The anthropology of public policy critically examines policy and its processes and the myriad ways in which power is exercised. To explore these power dynamics, anthropologists studying policy often study up, or study through a particular policy field. This entails the risky work of studying powerful people, whose ability to retaliate against the researcher and others create methodological and ethical dilemmas and contradictions, as well as potentially harmful consequences. Politicians, bureaucrats, employees of powerful non-profits, and, in the public-private neoliberal reality, even the head decision makers within corporations are all prospective research participants--an intimidating prospect for most anthropologists. In contrast, engaged ethnography, with its presupposition that researchers will be aligned with politically marginalized groups, encourages the researcher to engage on a more transparent, reflexive, and expressly positioned level that attempts to make the researcher more exposed, thus equalizing the power differentials between the researcher and the researched. The inherent contradictions between engaged ethnography and studying up create a situation ripe for methodological and ethical dilemmas, but also for breaking new theoretical ground. This paper will critically examine my experiences with a dominant community development corporation involved in housing and urban development. As such, the purpose of this thesis is twofold. First, I aim to explore the theoretical contradictions, ethical dilemmas, and methodological quandaries that arise from pairing engaged anthropology with the studying up required by the anthropology of public policy. The aim of this query is to show how the difficulties that arose during my thesis research project expose gaps within each body of literature. Second, I hope to present engaging-up as a promising (not just problematic) method that can be employed to better understand a myriad of topical interests of anthropology. Because of its promise, it is important to document this failed attempt so that others may be better prepared. As such, my hope is that my consideration of the contradictions that were unable to be overcome will be described with enough ethnographic clarity and framed in broad enough methodological terms as to be helpful to other engaged ethnographers.

The reforms in the public sector, as consequence of New Public Management, have led to flattened organizational structure, increasing the span of control(SOC) width for managers. The aim of the study was to investigate the association between SOC width, working conditions (job demands, job resources and engaged leadership), employee health and engagement. SOC was measured as predictor for employee health and engagement, where mediation of working conditions effect on the relation was examined. Self-administrated surveys were collected from 1551 employees working under 109 managers in four public sector municipal operations in Sweden. The result displayed that it was unfavorable to have managers with a wide SOC for the employees working conditions, engagement and health. SOC was a significant predictor for health, while mediation of working conditions could not account for the relationship. These results indicate that a narrow SOC may improve working conditions and health outcomes for employees.

CASTRO, Wagner José Silva de. Intelectuais, professores e artistas: práticas educativas, arte engajada e o massafeira livre (1955-1981). 2014. 257f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-08T14:55:20Z No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:34:38Z (GMT) No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) / Made available in DSpace on 2014-08-08T17:34:38Z (GMT). No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) Previous issue date: 2014 / Com a presente tese de doutoramento, analiso as interfaces entre o movimento intelectual, político, artístico e cultural internacional e seus desdobramentos no Brasil, especificamente, na cidade de Fortaleza, entre os anos de 1960 e 1970. Através da memória de alunos e professores, utilizando entrevistas