<p>Abstract</p><p>When immigrants move to Sweden from their native country it is not unusual that they experience some kind of identity crises. Their own experience of their cultural identity can be very problematic and they often lose a part of what they previously saw as their own identity. To handle such crises the immigrants can use different strategies. They can for example accept their disparity, deny it or emphasize it. The aim of this study is to examine how immigrants in Sweden experience that their cultural identity has changed since they moved here from a country that has a culture that is different from the Swedish culture. To reach my goal with this study I interviewed immigrants/refugees from Chile, Lebanon and Thailand. Some of the results are that my presentation of the problem and the aim with the study were not profound enough. I intended to only write about cultural identity but I came to the conclusion that individual identity and different adaptation strategies were no less important. A further conclusion is that these three ingredients are completely different things; an immigrant can have one individual identity, another cultural identity and use a strategy that does not correspond with any of these. Moreover I also found that a person’s identity does not need to change when moving from their native country to Sweden. Finally I want to stress that my study is not about making sweeping statements, it is rather exemplifying. Identity and strategies are different from one person to another.</p><p>Keywords: individual identity, cultural identity, adaptation strategies</p>

Abstract When immigrants move to Sweden from their native country it is not unusual that they experience some kind of identity crises. Their own experience of their cultural identity can be very problematic and they often lose a part of what they previously saw as their own identity. To handle such crises the immigrants can use different strategies. They can for example accept their disparity, deny it or emphasize it. The aim of this study is to examine how immigrants in Sweden experience that their cultural identity has changed since they moved here from a country that has a culture that is different from the Swedish culture. To reach my goal with this study I interviewed immigrants/refugees from Chile, Lebanon and Thailand. Some of the results are that my presentation of the problem and the aim with the study were not profound enough. I intended to only write about cultural identity but I came to the conclusion that individual identity and different adaptation strategies were no less important. A further conclusion is that these three ingredients are completely different things; an immigrant can have one individual identity, another cultural identity and use a strategy that does not correspond with any of these. Moreover I also found that a person’s identity does not need to change when moving from their native country to Sweden. Finally I want to stress that my study is not about making sweeping statements, it is rather exemplifying. Identity and strategies are different from one person to another. Keywords: individual identity, cultural identity, adaptation strategies

Originality is an important social and cultural value. In pop music its influence is comprehensive: it shapes the economics of an industry through copyright law, and the temperament of musical culture through its place as keystone of the prevailing Romantic tradition. The concept extends beyond issues of artistic and technical innovation: a point of origin is fundamental to the stories we tell about pop. What these stories tell us about ourselves and the way we use music, though, may be more complex than the orthodoxy allows; while the moderns from Eliot and Frye through Barthes and Foucault have sliced and diced originality in text, its interrogation in popular music is overdue. This study seeks to address the social and cultural context, the implications for individual identity and the issues of creative intention, status, popularity and profitability that come into play at those moments when the cultural honours of “originality” are conferred. Working from archival and textual resources, the research explores the entry of “black music” into pop culture with the Fisk University Jubilee Singers, who can be seen both as the source of several cultural streams which remain influential in popular music, and as the source of a popular mythology which has become detached from historical fact. It then proceeds to three case studies. The problem of what it means to start something new is developed in the story of Elvis Presley and the foundation myth of rock & roll. The professional use of originality is interrogated in the work of the Beatles, a foursome with a strong claim to be the greatest plagiarists, if not the greatest originators in pop. And the artistic idea of originality and its contingencies are addressed through the case of Lou Reed and the changing status of his album Metal Machine Music. A final chapter assesses the conclusions which can be made from these explorations, and the implications for future research.

As a master’s practicum of interior design, this project is concerned with the role of design in shaping mass and individual identity. Cultural commodities, as components of the Culture Industry, effectively define a communal identity for the individuals. The Winnipeg Metropolitan Theatre is chosen as the site of this practicum. This Practicum is interested in defining new spatial relationships and functions. In order for these goals to be achieved, a new function has been defined. The public studio for ephemeral arts is open to the whole society for being involved in the artistic process. By using a qualitative research method, this practicum studies the theoretical aspects of modern mass identity. However being an interior design project, it heavily relies on the ideas of a selected number of theorists, mainly from the Frankfurt school, for building the theoretical foundation of the design. The new design is the result of questioning the existing space’s spatial hierarchy, the new function’s spatial requirements, and a critical approach toward the adaptive reuse of an existing building.

