula, em virtude do baixo ou inadequado potencial formativo de tais situações de aprendizagem, contrariando assim o princípio da simetria invertida, um dos eixos do modelo focalizado. As análises revelaram que o contexto em estudo fez aflorar aspectos latentes da cultura escolar, explicitados especialmente nas tensões entre o ofício de aluno e o de professor, recolocando em pauta o exame sobre as potencialidades e expectativas da formação em serviço. / Considering the perspective of the processes of school and family socialization/education, this work investigates the formative processes inherent to the student situation in which teachers find themselves during an in-service teacher education program. It aims to analyze the relationships between the teacher and the student crafts when carried out simultaneously, examining to what extent such situation promotes more meaningful processes of teacher education, and also to investigate the implications of this formation to the teacher work at school. The research is of a qualitative nature; the ethnographic fieldwork involved systematic observations in contexts of online and offline teaching during 18 months. The empirical framework was given by the PEC Municípios [PEC University Formation Municipalities/São Paulo] (2003-2004), characterized as a presence course with strong support of interactive media, which had as its purpose to offer full licentiateship to teachers who till then had only secondary level teacher training. The data for the investigation consisted of official documents, field notes, interviews and also a set of memoirs created by the teachers during the course. The theoretical framework is based on Bourdieus theory of habitus, problematized by some of his contemporary critics. The results obtained point to the fact that teachers, in some situations, resort to student stratagems to face the demands of the course, deviating from the behavior expected of them when invested of the office of students. Such behavior is related to several factors that, in the context studied here, turned out to be more associated to some modalities of teaching, to the school habitus, and to the conditions of existence of the teacher. On the other hand, going through these situations allowed teachers to reflect upon the exercise of teacher and student crafts, helping them to understand various aspects of pupil conduct and of their learning processes. Additionally, it made them comprehend some of their own teaching practices, particularly in what concerns their attitudes towards the students, and the proposition of some types of school activities. Many of these reflections emerged from a formative process unforeseen by the program, made possible by what was called in this research backward inverted symmetry. Considering the relations with their tutor and the experience of some activities, notably the examinations, the studentteachers observed and learned what they should not do in the classroom due to the low or inadequate formative potential of such learning situations, thereby subverting the principle of inverted symmetry, one of the mainstays of the PEC. The analyses carried out revealed that the context under study brought forward latent aspects of the school culture, made explicit specially by the tensions between the role of student and that of teacher, rekindling the issue of the potentialities and expectations about in-service teacher education.

Denna studie syftar till att belysa papper som konsthantverksmaterial. Studien aktualiserar hur konsthantverkare som arbetar i papper beskriver sin relation till materialet och hur konsthantverkare som arbetar i papper upplever att deras val av material påverkar deras arbetssituation. Uppsatsen bygger på kvalitativa intervjuer med sex konsthantverkare som arbetar professionellt i Sverige med att på olika sätt skapa objekt i papper eller på olika sätt skapa materialet papper. Resultatet visar att konsthantverkare som arbetar i papper har en relation till materialet som genomsyras av trygghet, närhet, glädje och kontroll. Genom utbildning och/eller experiment har konsthantverkarna stärkt sin relation ytterligare till materialet. Pappret upplevs billigt, lättillgängligt och enkelt att bearbeta vilket medför att informanterna kan vara flexibla i deras arbeten och djupt utforska materialet. Papprets förgänglighet medför att konsthantverkarna kan uppleva det svårt att sälja sina produkter, men denna egenskap anses även korrelera med deras pappersprodukters avsedda funktion. Uttrycksmedlet papper har gett konsthantverkare en bättre arbetssituation än vad de tidigare upplevt när de till exempel tecknat eller målat då det innebär färre problem och ger fler idéer till gestaltning, de menar att pappret innehar stora möjligheter. I den nuvarande trenden som råder för pappershantverk, som bland annat kan ses på internet, kan arbeten i materialet bli särskilt uppmärksammade. Att arbeta med papper innebär också att konsthantverkarna ibland möter oförstående reaktioner från andra människor vad gäller materialet och den använda tekniken, vilket tyder på att föremål i papper normalt inte är särskilt vanligt och medför att de med tal behöver förklara sina arbeten. Arbetet i papper betyder även att konsthantverkarnas insats i form av tanke, kreativitet och tid blir viktig i det anspråkslösa materialet.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This thesis involves an examination of the internationalisation process of the smaller craft firm in the United Kingdom and the Republic of Ireland. Sectoral analysis was carried out in order to determine historical precedents as well as the identification of industry and firm level factors impinging upon domestic and export market behaviour. Key findings at this stage included the fact that the majority of craft firms could be classified as small and that they impact economically at both domestic and international level. The majority of existing craft sector research is practitioner specific, with little evidence of theoretical rigour. Following this, a range of internationalisation theories were discussed, from their historical provenance in economic trade theory to the more recent developments concerning the impact of technology and networking. It was concluded that the majority of these frameworks fail to readily explain smaller firm internationalisation behaviour. The research methodology followed was pluralistic in nature, given that the majority of existing internationalisation studies follow the quantitative method and are generally replicative. It was believed that by adopting both quantitative and qualitative methods, a richer amount of data would be obtained in order to generate an improved understanding of smaller firm internationalisation. Research propositions centred on the belief that investigation of the sector would uncover a number of internal and external impinging factors which were specific to the craft firm. Future modelling of the internationalisation process would need to account for situation specific factors, instead of attempting to offer a generic interpretation of the process. Quantitative results identified the majority of firms as microenterprises with trade fairs and networking shown to be the most effective forms of export marketing research and methods of entry into international markets. The main export markets were identified as other European Union countries and North America. The only significant differences among export groups from the five countries surveyed related to the Far East as an export market destination. Qualitative results generally supported the quantitative findings and, in addition, enabled profiling of craft firm types to be carried out. Four orientations were uncovered: the entrepreneur, the idealist, the lifestyler and the latecomer. Exporting behaviour was also found to be affected by the cultural background of the owner/manager. Comparison of the results with existing literature facilitated the construction of frameworks relating to smaller craft firm internationalisation behaviour, performance and success. Interpretation of these factors was found to vary depending on owner/manager orientation. A number of theoretical implications were presented, including the promotion of the belief that the emerging marketing and entrepreneurship paradigm provides additional understanding to smaller craft firm internationalisation. A composite framework of the various factors uncovered in the analysis was constructed. Practical implications include the belief that, instead of support organisations offering generic exporting advice, sector specific information and support is more beneficial to encouraging future exporting success. It was recognised that future comparative research examining internationalisation behaviour of craft firms of various sizes, as well as assessing consumption issues relating to the craft product, would prove valuable in additional knowledge contribution.