orais, conheço as trajetórias individuais e coletivas que se tornaram roteiros de projetos artísticos e culturais e envolveram seus autores em leituras e experiências culturais e educacionais suscitadas por movimentos ideológicos intelectuais. Dessa forma, procuro entender como as experiências e a formação de alunos e professores nas instituições de ensino (escolas e universidade) acabaram influenciando o processo educativo e artístico de alunos e professores nos anos de 1960 e 1970 e a inserção desses “artistas” na indústria cultural nos anos de 1970. A partir da prosopografia, busco entender essas trajetórias, suas práticas educativas (o saber formal), suas experiências na articulação política e na arte, especialmente, no teatro e na música, como produtoras de um saber que dava sentido à vida, numa cidade como Fortaleza, sem muita infraestrutura. Apesar disso lhes proporcionava determinados lugares para essas manifestações, que ocorriam entre lares, bares e a Universidade Federal do Ceará, a época, a grande potencializadora do conhecimento no Ceará, por meio de debates, de encontros e de exposição da produção artística, unindo o conhecimento formal e o informal com outros centros universitários como UFPE, UFPB, UFPI, UFRN, UNB e USP, os quais se articulavam, refletiam e produziam sobre a realidade local e nacional. Essas experiências e discussões políticas e culturais nas instituições de ensino secundário, na Universidade, no ISEB (Instituto Superior de Estudos Brasileiros) no MCP (Movimento de Cultura Popular), no MEB (Movimento de Educação de Base) e no CPC (Centro Popular de Cultura), que discutiam Paulo Freire e suas propostas educacionais, aproximaram intelectuais, professores e artistas ligados a estas instituições, almejando instrumentalizar politicamente uma memória nacional “engajada”, demarcando a antinomia sobre o nacional e o popular na cultura brasileira em torno da mudança de comportamento político, educacional, cultural e estético dos jovens. Por outro lado, com o golpe civil-militar de 1964, muitos desses sujeitos seguem caminhos distintos: alguns se engajam na luta armada, outros se aproximam da segurança do emprego e do salário como professores na Universidade, outros enveredam nas artes cênicas, nas artes plásticas e alguns se tornam artistas conhecidos, conseguindo espaço, com suas músicas, no difícil mercado da indústria fonográfica. A exegese das reminiscências, à época, de estudantes, professores artistas, fornece elementos importantes para reflexão e entendimento das transformações socioculturais e educativas nos anos de 1960 e 1970 do século XX na cidade de Fortaleza.

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No. of bitstreams: 1 mello_ec_dr_arafcl.pdf: 1971919 bytes, checksum: 58338bd9816996877f62e09d818fb902 (MD5) Previous issue date: 2018-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Minha proposta no presente trabalho é analisar os romances O pardal é um pássaro azul (1975) de Heloneida Studart e O tropical Sol da Liberdade (1987) de Ana Maria Machado e suas relações com o Período da Ditadura Militar Brasileira, (1964-1985), uma vez que o primeiro romance foi escrito durante os Anos de Chumbo (1968-1974), e o segundo foi escrito durante o período de abertura política e publicado em tempos de democracia. Nesse ínterim, problematiza-se como se dá nos romances a recomposição de traços da sociedade brasileira da época e se há resistência aos padrões sociais e políticos que se estabeleceram no país -, análise, esta, feita à luz das teorias sobre o romance como fruto do protesto contra regimes ditatoriais, conforme discutidas por estudiosos, tais como, Regina Dalcastagnè, Eurídice Figueiredo e Renato Franco -, e, igualmente, procura-se analisar a resistência como estética e parte integrante dos romances de acordo com Alfredo Bosi e Theodor Adorno. Também se verifica se as características estéticas que permitem o diálogo entre romance e sociedade formam um ponto de vista diferenciado, uma vez que se trata de romances cuja autoria é de mulher. Para discutir tal questão, são postos em diálogo a análise dos elementos estéticos dos romances