Denna studie undersöker hur klass konstrueras utifrån tillgång till kulturellt och symboliskt kapital i den sjunde säsongen av det svenska reality-programmet Gift vid första ögonkastet. Studien fokuserar på hur klassdistinktioner skapas utifrån moral och värderingar, där arbetarklassen görs till moralisk underklass i reality-tv. Studien argumenterar för att reality-tv genomsyras av en medelklassblick. Studiens teoretiska utgångspunkter är Pierre Bourdieus teorier om klass och kapital samt vidareutvecklingar av hans teorier, främst kopplade till Beverly Skeggs. Studien använder en diskursanalytisk metodansats baserad på Ernesto Laclau och Chantal Mouffes diskursteori, för att förstå hur den mediala diskursen ger mening åt arbetarklassen och medelklassen genom ekvivalenskedjor. I den mediala diskursen om arbetarklassen kopplas två av de manliga deltagarna i programmet Gift vid första ögonkastet till en arbetarklassidentitet. Detta görs genom deras språk, som upplevs vara sexistiskt, och deras smak. Analysen visar hur arbetarklassdeltagarna är medvetna om sin klassidentitet och disidentifierar sig med den. Analysen tar även upp hur arbetarklassdeltagarna förväntas lära sig medelklassens värderingar för att godkännas i medelklassens ögon. Studiens slutsats visar att klass, trots att det inte nämns explicit, spelar en högst central roll i seriens narrativ. Slutsatsen visar vidare att arbetarklassen främst porträtteras utifrån sin brist på rätt kulturellt och symboliskt kapital. Resultaten bekräftar tidigare forskning om reality-tv, men bidrar även med ny förståelse genom att visa hur jämställdhetsvärderingar görs till det mest värdefulla symboliska kapitalet i programmet, och i förlängningen kan bidra med insikter om den samhälleliga diskursen om arbetarklassen.

The Nile tilapia Oreochromis niloticus is native to Africa and middle East, and is an important source of nutrition for many in sub-Saharan Africa. Understanding the genetic diversity within and differentiation among wild populations can help identify O. niloticus populations that are imperiled and require directed management, especially because of increasing threats to the species' long-term persistence in the wild, including habitat destruction, overfishing, climate change, and hybridization with farmed populations. Knowledge of the genetic variation among wild populations also can contribute to foundation and selection of genetically diverse populations for aquaculture. I assessed the genetic variation among tilapia populations using fin-clips collected between December 2014 and July 2017 from 14 farmed sources, mostly originating from cage farms on the Volta Lake, and 13 wild sources from nine river basins in Ghana. I also conducted a laboratory growth experiment in Ghana with two wild populations to evaluate the tolerance of different genotypes to high temperatures, to inform their development for aquaculture in West Africa. I found that pure O. niloticus populations persist in the wild but some have been extensively introgressed with the closely related species, O. aureus, which has not previously been documented in Ghana. Additionally, some wild populations appear to have recently declined significantly in numbers, likely due to overfishing and habitat modification, the latter primarily as a result of illegal alluvial mining ongoing in Ghana. Analysis of the farmed populations revealed that at least two farms were growing the unapproved genetically improved farmed tilapia (GIFT) and related strains, and that escaped individuals are admixed into some wild populations. The results of my laboratory experiment showed that O. niloticus populations occurring in northern Ghana already may be adapted to warmer temperatures and could be developed and used purposefully in aquaculture, taking advantage of their adaptation. To protect remnant pure O. niloticus populations in the wild, timely conservation decisions should be made and implemented. Protecting wild O. niloticus populations also would ensure that pure germplasms are available to develop aquaculture stocks from native populations. / Ph. D. / The Nile tilapia Oreochromis niloticus is an important food source for many people in Africa. However, many wild populations may be at risk of population decline and extinction because of increasing human activities such as overfishing and farming of non-native strains. Understanding the genetic differences among wild populations and comparing them with farmed strains can inform protection of wild populations and also help develop aquaculture strains using native populations as genetic resources. I assessed the genetic differences among tilapia populations using fin-clips I collected between December 2014 and July 2017 from 14 farmed sources, mostly originating from cage farms on the Volta Lake, and 13 wild sources from nine river basins in Ghana. I also conducted a laboratory study with two wild populations to test their tolerance to high water temperature. My research showed that pure O. niloticus populations still occur in Ghanaian rivers, but some have reproduced widely with a similar species, O. aureus, which is not known to occur in Ghanaian rivers. I also found that some wild populations may have reduced population sizes because of overfishing or because their environments have been impacted by illegal mining occurring in almost all Ghanaian rivers. My results indicated that at least two farms were growing the genetically improved farmed tilapia (GIFT) and related varieties, some of which have escaped the farms and mixed with wild populations. The results of my laboratory experiment showed that O. niloticus populations occurring in northern Ghana may be adapted to warmer water temperatures and could be selectively bred and used in aquaculture. The information generated from my research should help in making timely conservation decisions, which should help protect the remnant pure O. niloticus populations in the wild and contribute to developing aquaculture responsibly.

