Depuis les années 1950, des chercheurs comme Useem, Pollock, Van Reken et d’autres se sont interrogés sur le sujet des enfants qui ont grandi dans plusieurs pays. Cependant, la grande majorité de ce corpus vise les enfants ayant été scolarisés dans des établissements anglophones même s’il existe de nombreux établissements francophones hors la France. Ce projet vise cette population. Nous nous sommes demandés s’ils faisaient partie d’une double minorité, premièrement la minorité de Nomades Globaux (NG) mais dans cette population s’ils faisant partie d’une minorité francophone de NG. Pour ce faire, nous avons conduit des entrevues semi-structurées avec 12 participants en utilisant un cadre théorique construit autour de l’habitus de Pierre Bourdieu. Bien que nous ne puissions tirer de conclusions générales, il semble que ces NG ne se sentent pas comme faisant partie d’une double minorité.

Owing to its unique electronic properties, the CF₂ group has the potential to affect the conformation and polarity of molecules. The Introduction provides an overview of the conformational effects induced by the incorporation of fluorine into hydrocarbons, e.g. gauche effect, 1,3-C,F bond repulsion and angle deviation in organofluorine compounds. A summary of synthetic strategies for the introduction of the gem-difluoride motif into organic molecules is also presented. In order to explore the conformational impact of the CF₂ group in alicyclic hydrocarbon systems, cyclododecane was employed as the molecular framework. In 1,1,4,4- and 1,1,7,7- tetrafluorocyclododecanes, two CF₂ groups replaced CH₂ units within the square [3333] cyclododecane ring where the spacing enables the CF₂ groups to occupy adjacent or opposite corner locations. In the case of 1,1,6,6-tetrafluorocyclododecane, one of the CF₂ groups was forced to the edge position, which changes the ring conformation dramatically. Strategic incorporation of two CF₂ groups is shown to either stabilise or significantly alter the conformation of the cyclododecane framework, a revealing conformational preference of the CF₂ group to locate at the corner rather than the edge position of hydrocarbon rings. The study extends to larger cycloalkanes, rectangular [3434] cyclotetradecanes and square [4444] cyclohexadecanes. The target cycloalkanes bearing two CF₂ units were assembled through a novel synthetic route, employing ring-closing metathesis (RCM) as the key step. X-Ray structure analyses revealed that the CF₂ groups occupy exclusively corner locations of these rings too. The spacing between the CF₂ moieties dictates the overall ring conformations and offers a useful tool for controlling molecular arrangement. An accelerating role of the CF₂ group, relative to the CH₂ group, on the ring-closing metathesis of C5-substituted 1,8-nonadienes has also been studied. Remarkably, the CF₂ group exhibited a similar reaction rate to that observed for nonadienes bearing 1,3-dioxolane or dimethylmalonate groups. This effect was rationalised by the thermodynamic stability of the cycloheptene products, rather than a Thorpe-Ingold effect.

Bostadsmarknaden i Sverige blir allt mer osäker. För studenter som söker bostad på sin studieort har det blivit vanligare att man måste hyra i andra hand. Vad innebär detta för studenterna? Hur kan de bo och skapa ett hem inom dessa villkor på en bostadsmarknad med tillfälliga boendeformer? Följande uppsats har att analyserat hur man kan skapa ett hem på denna typ av bostadsmarknad genom att tillämpa Tim Ingolds begrepp ”dwelling perspective”. Utifrån Rolands Paulsen bok ”En studie i oro” (2020) tar uppsatsen även upp en diskussion om hur vi hanterar att leva i en samtid där oro och en känsla av otrygghet är ständigt närvarande. Genom ett antropologiskt perspektiv på hemmet och att bo är denna uppsats en analys av hur studenter bor och skapar ett hem på en osäker bostadsmarknad.

Craftsmanship is recognised as a source of practical wisdom that can inform sustainable management and use of natural resources. However, there are many outstanding questions about how the skills and tacit knowledge embedded in craftsmanship can facilitate social-ecological resilience for sustainability. It has also proved difficult to access and articulate the knowledge embedded in craftsmanship. With this study I explore the skill and tacit knowledge components of craftsmanship as a repository of cultural-ecological memory through two case studies: the duodji, or handicrafts, produced by a Sámi craftswoman living in Jokkmokk, Sweden, and the fishing style of a fisherman in the Stockholm archipelago. As such, the research has two main aims: 1) to understand how the skills and tacit knowledge embedded in craftsmanship function as carriers of cultural-ecological memory; 2) to explore ways of mobilising and capturing these knowledge types by making them visible through the use of visual methodologies like photography. The research highlights the value of the accumulated knowledge and the portfolio of skills that are components of craft practices. Visual methods, in particular photo elicitation, invite participants to link their craftsmanship to their culture and identity. In doing so, visual methods contribute a new perspective on the role of craftsmanship as a carrier of cultural-ecological memory because the craft practices themselves become reservoirs of tacit knowledge and embodied skills that can be drawn upon in responding and adapting to changes or disturbances in the social-ecological system.