O rápido desenvolvimento das tecnologias de impressão tridimensional permite que uma crescente variedade de formas e materiais sejam criados e materializados. Disponibiliza abertamente um método produtivo com a capacidade de desenvolver peças de alta complexidade a um custo mínimo, uma situação sem precedentes na história da humanidade. Paralelamente, o avanço predatório dos bens industrializados dentro do mercado ameaça e potencializa as produções artesanais, as quais enfrentam um constante desafio no relativo à sua supervivência, transmissão e desenvolvimento. O presente teve como objetivo explorar as possibilidades da manufatura aditiva como uma ferramenta para potencializar a qualidade das produções artesanais através da gestão do design, e a construção conjunta da mesma como uma tecnologia social. Trabalhou-se de forma intensiva num entorno de laboratório, visando desenvolver metodologias que contribuíssem às articulações entre o fazer artesanal-digital, a serem implementadas em ações futuras. Desta forma, as tecnologias de impressão 3D serão capazes de gerar não só melhorias morfológicas e estéticas nos acessórios artesanais, mas, principalmente, de estimular as economias regionais, contribuindo para melhorar a situação das comunidades artesanais marginalizadas / The rapid development of 3d printing technologies is allowing an ever increasing universe of shapes and materials to be printed, as well as making complex productive methods more accessible to the vast majority, a situation never seen before in the history of mankind. Parallel to this situation, the predatory advance of industrial made goods in the market has both menaced and given force to artisanal productions. The present research project aims to explore the possibilities of additive manufacturing as a tool to boost artisanal production via design management and the joint construction of 3d printing as a social technology. The project is based on an intensive amount of laboratorial work, with the objective of developing methodologies for artisanal-digital hybridation to be used on future applications. This would render 3d printing technologies the capability of providing greater responses in terms of morphological and aesthetical artisanal accessories, while addressing the most basic human needs and helping to improve the situation of marginal artisan communities