Royal Gifts: Conferring Personhood upon Gifted Artworks in the Courts of England, 1300-1600 aims to uncover the social mechanisms at play when an artwork was given as a courtly gift, with particular interest given to those gifts which could be classed as ‘inalienable’ from the donor. The essay opens with an examination of current anthropological definitions of inalienable artworks and their powerful influence when deployed reciprocally at court as a binding social glue, reinforcing the ties from one individual to another which may not be readily strengthened by any other means. The essay goes on to make an analysis of three such artworks which fit such a definition, in light of how their status as a gift has informed their making, artistry, and meaning.  The specific types of artwork analysed are two illuminated manuscripts commissioned by royal patrons, and a gold jewellery brooch or badge of fealty.Primary issues addressed by the essay are building a picture of existing scholarship which deals with medieval gift-giving, why and how an artwork might be made so as to be inalienable from the owner, and how this can alter a contextual interpretation of the artwork.  The reasoning behind why such gift-giving rituals ceased to be enacted is also explored.The essay found that inalienable possessions, especially artworks, are never given arbitrarily in a court setting. Often, the nature of the artwork given contains vital information about the relationship between donor and recipient.  Making an art historical analysis of such artworks also revealed details about certain artistic choices made at the time to artwork was commissioned. In short, the essay finds that rendering an artwork inalienable was beneficial as a device for strengthening one’s own identity and one’s relation to others.

[pt] Esta dissertação discute as possíveis relações entre a maneira de sambar e o saber corporal contido na performance de mulheres negras intituladas como Mulatas no samba do Rio de Janeiro. O estudo investiga por meio de depoimentos das próprias, os motivos pelos quais percebem o seu sambar, ou o samba no pé, como um dom. Articulando as percepções sobre as corporeidades e as possíveis origens do dom de sambar são examinadas as possibilidades deste dom atuar como um arquivo gestual configurando-se como um saber corporal possivelmente herdado de gerações anteriores e manifestado através do Ser Mulata. Desta maneira, a conscientização do Ser Mulata iria além dos aprendizados formais e informais e do reconhecimento dos pares, podendo absorver um arquivo de gestos compartilhados por experiências entre mulheres negras cariocas participantes do mundo do samba tornando-as personalidades dentro e fora do carnaval. / [en] This dissertation discusses the possible relations between the way of sambar and the corporal knowledge contained in the performance of black women titled as Mulatas in the samba of Rio de Janeiro. The study investigates through their own testimonies, the reasons why they perceive their sambar, or the samba in the foot, as a gift. Articulating the perceptions about the corporeities and the possible origins of the gift of sambar are examined the possibilities of this gift to act like a gestural file configuring like a corporal knowledge possibly inherited of previous generations and manifested through the Mulata Being. In this way, the awareness of the Mulata Being would go beyond formal and informal learning and peer recognition, and could absorb a file of gestures shared by experiences among black women from the samba world, making them personalities inside and outside the carnival.

