For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

Förskolans verksamhet är en plats som är till för alla barn, med en rådande omsorgspedagogik och synssätt att alla barn ska bli sedda, stödjas och utvecklas utifrån sina individuella förutsättningar och behov. Med alla barn menar vi även de barn som på något vis utmanar förskollärare lite extra, genom att avvika från normer, förväntningar och med beteenden eller utbrott som kommer som blixtar från en klar himmel. Barn som har en ADHD-problematik eller en beteendeproblematik som väcker frågor, funderingar, ilska eller hopplöshet hos andra barn och förskollärare i verksamheten genom att gång på gång bryta mot det förväntade. Studiens syfte är att utifrån förskollärares erfarenheter, ta reda på hur de arbetar för att bemöta och stötta barn med ADHD och utmanande beteende samt vilka strategier de använder sig av. Resultatet av studien belyser vikten av att förskollärare har kunskaper om barn med ADHD-problematik och beteendeproblematik, eftersom att det är helt olika saker. Resultatet lyfter även hur förskollärares bemötande och synsätt kan påverka i mötet med barnen och arbetet i förskolans verksamhet. Utifrån analyser av förskollärarnas svar i enkätfrågor har vi strävat efter att styrka deras tankar, strategier, kunskaper och metoder i nyare forskning och litteratur. Slutsatsen av studien menar vi är att det finns kunskaper men också brister om förståelsen för barn med beteendeproblematik, men även att förskollärarna i studien uttrycker en önskan att vilja lära sig mer för att kunna bemöta och stötta dessa barn.

This study looked at the potential reentry-aged women employed by the San Bernardino County Department of Children's Service. It identified the characteristics, motivations, needs and barriers of the reentry age female student. This study explored the reasons why some SBCDCS reentry-aged workers choose to further their education, while others do not.

A indústria de software é muito dinâmica e novas ideias surgem a todo instante em todas as partes do mundo. Nem sempre é fácil fazer com que essas ideias sejam adotadas, pois, para isso, é preciso fazer as pessoas mudarem sua forma de pensar. Deve-se sempre considerar o fato de que o ser humano, diferente do computador, é inusitado e imprevisível. Apesar disso, podemos encontrar determinados padrões de comportamento, que não resolvem todas as questões, mas ajudam a lidar com situações e continuar caminhando para atingir um determinado objetivo. Trazemos nesta dissertação uma pequena introdução sobre o conceito de padrões e, em seguida, apresentamos 48 Padrões para Introduzir Novas Ideias, propostos por Linda Rising e Mary Lynn Manns. Esses Padrões têm o objetivo de ajudar na difícil tarefa de introduzir uma nova ideia dentro de alguma organização, pois se essa ideia pressupõe mudanças culturais, o trabalho é ainda mais complicado. Propomos também quatro novos padrões, que podem ser incorporados ao catálogo original. Num desses novos padrões, mostramos a importância de se usar atividades artísticas no dia-a-dia de pessoas que trabalham com desenvolvimento de software; mostramos também como a Arte pode nos ajudar a introduzir novas ideias. Pesquisamos algumas práticas como teatro, pintura, poesia, música e meditação. Pudemos encontrar elementos de ligação entre o lado puramente matemático e bem definido do ser humano e o seu lado abstrato, analógico e artístico. Desenvolver software deve ser encarado como uma atividade humana, acima da questão técnica e puramente lógica. Existem pessoas envolvidas no processo: as que usam e as que criam o software. Existe uma barreira que separa os programadores das pessoas que usam o software. Essa barreira pode ser quebrada se pessoas da Computação começarem a desenvolver, além das habilidades lógicas que já lhes são óbvias, habilidades artísticas e de relações humanas. / The software industry is very dynamic and new ideas arise all the time from virtually any part of the world. It is not guaranteed that these ideas will be adopted, mainly because, among other obstacles, the solution may imply in having people change their way of thinking. Different from people, computers receive well defined commands and execute them precisely. We should take into account that human beings are independent and unpredictable. Despite of this unpredictability, we can find some behavioral patterns to help us deal with several situations, allowing us to achieve our objectives. This work brings a small introduction into the pattern concept and a presentation of the 48 Patterns for Introducing New Ideas proposed by Linda Rising and Mary Lynn Manns. These patterns provide some insight into the difficult task of introducing new ideas into any organization. We show that if the idea brings cultural changes of any kind, then the task is even more complicated. We also propose four new patterns that can be added to the original catalog. In one of these new patterns, we show the great importance of combining artistic activities with the day-to-day activities of people who work in software development and how Arts can help us to introduce new ideas. The study of some practices such as theater, painting, poetry, music and meditation allowed us to find some connective elements between the purely mathematical side of the human mind and its creative, artistic one. Software development must be approached as a ``human activity\'\', rather than a solely technical or logical one. Above all, there are two groups of people involved in the process: software creators and users. Although a barrier appears to separate these two groups, in this thesis we will show evidences that this division or gap can be bridged if IT professionals nurture their artistic and interpersonal relationship skills in addition to their obvious technical ones.

