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Made available in DSpace on 2016-04-25T16:44:32Z (GMT). No. of bitstreams: 1 Larissa Rodrigues Terra.pdf: 1202621 bytes, checksum: b5081a47b620d9eccf613e594cf47f1f (MD5) Previous issue date: 2012-11-22 / The current social, political, technological and economic development of the organizational environment has modified the communication and strategy process in organizations. So, the organizations needs for this complex environment are new and uncertain, i.e. an environment of unforeseen, uncertainties and self-organization. In this context, the importance of the constitutive role of communication in organizational shaping reality and complexity of the environment today, leads us to question the limited, objective and generalizing nature of the theoretical constructs of business communication . The Montreal School was raised to assist in the understanding of communication as organizer of a reality and socially constructed recursively in the current environment of complexity in which the organizations are embedded. In a complex environment, the traditional reductionist and simplifying instruments of management lost efficiency, and organizations begin to demand flexible and adaptive management planning. For this reason, this paper, under the light of complexity approach, analyzes the contributions of the Montreal School on the relationship between communication and organization in the context of globalization and new technologies. We conclude that organizational communication as a strategy of management aims to organize social action to a single focus. Thus, the communication must be understood as a builder of organizational actions, i.e., as a compound forming the organization. The organizational communication assumes the role of a strategy for managing complexity, when it promotes self-organization, and causes individuals to adapt to the changing environment, which occurs through the generation of information and the reach of language. Therefore, communication is all information understood as a set of symbols, or as meaning that conveys these signals through the interpretation of language and discourse, between individuals of the organization / O atual desenvolvimento social, político, tecnológico e econômico do ambiente organizacional modificou os processos de comunicação e estratégia nas organizações. Desta forma, são novas e incertas as necessidades das organizações para esse ambiente de complexidade, ou seja, um ambiente de imprevistos, incertezas e auto-organização. Neste contexto, a importância do papel constitutivo da comunicação na formação da realidade organizacional e no ambiente de complexidade da atualidade nos leva a questionar a natureza limitada, objetiva e generalizadora das construções teóricas da comunicação empresarial. O pensamento da Escola de Montreal foi levantado para auxiliar na compreensão da comunicação como organizadora de uma realidade socialmente e recursivamente construída no atual ambiente de complexidade em que as organizações estão inseridas. Em um ambiente complexo, os tradicionais instrumentos reducionistas e simplificadores de gestão perderam a eficiência, e as organizações passaram a demandar planejamentos flexíveis e adaptáveis de gestão. Esta dissertação à luz da abordagem da complexidade analisa as contribuições da Escola de Montreal a respeito da relação entre comunicação e organização no contexto da globalização e das novas tecnologias. Concluiu-se que a comunicação organizacional, como estratégia de gestão, tem o objetivo de organizar a ação social para um foco único. Assim, a comunicação deve ser compreendida como construtora das ações organizacionais, ou seja, como um composto que dá forma à organização. A comunicação organizacional assume o papel de estratégia de gestão da complexidade quando promove à auto-organização e faz com que os indivíduos se adaptem às mudanças do ambiente, o que acontece por meio da geração de informação e do alcance da linguagem. Portanto, a comunicação é toda informação compreendida como conjunto de símbolos ou como sentido que veicula estes sinais através da significação e interpretação da linguagem e do discurso entre os indivíduos da organização

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Property ownership and occupational change are used to understand the social and economic organization of the Chinese community in Montreal. These data can be understood with a model of the lineage mode of production, situated within an ethnically defined dual economy. / Original immigration data show distinct patterns for Eastern Canada, and the independence of migration from Canadian legislation. The history of Chinese property ownership reveals encapsulated, long term tenure with transfers related to life cycle crises rather than market conditions. Chinese occupations are highly concentrated in service sector specialities which support domestic production units. The Chinese community is present throughout the Island of Montreal, while Chinatown contains some specialized institutions rather than being a ghetto. / Current demographic changes may jeopardize the future of secondary Chinese centers such as Montreal, in favor of larger centers such as Toronto and Vancouver.

In the early 1860s, wealthy English Montrealers began to purchase property on the shores of Lake Memphremagog to build lavish summer estates. Each year, these upper-class businessmen and their families would spend a significant part of the summer at their country houses, swimming in Lake Memphremagog, boating, playing lawn tennis and visiting fellow Montrealers. The emergence of summer residences on Lake Memphremagog was part of a broader trend towards villegiature, or tourism, in Quebec, and in North America, that largely resulted from the rise of the Industrial Revolution and the Romantic Movement. This research analyses the architecture and landscaping of the nineteenth-century summer residences on Lake Memphremagog as it seeks to understand the factors that brought wealthy Montrealers to this lake in the 1860s. It also examines how their upper-class background affected the way they experienced leisure while at the lake. Through this study, it becomes evident that Romanticism and upper-class values significantly influenced the location and styles chosen by the Montrealers for their estates. Additionally, an examination of the social and recreational activities of the summer residents on Lake Memphremagog indicates that the Montrealers re-created much of their urban social sphere in the country, associating mainly with other upper-class families and pursuing many of the same activities. Nonetheless, the primary sources indicate that the relationship between the local residents and the summer residents was generally a positive one.