In his dissertation, Van Hulzen argues that solidarity should, first and foremost, be understood as a question of how social cohesion, in one form or another, is possible under the conditions of modernity. Theories of solidarity often try to answer this question by either arguing for solidarity based on what people share in common, or for solidarity that relies on what distinguishes them from one another. Contrary to these positions, Van Hulzen argues that the distinction between both types of solidarity is tied to the dualistic nature of liberal individualism, and that the ideal of solidarity originally developed as an ideal aimed at overcoming this problematic aspect of liberal individualism. This argument is developed through a close reading and contextualization of the work of Emile Durkheim, which plays a central role in the evolution of the ideal of solidarity. Through an original interpretation of Durkheim’s work, van Hulzen demonstrates that Durkheim’s theory of solidarity, contrary to common claims, already moves beyond the dichotomy present in many contemporary debates on solidarity. However, in a critique of Durkheim’s understanding of the relationship between solidarity and individualism, the ideal of solidarity is pursued beyond Durkheim’s theoretical framework in the second half of the dissertation. A deeper analysis of the problem, and a first step toward understanding solidarity as a process of social transformation, is offered through a new interpretation of Marcel Mauss’s theory of gift exchange. These insights are further explored in the final chapter, which considers various theories of play as models for a concept of transformative solidarity.:Introduction 1 I. Solidarity as the Question of Modernity 17 1. Solidarity and Political Economy in Early Nineteenth Century France 19 2. Solidarity and Civil Religion in Early Nineteenth Century France 26 3. Durkheim on Mechanical Solidarity 36 4. The Ideal of Organic Solidarity Reconsidered 43 5. Mechanical or Organic Solidarity? 52 6. Organic Solidarity in the Theories of Rahel Jaeggi and Axel Honneth 61 Conclusion 71 II. The Cult of the Individual 74 1. The Dreyfus Affair 76 2. The Origins of Excessive Individualism 82 3. The Sacred-Profane Distinction Reconsidered 95 4. The Cult of the Individual 107 5. The Sacred Rights of Man 114 6. Marx on the Jewish Question 126 Conclusion 134 III. Gift Exchange Beyond Sacred and Profane 138 1. Mauss on Bolshevism 140 2. The Noncontractual Element in Exchange 145 3. The Gift in Durkheim’s Shadow 149 4. The Force in the Thing 158 5. Mana 161 6. Layers of Exchange 167 7. The End of the Spirit of the Gift 177 8. Mana and the Sacred 185 9. Sacrifice and the Separation of Sacred and Profane 188 10. From Sacrifice to the Ideology of the Pure Gift 195 Conclusion 201 IV. The Transformative Power of Play 205 1. Play as Schiller’s Answer to the Question of Modernity 206 2. Gadamer on Transformation Through Play 216 3. Huizinga on Play as Sacralization 225 4. Agamben on Play as Profanation 237 Conclusion 246 Conclusion 251 Bibliography 262

Si pendant de nombreuses décennies, la créativité a été décrite comme une activité solitaire, en référence à des caractéristiques individuelles possédées par certains individus, il est aujourd’hui établi que les relations jouent un rôle critique dans la création de connaissances (Perry-Smith, 2006). Néanmoins, en dépit de leur importance, les échanges interpersonnels ont reçu relativement peu d’attention en comparaison d’autres ressources utiles au processus créatif. Ce travail doctoral est donc consacré à l’étude du rôle des interactions sociales dans la dynamique du processus créatif. Les cadres théoriques mobilisés sont la théorie de la complexité et la théorie de l’échange social. Notre recherche empirique a été réalisée auprès de chercheurs de l’industrie dont le cœur de la mission est de nature inventive. Cette thèse est composée de trois articles, qui répondent à la question de recherche suivante : Dans quelle mesure et de quelle manière les interactions sociales jouent-elles un rôle dans le processus créatif ? Notre contribution théorique consiste à (1) apporter une définition plurielle de la créativité ; (2) mettre en évidence les différentes ressources sociales mobilisées, qui façonnent un processus créatif dynamique en deux méta-étapes (émergence et amplification des idées) ; (3) décrire trois formes d’échange social, sous-tendues par différentes logiques de réciprocité, qui jouent un rôle important au cours du processus créatif. Cette thèse souligne le rôle des interactions sociales dans le processus créatif et toute l’importance des moments de socialisation dans la vie des organisations qui souhaitent développer la créativité de leurs salariés / Although for many decades creativity has been described as a solitary activity that refers to individual characteristics possessed by certain individuals, today it has been established that relationships play a crucial role in the creation of knowledge (Perry-Smith, 2006). Nevertheless, despite their importance, interpersonal exchanges have received relatively little attention compared to other resources useful to the creative process (Bouty, 2000). This doctoral study is therefore devoted to examining the role of social interactions in the creative process. The theoretical framework draws on literature in the fields of complexity theory and social exchange. The empirical research was carried out among industrial researchers whose main mission is creative in nature. The thesis is composed of three articles, each of which treats a dimension of the overall research question: To what extent and in which ways do social interactions influence the creative process?The research contributes to theory building by (1) providing a plural definition of creativity; (2) highlighting the different social resources that researchers draw on and building a dynamic creative process divided into two meta-stages (emergence of ideas and their amplification); and (3) describing three forms of social exchange, underpinned by different logics of reciprocity that play an important role during the creative process.Overall, this thesis points out the importance of social interactions in the creative process and the full importance of moments of socialization within organizations wishing to develop their employees’ creativity

Cette thèse de recherche en art se déploie dans deux dimensions principales intimement liées, l’une épistémologique et l’autre artistique. Premièrement, du point de vue épistémologique, elle est l’expression du continuum entre théorie et pratique. Elle pose l’hypothèse que le méta-art initié par deux artistes : Adrian Piper dans les années 1970 et Jean-Paul Thibeau dans les années 1990, constitue la méthode idoine pour expliciter et analyser l’expérimentation artistique. Le programme théorico-pratique que nous avons conçu s’articule sur deux registres de textes : les récits d’expérience relatant quatre projets (Genius Loci Monflanquin, Genius Loci Aix, Genius Loci Villeneuve, Genius Loci UBUBM) et les commentaires analytiques relatifs aux récits d’expérience (« Comment représenter le mouvement ? », « Comment l’écosophie permet-elle d’éclairer les pratiques artistiques qui investissent le quotidien comme situation d’expérimentation ? », « Comment prendre une décision ? », et « Comment ménager des passes au milieu du milieu ? »). Deuxièmement, du point de vue artistique, cette thèse ouvre un espace d’expérimentation pour la création de l’Atlas Genius Loci. Les situations de chantier à partir desquelles nous avons travaillé (en particulier ceux des universités bordelaises) nous ont amené à pratiquer une recherche-création sur des terrains de vie concrets et à mettre en œuvre des processus de coopération artistique avec des maîtres d’ouvrage et des institutions. À partir d’une interrogation sur les articulations possibles entre l’art et les pratiques architecturales de l’industrie du bâtiment (Building Information Modelling), notre Atlas est devenu un « processus mésologique », un travail d’inter-relation au sein d’un milieu, construisant une présence-alliance entre une artiste et une institution. Le prolongement de cette recherche-création, où le terrain-milieu d’où l’on parle est à la fois explici-té dans sa matérialité et impliqué dans l’expérimentation, s’inscrit dans l’héritage de l’analyse institutionnelle (sociologie) et de la critique institutionnelle (art) pratiquée dès les années 1970. L’enjeu de ce travail porte sur les engagements contemporains de l’artiste dans la société, et réciproquement, sur la place que celle-ci réserve à l’art, il rend compte de la singularité de la recherche en art, et de la façon dont elle ouvre aujourd’hui des perspectives originales pour l’alliance du monde académique avec la société civile. / This research thesis in art unfolds in two main and closely linked dimensions, one epistemological and the other artistic. Firstly, from an epistemological point of view, it is the expression of the continuum between theory and practice. It hypothesizes that meta-art initiated by two artists: Adrian Piper in the 1970s and Jean-Paul Thibeau in the 1990s, defines the right method to explicit and analyse the artistic experimentation. This theoretical-practical program is carried out through the writing of two kinds of texts: the experience accounts of our projects (Genius Loci Monflanquin, Genius Loci Aix, Genius Loci Villeneuve, Genius Loci UBUBM) and the analytical comments ("How to represent movement? ", " How can ecosophy shed light on the artistic practices that take place in everyday life as a experimentation situation? ", "How to make a decision? ", and "How to build a pathway to the heart of a living environment?”). Secondly, from an artistic point of view, this thesis opens up a space for experimentation on the creation of the Atlas Genius Loci. The "construction site situations" from which we have worked (in particular those with Bordeaux universities) have led us to practice a research-creation on tangible living environments, and to pursue artistic cooperation with project owners and institutions. With the possible links between art and architecture (Building Information Modeling) as a starting point, our Atlas has become a "mesological process" claiming a presence-alliance between an artist and an institution. The extension of this research-creation, where the field-environment from where one speaks is both explicit in its materiality and involved in the experimentation, is part of the legacy of institutional analysis (sociology) and institutional criticism (art) practiced since the 1970s.The contemporary commitment of the artist in society, and reciprocally, the place that society gives to art, expresses the singularity of the artistical research, and the way that it now opens up original perspectives for the alliance of the academic world with civil society.

Notre étude porte sur les personnages féminins de Marcel Proust à l'aide du « désir » de René Girard, du « don » de Marcel Mauss et des « focalisations » de Gérard Genette. La focalisation variable dans le récit facilite la compréhension de toutes les relations et en particulier des sentiments amoureux du héros pour les femmes. Il croit pouvoir réaliser ses rêves à travers ces femmes et se réjouit à l'idée de posséder les clés qui lui permettent d'entrer dans le monde qu'il recherche. Ce sera le narrateur vieillissant qui démystifiera ce sentiment. En réalité, sa satisfaction ne provient pas des femmes en elles-mêmes, mais de leurs qualités périphériques qu'il peut retrouver chez elles. Girard défend le désir des mauvais procédés, il parle également du mimétisme, de la rivalité et de la violence dans le désir qui relève de l'imagination. Le « désir girardien » définit correctement le désir maladif du jeune héros envers les femmes. Quant à Mauss, il défend une réciprocité de la reconnaissance comme « trois obligations » afin de pouvoir constituer une bonne relation sociale. Il dévoile principalement les bons procédés tels l'amitié, l'amour et l'échange de cadeaux, mais il traite aussi du sujet de la rivalité. Ces deux théories semblent contradictoires, cependant le désir et le don coexistent dans la Recherche, on les retrouve tous deux au fur et à mesure de notre relecture. La poursuite de l'amitié et de la gloire sociale du héros est défaite, pourtant toutes les pages sur l'art nous montrent la philosophie de Proust, ce qui n'est pas possible par l'amour est possible grâce à la littérature. La Recherche parle de la compréhension de la vie ce qui est un don du romancier. / My research focuses on the female characters in In Search of Lost Time by Marcel Proust from the perspective of the "desire" of René Girard, the "gift" of Marcel Mauss and the "focus" of Gérard Genette. The variable focus in the narrative facilitates the comprehension of all relationships, connections and in particular the passion and the varied emotional projections of the hero for these women. He believes that his dreams will come true through these women. It will be the narrator, another "me" of the hero, who will demystify this feeling. In fact, his satisfaction is not in regard to the women themselves, but to the peripheral qualities that he can find from these women. Girard defends the desire of bad processes, he talks about the mimicry, rivalry and violence in desire which is also from the imagination. Girard's theory of mimetic desire composed of envy, jealousy and helpless hatred corresponds exactly to the unhealthy desire of the young hero for these women. The theory of Mauss regarding mutual recognition as being composed of "three obligations" which constitute a good social relationship. He defends not only the good processes like friendship, love and gift exchange, but also the topic of rivalry. It might seem that these two theories are contradictory, but Desire and the Gift coexist in fact in this novel, we can find them in our new interpretation. The hero's pursuit of friendship and social glory is defeated, however all pages on art shows us the philosophy of Proust, which is not possible by love is possible through literature. In Search of Lost Time is a gift of the author, it's a comprehension all about life.

