<p>This paper examines how pupils with a non-Swedish background, in a secondary school in Stockholm’s suburban, Sweden, interpret and absorb the contents of school-room classes. It also examines whether the interpretations are influenced by a power-relation between teacher and pupils. The pupil’s interpretations, including their values and perceptions as regards to the content, are central to our study.</p><p>Firstly, classes on world conflicts and corporal punishment for children were observed and these observations were the foundation to this study. Secondly, pupils with various ethnic backgrounds were interviewed regarding their experiences of the classes.</p><p>The analysis indicates the presence of a power-relation between teacher and pupils in class caused by the teacher showing no consideration to the pupils’ various backgrounds when selecting the contents of the presentation, resulting in a conscious or unconscious exclusion of the pupils’ backgrounds. The interviews indicate that the teacher’s cultural capital was in a superior position to the pupils’ cultural capital. This may lead to a sense of exclusion.</p><p>The pupils’ interpretation stem from both their own experience in a multi-cultural school and from their parents’ backgrounds. They are thus expressions of trans-cultural “new ethnicities” rather than one specific ethnicity.</p>

This paper examines how pupils with a non-Swedish background, in a secondary school in Stockholm’s suburban, Sweden, interpret and absorb the contents of school-room classes. It also examines whether the interpretations are influenced by a power-relation between teacher and pupils. The pupil’s interpretations, including their values and perceptions as regards to the content, are central to our study. Firstly, classes on world conflicts and corporal punishment for children were observed and these observations were the foundation to this study. Secondly, pupils with various ethnic backgrounds were interviewed regarding their experiences of the classes. The analysis indicates the presence of a power-relation between teacher and pupils in class caused by the teacher showing no consideration to the pupils’ various backgrounds when selecting the contents of the presentation, resulting in a conscious or unconscious exclusion of the pupils’ backgrounds. The interviews indicate that the teacher’s cultural capital was in a superior position to the pupils’ cultural capital. This may lead to a sense of exclusion. The pupils’ interpretation stem from both their own experience in a multi-cultural school and from their parents’ backgrounds. They are thus expressions of trans-cultural “new ethnicities” rather than one specific ethnicity.

Theatre is a location of cultures, the reflection of our daily lives, the present moment we are living. This thesis focuses on studying performances of the Hakka Contemporary Theatre created by female directors (Hakka and Non-Hakka) in Taiwan to observe how they combine western modern theatre forms with Hakka traditional and cultural elements and further transformed the specifics of Hakka culture on stage and represented various images of Hakka women. Through applying theories in relation to diaspora discourse, the hybridity of post-colonialism and postcolonial feminism and theatre study as the foundation of academic research, I attempted to critically examine the hybrid forms and development of the Hakka Contemporary Theatre to explore in depth the meaning of Hakka culture represented in theatre. In this thesis, I firstly offer performance analysis and draw on hybridity discourse and feminism in relation to post-colonial study to discuss three elements: the interaction and negotiated relationship between Hakka women (including female directors and the Hakka actresses), Hakka culture, and modern theatre forms. Furthermore, as part of my research, I critically reflect upon a practical performance project I have undertaken to illustrate how Hakka culture could be presented as subject and be constructed as the subjectivity of the Hakka ethnic group in post-colonial Taiwan. I hope that this thesis may encourage more Taiwanese to appreciate the value of Hakka culture and offer Taiwanese theatrical practitioners a practice of critical hybridity in associating ethnic and cultural issues of Taiwan in the future.

