This phenomenological study explored Black male law enforcement officers’ perspectives of how racial profiling shaped their decisions to explore and commit to a law enforcement career. Criterion and snow ball sampling was used to obtain the 17 participants for this study. Super’s (1990) archway model was used as the theoretical framework. The archway model “is designed to bring out the segmented but unified and developmental nature of career development, to highlight the segments, and to make their origin clear” (Super, 1990, p. 201). Interview data were analyzed using inductive, deductive, and comparative analyses. Three themes emerged from the inductive analysis of the data: (a) color and/or race does matter, (b) putting on the badge, and (c) too black to be blue and too blue to be black. The deductive analysis used a priori coding that was based on Super’s (1990) archway model. The deductive analysis revealed the participants’ career exploration was influenced by their knowledge of racial profiling and how others view them. The comparative analysis between the inductive themes and deductive findings found the theme “color and/or race does matter” was present in the relationships between and within all segments of Super’s (1990) model. The comparative analysis also revealed an expanded notion of self-concept for Black males – marginalized and/or oppressed individuals. Self-concepts, “such as self-efficacy, self-esteem, and role self-concepts, being combinations of traits ascribed to oneself” (Super, 1990, p. 202) do not completely address the self-concept of marginalized and/or oppressed individuals. The self-concept of marginalized and/or oppressed individuals is self-efficacy, self-esteem, traits ascribed to oneself expanded by their awareness of how others view them. (DuBois, 1995; Freire, 1970; Sheared, 1990; Super, 1990; Young, 1990). Ultimately, self-concept is utilized to make career and life decisions. Current human resource policies and practices do not take into consideration that negative police contact could be the result of racial profiling. Current human resource hiring guidelines penalize individuals who have had negative police contact. Therefore, racial profiling is a discriminatory act that can effectively circumvent U.S. Equal Employment Opportunities Commission laws and serve as a boundary mechanism to employment (Rocco & Gallagher, 2004).

The research project concerned cultural and economic transfers between the Etruscan world and Attica during the Archaic period and focused on the copy and the adaptation of Etruscan vase shapes by some potters of the Athenian Kerameikos. This being a vast and known subject, it was decided to concentrate on the case study of one shape, the kyathos, for which a large range of aspects were studied: the origins and typology of the shape in Etruria and its variants according to regional tastes. Etruscan black-figure productions are also included. The research then moved on the Attic shores and proposed a study of Attic kyathos shapes (compared to the Etruscan models) and tried to identify workshops and potters’ shaping habits. This approach is close to H. Bloesch and E. A. Mackay studies, but also to C. Orton’s system of “envelopes”. In another chapter of the work, several aspects such as the contexts, distribution, uses, functions and manipulation of the kyathoi (both Etruscan and Attic) have been studied. In another part of the thesis, I drew a synthesis about other Etruscan shapes copied in Athens. Their situation has been compared with the kyathos. In this way, I tried to demonstrate the different aspects and phenomena which lead to these copies of foreign shapes in Athens (and the Etruscan demand for them). The work shows how complex is the system of reception of foreign objects/images/practices by both the Etruscans and the Greeks. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

The diploma thesis solves the construction technology project of sports complex. The aim of the thesis is rational proposal of construction and resources. The thesis contains plant building site, technological instruction, budget, time schedule, control and trial plan, design and assessment of lifting mechanism and machinery used over construction, contract for work and safety report. Part of the thesis is specialization in sports surfaces.

This diploma thesis focuses on Global Development Education (GDE) and its position in education at primary school. The main aims of this work are to find out why it is important to integrate global development issues in education, what are primary school kids preconditions for working with global issues and how can teachers integrate global issues to education. The theoretical part of the thesis begins with definition of GDE, then it is devoted its specifics in primary school education, its place in curricular documents and how it is integrated into education. In empiric part, GDE is investigated by questionnaire survey and interviews if the topics of GDE are incorporated into education, how often and what is the reason for this integration.

The role of adverse childhood experiences (ACEs) and criminal thinking in causing criminal behavior has been explored extensively in criminal justice research. Based on the concepts of ACEs and the Psychological Inventory of Criminal Thinking Scale, the negative parental influences and criminal thinking styles of 1,354 juvenile offenders were examined to establish that negative parental influences and criminal thinking are separately associated with juvenile problem and offending behavior, and that criminal thinking mediates the relationship between negative parental influences and juvenile problem and offending behavior. Analyses showed support for criminal thinking as a pathway from negative parental influences to juvenile problem and offending behavior. Focuses for juvenile offender intervention programs are suggested.