莎劇＜威尼斯商人＞已被廣泛地從種族、性別和宗教等角度討論。然而這些非物質的角度並無法全然地描繪全劇。劇中有許多物件，並且深深地影響著劇中的角色們。這篇論文將試著探索物件和人們之間的關係，以三種人與人之間的關係來著手：猶太人和基督徒、父母親和子女以及愛情和友誼。很明顯的，在劇中，角色和物件之間的關係密不可分，甚至物件的力量會高過人們，進而產生控制。維根斯坦以聖奧古斯丁的論點來做為他的語言哲學的開端：語言以物件命名為基礎。但維根斯坦認為語言的運用並不全然建立在為物件命名，而是在不同的情境之下使用且產生不同的意義，換言之，語言重要的目的不是表達意義，而是在情境中發揮功能。而這樣使用語言的方式，描繪了人們的生活形式(Form of Life)。在劇中，物件在不同的情境之下有著不同的意義。由於戲劇能夠反映人生，因此透過探索劇中物件與角色間的關係，可以反映出人們的真實生活抑是和物件密不可分，也反映出人們的生活形式。 / The Merchant of Venice has long been discussed with the view of race, gender and religion. These immaterial aspects, however, are not able to depict the totality of the play. There are many material objects in the play, those objects which strongly involved in characters’ relationships. The thesis aims to explore when people grant force on objects and objects act upon people in return by examining objects in the play. The importance of objects can be found in three relationships: Shylock and Christianity, parents and children, love and friendship. It is obvious that objects function diversely in different situation and objects do have influence on characters. Ludwig Wittgenstein starts his linguistic philosophy with St. Augustin’s observation: the use of languages starts from naming objects. However, Wittgenstein thinks that languages function in activities, so we should consider the function of language within activities of life instead of an abstract meaning. The way people use languages can be seen as participating in activities which presents the form of life. Similarly, objects function differently in activities and have diverse impact on characters. Drama is formed by many activities and reflects people’s life. Through finding the importance of characters and objects in The Merchant of Venice, the result can reflect people’s real form of life.

The Gift 2.0 - A Museological Study of donations of Objects and its Underlying Motives, is a study in order to explain why people choose to donate items for museums, rather than any other alternative.The empirical study consists of qualitative, semi-structured research-interviews conducted with seven selected curators from various museums, with extensive experience of the subject acquisition. I have chosen to only examine Swedish cultural-historical museums. The hypothesis that I assumed was first and foremost that the heritage sphere is what Pierre Bourdieu calls a field. The reason that people would donate objects to museums, is that the donation itself brings cultural capital to the donor, from people with the same habitus. Since I felt that Bourdieus theory of field, capital and habitus could not explain all the reason why people donate items to museum, my second hypotheses was that certain objects are what Annette Weiner called inalienable possessions, objects that at any cost may not be sold or bartered away. It is precisely the ability to keep the object outside of the commercial sphere that is the essential for an inalienable possession. Linked to this hypothesis I argued that museums act like a bastion of inalienable possessions, in which the donor can continue to keep the object while it has been given. My source material consists of the research interviews and secondary material that I have acquired during the study, consisting of literature, deed of gift and e-mail correspondence. I have analyzed both primary and secondary source material using my hypotheses. The results of this study verify that my hypothesis is valid to use as a musicological theory of gifts. The study is a two year master´s thesis in Museum and Heritage Studies.