This thesis explores the cultural production of addiction and the psychologization of everyday life. Through analyses of ubiquitous addiction literature, as well as ordinary, everyday encounters, I examine how we make meaning of addiction, thus culturally constituting the addict. I explore my situated-ness in relation to addiction, which in turn helps me to think through how I am oriented toward addiction. Through an analysis of a specific account of an intersubjective experience of addiction, I examine how experiences of addiction are made between us. This thesis also explores the relationship between substance use and harm and the role the perceived “warnings signs” of addiction play in how we recognize addiction. Using a phenomenologically informed method of social inquiry, I question what the psychologization of everyday life, or our (over) use of psychology, means for our engagement with others.

This thesis explores the cultural production of addiction and the psychologization of everyday life. Through analyses of ubiquitous addiction literature, as well as ordinary, everyday encounters, I examine how we make meaning of addiction, thus culturally constituting the addict. I explore my situated-ness in relation to addiction, which in turn helps me to think through how I am oriented toward addiction. Through an analysis of a specific account of an intersubjective experience of addiction, I examine how experiences of addiction are made between us. This thesis also explores the relationship between substance use and harm and the role the perceived “warnings signs” of addiction play in how we recognize addiction. Using a phenomenologically informed method of social inquiry, I question what the psychologization of everyday life, or our (over) use of psychology, means for our engagement with others.

The Workers' Row House is a three-unit row house, circa 1850, that the Greater Corktown Development Corporation acquired for use as a community museum in 2002. This document provides a starting point and a framework for the rehabilitation and programmatic work that will occur. This plan strives to answer the following questions: (1) What is the site about? (2) Who is the interpretation for? (3) How will the museum go about communicating what the site is about while meeting the needs of the audiences? Using Detroit city directories beginning in the mid-nineteenth century, Detroit Sanborn fire insurance maps, and both primary and secondary sources, the past tenants of this house and their historic contexts were compiled to reveal this site's story. Themes and a storyline were developed, and interpretive objectives were extracted. The plan recommends a guided tour through two restored units, and self-guided, interactive exhibits in the third unit. It is understood that any interpretive plan evolves as the research continues. / Department of Architecture

Prairie of Mine(s) explores the incorporation of cultural and historical elements within the reclamation of a post-industrial mining landscape in the South Saskatchewan prairie. Reclamation solely by ecological methods often fails to recognize the industrial processes and people that altered the landscape. This project utilizes experiential, cultural, and historical elements within the reclamation of mining lands to shed light on a part of our history that is frequently overlooked and draw attention to actions made on the earth everyday in order for us to live comfortably.

Citizens of the Aamjiwnaang First Nation fight for justice with their bodies at the frontlines of environmental catastrophe. This dissertation employs a biopolitical and interpretive analysis to examine these struggles in the polluted heart of Canada’s ‘Chemical Valley’. Drawing from a discursive analysis of situated concerns on the ground and a textual analysis of Canada’s biopolitical ‘policy ensemble’ for Indigenous citizenship, this dissertation examines how citizens and public officials respond to environmental and reproductive injustices in Aamjiwnaang. Based upon in-depth interviews with residents and policy-makers, I first document citizens of the Aamjiwnaang First Nation’s activities and practices on the ground as they cope with and navigate their health concerns and habitat. Second, I examine struggles over knowledge and the contestation over scientific expertise as the community seeks reproductive justice. Third, I contextualize citizen struggles over knowledge by discussing the power relations embedded within the ‘policy ensemble’ for Indigenous citizenship and Canadian jurisdiction for on-reserve environmental health. From an interpretive lens, inspired by Foucault’s concepts of biopower and governmentality, the dissertation develops a framework of “ecological citizenship”, which confronts biopolitics with a theoretical discussion of place to expand upon existing Canadian citizenship and environmental studies literature. I argue that reproductive justice in Aamjiwnaang cannot be separated from environmental justice, and that the concept of place is central to ongoing struggles. As such, I discuss “ecological citizenship’s double-edge”, to contend that citizens are at once bound up within disciplinary biopolitical power relations and also articulate a radical form of place-based belonging.

