As politics in the world becomes all the more polarized it is important to look at how and why groups and factions are formed in today's society. In addition; one of the fastest growing medias in history, that of Digital Games, only becomes more and more influential the larger the budget and the greater the market. Therefore seeing how factions work in games and what, if any, effect it has on real life becomes just as vital as studying the phenomena in reality. It is also useful to see how we portray different kinds of factions, how the developer uses faction-related mechanics to guide the player and what a player chooses to do when interacting with groups and factions in games. The methods we used was primarily focused on diffraction because we wished to see what the different components of factions were and how one can, perhaps, switch them up. There are many aspects of what makes factions in games tick and the best method for identifying them, separating them and then re-applying them to discover new approaches and perspectives is, we decided, diffraction. Ultimately the conclusion we reached is that when it comes to factions in games communication is key and it is vital for any developer to know how to make use of it. Not just how to facilitate it, but also how to limit it. For while communication is, in general, good it could be detrimental to anyone wanting to create separate distinct player-driven factions. This is because a faction that has grown in a vacuum is going to be more distinct and unique than one grown together with another. When two factions can not communicate you get two separate entities, but when they can you get one entity with two different flavours to it, as World of Warcraft has quite clearly demonstrated. But even in single player games communication is vital, but this time between the developer and the player. Factions in this regard helps the player with categorizing that which they encounter in the world as well as better understanding said world in general. For instance, if a character belongs to a faction it is reasonable to assume the character supports the ideals of said faction. This helps both in assisting the player to quickly grasp the nature of the character, but also gives the potential for a bigger surprise if one chooses to undermine it later on in the narrative. / Medan världens politik blir allt mer polariserad så är det viktigt att se närmre på hur och varför grupper bildas i dagens samhälle. Samtidigt; en av de snabbast växande medierna i historien, digitala spel, blir bara mer och mer inflytelserik desto större budgeten och marknaden blir. Därför är det viktigt att se hur faktioner fungerar i spel och vilken, om någon, effekt det har på verkliga livet. Det är också användbart att se på hur vi väljer att porträttera olika sorters faktioner, hur utvecklare använder sig av olika faktionsbaserade mekaniker för att leda spelaren och hur spelaren väljer att interagera med grupper och faktioner i spel. Metoderna vi använde var mest fokuserade på diffraktion vilka olika delar faktioner består av och hur man kanske kan om-ordna dem. Det finns många aspekter av faktioner i spel som får dem att fungera och vi kände att diffraktion var den bästa metoden för att identifiera, separera och möjligen återapplicera dem, samt även för att hitta nya perspektiv och möjligheter. Slutsatsen vi nådde är att när det gäller faktioner i spel så handlar allt om kommunikation och det är viktigt för en spelutvecklare att bli bekant med hur man bäst utnyttjar det. Inte bara hur man uppmuntrar och förenklar kommunikation men även hur man begränsar den. Även om kommunikation, i allmänhet, är bra, så kan det vara en nackdel om man vill skapa separata och unika spelar-drivna faktioner. Detta beror på att faktioner som skapas i ett vakuum kommer att vara mer distinkt och unik än en som skapats