Studies have shown that climate change causes large scale human displacement. With this as background this thesis investigates the connection between climate change and immigration/asylum in EU documents. The EU is an institution that has not acknowledged the existence of climate change induced migration despite outside awareness that the phenomenon exists. This thesis analyzes discourses about climate change and immigration/asylum in the EU in order to find out how EU regards climate change induced migrants, and why it has not acknowledged their existence or provides protection. The thesis found that discourses of inclusion and exclusion based on European ethnicity and culture restricts possibilities for migrants from developing countries to come to Europe. It also found that EU represents its strategy to fight climate change as comprehensive and leaves no room for changes in that strategy. These two findings in combination explain why climate change induced migrants are not acknowledged, and in extension do not get protection from the EU. The research found that the absence of an acknowledgement and protection for climate change induced migrants is influenced by political discourses in the EU that see unskilled immigrants from developing countries as a threat and danger to Europe and its current climate change strategy as sufficient for coping with the effects of climate change.

This Master thesis investigates how cultural processes exclude, or might include, women from the corporate culture as well as how the cultural processes could impact the women’s abilities to career advancement within an organization that operates in the financial and IT industries. Previous studies have provided knowledge about culture and gender relations within the financial (Rutherford, 2001; Renemark, 2007) and IT-sectors (Davies and Mathieu, 2005: 12-22) respectively, but there is a lack of studies of financial service organizations in Sweden that operates in both these industries. These industries are described in earlier studies as having an uneven female representation at managerial levels (Nordling and Samuelsson, 2014; Rutherford, 2001) and organizational cultures that marginalizes women (Renemark, 2007; Davies and Mathieu, 2005: 12-22; Rutherford, 2001). Thereof is the corporate culture’s effect on women and female managers in particular, important to understand in an organizational constellation that strives to increase the number of female managers such as the case company in this study. This study utilizes a theoretical framework defined by Rutherford (2001) comprising nine cultural constituents that are interpreted as including several cultural processes. These cultural constituents are organizational background, Physical artefacts, Management style, the Long hours culture, Work ideology, Informal ways of socializing, Language and communication, Sexuality, and Gender awareness. The nine cultural constituents and the respective processes could have excluding effects, or possible including effects, on female managers position in the corporate culture and impact their further career advancement. In this study is the framework used to investigate the situation for female managers as well as the situation for the female employees as perceived at the managerial level. A case study methodology is used and the including data collection methods are; semi-structured interviews, secondary data, and a field study. Nine semi-structured interviews with managers that directly report to the executive team members constitute the main data gathering method. The findings show the existence of cultural processes related to all nine constituents at the case organization and how these processes impact women. These cultural processes exclude or include women from the corporate culture and impact female career advancement negatively or positively. The identified excluding cultural processes could constitute managerial implications for gender equality work. In addition, the findings provide knowledge of how the generic framework defined by Rutherford (2001) could be applied in the present corporate environment of an actor that operates in the Swedish IT and financial industries. Further, two adjustments of the framework are proposed. The constant connectivity provided by today’s technology proposes a more interlinked relationship between the long hour culture and the work ideology than earlier defined. Further, an extension of the cultural constituent Informal ways of socializing is proposed to incorporate several hierarchical levels to be applicable for young and less hierarchical actors.

Made available in DSpace on 2016-04-26T18:17:17Z (GMT). No. of bitstreams: 1 Iralene Silva Araujo.pdf: 758728 bytes, checksum: ea0a247750f0e5753e5c74b7ecf01c4e (MD5) Previous issue date: 2008-07-01 / This Master s dissertation discusses the cultural role of documentary films in contemporary society, characterized by an overwhelming number of symbolic goods in various mediatic devices and supports. The hypothesis formulated here considers that the augmented supply of these goods has not come with an equivalent optimization of the quality of representations and conditions of access to disseminated contents. This leads to a form of sociocultural exclusion of the spectator who, unfamiliar with more complex productions or confused in front of the screen, finds it difficult to reflect on the meaning of the representations in circulation and to transit safely through this cultural context on an equal footing with whose who have access to and mastery over current codes and conventions. This situation leads to the following question: what qualities does the documentary film encompass and what cultural role does it effectively play amid today s mediatic saturation? Based on a research methodology underpinned by bibliographic reviews, theoretical and epistemological reflections, and analyses of documentaries, the proposed question presupposes an understanding of the sociocultural statute of the fruition of the aforementioned cinematographic genre. The answers to it are given in the light of philosophy (Arthur Schopenhauer, Ernst Fischer and Olgária Matos), of a critique of the communications media (John B. Thompson, Nestor Garcia Canclini and Paul Virilio), of semiotics (Charles S. Peirce), of etiology (Boris Cyrulnik), and of cinema theory (Sergei Eisenstein, Jacques Aumont and Bill Nichols), among other references. This theoretical picture enables us to see the documentary film as a medium and an art, with an attractive narrative that mobilizes cognitive articulations and critical formulations for the spectator / A presente Dissertação de Mestrado tem como objeto de estudo o papel cultural do documentário de cinema na sociedade contemporânea, caracterizada por uma vertiginosa quantidade de bens simbólicos em diversos dispositivos e suportes midiáticos. A hipótese formulada considera que o aumento na oferta desses bens não se fez acompanhar por equivalente otimização da qualidade das representações e condições de acesso aos conteúdos veiculados, resultando numa forma de exclusão sociocultural daquele espectador que, privado de intimidade com produções mais complexas ou disperso diante das telas, encontra dificuldade para refletir sobre os sentidos das representações em circulação e para transitar de maneira segura nesse contexto cultural, em igualdade de condições com aqueles que têm acesso e dominam os códigos e convenções vigentes. Em razão de tal quadro, questiona-se: quais qualidades o documentário de cinema porta e que papel cultural ele pode eficazmente desempenhar em meio à saturação mediática atual? Com base em metodologia de pesquisa embasada em levantamento e revisão bibliográficos, reflexão teórica e epistemológica, e análise de documentários, a questão proposta pressupôs a compreensão do estatuto sociocultural da fruição do referido gênero cinematográfico; e as respostas a ela se fez à luz da filosofia (Arthur Schopenhauer, Ernst Fischer e Olgária Matos), da crítica aos meios de comunicação (John B. Thompson, Nestor Garcia Canclini e Paul Virilio), da semiótica (Charles S. Peirce), da etologia (Boris Cyrulnik) e da teoria do cinema (Sergei Eisenstein, Jacques Aumont e Bill Nichols), entre outros referenciais. Esse quadro teórico permitiu entender o documentário de cinema como mídia e como arte, com narrativa atraente e mobilizadora de articulações cognitivas e de formulações críticas para o espectador