e seu referente contexto histórico, à luz dos estudos das linhas teóricas feministas que apontam a escrita de mulher como um elemento político para a reavaliação das condições de gênero em sociedade, tais como o fazem Kate Millet, Pierre Bourdieu, Simone de Beauvoir, Heleieth Saffioti e Elaine Showalter. Portanto, embasam-se os estudos propostos em duas grandes linhas teóricas: a teoria do romance engajado e a teoria feminista, levando-se em conta a questão da mulher em consonância com a questão histórica que é vivenciada por ela como pensadora ativa de seu tempo, possibilitando a afirmação de que a condição da mulher, abordada nos romances, não se dissocia da (re)construção da sociedade brasileira, formando um discurso femidesarticulador, no sentido de contestar o patriarcado e suas construções ideológicas. Cada uma das autoras escolhidas pertence à loci culturais distintos e, por isso, traçam a figura feminina e suas crises existenciais de forma diferentes: o romance de Studart parte do arcaísmo social de uma cidade do Rio Grande do Norte, sendo a autora cearense, ciente, portanto, das mazelas pelas quais passava a mulher nordestina em uma sociedade retrógrada; já Machado parte de sua realidade, a cidade do Rio de Janeiro, palco de grandes manifestações contra o Regime e cuja realidade de cidade grande já oferece outro tom na proposição de problemas referentes à figura da mulher, tais como a desintegração da família e a recusa dos papéis tradicionais da mulher. / My aim in this dissertation is to analyze the novels O pardal é um passáro azul/ The sparrow is a blue bird (1975) and O tropical sol da liberdade/ The tropical sun of liberty (1987) with a specific focus on their relations and relevance to the Brazilian Dictatorship Period (1964-1985). The first novel was written during the most repressive period, during those years known as Anos de Chumbo/ the Lead Years (1968-1974); the second novel was written when political openness had already begun and it was published after democracy had been restored. The research and analysis examine, on one hand, how the social and political characteristics of Brazilian society are depicted in these novels and how resistance against enforced social and political rules is represented. This analysis is done in light of Brazilian theorists such as Regina Dalcastagné, Eurídice Figueiredo and Renato Franco whose critical works explicate novels as means of protest. On the other hand, this resistance is also analyzed as an aesthetic and essential part of novels, as theorized by critics such as Alfredo Bosi and Theodor Adorno. Considering that these two novels were written by women, the issue is also raised as to whether aesthetic characteristics that enhance a dialogue between the texts and society constitute a specific point of view in these fictions. To address this issue, the given historical context is contrasted with an analysis of aesthetic elements in both novels, taking into account feminist theories that identify women’s writing as constituting a reassessment of gender conditions in society, as proposed by Kate Millet, Pierre Bourdieu, Simone de Beauvoir, Heleieth Saffioti and Elaine Showalter. Focusing on the question of women as active thinkers of their time, this project argues that the condition of being a woman that is depicted in the novels cannot be dissociated from the (re)construction of Brazilian society, forming a discourse that can be defined as disarticulating or redefining the construction of the feminine at present embedded within patriarchy and its overarching ideological constructs. Each of these chosen authors belongs to a different cultural background and, therefore, each traces the feminine figure and its existential crisis in a very specific way: whereas Studart´s novel focuses on the roles of women amidst the archaic and conservative social and cultural characteristics of her state of origin, Rio Grande do Norte, Machado sets her novel in the city of Rio de Janeiro, one of the most progressive arenas in the struggle against the dictatorial regime, and explores the refusal of women in accepting their traditional roles.