Det beräknas att ca 36 % av Sveriges befolkning påverkas negativt av någon i deras närhet som antingen dricker för mycket alkohol eller brukar narkotika (Sundin & Landberg et al., 2018). De närmaste anhöriga, det vill säga familjen, är de som lider mest av deras anhörigas missbruk/beroende/substansbruk. Anhöriga till personer med substansbruk utsätts för mycket stress på grund av oro och negativa konsekvenser (Woititz, 1995). Det finns många olika stödgrupper och olika typer av behandlingar för personer med substansbruk och för dess anhöriga. CRAFT är en metod som socialstyrelsen rekommenderar i arbetet med anhöriga (Socialstyrelsen, 2019). Min egen upplevelse har varit att mitt eget sätt att arbeta, jag kallar det för behandlingsmodellen, med anhöriga har varit mer verksamt än CRAFT. Jag ställde mig därför frågande till vad skillnaden är mellan CRAFT och Behandlingsmodellen samt vilka komponenter (moment/inslag i grupp sessionerna) som kan anses som verksamma i behandling av anhöriga. För att få svar på detta utförde jag en kvalitativ undersökning av fyra olika anhöriggrupper/föräldragrupper. I två av anhöriggrupperna använde jag och min kollega CRAFT och i de andra två grupperna Behandlingsmodell. Gruppdeltagarna var föräldrar vars barn har eller har haft någon form av substansbruk.  Tidigare forskning gällande anhörigstöd samt affektteori och inlärningsteori har hjälpt mig att hitta mönster och förstärka resultatet av insamlat material. I jämförelse med CRAFT gav Behandlingsmodellen bättre resultat i samtliga undersökta områden. Exempelvis visade det sig att 86 % av de anhöriga i behandlingsmodell-grupperna upplevde stor påverkan i sitt psykiska mående i jämförelse med CRAFT-grupperna där 55 % av anhöriga upplevde stor påverkan av deras psykiska mående. I avseende hur deras ungdomar/barn har påverkas till det bättre i relation till missbruk/beroende upplevde 72 % av de anhöriga i behandlingsmodell-grupperna en stor påverkan medan 37 % av anhöriga i CRAFT-grupperna upplevde stor påverkan på deras barn i relation till missbruk/beroende. Deltagarna i de grupper där vi använde Behandlingsmodellen var också generellt mer nöjda med aspekter så som övriga gruppdeltagare, behandlingens innehåll och gruppledarna. Studien belyste betydelsen av faktorer så som gruppens betydelse, kunskap om medberoende, öva på kommunikationsfärdigheter, föräldrafärdigheter, aktivt lyssna, bygga upp en positiv relation och prioritera gemensamt umgänge med ungdomen. Dessa faktorer genomsyrade grupperna i båda behandlingsformerna medan det i Behandlingsmodellen fanns större utrymme för ytterligare faktorer så som vägledning i känslor, den anhörigas vardagliga upplevelser samt att låta individers behov styra behandlingsinnehåll. / It is estimated that about 36 % of Sweden's population is negatively affected by someone close to them who either drinks too much alcohol or uses narcotics (Sundin & Landberg et al., 2018). The closest relatives, the family, are those who suffers the most from their relative’s substance abuse. Relatives of people with substance abuse are exposed to a lot of stress due to anxiety and negative consequences that often arise (Woititz, 1995). There are many different support groups and different types of treatments for people with substance abuse and for their relatives. CRAFT is a method that the Swedish National Board of Health and Welfare recommends as treatment of relatives (Socialstyrelsen, 2019). Through my own experience I have found that my own way of working with relatives, I call it the Treatment Model, has been more effective than CRAFT. I therefore asked myself what is the difference between CRAFT and the Treatment Model and which components can be considered effective in the treatment of relatives. To get an answer to this, I have done a qualitative survey of four different Support Groups/Parent Groups. In two of the support groups, my colleague and I used CRAFT and in the other two groups, the Treatment Model. The group participants were parents whose children have or had some form of substance use. Previous research on support/treatment of relatives as well as theory’s such as the Affect Theory and Learning Theory has helped me find patterns and reinforce the results of collected material from this study. In comparison with CRAFT, the Treatment Model gave better results in all areas studied. For example, it turned out that 86 % of the relatives in the Treatment Groups experienced a great effect in their mental state in comparison with the CRAFT Groups where 55 % of the relatives experienced a great effect in their mental state. In regards to how their children have been affected for the better in relation to addiction/dependence, 72 % of the relatives in the Treatment Groups experienced a large impact while  37 % of relatives in the CRAFT Groups experienced a large impact on their children in relation to abuse/addiction. The participants in the groups where we used the Treatment Model were also generally more satisfied with aspects such as other group participants, the content of the treatment and the group leaders. The study highlighted the importance of factors such as the group's importance, knowledge of co-dependency, practicing communication skills, parenting skills, actively listening, building a positive relationship and prioritizing joint interaction with the youth. These factors permeated the groups in both forms of treatment, while in the Treatment Model there was more room for additional factors such as guidance in emotions, the relative's everyday experiences and to let individuals' needs control treatment content.

In this paper I have investigated the role of the weaver, from my own perspective as a weaver. I have discussed weaving in relation to function and painting, and how the weaving process and the collaboration with the loom have a great impact on what I create. I have found it difficult to believe in the future as a weaver, and with this project I wanted to find a meaning with weaving that I can lean on.   All five weaves are woven on the same warp, I call it a warp family. Every weave is a try and a failure to weave a rug. Instead they have all turned into different characters, portraying my ongoing struggle with, and love for, the warp.    I’ve come to the conclusion that for me the rug is a symbol for honesty in making, and that it’s function is to remind us about values that often are neglected. The visible process, the human presence, is then more important than aspects like functionality or perfection.

No description available.

No description available.

Abstract Embodied evolves around the tactility of the present body, in relation to the eternal absence and the perishability of itself end the world that surrounds it. I work with ceramic sculpture, where the body in relation to the material and the world is both my theme and my method. The body is always present and a basic condition to experience and make objects; it is the subject, the objectand the execution in my work. The written part of my examwork is based on my process and studiowork.