sida-vid-sida med en annan. När två faktioner inte kan kommunicera skapas två separata entiteter, men om de kan kommunicera får du en entitet med två separata grenar, vilket World of Warcraft lyckats demonstrera ytterst bra. Men även i Single Player spel är kommunikation viktigt, fast denna gången mellan spelaren och utvecklaren. I detta fall hjälper faktioner spelaren att kategorisera det de ser och möter i spelvärlden samt att förstå världen bättre i allmänhet. Till exempel; om en karaktär tillhör en faktion så är det logiskt att anta att den karaktären står för samma värderingar och mål som den faktionen. Detta hjälper spelaren att snabbt få ett tag om de viktiga aspekterna av karaktären men hjälper även till att skapa en större förvåning om man senare väljer att underminera detta via ett förräderi eller liknande.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Este estudo ancorou-se na ideia de que a informalidade e a precarizaÃÃo das relaÃÃes de trabalho sÃo partes integradas e interdependentes. Constituem uma mesma realidade que se instalou no rastro das transformaÃÃes recentes na esfera laboral. A nova configuraÃÃo produtiva, as âpressÃesâ da globalizaÃÃo e as ideias neoliberais impulsionadas pela forÃa de acumulaÃÃo do capital, transformaram profundamente o trabalho, produzindo novas formas de inserÃÃo dos trabalhadores no mundo do laboral e, consequentemente, um novo trabalhador, onde necessidades diversas convivem, produzindo experiÃncias especÃficas de significados singulares. Sabe-se que o trabalho impacta na vida do trabalhador, influenciando a estruturaÃÃo de suas vidas, consequentemente, seus modos de viver, seja dentro ou fora do mesmo. Funda-se na relaÃÃo intrÃnseca do labor com o modo de vida e tambÃm na noÃÃo de que ele nÃo à apenas central na vida das pessoas, mas constituinte. O presente estudo fez parte da pesquisa para obtenÃÃo do grau de mestre pelo Programa de PÃs-GraduaÃÃo em Psicologia da Universidade Federal do CearÃ. Focou a realidade das costureiras, no enfrentamento diÃrio de demandas sociais permeadas pelas relaÃÃes de trabalho do contexto de facÃÃo, com o objetivo de analisar as consequÃncias das novas formas de relaÃÃes de trabalho em facÃÃo na vida das costureiras de Fortaleza-CearÃ. A partir de uma abordagem qualitativa dos dados, o estudo foi realizado com 08 costureiras do bairro Conjunto Palmeiras que trabalham em sistema de facÃÃo de costura a domicÃlio, sem contrato formal de trabalho. Elas possuem, no mÃnimo, um ano prestando serviÃos para o mercado de confecÃÃo deste municÃpio. Foi feita uma abordagem qualitativa ao contexto pesquisado atravÃs da tÃcnica de entrevista, individual e grupal, registradas manualmente ou gravadas, e em diÃrio de campo. As categorias temÃticas foram identificadas e validadas pelo cruzamento dos registros produzidos atravÃs da AnÃlise de ConteÃdo de Bardin. Considerou-se que estas novas relaÃÃes de trabalho trouxeram consequÃncias para a vida das costureiras de facÃÃo de Fortaleza â CearÃ. O nÃcleo central destas experiÃncias reveladas, apenas disfarÃadas de novas, emerge marcado por formas laborais antigas, inspiradas no carÃter de exploraÃÃo e expansÃo contÃnuos do modo capitalista de produÃÃo, quando sustentam as cadeias produtivas do setor de confecÃÃes e do vestuÃrio, em sua estratÃgia de enfrentamento da competitividade no mundo globalizado.