A indústria de software é muito dinâmica e novas ideias surgem a todo instante em todas as partes do mundo. Nem sempre é fácil fazer com que essas ideias sejam adotadas, pois, para isso, é preciso fazer as pessoas mudarem sua forma de pensar. Deve-se sempre considerar o fato de que o ser humano, diferente do computador, é inusitado e imprevisível. Apesar disso, podemos encontrar determinados padrões de comportamento, que não resolvem todas as questões, mas ajudam a lidar com situações e continuar caminhando para atingir um determinado objetivo. Trazemos nesta dissertação uma pequena introdução sobre o conceito de padrões e, em seguida, apresentamos 48 Padrões para Introduzir Novas Ideias, propostos por Linda Rising e Mary Lynn Manns. Esses Padrões têm o objetivo de ajudar na difícil tarefa de introduzir uma nova ideia dentro de alguma organização, pois se essa ideia pressupõe mudanças culturais, o trabalho é ainda mais complicado. Propomos também quatro novos padrões, que podem ser incorporados ao catálogo original. Num desses novos padrões, mostramos a importância de se usar atividades artísticas no dia-a-dia de pessoas que trabalham com desenvolvimento de software; mostramos também como a Arte pode nos ajudar a introduzir novas ideias. Pesquisamos algumas práticas como teatro, pintura, poesia, música e meditação. Pudemos encontrar elementos de ligação entre o lado puramente matemático e bem definido do ser humano e o seu lado abstrato, analógico e artístico. Desenvolver software deve ser encarado como uma atividade humana, acima da questão técnica e puramente lógica. Existem pessoas envolvidas no processo: as que usam e as que criam o software. Existe uma barreira que separa os programadores das pessoas que usam o software. Essa barreira pode ser quebrada se pessoas da Computação começarem a desenvolver, além das habilidades lógicas que já lhes são óbvias, habilidades artísticas e de relações humanas. / The software industry is very dynamic and new ideas arise all the time from virtually any part of the world. It is not guaranteed that these ideas will be adopted, mainly because, among other obstacles, the solution may imply in having people change their way of thinking. Different from people, computers receive well defined commands and execute them precisely. We should take into account that human beings are independent and unpredictable. Despite of this unpredictability, we can find some behavioral patterns to help us deal with several situations, allowing us to achieve our objectives. This work brings a small introduction into the pattern concept and a presentation of the 48 Patterns for Introducing New Ideas proposed by Linda Rising and Mary Lynn Manns. These patterns provide some insight into the difficult task of introducing new ideas into any organization. We show that if the idea brings cultural changes of any kind, then the task is even more complicated. We also propose four new patterns that can be added to the original catalog. In one of these new patterns, we show the great importance of combining artistic activities with the day-to-day activities of people who work in software development and how Arts can help us to introduce new ideas. The study of some practices such as theater, painting, poetry, music and meditation allowed us to find some connective elements between the purely mathematical side of the human mind and its creative, artistic one. Software development must be approached as a ``human activity\'\', rather than a solely technical or logical one. Above all, there are two groups of people involved in the process: software creators and users. Although a barrier appears to separate these two groups, in this thesis we will show evidences that this division or gap can be bridged if IT professionals nurture their artistic and interpersonal relationship skills in addition to their obvious technical ones.