Adaptações literárias para a TV: novas interpretações a partir do conceito de cultura híbrida na teledramaturgia discorre sobre o conceito de cultura híbrida proposto por Néstor García Canclini, estabelecendo um recorte pragmático deste conceito dentro da realidade brasileira e do particular processo modernizador, dando ênfase às novas formas de adaptação do texto dramático para a televisão. Para tal análise, estuda-se a minissérie Capitu, de Luiz Fernando Carvalho, adaptação do romance Dom Casmurro, de Machado de Assis. A aproximação entre o diretor de TV e o autor revela inovações estéticas tanto na literatura, quanto no audiovisual. E é justamente esse novo procedimento estético inaugurado na televisão, que será protagonista neste estudo em que é analisado a possibilidade de utilizá-lo para gerar novas interpretações sobre um mesmo texto. Esta minissérie foi escolhida, a priori, por apresentar elementos próprios da linguagem híbrida que despertaram a atenção da crítica e do público durante sua exibição, em 2008, e abriu novas possibilidades de trabalhos para o Luiz Fernando e, consequentemente, para a televisão como um todo. / Literary adaptations to TV: new interpretations from the concept of hybrid culture on teledramaturgy descants over the hybrid culture concept proposed by Néstor García Canclini, putting into place a pragmatic piece of this concept among Brazilian reality and its particular process to modernize, emphasizing the new ways to adjustment drama script for television. In order to have such analysis, the miniseries Capitu, from Luiz Fernando Carvalho is studied, an adaptation from the romance Dom Casmurro, from Machado de Assis. The proximity between the TV director and author reveals esthetic innovations such in literature, as in audiovisual. Its exactly this new esthetic procedure created on television, that will be the leading role in this study, being analyzed the possibility of using it to generate new interpretations about the same text. This miniseries was chosen, a priori, for presenting own elements of hybrid language that catches the attention of critics and audiences while exhibited, in 2008, opening new work possibilities for Luiz Fernando and, consequently, to the television as a whole.

Adaptações literárias para a TV: novas interpretações a partir do conceito de cultura híbrida na teledramaturgia discorre sobre o conceito de cultura híbrida proposto por Néstor García Canclini, estabelecendo um recorte pragmático deste conceito dentro da realidade brasileira e do particular processo modernizador, dando ênfase às novas formas de adaptação do texto dramático para a televisão. Para tal análise, estuda-se a minissérie Capitu, de Luiz Fernando Carvalho, adaptação do romance Dom Casmurro, de Machado de Assis. A aproximação entre o diretor de TV e o autor revela inovações estéticas tanto na literatura, quanto no audiovisual. E é justamente esse novo procedimento estético inaugurado na televisão, que será protagonista neste estudo em que é analisado a possibilidade de utilizá-lo para gerar novas interpretações sobre um mesmo texto. Esta minissérie foi escolhida, a priori, por apresentar elementos próprios da linguagem híbrida que despertaram a atenção da crítica e do público durante sua exibição, em 2008, e abriu novas possibilidades de trabalhos para o Luiz Fernando e, consequentemente, para a televisão como um todo. / Literary adaptations to TV: new interpretations from the concept of hybrid culture on teledramaturgy descants over the hybrid culture concept proposed by Néstor García Canclini, putting into place a pragmatic piece of this concept among Brazilian reality and its particular process to modernize, emphasizing the new ways to adjustment drama script for television. In order to have such analysis, the miniseries Capitu, from Luiz Fernando Carvalho is studied, an adaptation from the romance Dom Casmurro, from Machado de Assis. The proximity between the TV director and author reveals esthetic innovations such in literature, as in audiovisual. Its exactly this new esthetic procedure created on television, that will be the leading role in this study, being analyzed the possibility of using it to generate new interpretations about the same text. This miniseries was chosen, a priori, for presenting own elements of hybrid language that catches the attention of critics and audiences while exhibited, in 2008, opening new work possibilities for Luiz Fernando and, consequently, to the television as a whole.

No description available.

This thesis has had its focus on ceramic shards found in a trench by the late neolithic western shore of the Ajvide site. The purpose of the thesis is to investigate if there are changes in the pottery between the test trench and the ceramics found by the graves, known as the main site. The author has compared the ornaments from the test trench with an ornament schedule made from over 50 000 shards from the assumed main site. Not only changes regarding ornaments has been noticed but also new techniques and raw material. The author has also implemented two 14C datings which backs his hypothesis that the shards from the test trench are younger than the shards that made the earlier ornament schedule. According to the author, due to cultural changes,he is of the opinion that some of the examined shards represent ceramics from a hybrid culture consisting material and ritual traits from the pitted ware culture and the battleaxe (boataxe) culture.