Le contexte socioculturel se révèle important dans l’approche identitaire des écrits francophones de Jacques Poulin, de Réjean Ducharme et de Ali Bécheur. Notre démarche a tenté de suivre une dialectique synchronique dans les différents épisodes fictionnels qui constituent le champ de recherche de notre étude. Dans cette dernière, la composante interculturelle est repensée en tant que concept permettant de redécouvrir l’altérité, et ce, dans une sorte de distinction résolue à partir d’une conscience d’appartenance qui pilote à son tour un comportement auctorial différent de celui entendu par la notion de transculturalité, d’une manière générale. Cette transculturalité conforte l’idée d’universalité ou encore de cohésion sociale multiethnique en faisant valoir une adaptation polymorphe des influences culturelles qui déterminent les traits des individus d’une même société. Il s’agit également de pointer du doigt l’aspect négatif de la mondialisation assimilationniste dans tout ce schéma transculturel transcendant foncièrement l’œuvre littéraire.Nous nous sommes attardés également sur les différentes caractéristiques narratives des auteurs en vue de mettre en exergue les thèmes récurrents et étroitement liés à la conception identitaire. Aussi, le dialogue interne démontre-t-il un balancement fictionnel qui inscrit deux états déterminants humains : le désenchantement et la passion, dans l’entendement d’une réalité contemporaine manifeste. Faisant suite à une continuité thématique et surtout analytique au sein de cette étude, nous avons choisi de procéder en dernier lieu de cette comparaison francophone, culturelle et identitaire, à une lecture psychanalytique des romans retenus dans le corpus. / The sociocultural context proves to be a major element in the identital approach of the francophone writings of JP, of RD and AB. Our own approach has tried to follow a synchronic dialectic one through various fictional episodes which constitute the field of research of our study.In the latter, the intercultural element is reconsidered as a concept leading to the rediscovery of the motif of otherness as a clear-cut distinction coming from a sense of belonging which, in turn, guides the writer's behaviour in a way which is different from what the notion of transculturalism usually implies. This idea of transculturalism supports the idea of universality and of multi-ethnic social cohesion by putting forward a polymorphic version of cultural influences which determines the features of individuals within the same society. It is also meant to point out the negative aspect of globalization as an assimilation process within this transcultural pattern which is part and parcel of the literary work.We have specifically laid the stress on the writers' narrative characteristics in order to enhance the recurring themes closely linked to the idea of identity. As a result, the internal dialogue shows a fictional swing between two determining human conditions: disenchantment and passion resulting from an obvious contemporary reality. As a follow-up to our thematic study and more specifically to our analytical one, we have chosen to end our work based on a francophone cultural and identital comparison with a psychoanalytic interpretation of the novels which are part of the corpus.

毛死後，中共權威性的分配規則解體，各派系合縱連橫，試圖掌握毛死後的政治權威，獲取最大利益。本文以過程途徑，研究1976-1989年中國大陸的政治轉型，並佐以中共黨史、中共高層講話等文獻作為分析資料。本文認為，中共的派系為了在聯合過程中佔有較大的優勢，會援引社會力量作為籌碼，而民主化就在派系衝突的過程中進行。鄧小平在贏得和凡是派的鬥爭後，就登上派系共主的地位，並且以「改革」做為統治合法性來源。由於鄧掌權後沒有進行嚴密政治控制，加上人民不滿「改革」所造成社經亂象，中國大陸的自由化運動於1989年發展為大規模的街頭運動，最後鄧小平以鎮壓及「治理整頓」鞏固威權政府權力，並以此重建中共合法性，結束了毛死後這一波的政治轉型運動。

本論文主要探討中共派系(改革派與保守派)對經濟改革開放政策之爭論和 其所呈現的特色與影響,進而評估其發展趨勢.論文內容共分五章十一 節, 約十萬字,茲簡述內容如下:中共自推行經濟改革開放政策以來,就一直存 在領導階層對經改速度和幅度上的認知差距,因而他們就分離為互相對抗 的不同派系(改革派與保守派).改革派主張市場化的激進的改革取向.他們 認為中共目前的社會主義現代化必須以經濟改革開放政策之進行,才能挽 救中共政局和經濟的危機.而保守派雖然理解目前中共面臨的問題和經濟 改革開放政策推行的必要性.但其改革開放政策囿於意識形態與既得利益, 因而其對改革開放的範圍和速度仍局限一定的範圍內,因而他們較強調四 項基本原則的堅持,以及改革與調整並行的經濟改革開放政策.改革派與保 守派由於這些基本觀點的差異和權力因素的考慮,以爭論政策和意識形態 的合理性或合法性便成為口實,最終並進而爭奪對中共的主導權.對這些爭 論與鬥爭，有人認為是權力鬥爭,有人說為政策爭論或路線鬥爭.筆者在本 論文中主要論證與分析,以政策分歧和經改成效,以及社會形勢為出發點, 以自己權力的維持和擴大為核心,以意識形態解釋權和合法性的爭奪為主 要手段或工具的派系鬥爭.這種鬥爭可以說是改革派與保守派圍繞改革開 放政策不斷爭論或鬥爭所呈現的主要特徵.中共內部改革派與保守派之間 不斷的派系鬥爭,首先給中共帶來了經濟改革開放政策在改革與調整,放與 收之間搖擺不定,其意識形態在左與右之間反覆循環,其領導階層的人事變 動大起大落,其第二代指定接班人皆成為他們鬥爭的主要對象而下臺.這些 結果或影響頗為深遠,其中包括:改革開放政策的推行停滯不前,意識形態 危機和非意識形態化,以及中央組織結構的不穩定和權力繼承危機等.