基於Peter Evans在Embedded Autonomy一書中所提出的「鑲嵌式的自主性」概念，本文試圖透過臺灣奈米科技政策的形成，討論臺灣的國家角色。 在研究設計上，本研究選取在臺灣傳統產業藉由發展奈米科技技術的升級過程當中，最爲關鍵的行爲者作爲研究變數，即奈米國家型計劃及其相關的執行政府部門—經濟部—及工研院奈米中心、工研院化學工業研究所、工研院化工所成立的奈米促進會及產業界，特別是個別公司的研發部專家。 國家與社會之間關係的討論將是本文研究重點。本文將「國家」定義為涉及奈米政策的立法行政部門，也就是立法院以及奈米國家型計劃辦公室所屬部門與機構，包括經濟部及工研院。本文所提的「社會」主要是個別公司。延續Weiss對Evans的批評，本文特別強調國家與社會對國家奈米政策都有一定的影響力，奈米科技政策的政治經濟分析不能忽略社會的因素。 本文對Evans的四個國家角色提出補充。筆者發現對於臺灣既有的本土產業而言，在開發新產品時所需運用的奈米科技上，國家扮演著Evans研究架構中未提出的另一種國家角色。我主張，就奈米科技的應用而言，需以另外一種新的角色來解釋「國家」。這個在Evans原來的分析架構外的第五種國家角色，我稱之爲「再生催化者角色」（Revitalizing Catalyst）。 本章將會深入分析國家相關部門/機構在制定與執行奈米政策時的實際運作，以及相關部門，例如經濟部、經濟部技術處及最主要的制度性行爲者─工研院所扮演的角色。本章旨在以政策方向形成的過程來説明國家與奈米科技政策的制度性行爲者之間的互動關係。透過對奈米科技政策形成的陳述，可凸顯制度性行爲者在規劃當中的角色。透過此敍述，便能很清楚地瞭解本研究何以將工研院視爲國家的一部分。而且，本章所介紹的奈米國家型科技計劃的歷史背景與規劃過程將作爲第四章中個案分析的基礎。 本文將工研院視爲「國家」。筆者將透過工研院化工所與合作案例的互動來驗證國家對於產業具體的影響，並配合前文的論述，陳述國家俱體的角色。本研究針對奈米計劃中國家與產業界的互動方式歸納出三種互動模式：一，引導者；二，搭橋者；三，媒介者。依據這三種互動方式，筆者將它們總結為一種新的國家角色──即「再生催化者」的國家角色。 筆者透過長春石化公司、中國制釉集團及其它公司與工所的計劃案例，可證明國家扮演了催化劑的角色，並且有助於傳統產業的再生，因此，本文選擇「再生催化者」來描述這樣的國家角色。本研究對將來的政治經濟研究或許可以提供一個啓示：也就是在跨產業結合的普遍趨勢下，促進「產業再生」的新國家角色會是一個不可忽視的研究方向。

Made available in DSpace on 2015-04-17T14:49:32Z (GMT). No. of bitstreams: 1 parte1.pdf: 3805618 bytes, checksum: c5283752b1a8775c6dd8cef062f7c370 (MD5) Previous issue date: 2009-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this research was to evaluate the physical, physical-chemical, bioactive, and sensorial attributes of the first Brazilian seedless grapes (Vitis vinifera L.) varieties 'BRS Clara', 'BRS Linda', 'BRS Morena', and Advanced Selection 8, compared with the North American 'Crimson Seedless'. Three experiments had been carried out. For the first one, taking into account the Normative Brazilian/2002 and the requirements for exportations, it was determined that Advanced Selection 8 develops large cluster, inserted in class 2, with dark reddish berry, caliber 20, and ellipsoid format; 'BRS Morena' presents cluster of medium size, in class 2, with berry colored of black nuance, caliber 20, and format between ellipsoid and globoid; 'BRS Linda' with large cluster, in class 2, light-green color, and 'Crimson Seedless' with pink colored and small cluster inserted in class 1, offer berries in caliber 18 with ellipsoid formats; 'BRS Clara' develops medium size cluster in class 2, berry with caliber, green yellowish green color and a format elongated ellipsoid. All of these grapes meet the standards for national market that demands a minimum of 12 millimeters of diameter. On the other hand, 'BRS Clara' does not meet the minimum diameter demanded for exportations. The red grapes ' BRS Morena' e 'Crimson Seedless' develop the firmest berries. The hydrogenionic potential, titratable acidity and soluble solids content meet the official standard values. The largest clusters are significantly less acid and present higher soluble solid/titratable acidity ratio, inferring to be the sweetest when mature. For the second experiment, it was determined and correlated the content of acid Lascorbic, total phenolic composites, trans-resveratrol, and the total antioxidative capacity of the studied grapes. All grape samples presented low acid L-ascorbic contents. The white 'BRS Clara' presents marked content of total phenolic compounds, followed by the white 'BRS Linda', in third position are the red ones: Advanced Selection 8, 'BRS Morena', and 'Crimson Seedless'. 5 Grapes presented distinct contents of trans-resveratrol in this following order of superiority: 'BRS Morena', 'Crimson', Advanced Selection 8, 'BRS Linda', and 'BRS Clara'. Trans-resveratrol seems to provide varietal identity. Red grapes presented higher contents of trans-resveratrol. 