This one-year master's thesis investigates the late part of the Middle Neolithic on the island of Gotland. This thesis has been written without the influence of a singular theoretical pespective, and has therefore seen input from the processual, and postprocessual theories. By using several perspectives, an attempt is made to view the material remains used in the most objective manner possible. The specific aim of this thesis is to investigate whether the Mid-Neolithic inhabitants of Gotland were a part of the Corded Ware culture (or as it is called in Sweden, the Battleaxe culture or the Boataxe culture). Most recent literature has concluded that Gotland was never a part of the Battlexe culture, though this thesis has discovered many parallels with the mainland culture, including the production of similar objects and ritual practices. There are indications that the Gotlandic culture also integrated traits from several other coastal regions of the Baltic Sea, something most Battle Axe settlements did not. After investigating all the data that have been linked with the Battleaxe culture, this thesis concludes that the people on the island of Gotland were not fully assimilated to the Battleaxe culture, but were approaching the culture in both a material and ritual aspects. This leaves the conclusion that the Gotlandic culture towards the end of the Middle Neolithic was somewhat of a hybrid.

This paper is aimed at mapping important traits in a Hiberno-Norse identity. This is the main focus of the essay, but another important part is to problematize this using several theoretical approaches of which the main are identity, creolization and hybridization. The Hiberno-Norse culture being primarily an urban phenomenon, the thesis is delimited to the Hiberno-Norse towns with occasional comparisons to Scandinavia to see how the native Irish population influenced the invaders and how they gradually evolved into the Hiberno-Norse. Early on the Norse show signs of creolization that would ultimately lead to the creation of the Hiberno-Norse hybrid culture known from history and archaeology – an urban culture that show blended Norse and Irish features. / Denna uppsats är till för att sammanställa viktiga uttryck I en Iro-Skandinavisk identitet. Detta är huvudsyftet med uppsatsen, men en annan viktig del är att problematisera detta genom flera teoretiska begrepp, där de främsta är identitet, kreolisering och hybridisering. Då den Iro-Skandinaviska kulturen framför allt var ett urbant fenomen har uppsatsen avgränsats till de Iro-Skandinaviska städerna, med sporadiska jämförelser med Skandinavien för att se hur den inhemska Irländska befolkningen influerade angriparna och hur de skulle komma att utvecklas till Iro-Skandinaverna. Tidigt uppvisar nordborna tecken på kreolisering, som till slut skulle leda till uppkomsten av den Iro-Skandinaviska hybridkulturen känd från historian och arkeologin – en urban kultur som uppvisar blandade nordiska och irländska drag.