This thesis paper explores barefoot and minimalist running in Ottawa, Ontario and Boulder, Colorado. The objective has been to answer the following questions: how can we understand barefoot and minimalist style running as cultures, how are barefoot and minimalist style running being done in different ways, how do the senses play out and create nuances between barefoot and minimalist style runners. I argue barefoot and minimalist running are distinct cultural forms. I applied an Ingoldian notion of culture that contends cultures are generative, relational, temporal and improvisational. I conducted a multi-site study and I interviewed participants, as well as conducted participant observation. My findings reveal that the different sensations experienced by the two styles of running make them meaningful in different ways. These different sensations and ways of meaning create nuances between barefoot and minimalist running and differentiate them and as a result, there are found to become different cultural forms.

This thesis paper explores barefoot and minimalist running in Ottawa, Ontario and Boulder, Colorado. The objective has been to answer the following questions: how can we understand barefoot and minimalist style running as cultures, how are barefoot and minimalist style running being done in different ways, how do the senses play out and create nuances between barefoot and minimalist style runners. I argue barefoot and minimalist running are distinct cultural forms. I applied an Ingoldian notion of culture that contends cultures are generative, relational, temporal and improvisational. I conducted a multi-site study and I interviewed participants, as well as conducted participant observation. My findings reveal that the different sensations experienced by the two styles of running make them meaningful in different ways. These different sensations and ways of meaning create nuances between barefoot and minimalist running and differentiate them and as a result, there are found to become different cultural forms.

This thesis compares the later poetry of Breyten Breytenbach and Lucebert from the phenomenological approach of landscape as dwelling. The metaphor of landscape as dwelling is derived from the art philosophy of Martin Heidegger, which emphasises the importance of truth as aletheia (or “disclosure”), the cultural geography of John Wylie, which illuminates the notion of landscape as tension, and the anthropology of Tim Ingold with reference to the dwelling perspective, adopted from Heidegger’s philosophy on dwelling. The thesis destructs the Cartesian idea of landscape, which relates to the constructivist description of landscape as a way of seeing. The destructive reading shows that mortals’ dwelling on earth is inherently part of the landscape, which means that landscape opens up as an expression of Dasein’s fundamental being-in-the-world, rather than a scene looked upon from afar. Furthermore, this thesis uses Ingold’s distinction between the landscape and the taskscape (Ingold, 2000:195), and Heidegger’s notion of the fourfold (Heidegger, 1989:172), to make a desctructive reading of the poets’ work, with specific reference to William Spanos’s destructive criticism. It investigates a number of poems from Breytenbach’s Nine landscapes of our time bequeathed to a beloved (Nege landskappe van ons tye bemaak aan ʼn beminde, 1993), Paper flower (Papierblom, 1998), The wind-catcher (Die windvanger, 2007), The principle of dust (Die beginsel van stof, 2011) and Catalects (Katalekte, 2012), and Lucebert’s Harvests in the roaming garden (Oogsten in de dwaaltuin, 1981), The swamp rider from paradise (De moerasruiter uit het paradijs, 1982), Console the hysterical robot (Troost de hysterische robot, 1989), Of the malt-like profligate (Van de maltentige losbol, 1993) and Of the motionless agitator (Van de roerloze woelgeest, 1994). The analyses focus specifically on the destruction of the traditional landscape idea by emphasising Dasein’s everyday activities, and his/her dis-covering approach toward the elements of the fourfold. The thesis concludes with a comparison of the work of the poets in terms of their destruction of the notion of landscape, the temporality of the taskscape, the taskscape as an ensemble of tasks, and a systematic reading of dwelling. / PhD (Afrikaans en Nederlands), North-West University, Potchefstroom Campus, 2015