'BRS Clara', ' Crimson Seedless', and 'BRS Linda', similarly, presented the highest antioxidative capacity and the color of the grape did not influence on that. The contents of total extractable phenolic compounds influenced positively on the antioxidative capacity. Grapes presenting larger contents of total extractable phenolic compounds presented lower content of transresveratrol. For the third experiment it was used the Quantitative Descriptive Sensorial Analysis, by means of selected and trained judges. On the global quality, 'BRS Morena' was superior than others grapes evaluated, while Advanced Selection 8 was in second position, and 'BRS Linda' and 'Crimson Seedless' occupied the third position, while 'BRS Clara' showed the most inferior sensorial quality. The general characteristics flavor, with large superiority, followed, in this order, by the strongest tonality, the red color, the most spherical format, the highest firmness, succulence, crispness, and sweetness contributed positively with the global quality. The bitter taste and the sensorial acidity, in this sequence of intensity, were the attributes of larger negative influence. The results for physical and physical-chemical evaluations, together, reflect significantly the sensorial perceptions. Therefore, once inserted in the official standards of identity and quality, beside the varietal characteristic flavor, producers must prefer to produce grapes of stronger tone, larger sizes, and more spherical or globular formats. / O objetivo desta pesquisa foi avaliar os atributos físicos, físico-químicos, bioativos e sensoriais das primeiras variedades de uvas (Vitis vinifera L.) sem sementes brasileiras, 'BRS Clara', 'BRS Linda' e 'BRS Morena', mais a Seleção Avançada 8, comparadas com a norte-americana 'Crimson Seedless'. Foram conduzidos três experimentos. Assim, com o primeiro considerando as Normativas brasileiras/2002 e as exigências para exportações, determinou-se que a Seleção Avançada 8 possui cacho grande na classe 2 com baga avermelhada escura, calibre 20 e formato elipsóide; A 'BRS Morena' apresenta cacho médio na classe 2, com baga colorida de nuança preta, calibre 20 e de formato elipsóide a quase globoso; a 'BRS Linda' com cacho grande, classe 2, de cor verde clara e a 'Crimson' com cacho róseo, pequeno na classe 1 oferecem bagas de calibre 18 e com formatos elipsóides; a 'BRS Clara' possui cacho médio e de classe 2, com baga de calibre 14, tom verde amarelado e de formato elipsóide alongado. Todas atendem o mercado nacional quanto aos diâmetros mínimos de 12 milímetros. A 'BRS Clara' não atende os diâmetros exigidos para exportações. As uvas tintas 'BRS Morena' e 'Crimson Seedless' dispõem das bagas mais firmes. O potencial hidrogeniônico, a acidez titulável e os teores de açúcares solúveis atendem aos padrões oficiais. Os cachos maiores são os menos ácidos e apresentam a melhor relação de sólidos solúveis/acidez titulável, inferindo serem os mais doces, quando maduros. O segundo experimento determinou e correlacionou os teores de ácido L-ascórbico, compostos fenólicos totais extraíveis, trans-resveratrol e a capacidade antioxidante total das uvas estudadas. Todas as amostras apresentaram baixos conteúdos de ácido L-ascórbico. A branca 'BRS Clara' apresenta destacado teor de compostos fenólicos totais extraíveis, seguida pela branca 'BRS Linda', em terceiro lugar