Este trabalho analisa quatro peças brasileiras dos anos 1970: Um grito parado no ar (Gianfrancesco Guarnieri, 1973), Rasga coração (Oduvaldo Vianna Filho, 1974), Gota dágua (Chico Buarque e Paulo Pontes, 1975) e O último carro (João das Neves, 19641967-1976). Escritas por diferentes dramaturgos, essas peças são representantes de um projeto de teatro que se constituiu na década de 1970, marcado pelas tentativas de retomada dos palcos brasileiros com uma dramaturgia cujas principais características são a valorização da palavra como eixo estruturante das peças, o investimento na busca por uma síntese formal de acordo com a matéria histórica a ser representada e a reafirmação do compromisso com o engajamento. A análise das peças permitiu identificar a forte presença de elementos da cultura política comunista e a proximidade de seu discurso com o projeto político do Partido Comunista Brasileiro (PCB), o que permitiu caracterizá-las como dramaturgia de matriz comunista. As tentativas de retomada dos palcos se deram através de um processo de avaliação da prática teatral no qual os dramaturgos reafirmaram alguns dos pressupostos que haviam tido no horizonte de sua escrita dramatúrgica até então, ao mesmo tempo em que tentaram abandonar outros. Tentando deixar de lado o idealismo com que haviam lido a realidade brasileira e a teleologia revolucionária com que haviam representado os personagens populares, esses dramaturgos não abandonaram a defesa de uma estratégia de resistência ao regime militar através de uma frente ampla pela redemocratização. O frentismo, porém, surge reconfigurado, tendo seu foco deslocado de uma frente policlassista para uma frente entre membros de uma mesma classe social cujas estratégias de ação política divergiam. A busca por uma síntese formal sugere a constituição de uma \"frente estética\" em que diferentes matrizes teóricas foram conjugadas, evidenciando a importância da pesquisa formal para o teatro engajado. No entanto, apesar dessas características convergentes, as peças não deixam de expressar tensões entre si e expõem os impasses e contradições que marcaram a modernização do Brasil nos anos 1970. / This work analyzes four brazilian plays from the 1970s: Um grito parado no ar (Gianfrancesco Guarnieri, 1973), Rasga coração (Oduvaldo Vianna Filho, 1974), Gota dágua (Chico Buarque e Paulo Pontes, 1975) and O último carro (João das Neves, 1964/1967-1976). Written by different playwrights, these plays are representative of a theatre project constituted in the 1970s, marked by attempts to retake brazilian stages with a dramaturgy whose main characteristics are the valorization of the word as the structuring axis of the plays, the investment in the search for a formal synthesis according to the historical matter to be represented and the reaffirmation of commitment to political engagement. The analysis of the plays allowed to identify the strong presence of elements of the communist political culture and the proximity of its discourse with the Brazilian Communist Party (PCB)s political project, which allowed to characterize them as dramaturgy of communist matrix. The attempts to retake the stage took place through a evaluation of theatrical practice in which the playwrights reaffirmed some of the assumptions they had had in the horizon of their dramaturgical writing until then, while attempting to abandon others. Trying to put aside the idealism with which they had read the Brazilian reality and the revolutionary teleology with which they had represented the popular characters, these playwrights did not abandon the defense of a strategy of resistance to the military regime through a front for redemocratization. But the front strategy appears reconfigured, with its focus shifting from a polyclassist front to a front among members of the same social class whose strategies for political action diverged. The search for a formal synthesis suggests the constitution of an \"aesthetic front\" in which different theoretical matrices were conjugated, evidencing the importance of the formal research for the engaged theater. However, despite these convergent characteristics, the plays express tensions among themselves and expose the impasses and contradictions that marked the modernization of Brazil in the 1970s.

Esta tese apresenta um estudo comparativo entre a trilogia O tempo e o vento, formada pelos romances O continente (1995), O retrato (1995) e O arquipélago (1995), do escritor brasileiro Erico Verissimo; e o romance Yaka (1998), do escritor angolano Artur Carlos Maurício Pestana dos Santos, conhecido como Pepetela, pelo fato dos dois escritores se utilizarem de estratégias narrativas comuns, tais como a saga familiar, a metaficção, a técnica narrativa do contraponto e a polifonia na escrita de seus romances históricos ou narrativas de fundação. A utilização de recursos narrativos comuns torna semelhantes as estruturas narrativas das duas obras que formam o corpus da pesquisa. Ao final da tese, esperamos comprovar que a obra do escritor brasileiro serviu de modelo para o escritor angolano, que incorporou algumas de suas estratégias narrativas e as adaptou ao contexto da literatura angolana, segundo o conceito de intertextualidade de Julia Kristeva (1974) que concebe a escrita de um texto literário como a leitura do corpus anterior, noção que implica ver o texto como absorção e transformação de um outro texto, de modo que o romancista ao escrever a sua obra sempre parte de um modelo pré-existente, seja para legitimá-lo ou questioná-lo, sem que isto signifique que ele tenha feito uma mera cópia do modelo apropriado. / This thesis presents a comparative study of the trilogy O tempo e o vento,formed by the novels O Continente (1995), O retrato (1995) and O Arquipélago(1995), by the Brazilian writer ÉricoVerissimo, and the novelYaka (1998), by the Angolan writer Artur Carlos Maurício Pestana dos Santos, known as Pepetela, by the fact of the two writers use common narrative strategies, such as family saga, a metafiction, the counterpoint narrative technique and polyphony in their historical novels writing and founding narratives. The use of narrative resources makessimilar the narrative structures of the two works that compose the corpus of this research. At the end of the thesis, we hope to prove that the work of Brazilian writer served as a model for the Angolan writer, which incorporated some of his narrative strategies and adapted them to the context of the Angolan literature, according to the concept of intertextuality of Julia Kristeva (1974) that conceives writing a literary text as the reading of previous corpus notion that implies seeing the text as absorption and transformation of another text, so that the novelist, at the time he writes his work, always parts of a pre-existing model, in order to legitimize it or question it, without this implying that he has made a mere copy of the appropriate model.