Cette étude, de caractère ethnographique (Guber), a analysé le mode selon lequel les consommateurs de «forro stylisé» ou «forro électronique» s’approprient (Canclini) les formes symboliques (Thompson) qui composent deux clubs de forro considérés comme clubs de «classe moyenne» dans la capitale de l’État du Ceara pour produire de mise-enscène (Goffman) appuyées sur des catégories natives de «modernité» et «sophistication». L’investigation est partie de la conception selon laquelle Fortaleza, considérée comme la capitale du forro stylisé, depuis la décenie 1990, s’insère de plus en plus dans un processus extrêmement tardif de modernisation, ce qui contribue au développement d’un esprit émergent qui pénètre la culture populaire urbaine locale. La recherche systématisée a été divisée en quatre étapes developpées de mars à octobre 2014: 1. Recherche quantitative (pour definir le profil sociodémographique des deux clubs); 2. Observation non participante (pour identifier des formes symboliques utilisées dans les clubs); 3. Observation participante (pour percevoir le mode selon lequel les consommateurs utilisent les formes symboliques dans les interactions); 4. Interviews ethnographiques (pour comprendre les sens sociaux qui appuyent ces formes symboliques, les appropriations qui sont faites et les présentations du moi au moyen de processus interactionnels). Une des considérations finales concerne le mode selon lequel la «classe moyenne traditionnelle» et la «classe laborieuse» (appelée «nouvelle classe moyenne» brésilienne) représente ces notions de «modernité» et «sophistication», les deux classes s’appropriant des mêmes formes symboliques (par exemple, les voitures étrangères, les whiskys et les vêtements griffés), produisant cependant des usages distincts de ces produits, tenant compte des différentes médiations (Martin-Barbero) et différents habitus (Bourdieu) qui appartiennent à l’histoire de vie de chaque sujet social. / De caráter etnográfico (Guber), a pesquisa analisou de que modo os consumidores de “forró estilizado” ou “forró eletrônico” se apropriam (Canclini) das formas simbólicas (Thompson) que compõem duas casas de show consideradas de "classe média" na capital cearense para produzir encenações de si (Goffman) com base nas categorias nativas de "modernidade" e "sofisticação". A investigação partiu da concepção de que Fortaleza, tida como "a capital do forró" estilizado, vem se inserindo num processo extremamente tardio de modernização, a partir da década de 1990, o que colabora para o espírito emergente que permeia a cultura popular urbana e a indústria cultural local. A pesquisa sistematizada foi dividida em quatro etapas, desenvolvidas de março a outubro de 2014: 1) pesquisa quantitativa (para definir o perfil sociodemográfico dos dois clubes); 2) observação não participante (para identificar formas simbólicas utilizadas nos clubes); 3) observação participante (para perceber de que modo os consumidores usam as formas simbólicas nas interações); 4) e entrevistas etnográficas (para compreender os sentidos sociais que sustentam tais formas simbólicas, as apropriações que são feitas delas e as encenações do “eu” através de processos interacionais). Uma das considerações finais diz respeito ao modo como a "classe média tradicional" e a "classe trabalhadora" (a chamada “nova classe média" brasileira) encenam tais noções de "modernidade" e "sofisticação", ambas as classes apropriando-se de formas simbólicas semelhantes (a exemplo de carros importados, uísques e roupas de marca), porém produzindo usos distintos para tais produtos, considerando-se as diferentes mediações (Martín-Barbero) e os distintos habitus (Bourdieu) que perpassam a história de vida de cada sujeito social. / An ethnographic research (Guber) has analyzed how consumers of “stylized forró” or “electronic forró” employ (canclini) symbolic forms (Thompson) that comprise two “middle class” venues in the capital of Ceará to produce presentations of self (Goffman) based on the local category of “modernity” and “sophistication”. The research started from the idea that Fortaleza, known as "capital of the stylized forró", is going through an extremely late process of modernization, from the 1990s, which contributes to the emerging spirit that pervades the city popular culture and the local cultural industry. The systematic research was divided into four stages, developed from March to October 2014: 1) a quantitative research (to determine the sociodemographic profile of both clubs); 2) a non-participant observation (to identify symbolic forms used in the clubs); 3) a participant observation (to understand how consumers use the symbolic forms in interactions); 4) and ethnographic interviews (to understand the social meanings that sustain such symbolic forms, their employments and the performance of the self through interaction processes). A final consideration concerns the way the "traditional middle class" and the "working class" (so-called "new middle class" of Brazil) act out such notions of "modernity" and "sophistication", both classes employing similar symbolic forms (such as imported cars, whiskey and designer clothes), but using such products differently, considering the different mediations (Martín-Barbero) and the different habitus (Bourdieu) of the life story each social individual. / De carácter etnográfico (Guber), la investigación analizó cómo los consumidores de "forró estilizado" o “forró electrónico” se apropian (Canclini) de las formas simbólicas (Thompson) las cuales componen dos salas de concierto consideradas de “clase media” en la capital de Ceará para producir presentaciones de la persona (Goffman) con base en las categorías nativas de “modernidad” y “sofisticación”. La investigación partió de la concepción de que Fortaleza, considerada “la capital del forró” estilizado, viene ingresando en un proceso extremamente tardío de modernización, a partir de la década de 1990, lo que contribuye al espíritu emergente que permea la cultura popular urbana y la industria cultural local. La investigación sistematizada fue dividida en cuatro etapas, desarrolladas desde marzo a octubre de 2014: 1) investigación cuantitativa (para definir el perfil sociodemográfico de los dos clubes); 2) observación no participante (para identificar formas simbólicas utilizadas en los clubes); 3) observación participante (para percibir cómo los consumidores usan las formas simbólicas en las interacciones); las entrevistas etnográficas (para comprender los sentidos sociales que sustentan tales formas simbólicas, las apropiaciones hechas de ellas e las escenificaciones del “yo” a través de procesos de interacción). Una de las consideraciones finales se refiere al modo como la “clase media tradicional” y la “clase trabajadora” (la denominada “nueva clase media” brasileña) escenifican tales nociones de “modernidad” y “sofisticación”, ambas las clases se apropiando de las formas simbólicas semejantes (por ejemplo coches importados, whiskies y ropas de marca), pero produciendo usos distintos para tales productos, considerando las diferentes mediaciones (Martín-Barbero) y los distintos habitus (Bourdieu) que atraviesan la historia de vida de cada sujeto social.