Memoria (licenciado en ciencias jurídicas y sociales) / Las investigaciones en Derecho Aeronáutico Internacional Privado carecen de una aproximación general, favoreciendo trabajos individuales de cada instrumento. El trabajo aborda en conjunto los convenios de Montreal-1999, Ciudad del Cabo-2001 (incluyendo su protocolo aeronáutico del mismo año) y Montreal-2009. Desde las funciones normativas estatales (producción, aplicación y ejecución de la norma jurídica) se traza la configuración del sistema jurídico aeronáutico internacional privado. Se encuentran correlaciones en todos los instrumentos privados con el fin de concretar un tráfico internacional jurídica- y materialmente expedito, así como uno económico fluido. En adición, hacen énfasis en el aseguramiento en la protección de derechos involucrados, sin perder el balance del sistema. Los tratados privados comparten principios de Orden Público Aeronáutico más allá de una jerarquía con el Convenio de Chicago de 1944 a la cabeza. Ello reporta la obligación de interpretar el ordenamiento aeronáutico internacional privado no tan solo entre sí, sino en conjunto con el público. Esto permite comprender la realidad del ordenamiento aeronáutico contemporáneo.

This thesis explores the practices, motivations, and sensorial experiences of Montreal’s metro buskers. By examining the lived experiences of ‘street’ performers in the stations and connecting passageways of Montreal’s underground transit system, I consider what it ‘means’ to be a metro busker from the perspective of the performers. Informed by my ethnographic fieldwork among metro buskers, I detail their performance practices, ‘staging’ strategies, uses of technology, bodily dispositions, and subjective perceptions in relation to the public, each other and the spaces of performance. In the process, I make visible—and audible—the variable and improvisational nature of busking practices, and how these are constituted in relation to the physical features of the performance sites. More broadly, I explore the co-productive relations between body and space, the sensorial experiences and spatial practices of everyday urban life, and the potential for moments of micro-social encounter and appropriations of spaces that are not designed to foster conviviality and creative engagement. I locate ‘the busker’ within these questions not as a fixed identity or subject-position but as an embodied assemblage-act that is socially and materially situated and subjectively enacted through highly variable practices, perceptions and experiences. In detailing the moments of social encounter precipitated by metro buskers, I propose understanding busking as a form of Gift-performance that finds certain parallels in sensory ethnographic videography. I show how the influences of diverse participants—human and material—on the filming, editing, and distribution processes changed the course of the audio-visual production in this research. Finally, I introduce a notion of ‘expanded trajectory’ that links performer and space, researcher and participant, and may enable new acts of encounter and exchange, new processes of social and material circulation, new forms of Gift. / Graduate / 2018-05-15 / 0326 / nick.wees@gmail.com

In this thesis I argue that the relationship between the increasing ubiquity of digital audio technologies and the transformation of aesthetic hierarchies in electroacoustic and sound art traditions is not deterministic, but negotiated by producers and policy-makers in specific historical and cultural contexts. Interviews, observations, and historical data were gathered during sixteen months of ethnographic fieldwork in the Canadian city of Montreal between 2011 and 2012. Research was conducted and analysed in collaboration with a transnational group of researchers on a programme of comparative research that tracked global changes to music and musical practice associated with digital technologies. The introduction presents Montreal as a rich ecology in which to track struggles for aesthetic authority, detailing its history as a key site of electroacoustic and sound art production, and its local positioning as a politically strategic 'hub' for the Canadian culture industry. Core chapters examine the specific role of digital mediation in the negotiation of electroacoustic and sound art aesthetics from multiple interlocking perspectives: the recursive relationship between technological affordances and theories of mediation; the mobilisation of digital technologies in the delineation of cultural, professional and generational territories; the political contestation of digital literacies and pedagogies; the articulation of the digital's opposition with analogue in the construction of instruments and recording formats; and the effects of the digital on the dynamics of genre and genre hierarchies. The concluding chapter offers a critique of the notion that digital mediation has shifted the balance between the normative and the generative dimensions of genrefication in the scenes in question, and closes by suggesting how a better understanding of this shift at an empirical level can inform an ongoing rethinking of the interaction between technology and aesthetics among scholars, policy makers, and musicians.