This thesis investigates how the contemporary museum for printmaking Grafikens Hus motivates printmaking in socially engaged art projects based outside of the conventional gallery. It explores how printmaking is practiced as a tool to achieve artistic and curatorial goals, and investigates what Grafikens Hus strives to achieve by making space for meeting places. The analysis is based on in-depth readings of three case studies and two interviews with the director of Grafikens Hus Nina Beckmann and the curator Ulrika Flink. The theoretical perspective strives from concepts relating to audiences, relations and site-specificity outlined by curators engaged in socially engaged practices. The theoretical framework has also been informed by the curator José Roca’s approach to printmaking used as a device to achieve specific conceptual goals. The thesis is structured in three chapters: the first presents Grafikens Hus’s objectives and strivings, the second explores how Grafikens Hus use printmaking to stimulate confluence, the third examines Grafikens Hus’s ambition to curate meeting places. This thesis shows that printmaking is practiced as method for participation, used as tool for collaboration, seeking to create active subjects and co-producers. Furthermore, it demonstrates how Grafikens Hus use participation to form relations with places and thus generate a third room: places recharged with value by a dialogue oriented mind-set.

This PhD is a practice as research interrogation of the emancipatory potential of the idea of imperfection. It is framed around the key leading question: ‘How can the generation of imperfect praxis – cultural production in and through social dialogues challenging notions of technical expertise – affirm emancipatory value in a film practice? The thesis documents the development of a participatory film practice, operating in-between d.i.y subcultural activity and practice as research. The film component of the submission engages with the problems involved in representing and authenticating the collective dimension of participatory filmmaking. The emancipatory potential of imperfection has been explored via a broad range of interdisciplinary participatory practices. The core project is Imperfect Cinema, an open-access micro-cinema collective, which navigated the intersection between film and do-it-yourself punk. This interplay between the contested idea of punk and its inherent activism, with the democratic/accessible implications of audio-visual media, is seen as an exemplary site for examining, and dismantling the boundaries between disciplines. In this sense, the nature of the work can be seen as being ‘in-disciplinary’ (Rancière 2008), requiring a mobility and responsiveness to the emergence of contemporary participatory and collaborative processes. The concept of imperfection draws from punk as a set of d.i.y methodological practices and is key to understanding and developing participatory cinema. Imperfection, as a generative conceptual tool, can be described as incorporating and examining methods ‘against methods’ (Feyerabend 1988) in order to acknowledge the uncertainty and fluidity of participatory work. This forms my understanding of what I term imperfect praxis. This praxis requires the emancipatory potential of imperfection to be easily communicable and accessible to different kinds of participants. The emergence of imperfect praxis developed out of collective social spaces where a kind of knowledge can be explored through collaborative and participatory interactions and dialogues, situated and understood through historical, contextual, personal and shared experiences. This thesis consequently represents a ‘moment in time’ in my methodological development, providing me with the structure to identify and disseminate the practice as research.