As a master’s practicum of interior design, this project is concerned with the role of design in shaping mass and individual identity. Cultural commodities, as components of the Culture Industry, effectively define a communal identity for the individuals. The Winnipeg Metropolitan Theatre is chosen as the site of this practicum. This Practicum is interested in defining new spatial relationships and functions. In order for these goals to be achieved, a new function has been defined. The public studio for ephemeral arts is open to the whole society for being involved in the artistic process. By using a qualitative research method, this practicum studies the theoretical aspects of modern mass identity. However being an interior design project, it heavily relies on the ideas of a selected number of theorists, mainly from the Frankfurt school, for building the theoretical foundation of the design. The new design is the result of questioning the existing space’s spatial hierarchy, the new function’s spatial requirements, and a critical approach toward the adaptive reuse of an existing building.

L’ouvrage souhaite apporter des clarifications et des définitions à propos des artistes évoluant dans les cabarets toulousains. L’objectif est de détecter les « processus de légitimation » que ceux-ci mettent en oeuvre afin d’asseoir leur légitimité, sociale, culturelle, familiale, artistique, professionnelle. Couronnés d’une aura de mystère de par leur statut de travailleur, leur mode de vie, leur emploi du temps, leurs rites et codes, leur organisation en réseaux, leurs cercles sociaux et leurs carrières atypiques, le sens commun aurait tendance à les étiqueter de « particuliers », « différents », « bohêmes », etc. Ainsi, en partant de préjugés et de stéréotypes dominants, on peut se poser la question de la manière dont ces artistes de music-hall légitiment leurs activités, leur statut par rapport aux autres arts, mais surtout, comment réussissent-ils à exporter leur légitimité dans leurs autres sphères relationnelles. L’hypothèse étant que la légitimité des artistes de cabaret toulousains n’est pas acquise ni assurée en tous milieux.Il s’agit également d’évaluer la légitimité culturelle dans le domaine des arts de ce groupe d’artistes professionnels composant le spectacle vivant. En effet, quelle est donc leur place dans la hiérarchie des arts, au regard d’un milieu de l’art se révélant structuré par des conflits de valeurs ? En se basant, entre autre, sur le principe des variations intra-individuelles, le débat discutera de la « démocratie culturelle » et des hiérarchies de valeurs culturelles, révélant la légitimité des « arts du divertissement ».Une enquête ethnosociologique où le chercheur est impliqué sur le terrain, visant à rendre compte des préoccupations sociales, telles qu’elles sont vécues dans le quotidien. / This work wants to bring definitions and clarifications about the artists working in the cabarets of Toulouse. In order to discern the “processes of legitimization” the artists struggle to assert their social, cultural, artistic, professional legitimacy.Due to the mystery which floats around these workers’ status, their way of life, their timetable, their rituals and codes, their organization in networks, their social circles and their atypical careers, people have a tendency to put the label of “particular”, “different”, “bohemian” on them. So, on the basis of the prejudices and on the predominant stereotypes, we can wonder how these artists of music-hall can justify their activities, their status in comparison with the order arts and especially how they succeed in exporting their legitimacy in other relational spheres. The hypothesis shows that the legitimacy of the artists of the cabaret in Toulouse is neither acquired nor assured in any circles.It is also a question of assessing the cultural legitimacy of this group among the other arts. These professional artists propose shows in live and we can wonder what place they have in the hierarchy of art, noticing that arts turned out to be structured by conflicts of values. Based on the principle of intra-individual variations, we can debate about “Cultural Democracy” and the hierarchies of cultural values, and so reveal the legitimacy of “the arts of entertainment”.This work is an ethnosociological survey, in which the researcher is involved in, and he denounces the social problems he experiences in his daily life.