The overarching aim of this thesis was to describe how family members experienced everyday life with life-threatening illness close to death, with focus on self-image and identity. The thesis comprises four papers, each with a specific aim to illuminate various aspects of the phenomenon under study. The study population consisted of 29 participants; ten family caregivers and five families, including five patients with life threatening illness and their family members. Data were based on retrospective single interviews (paper I), prospective individual, couple and group interviews with the families over six to eighteen month (papers II-III). Interpretive description approach (papers I, II, IV), narrative method (paper III) and secondary analysis (paper IV) were used to analyze data. The findings show how living close to death influences everyday life at home, at several levels (papers I-IV). From the perspective of the dying person, narrations of daily situations was described by four themes related to identity and everyday life; inside and outside of me, searching for togetherness, my place in space and my death and my time. The changing body, pain, fatigue, decreased physical capacity and changed appearance, appeared to influence the dying person’s need for altered knowledge and community, and as a result the patterns of interaction within the families changed. The strive for knowledge and community took place at home, an arena for identity work and the conscious search for meaning, knowledge and community; it was limited by time and inevitable death (paper III). For the family member, life close to death can mean sharing life with a changing person in a changing relationship (paper II). It may mean that everyday life needs to be modified in order for it to work (papers I-IV). New patterns of dependence and an asymmetrical relationship affect all involved (papers III-IV). Daily life close to death is about finding the space to promote the individual self-image, me-ness, at the same time as finding new ways of being a family; we-ness (paper II). Regardless of being the ill person or not, the family members we interviewed had to face impending death, which challenged earlier ways of living together (papers I-IV). From the perspective of the relatives, the everyday life of caring for the dying family member was characterized by challenged ideals, stretched limits and interdependency (paper I). Situations that challenged the caregivers’ self-image were connected to intimacy, decreasing personal space and experiences such as “forbidden thoughts”. The findings suggest that the bodily changes were of importance for the self-image, and that the former approach to the own body was important in the process of experiencing the body. The person living close to death was in transition to something new; being dead in the near future. One way of handling the struggles of everyday life was to seek togetherness, strive to find other persons with similar experiences while sharing thoughts and feelings. Togetherness was sought within the family, in the health care system and on the internet; a sense of togetherness was also sought with those who had already died. The other family members were also in transition as the future meant living on without the ill family member and changing their status to for example being a widow or being motherless. Identity work close to death denotes creating an access ramp into something new; a transition into the unknown. From a clinical perspective, this study emphasizes the significance of creating a climate that allows caregivers to express thoughts and feelings.

abstract: The Kasturba Gandhi Balika Vidyalaya (KGBV) policy scheme launched in 2004 by the Ministry of Human Resource Development, the Government of India, aims to provide secondary level education (grade 6-8) for girls residing predominantly in minority communities, the Scheduled Caste (SC), the Scheduled Tribe (ST), and the Other Backward Caste (OBC). Since its launch, the Government of India established 2,578 KGBV schools in 27 states and union territories (UTs). The present study examines the new policy and its implementation at three KGBV schools located in rural villages of Uttar Pradesh (UP), India. The purpose was to analyze the Government of India's approach to increasing education opportunity and participation for educationally disadvantaged girls using the empowerment framework developed by Deepa Narayan. Observations at three schools, interviews with teachers and staff members of the implementation agency (i.e., Mahila Samakhya (MS)), and surveys administered to 139 teachers were conducted over a four month period in 2009. Adopting creative teaching approaches and learning activities, MS creates safe learning community which is appropriate for the rural girls. MS gives special attention to nurturing the girls' potential and empowering them inside and outside the school environment through social discussion, parental involvement, rigid discipline and structure, health and hygiene education, and physical and mental training. Interviews with the state program director and coordinators identified some conflicts within government policy schemes such as the Teacher-pupil ratios guidelines as a part of the programs for the universalization of elementary education. Major challenges include a high turnover rate of teachers, a lack of female teachers, a lack of provision after Class 8, and inadequate budget for medical treatment. Recommendations include promoting active involvement of male members in the process of girls' empowerment, making MS approaches of girls' education in rural settings standardized for wider dissemination, and developing flexible and strong partnership among local agencies and government organizations for effective service delivery. / Dissertation/Thesis / Ph.D. Educational Leadership and Policy Studies 2011