This paper reports on an on-line collaborative design project of which the final outcome was a comprehensive, international World-Wide Web database of experts in the field of Instructional Technology as part of a learning task for post-graduate students in the same field. The main objective of the study was to determine the extent to which computer-supported collaborative design without face-to-face contact could be used to create a useful resource in this field. Sub-questions that arose were: How does a computer-supported collaborative design process evolve in an open-ended learning environment? What support could student designers working on a real-life project expect from their peers and experts in the field? How does one judge the success of such a project? What direct benefits can students derive from computer-supported collaborative design? The iterative design process was explored by means of an action research case study methodology. Three sets of issues fundamental to constructivist learning in an open-ended virtual environment came under scrutiny, viz. collaborative and participatory design, computer-mediated collaboration and collaborative learning. lt was found that computer-supported collaborative design could be a highly effective method both of learning and of producing a valuable artefact. / Dissertation (MEd)--University of Pretoria, 2001. / gm2014 / Education Management and Policy Studies / unrestricted

Depuis la fin de l’apartheid, l’Afrique du Sud est entrée dans un vaste processus de reconstruction nationale. Les artistes de théâtre, qui s’étaient pour beaucoup impliqués dans la lutte contre le régime, ont ainsi dû redéfinir leur place au sein du pays. Cette thèse se concentre sur la période de 2004 à 2014 et étudie en particulier l’idéologie et les pratiques de troupes de théâtre professionnelles ayant choisi de mettre leur art au service du développement. Dans une dynamique prescriptive, ces dernières s’attaquent en priorité aux problématiques menaçant de façon immédiate l’équilibre vital de la société sud-africaine, prônant un changement attitudinal et comportemental auprès des publics visés. Constatant les difficultés de l’Afrique du Sud à gérer sa diversité et à effacer les multiples clivages issus de son histoire, les artistes s’emparent également de la question identitaire. Ainsi, les comédiens relaient les diverses perspectives sur le sujet et proposent à leur public de trouver un équilibre entre la reconnaissance des particularismes identitaires et la construction d’une nation fédérée autour de valeurs communes. Enfin, cette pratique artistique a pour vocation de transformer la réalité, constituant ainsi un défi pour tous ceux qui s’y impliquent. En modifiant le statut du spectateur, qui devient participant, les comédiens explorent la dimension performatrice de l’art théâtral. De plus, les artistes eux-mêmes sont confrontés à une exigence de cohérence, qu’il s’agisse de respecter effectivement leur mission en tant que troupe engagée pour le développement, ou d’incarner, au niveau professionnel comme privé, les valeurs qu’ils prônent sur scène. / Since the end of apartheid, South Africa has entered into a vast process of national reconstruction, mobilising diverse constituent parts of its society. Theatre artists, many of whom were involved in the fight against the regime, have had to redefine their role within their country. This thesis focuses on the period of time between 2004 and 2014, and studies in particular the ideology and practices of professional theatre companies that chose to devote their art to the service of development. Following a prescriptive approach, these companies put a priority on tackling issues that represent an immediate threat to the vital balance of South African society, advocating an attitudinal and behavioural change in the target audiences. Observing the difficulties South Africa faces in managing its diversity and overcoming the numerous divisions that are by-products of its history, the artists also take on the question of identity. In this way, the actors present diverse perspectives on the subject and leave it to their audience to find the balance between recognising particular identities and adopting common values to build a truly united nation. Finally, such a theatre aims at transforming reality, therefore challenging the audience and the artists alike. Through modifying the status of the spectator, who becomes a participant, the actors explore the performative dimension of theatrical art. In addition, the artists themselves are confronted with a requirement for coherence, whether this involves respecting their purpose as a company committed to development, or incarnating, in both a professional and private sense, the values which they advocate on stage.