Drawing from my archival research on the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, and the urban guerrilla movement active in the Bundesrepublik Deutschland from the 1970s, my dissertation works through the RAF to speculate about the compulsion towards self-representation inherent to subjectivity. Such compulsion proffers an urgent and recurrent imperative to speak what cannot be said or to conjure what does not exist. This work argues that the perils and the failures of such enunciation, in the face of its compulsory demand, are felt not only in speech but in choreographies of subjectivity performed in aesthetic convolutions of space, gesture, and intonation. These convolutions are subject-forming material productions, rather than reflections or echoes of a pre-existing coherent subject, and trouble the notion of self-representation to the extent that they produce and re-produce the self. While the body is formed by culture, it consistently circumvents the limits of the genres that govern speech communication, therefore, my work is concerned with tracing a mise en scne of self-production by emphasizing non-textual elements. The forms that this circumvention can take exceed the involuntary cry, gesture, uneven breath, or facial expression to include uses of space space that is implicated in the bodys formation but the public legibility of such circumventions is not guaranteed. This work aims to refunction the RAF's declaration of the body as a weapon to the body as a medium for communication and to approach the aesthetics of a body (anti)language that extends beyond the particularities of the urban guerrilla project to the situation of mundane subjectivity that repeatedly calls for enunciation. My dissertation is a performative text that deploys formal interventions such as collage, assemblage, photography, and interleaved texts meant to intrude upon the reader that target instrumental language use. To illustrate that the ongoing production of subjectivity of the urban guerrilla is not alien to that of the politically recognizable citizen, my work contemplates practices of contemporary art and the production of material objects of signification that engage in practices of citation and disguise the incoherence of our acts.

This project explores the intersection of postwar German history, visual art, and left-wing terrorism. More than thirty years have now passed since the German Red Army Faction’s (1970-1998) most spectacular violent campaign—the so-called “German Autumn” of 1977—and yet the organization continues to elicit a variety of cultural responses from many artists. Interestingly, many films, texts, and visual artworks featuring the Red Army Faction (RAF) as their subject focus heavily on the group’s charismatic founders and on the German state’s vigorous efforts to suppress them and their successors, and yet these works pay comparatively scant attention to the individuals whom the RAF murdered. In light of this observation, I argue that the German Left’s cultural memory of the RAF was and still is marked not only by a significant ambivalence concerning the RAF (especially the founders) and the German state, but also the victims. As a means of elucidating this ambivalence, I offer close “readings” of two works of visual art that debuted at different moments in the years following the German Autumn. Gerhard Richter’s October 18, 1977 (1988) is a photorealist series that invites viewers to consider the lives and especially the deaths of the RAF’s principal members, while Hans-Peter Feldmann’s photo compilation The Dead 1967-1993 (1998) presents a sobering chronology of individuals killed either directly or indirectly as a result of the German leftist counterculture, including terrorist violence, without making an immediate distinction between perpetrators and victims. Within the framework of the larger RAF cultural memory, the works of Richter and Feldmann thus help clarify some of the causes and effects of the German Left’s suspended resolution regarding RAF terrorism. / text

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-01T20:46:09Z No. of bitstreams: 1 DISS_2012_Gustavo José Jordan Prado.pdf: 5590366 bytes, checksum: a69cd5d1b52e2b36812af894b437ac82 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T14:51:30Z (GMT) No. of bitstreams: 1 DISS_2012_Gustavo José Jordan Prado.pdf: 5590366 bytes, checksum: a69cd5d1b52e2b36812af894b437ac82 (MD5) / Made available in DSpace on 2017-12-15T14:51:30Z (GMT). No. of bitstreams: 1 DISS_2012_Gustavo José Jordan Prado.pdf: 5590366 bytes, checksum: a69cd5d1b52e2b36812af894b437ac82 (MD5) Previous issue date: 2012-06-29 / FAPEMAT / O presente trabalho busca traçar uma experimentação metodológica na área da etnografia e da literatura. Para tanto, utilizamos como