encontram-se as tintas Seleção 8, 'BRS Morena' e 3 'Crimson'. As uvas apresentaram conteúdos distintos do trans-resveratrol e nessa ordem de superioridade: 'BRS Morena', 'Crimson', Seleção Avançada 8, 'BRS Linda' e 'BRS Clara'. O trans-resveratrol parece conferir identidade varietal. As tintas apresentaram maiores conteúdos de trans-resveratrol. A 'BRS Clara', 'Crimson' e 'BRS Linda', igualmente, apresentaram a maior capacidade antioxidante. A cor não interferiu na capacidade antioxidante. Os compostos fenólicos totais influenciaram positivamente na capacidade antioxidante. Uvas com maiores quantidades de compostos fenólicos totais extraíveis, apresentam menores teores de transresveratrol. No terceiro experimento utilizou-se a Análise Sensorial Descritiva Quantitativa, mediante julgadores selecionados e treinados. Quanto à qualidade global, a 'BRS Morena' apresentou-se superior, a Seleção Avançada 8 destacou-se em segundo lugar, enquanto, a 'BRS Linda' e 'Crimson Seedless' ocuparam o terceiro lugar e a BRS Clara' foi de qualidade inferior, sensorialmente. O sabor geral característico, com ampla superioridade, seguido na ordem, pela tonalidade mais forte, a cor tinta, o formato mais esférico, a maior firmeza, suculência, crocância e doçura contribuíram positivamente com a qualidade global. O amargor e a acidez sensorial, nesta seqüência de intensidade, foram os atributos de maior influência negativa. Os resultados das avaliações físicas e físico-químicas, em conjunto, refletem com significância as percepções sensoriais. Uma vez, dentro dos padrões de identidade e qualidade oficiais, além do sabor varietal característico, os produtores devem preferir produzir uvas de tons mais fortes, tamanhos maiores e de formatos mais esféricos ou globosos.

This is paper is an argument analysis of citizenship and its allocation using an interpretation of Linda Bosniaks theory of Divided Citizenship. The starting point of this paper is the absence of a thorough or exhaustive legal definition of citizenship and legal binding and enforceable citizenship allocation laws within international migration law. Referring primarily to the absence of principals of social justice and global ethics within the legal framework. In total this leads to a multitude of different ethical problems. Therefore, there is a need for researching and evaluating alternative definitions and principles concerning citizenship and its allocation beyond the most common ones.The research material of this paper consists of chapters from two books Spheres of Justice by Michael Walzer and Scales of Justice by Nancy Fraser. The conclusion of this paper is that the combination of the “all subjected-principle” and “the membership-principle” are best suited to the demands that a wide definition of citizenship poses. Citizenship and its allocation are today less and less dependent on the state itself and can today easily be supplemented by other institutions depending on geographic and political needs, while still using democratic governance. Therefore, it is desirable to link the allocation of citizenship to the goal of establishing participatory parity. Deliberative democracy is the necessary foundation of all political organization. All other forms of citizenships and rights are necessary preconditions for people to be able to participate in the political process and protect all equal value of all people. The denial of citizenship is always the first in a long train of abuses.

The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.