This thesis compares the later poetry of Breyten Breytenbach and Lucebert from the phenomenological approach of landscape as dwelling. The metaphor of landscape as dwelling is derived from the art philosophy of Martin Heidegger, which emphasises the importance of truth as aletheia (or “disclosure”), the cultural geography of John Wylie, which illuminates the notion of landscape as tension, and the anthropology of Tim Ingold with reference to the dwelling perspective, adopted from Heidegger’s philosophy on dwelling. The thesis destructs the Cartesian idea of landscape, which relates to the constructivist description of landscape as a way of seeing. The destructive reading shows that mortals’ dwelling on earth is inherently part of the landscape, which means that landscape opens up as an expression of Dasein’s fundamental being-in-the-world, rather than a scene looked upon from afar. Furthermore, this thesis uses Ingold’s distinction between the landscape and the taskscape (Ingold, 2000:195), and Heidegger’s notion of the fourfold (Heidegger, 1989:172), to make a desctructive reading of the poets’ work, with specific reference to William Spanos’s destructive criticism. It investigates a number of poems from Breytenbach’s Nine landscapes of our time bequeathed to a beloved (Nege landskappe van ons tye bemaak aan ʼn beminde, 1993), Paper flower (Papierblom, 1998), The wind-catcher (Die windvanger, 2007), The principle of dust (Die beginsel van stof, 2011) and Catalects (Katalekte, 2012), and Lucebert’s Harvests in the roaming garden (Oogsten in de dwaaltuin, 1981), The swamp rider from paradise (De moerasruiter uit het paradijs, 1982), Console the hysterical robot (Troost de hysterische robot, 1989), Of the malt-like profligate (Van de maltentige losbol, 1993) and Of the motionless agitator (Van de roerloze woelgeest, 1994). The analyses focus specifically on the destruction of the traditional landscape idea by emphasising Dasein’s everyday activities, and his/her dis-covering approach toward the elements of the fourfold. The thesis concludes with a comparison of the work of the poets in terms of their destruction of the notion of landscape, the temporality of the taskscape, the taskscape as an ensemble of tasks, and a systematic reading of dwelling. / PhD (Afrikaans en Nederlands), North-West University, Potchefstroom Campus, 2015

Cette thèse interroge le dialogue théorique et pratique entre les sens et le design. En éclairant les échanges qui s’instaurent entre les sciences contemporaines de la perception et les nouvelles approches sensorielles du design, elle laisse apparaître un paradigme inédit de la création et de la cognition. Elle montre qu’un modèle de design sensible émerge sous l’impulsion de nouveaux modèles cognitivistes de la perception, qui vient transformer les domaines de la création. Les arts plastiques investissent les sens corporels, amplifiés par les technologies ; l’architecture remet en cause la tradition visiocentrée de l’espace, et s’ouvre une conception spatiale de type atmosphérique. À la frontière de ces mouvements, surgit un paradigme du design focalisé sur la relation tangible et multisensorielle entre l’homme et le monde de l’artificiel. Grâce à la réhabilitation des sens pragmatiques, les théories antidualistes de la perception, en conjonction avec les sciences cognitives et les technologies numériques, inspirent la conception d’artefacts orientés vers l’engagement corporel et les relations matérielles. L’obsolescence du modèle des cinq sens permet de revisiter scientifiquement des phénomènes comme les synesthésies, la plasticité perceptive et les correspondances sensorielles. Le dépassement de l’idée de sens entendus comme des organes récepteurs, conduit à considérer les aspects immatériels de la perception, tels que l’expressivité et l’intentionnalité attribuées aux choses. Dans ce contexte, cette thèse explore la manière dont la sensorialité redevient un sujet de recherche et de création. Entre philosophie, psychologie expérimentale et histoire de l’art et du design, elle interroge le modèle rationaliste du design et montre que l’émergence de ce nouveau paradigme est motivée par l’exigence de s’affranchir du modèle industriel guidé par la relation visuelle et fonctionnelle de la forme et des usages. Suivant un cheminement non nécessairement linéaire, la recherche se concentre sur les moments clés et les figures majeures du dialogue entre design moderne et théories des sens, et montre que ce dernier, engagé depuis la Renaissance, n’a cessé d’alimenter les relations entre perception et arts du disegno. / This thesis examines the theoretical and practical dialogue between design and the senses. Shedding light on the exchanges taking place between the contemporary sciences of perception and the new sensorial approaches of design, it reveals a new paradigm of creation and cognition. The thesis puts forward the emergence of a sensitive design model promoted by new cognitivist models of perception, transforming the domains of creation. Magnified by technology, contemporary arts are permeating the bodily senses; while architecture challenges the visually centered tradition of space, and an atmospheric conception of space opens up.Emerging at the marches of these movements is a paradigm of design focused on the tangible, multi-sensorial relationship between the human world and the artificial world. Anti-dualist theories of senses, coupled with cognitive sciences and digital technologies, conceive artifacts that are inclined towards material relationship and involvement of the body, made possible by the rehabilitation of pragmatic senses. Obsolescence of the five senses model allows the scientific rediscovery of several phenomena such as synesthesia, perceptive plasticity and sensorial interactions. Surpassing the notion of senses as mere receptive functions, leads us to examine the immaterial aspects of perception, such as expressiveness and intentionality attributed to things.In this context, this thesis explores how sensoriality becomes once again a subject for research and creation. Overlapping philosophy, experimental psychology, and the history of art and design, it questions the rationalist model of design; it also shows how the need for freedom from the industrial model, as lead by the visual and functional relationship between form and usage, brings about the emergence of a new paradigm.Following a not essentially linear path, the research focuses on key moments, along with the major features of a dialogue between modern design and theories of the senses ; this dialogue, initiated since the Renaissance, never stopped nourishing the relationships between perception and arts of the disegno.

No description available.