parâmetro dessa experimentação o trabalho cinematográfico de Jean Rouch e sua proposta de etnoficção. A intenção seria a de construir contos literários utilizando a construção etnográfica como uma forma de chegar a realidade por meio da ficção. Neste sentido, o trabalho foi dividido em duas etapas fundamentais: 1) A elaboração etnográfica, onde buscamos identificar as formas de resignificações dos traços de identidade - ao qual chamamos de signos-identitários - e pertencimento na comunidade de Varginha, em Santo Antônio do Leverger, MT utilizando a inscrição do discurso social (Geertz, 1973) e a metalingüística (Bakhtin, 1963) como ferramentas para perquirir as manifestações culturais na comunidade; e 2) A construção da ficção-realista (Geertz, 2003) um gênero hibrido, que pudesse problematizar o próprio discurso etnográfico. / This currency study aims to trace a methodological experimentation in the Ethnography and Literature area. To do so, it uses as parameters for this experiment the cinematographic work of Jean Rouch and his proposal of ethnofiction. The intention bases on the construction of literary tales using ethnography as a way of reaching reality through fiction. In this sense, the work was divided into two stages: 1) Ethnographic preparation in which seek to identify ways of significations of identity traits – called up identity-signs – and belonging in the community of Varginha, in Santo Antonio do Leverger-MT using the inscription of social discourse (Geertz, 1973) and metalinguistic (Bakhtin, 1963) as tools to inquire about cultural events in the community; and 2) The proper construction of a faction (Geertz, 2003), one hybrid genre, which unveils the culture studied, as well as to problematize the very ethnographic discourse.

Denna studie ämnar att fastställa huruvida Gaston Lerouxs gotiska roman Le Fantôme de l’Opéra även skulle kunna klassas som en del av faktionsgenren och, i så fall, vilken typ av faktion den skulle vara. För att möta syftet bygger studien på ett antal faktionsteorier från olika författare och litteraturvetare. Studien innehåller tre huvudsakliga analyspunkter: den första punkten behandlar romanens stil och narrativ; den andra punkten diskuterar dess innehåll i relation till verkliga historiska händelser, personer, platser och dokument och den tredje punkten jämför fynden från de ovan nämnda punkterna med de olika faktionsteorier som studien bygger på. Studien visar att Le Fantôme de l’Opéra möjligen skulle kunna betraktas som en del av faktionsgenren, men att den inte fullt ut passar in i någon av de redan befintliga kategorierna som studien presenterar. Studien reser därför frågan om det finns anledning till att introducera en ny typ av faktion? / This study aims to determine whether Gaston Leroux’s gothic novel Le Fantôme de l’Opéra also could be classified as part of the faction genre and, if so, what type of faction it would be. To meet this purpose, the study builds upon a number of faction theories from different authors and literary scholars. The study contains three main points of analysis: the first point deals with the style and narrative of the novel; the second point discusses its contents in relation to real-life historical events, people, places and documents and the third point compares the findings of the aforementioned points with the different faction theories on which the study builds. The study shows that Le Fantôme de l’Opéra could potentially be considered as part of the faction genre, but that it does not quite fit into any of the preexisting categories presented in this study. The question is therefore raised if there might be reason to introduce a new type of faction?

The aim of this thesis study is to examine questions regarding truth in fiction, the term literarytruth. The study is based on the two works of fiction, Märit by Ing-Marie Eriksson (1965) and Eufori by Elin Cullhed (2021). Märit and Eufori both enable interesting approaches to thequestion of truth in fictional literature from different perspectives. Märit, being the only bookin Sweden to be sentenced for defamation, and Eufori being a fictive story about the historicalperson Sylvia Plath. The research questions will be explored through the theory of the readers'contract and the term faction and be discussed in a wider perspective regarding both readingand writing. We can claim to write truth, we can claim to write untruth. We can seek inspiration for ourcharacters both from within and without. But literary truth is not only found in the text itself. Itis also about paratexts, media presence and the author's own statements about the novel. It is onthis basis that the author's intention is visible, and the reader's contract is established. Literarytruth can thus be found both inside and outside the text.