Esta tese parte da premissa de que, na tradição da musica ocidental escrita, a performance restitui a obra musical ao tempo e o intérprete, responsável por esse processo, deve compreender profundamente as temporalidades propostas pela obra para, assim, planejar criteriosamente o fluxo dos seus eventos. Para isso, é necessário que o processo de construção interpretativa se desenvolva em simultaneidade e constante diálogo com dados decorrentes do estudo analítico da obra estudada e da percepção estésica do intérprete que, em sua prática diária, projeta e avalia em si mesmo o efeito pretendido. Com base nesse modelo, foi realizado um estudo interpretativo e analítico de Cantéyodjayâ para piano de Olivier Messiaen, compositor que, por meio de sua obra musical, seus textos teóricos e sua atividade pedagógica, teve importante impacto nas discussões a respeito do tempo na música do século XX. O primeiro capítulo da tese, Cantéyodjayâ contextualizada, posiciona Cantéyodjayâ no contexto da obra de Messiaen, especialmente no que se refere ao período de experimentação no qual se insere. O segundo capítulo, No princípio era o ritmo: o tempo musical em Messiaen, trata dos conceitos filosóficos e teológicos que apoiaram o pensamento rítmico-temporal em Messiaen e suas correspondências com procedimentos composicionais adotados pelo compositor. O terceiro capítulo, Análise e construção interpretativa em Cantéyodjayâ, apresenta o estudo analítico de Cantéyodjayâ articulado a decisões interpretativas. Compuseram a fundamentação deste capítulo os textos teóricos do compositor, em especial Technique de mon langage musical (1944) e Traité de rythme, de couleur et d’ornithologie (1994), articulados a conceitos apresentados por autores como J. Kramer (1988), W. Berry (1997) e J. Straus (2005). / This thesis assumes that performance brings a musical score to life by presenting it in real time. The performer – who is in charge of this process – must understand the complex relationships between rhythm and conceptual pacing of a particular work in order to plan the flow of events. Threrefore, the interpretive construction must be constantly supported by data from both the analytical investigation and the aesthetic perception. The performer in his daily practice designs the desired effect and evalutes the outcome. Based on this notion, an interpretive and analytical study was done about Cantéyodjayâ by Olivier Messiaen, a composer whose compositional output, theoretical writings and pedagogical activities have impacted the concept of time in the twentieth century music. The first chapter of this thesis, Cantéyodjayâ contextualizada, contextualizes Cantéyodjayâ in the entire oeuvre of Messiaen, especially within his experimental period. The second chapter, No princípio era o ritmo: o tempo musical em Messiaen, deals with philosophical and theological concepts based in Messiaen’s rhythmic thought, as well as its connections to the compositional procedures adopted by Messiaen. The third chapter, Análise e construção interpretativa em Cantéyodjayâ, presents an analytical study of Cantéyodjayâ linked to the interpretive choices. This last chapter is based on Messiaen’s theoretical writings, especially Technique de mon langage musical (1944) and Traité de rythme, de couleur et d’ornithologie (1994); it is also connected to the concepts presented by J. Kramer (1988), W. Berry (1997) e J. Straus (2005).

This study looks firstly at the historical background to conservation, particularly in the South African National Parks Board, and relates this to developments in interpretation in the National Parks. These are evaluated against international norms as they appear in the current literature. The aim is to establish a platform upon which future developments in interpretation may be built, avoiding the mistakes of the past, while capitalising on the strong points. Current views of what interpretation is, and what it should be, are reviewed. Knowing who the audience is, in terms of cultural background, education, needs and interests, as well as sound planning, clear objectives and ongoing evaluation of interpretive programmes, emerge as essential prerequisites for effective interpretation. Through reviewing the development and current status of interpretation in the National Parks, the study finds that although the view has been expressed by management, both past and present, that interpretation in the national parks is of great importance, the past and current status of interpretation does not reflect that view. Generally, interpretation appears to be regarded as a non-essential service. This report argues that environmental interpretation should be given a higher status in the National Parks Board and that it should form an important part of the conservation strategy and management plan for the national parks. The researcher contends that a greater investment in interpretation could lead to a decrease in the need for further, increased investment in law enforcement in the parks. The researcher is also of the opinion that interpretation aimed at all levels of personnel of the National Parks Board is at least as important as interpretation aimed at visitors.