L’immigration ne cesse d’intéresser les chercheurs par la diversité des situations qu’elle recouvre et la multiplicité de réflexions qu’elle alimente. Elle est considérée de ce fait comme un champ d’investigation opportun pour explorer la problématique identitaire à travers différents aspects. Les enfants issus de l’immigration maghrébine constituent l’une des plus importantes communautés étrangères installées en France. De plus, nous ne pouvons pas concevoir la construction de l’identité individuelle de ces enfants sans étudier les spécificités des milieux sociaux à l’intérieur desquels ils sont amenés à se réaliser. Nous rappelons que notre thèse s’inscrit en psychologie du développement. Notre travail se veut une contribution au modèle théorique d’une socialisation plurielle, active et prospective qui s’appuie sur les travaux fondateurs de Malrieu en articulant les processus de la construction de la personne et les processus du changement social, de l’interstructuration du sujet et des institutions. Dans ce sens, nous avons analysé la confrontation des systèmes de références (représentations mutuelles et valeurs) de ces enfants ainsi que les animateurs socioculturels qui les accueillent dans le centre de loisirs. Nous avons choisi une démarche compréhensive et une méthode qualitative qui s’appuie sur une analyse thématique : des entretiens semi-directifs avec les enfants et les animateurs et des observations individuelles et collectives des enfants. Nous avons interviewé 15 animateurs répartis sur 3 centres de loisirs et interviewé et observé 15 enfants de ces mêmes centres.Nos résultats montrent que les enfants de 7-8 ans issus de l’immigration maghrébine ont une représentation positive des valeurs de l’animateur et de l’institution. Ils s’approprient généralement les valeurs universelles véhiculées dans le centre (le respect, l’écoute, le partage) qui recoupent des valeurs transmises par leurs familles. Cependant cela n’exclut pas certaines sensibilités au cadre institutionnel, jugé plus ferme que le cadre familial par les enfants. Ces représentations des valeurs de l’autre et de l’institution influencent la construction de l’identité individuelle de ces enfants. En définitive, nous avons pu montrer un processus de métissage des modèles proposés aux enfants, conduisant ainsi à des images de soi nouvelles intégrant celles attendues ou proposées par les modèles des milieux en interaction et d’autres testées, expérimentées, inventées et co-construites à l’intérieur de nouveaux modes de penser et d’agir (celles liées aux interactions avec les pairs par exemple). / Immigration continue to be of interest to researchers in the variety of the situations which recovers and the multiplicity of the reflections which it feeds It is thus regarded as a field of investigation appropriate to explore the issue of identity through various aspects. Children of North African immigration are one of the largest foreign communities in France. Moreover, we can not conceive of a construction of an individual identity of these children without considering the specificities of the social environments within which they are required to fulfill themselves. We remind that our thesis joins in psychology of the development. Our work is a contribution to the theoretical model of a plural socialisation based on the seminal work of Malrieu, articulating the process of building the individual and the process of social change, the mutual structuring of the subject and institutions.Hence, we analysed the reference systems of these children and their relationship with their sociocultural host in the leisure centre. We chose a qualitative method that focuses on a thematic analysis: semi-structured interviews with children and the facilitators, and individual and collective observations of the children. We interviewed 15 leaders from 3 leisure centres and interviewed and observed (individually and collectively) 15 children from these same centres.Our results show that children of 7-8 year olds from North African immigration have a positive representation of the values of the facilitator and the institution. They usually appropriated the universal values promoted in the centre (respect, listening, sharing ...) that intersect with the values passed on by their families. However, this does not exclude certain sensitivities towards the institutional framework, firmer than that of the children’s family, considered more flexible by children themselves. This representation of other's values and the institution affects the children's individual identity construction. After all we were able to show a process of interbreeding of the models proposed to the children so leading to new images of one integrating those waited or proposed by models of backgrounds in interactions and others tested, experimented, invented and co-built inside new modes to think and to act (those involved to the interactions with the peers for example).