The overarching purpose of this collected papers dissertation was to explore the perspectives and experiences related to names in social and professional settings for persons with ethnically identifying names. The first paper was an integrative literature review. The second paper was a qualitative study utilizing the phenomenological approach. Both studies utilized self-presentation theory, while Study #2 added social penetration theory and social identity theory. Self-presentation theory posits that people put forth a public face to show that they possess desirable characteristics to observers. Social penetration theory is centered on the concept of self-disclosure and the notion that people carefully construct their level of disclosure based on the interaction and how they wish it to proceed. Finally, social identity theory puts forth that people categorize others to determine with whom to align themselves and whom to exclude. These theories undergirded the studies and directed the inquiry. Study #1 reviewed literature to determine if names and self-presentation were studied within HRD. Only one study was found. The extant literature was largely quantitative, focused on job market reactions to applicant names, and assumed characteristics. Overall, the studies were focused on how best to present an applicant based on their name and the possible consequences of self-presentation in undesirable categories (e.g., minority applicants with “unique” or “ethnic” names). The literature indicated that applicants best presented when they utilized names that indicated non-minority ethnicity (e.g. White). Study #2 explored the opinions, experiences and behaviors of interview participants with ethnically identifying names related to social identity, self-presentation and social penetration. This study consisted of interviewing 15 people of either Asian, African, Caucasian or Latino/Hispanic ethnicity. Findings suggested that names did matter to the participants and that their behaviors and opinions related to their self-presentation and self-disclosure were colored by their experiences as someone with an ethnically identifying name; both professionally and socially. Overall, the findings of these studies are a starting point into the HRD literature to inform organizational research and practice. Additional research is needed to create a more comprehensive picture of the issues involved and work towards best practices and interventions.

Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.

This thesis explores the role of interaction design in elevating the solitary experiences of music listening by infusing them with the joy and connection typically found in the communal music setting of parties. Drawing upon historical and cultural contexts, the research investigates how music acts as a medium for social interaction and emotional expression, from its political implications in Berlin's techno scene to its power to unite people in clubs and concerts. The project began with a focus on enhancing DJ-audience interactions and evolved into exploring how these dynamic communal experiences could inform the design of solitary listening experiences on digital platforms like Spotify. The research employs a mixed methodology combining auto-ethnography, in-depth interviews, and testing to develop and refine six interfaces that embody the joy of communal music experiences. These interfaces aim to recreate the sense of togetherness and emotional engagement often lost in solitary music consumption. The findings highlight that joy is a deeply personal and context-dependent phenomenon, influenced by the nuances of social interactions and individual emotional states. This insight guides the design of interfaces that adapt to and enhance the listener's emotional landscape. The project contributes to interaction design by challenging conventional design approaches that prioritise functionality over emotional resonance, aiming to serve as inspiration for designs that value emotions as central to the interaction experience. It also proposes future research directions focusing on the ethical implications of emotionally driven design and the potential for these interfaces to foster deeper connections in an increasingly digital world.

Constituting a proposal for a book talk associated with the scholarly title Foreign-Born American Patriots: Sixteen Volunteer Leaders of the Revolutionary War, the presenter of this session (and author of the book) will introduce the scholarly work to participants for the purpose of highlighting research based in contribution, rather than interpretation. The author will detail the means by which the investigation of human experience and work product, storylines/patterns, and social cause may provide the context for creative scholarly works. The author will also reveal the unique contribution of Foreign Born American Patriots to historical and Southern Studies discourse, the book serving, up through the date of this proposal, as the only collective work regarding those foreigners who helped the newly formed United States defeat the British Army (many battles fought in the Southern States).

This paper has attempted to determine if there is a significant relationship between self-determination and client outcomes among the homeless. The study has been based upon the conceptual framework set forth in Self-Determination Theory. The purpose of the study was to explore the relationship between self-determination and client outcomes among the homeless. Using a data collection instrument, based on empirically validated instrumentation, clients from several homeless service providers in the City of San Bernardino were assessed for the level of self-determination and autonomy support they experience within these agencies. Outcome measures included such things as whether the client was going to school, had a job and had a bank account. Overall, the results of the study were inconclusive, though some interesting post hoc observations were made. It was the primary aim of this paper to increase the knowledge base of the local network of homeless service providers and to promote the compassionate, equitable, and dignified treatment of the population they serve.