Esse estudo teve por objetivo compreender os processos de aprendizagem a partir das práticas de produção teatral dos espetáculos teatrais de uma organização não governamental à luz da perspectiva cultural. Desenvolveu-se uma pesquisa de natureza qualitativa, utilizando as técnicas de entrevista em profundidade com roteiro semiestruturado, entrevistas semiestruturadas, entrevistas informais, observação participante, grupo focal e pesquisa documental para coleta de dados. A observação participante envolveu 13 meses de pesquisa de campo, com suporte de anotações em diário de campo, fotografias, vídeos e registros sonoros. Os registros foram decorrentes de momentos formais e informais, quando realizou-se as distintas entrevistas, grupos focais, acompanhamento de ensaios, apresentações dos espetáculos, reuniões, festas e gravações de videotapes, com coleta de dados espontâneas realizadas com profissionais dos elencos do Projeto Vida Urgente no Palco da Fundação Thiago de Moraes Gonzaga. Também foram pesquisados documentos, tais como: folders, flyers, banners, propagandas, material didático, vídeos, manual de descrição de cargos, organogramas, organização de itinerários de apresentações, fichas de avaliação das escolas etc. Para realizar o tratamento e a interpretação dos dados coletados, utilizou-se a análise interpretativista. Entre os principais resultados encontrados tem-se: sob a ótica dos membros do Projeto Vida Urgente no Palco, pôde-se compreender que esses entendem a produção teatral de forma difusa e associada, predominantemente, ao trabalho do produtor teatral. Além disso, percebe-se uma confusão entre os termos produção teatral, produção cultural e produção artística. Sobre as práticas de produção teatral, foi possível identificar que nessa organização ela ocorre em três fases distintas: a pré-produção, a produção e a execução. Os profissionais envolvidos nessas etapas variam de ano para ano, no entanto, as tarefas costumam ser divididas e realizadas coletivamente. Todos entendem como elementos que identificam e diferenciam o trabalho do Projeto Vida Urgente no Palco: a preocupação em passar a mensagem, a maneira tradicional de pensar uma montagem de teatro, ou seja, vinculada ao texto; não haver muito espaço para criação de personagem; ser um processo coletivo e colaborativo. Percebeu-se que suas práticas eram permeadas de momentos de humor, descontração, colaboração, interações e compartilhamento de conhecimento tácito. As práticas de produção teatral também permitiram visualizar momentos de justaposição de ordem e desordem – preservação e inovação ocorrendo simultaneamente – principalmente em função da escolha do campo de estudo (Fundação Thiago de Moraes Gonzaga), que atua há mais de 10 anos por meio do teatro. Em função desta organização trabalhar há bastante tempo com espetáculos, houve a possibilidade de encontrar uma cultura e um know-how próprios, que a diferencia das demais, e, por isso, encontrou-se várias linguagens comuns como ações rotineiras e artefatos materiais compartilhados que permitiram examinar a fecunda tensão entre aprender e organizar. Em relação à aprendizagem dos membros do Projeto Vida Urgente no Palco, pôde-se encontrar como principais processos a aprendizagem na prática, aprendizagem de um ofício, embora também tenham apontado outros processos de aprendizagem que possibilitaram desenvolver o conhecimento sobre seu trabalho, tais como: aprender com experts, aprender observando, aprender pela troca, aprender em cursos, aprender sozinho, aprender com os próprios erros, aprender pela reflexão e aprender resolvendo problemas. Dentre os principais momentos e facilitadores de aprendizagem, destaca-se a justaposição de ordem e desordem pela prática do humor e da improvisação, manutenção versus inovação. / This study aimed to understand the learning processes from the practices of theatrical stage production of a non-governmental organization in light of the cultural perspective. A qualitative research was developed using techniques of in-depth interviews with semi-structured script, interviews with semi-structured script, informal interviews, participant observation, focus groups and documentary research for data collection. Participant observation involved 13 months of field research, with support of daily field notes, photographs, videos and sound recordings. The records were a result of formal and informal moments, when different interviews, focus groups, rehearsals, performances of the plays, meetings, parties and recordings of videotapes were carried out, with spontaneous data collection by professionals of the team of the project Vida Urgente on the Stage of the Thiago de Moraes Gonzaga Foundation. Were also analyzed documents such as: folders, fliers, banners, advertisements, teaching material, videos, manual of job descriptions, organization charts, organization and schedule of performances, evaluation reports of the schools, etc. Interpretative analysis was used to conduct the processing and interpretation of the data collected. Among the main results we have: from the perspective of members of the Project Vida Urgente on Stage, we understood that they see theater production in a diffuse and associated manner, predominantly, related to the work of theatrical producer. Furthermore, we perceived confusion between the terms theatrical production, cultural production and artistic production. On the practices of theatrical production, it was possible to identify that in this organization it occurs in three distinct phases: pre-production, production and performance. The professionals involved in these phases vary from year to year, however, the tasks are usually divided and accomplished collectively. Everyone understands as elements that identify and distinguish the work of the project Vida Urgente on the Stage: the concern in getting the message out, the traditional way of thinking a theatrical set-up, i.e., connected to the text; the lack of room for character creation; that it is a collective and collaborative process. It was noticed that their practices were permeated by moments of humor, fun, collaboration, interaction and sharing of tacit knowledge. The practices of theatrical production also allowed us to visualize moments of juxtaposition of order and disorder - preservation and innovation occurring simultaneously - mainly due to the choice of the field of study (Thiago de Moraes Gonzaga Foundation), which has operated for over 10 years through theater plays. Since this organization works for a long time with performances, it was possible to find a singular culture and know-how, which differentiates it from others, and therefore we found several common languages as shared routine actions and material artifacts that allowed us to examine the fruitful tension between learning and organizing. Regarding the learning process of members of the project Vida Urgente on Stage, we could find as the main one learning in practice, learning a profession, but they also have pointed other learning processes that enabled the development of knowledge about their work, such as: learning from experts, learning by watching, learning by exchanging, learning in courses, teaching yourself, learning from their own mistakes, learning through reflection and learning by solving problems. Among the key moments and facilitators of learning, we highlight the juxtaposition of order and disorder through the practice of humor and improvisation, maintenance versus innovation.