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Made available in DSpace on 2016-04-26T20:24:49Z (GMT). No. of bitstreams: 1 Tese ROSANGELA CIPRIANO DOS SANTOS.pdf: 1567854 bytes, checksum: 5f1c1850ffecefbdae1b15cdbe90a64d (MD5) Previous issue date: 2006-08-16 / The subject matter of the present work involves the principle of dignity of the human person, as constitutional headquarters, inserted in the political Brazilian letter, from which the addition of the subjectivity is proposed, as an element of the identitary law, compared with the biographical radiography, already widely set forth in the juridical model that look after the individual identity of the human person. The modern juridical thinking, attentive to the innovations brought to the light by the novel exteriorization way of the individual subjectivity, must not only adopt a receptive posture in the treatment of the multidisciplinarity, but can not be careless with it, make possible the comparison of the technicality imposed by the juridical positivism with the subjectivism emerging from every human being, as an individual that projects their inward experience in the existence objectivity / A temática do presente trabalho envolve o princípio da dignidade da pessoa humana como matriz constitucional, inserto na carta política brasileira, a partir da qual, propõe-se a adição da subjetividade como elemento do direito identitário, em cotejo com a radiografia biográfica, já largamente prevista dentro do modelo jurídico, que cuida da identidade individual da pessoa humana. O pensamento jurídico moderno, atento às inovações trazidas a lume pelo novel formato de exteriorização da subjetividade individual, não só deve adotar postura receptiva no trato da multidisciplinaridade, mas também não pode descuidar-se de, com ela, possibilitar o cotejo do tecnicismo imposto pelo positivismo jurídico com o subjetivismo que emerge de cada ser humano enquanto sujeito que projeta a sua vivência interior na objetividade da existência

Made available in DSpace on 2015-05-14T13:27:15Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1674324 bytes, checksum: caab6edd3d01b26a7c1c94b2a7225717 (MD5) Previous issue date: 2010-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is a reflection of the outcome of field research at the Institute Criminal Judge Silvio Porto, João Pessoa - Paraíba State. From interviews and free targeted with the inmates, it was concluded that the intramural prison develops a parallel network of sociability permeated power and submission specifically differentiated from institutionalized power by the state. The practice of tattooing in prisons is within that singular context. Expressing the subjectivity of the individual, the relationship of power and submission, the construction of individual identity and social and social stigma. The practice of tattooing in prisons prepare a universe enigmatic world of crime. A prison tattoo embodies a practical use of cultural and social conflicts delineated by interior and exterior construction of individual identity and social conditions, resulting from these inter-social relations. Therefore this new identity will be built on the edge between faint sudden rupture of self-identity in the world society which he lived and the new identity which is now built upon entry into prison, where the mutilation of the self happens all moment and in all aspects of social life. It is at that threshold where the faint signs that represent crime are entered under the skin. The chosen design and location to be tattooed denounce the particular characteristics of each individual's personality, a ritual identification of the convict as such. A prison tattoo is renowned for its thick strokes and evil designs finished result of the basic techniques used in prisons. / Este trabalho é uma reflexão do resultado da pesquisa de campo realizada no Instituto Penal Desembargador Silvio Porto em João Pessoa Estado da Paraíba. A partir de entrevistas livres e direcionadas com os reclusos, foi possível constatar que nos intramuros penitenciário desenvolve-se uma rede paralela de sociabilidade permeada de poder e submissão especificamente diferenciada do poder institucionalizado pelo Estado. A prática da tatuagem carcerária se encontra dentro desse contexto singular. Expressando a subjetividade do indivíduo, a relação de poder e submissão, a construção de uma identidade individual e social e estigma social. A prática da tatuagem carcerária elabora um universo enigmático do mundo da criminalidade. A tatuagem carcerária traz em si uma prática de uso cultural e social delineada pelos conflitos interiores e exteriores na construção da identidade individual e social do indivíduo, estes resultantes das inter-relações sociais. Portanto, essa nova identidade será construída no limiar tênue entre a ruptura brusca da identidade do eu do mundo em sociedade o qual ele vivia e a nova identidade que passa a ser construída a partir da entrada no cárcere, onde, a mutilação do eu acontece a todo instante e em todos os aspectos da vida social. É nesse limiar tênue em que os signos que representam a criminalidade são inscritos á flor da pele. O desenho escolhido e o local a ser tatuado denunciam as características particulares da personalidade de cada indivíduo, um ritual de identificação do apenado enquanto tal. A tatuagem carcerária é reconhecida pelos seus traços grossos e desenhos mal acabados, resultado das técnicas rudimentares utilizadas nas prisões.