Abstract This thesis is mainly discussed about the new work type in the information network society, that is telework (or telecommuting).. The author has accomplished interviews with different teleworks who work at different places and their managers.. The purpose of this research is to have a overall understanding and comparison of each teleworker¡¦s function and their daily operation, and discuss the related human resources management issues. There is no other thesis discussing about the management of each type of teleworker, the authour recorded the interviewees¡¦ background and their motivation of being teleworkers, also the reaction of their companies support; In the meantime, the authour interviewed with the managers who manage the teleworkers, understood and analyzed each successful and unsuccessful case, attemped to provide the managers for more practical suggestion. . The economy is recovering very slowly, many enterprises have paid a lot of effort to reduce their operation cost in order to survive in the recession situation. Telework is a flexible work type that can reduce both office expenses and labor cost. The author also attempts to provide some useful suggestions to the business owners, managers, human resources managers that have not had any experience of managing the teleworkers.

Au cours de l'Histoire, les humains alors nomades sont devenus sédentaires. Est-il possible de tisser des liens entre les différentes formes de nomadisme actuel et une certaine implication politique ? Selon une approche critique des pouvoirs hégémoniques, l'auteur répond à cette question à travers une expérience cinématographique nomade dans le Nord-ouest argentin. Il étudie les relations qui peuvent exister entre une pensée nomade, le militantisme et le cinéma. Suivant les révolutions sociales des années 30 à 70, certains nomades, qui parcouraient le monde comme contestation d'un mode de vie normatif, se tournent aujourd'hui vers un existentialisme quotidien. Quant au cinéma militant argentin, sa pratique passe d'une confrontation révolutionnaire face à l'hégémonie, vers la construction de subjectivités variées et précises. L'agencement entre le cinéma militant et l'expérience nomade mettra à jour l'importance d'une « communication nomade » qui s'installe aux interstices de la contestation sociale et de l'autonomie individuelle. / Throughout history, humans have gone from a nomadic to a sedentary lifestyle. Is it possible to forge links between current forms of nomadism and political involvement? Using a critical approach of the powers of dominating institutions, the author answers this question through a nomadic cinematic experience in Northwestern Argentina. The film studies the relationships that exist between nomadic thought, activism and film. After the social revolutions of the 1930's through the 1970's, nomads who had once challenged conventional lifestyles are IV today turning towards existentialism. Meanwhile, the practice of militant cinema in Argentina has changed from a revolutionary confrontation against hegemony, towards the construction of subjective identities. The link between militant cinema and the nomadic experience brings to light the importance of "nomadic communication" between social protest and individual autonomy. / Durante la historia, los seres humanos pasaron de ser nómadas a sedentarios. ¿Es posible establecer vínculos entre las diferentes formas de nomadismo actual y una cierta implicación política? Según un enfoque crítico de los poderes hegemónicos, el autor responde a esa pregunta a través de una experiencia de cine nómade en el noroeste argentino y estudia las relaciones que existen entre el pensamiento nómada, el activismo y el cine. Siguiendo las revoluciones sociales de los años 30 a los 70, algunos nómadas que vagaban por el mundo como desafío a un estilo de vida normativo, hoy están recurriendo a un existencialismo diario. En cuanto al cine militante argentino, su practica pasa de una confrontación revolucionaria contra la hegemonía, a la construcción de subjetividades variadas y precisas. El agenciamiento entre el cine militante y la experiencia nómada actualizará la importancia de una "comunicación nómada" que se instala en los intersticios de la protesta social y la autonomía individual. / Le film "Exilio o Transhumancia" accompagne ce mémoire.

No description available.

Au cours de l'Histoire, les humains alors nomades sont devenus sédentaires. Est-il possible de tisser des liens entre les différentes formes de nomadisme actuel et une certaine implication politique ? Selon une approche critique des pouvoirs hégémoniques, l'auteur répond à cette question à travers une expérience cinématographique nomade dans le Nord-ouest argentin. Il étudie les relations qui peuvent exister entre une pensée nomade, le militantisme et le cinéma. Suivant les révolutions sociales des années 30 à 70, certains nomades, qui parcouraient le monde comme contestation d'un mode de vie normatif, se tournent aujourd'hui vers un existentialisme quotidien. Quant au cinéma militant argentin, sa pratique passe d'une confrontation révolutionnaire face à l'hégémonie, vers la construction de subjectivités variées et précises. L'agencement entre le cinéma militant et l'expérience nomade mettra à jour l'importance d'une « communication nomade » qui s'installe aux interstices de la contestation sociale et de l'autonomie individuelle. / Throughout history, humans have gone from a nomadic to a sedentary lifestyle. Is it possible to forge links between current forms of nomadism and political involvement? Using a critical approach of the powers of dominating institutions, the author answers this question through a nomadic cinematic experience in Northwestern Argentina. The film studies the relationships that exist between nomadic thought, activism and film. After the social revolutions of the 1930's through the 1970's, nomads who had once challenged conventional lifestyles are IV today turning towards existentialism. Meanwhile, the practice of militant cinema in Argentina has changed from a revolutionary confrontation against hegemony, towards the construction of subjective identities. The link between militant cinema and the nomadic experience brings to light the importance of "nomadic communication" between social protest and individual autonomy. / Durante la historia, los seres humanos pasaron de ser nómadas a sedentarios. ¿Es posible establecer vínculos entre las diferentes formas de nomadismo actual y una cierta implicación política? Según un enfoque crítico de los poderes hegemónicos, el autor responde a esa pregunta a través de una experiencia de cine nómade en el noroeste argentino y estudia las relaciones que existen entre el pensamiento nómada, el activismo y el cine. Siguiendo las revoluciones sociales de los años 30 a los 70, algunos nómadas que vagaban por el mundo como desafío a un estilo de vida normativo, hoy están recurriendo a un existencialismo diario. En cuanto al cine militante argentino, su practica pasa de una confrontación revolucionaria contra la hegemonía, a la construcción de subjetividades variadas y precisas. El agenciamiento entre el cine militante y la experiencia nómada actualizará la importancia de una "comunicación nómada" que se instala en los intersticios de la protesta social y la autonomía individual.

This study examines the current pastoralists' education situation in Uganda in the context of the education policy established, and non-formal education interventions being conducted among the Bahima and Karimojong pastroralists by both Governmental and Non-Governmental Organizations, as an attempt to address the problems and issues of illiteracy and pastoral development. It is evident that education for pastoralists in Uganda creates a social consciousness with values, norms, knowledge and skills, which have a complex and dynamic relationship among the pastoralists. The problems of investigation in this research focus on information available on the functioning of pastoralism for effective provision of non-formal education programmes to the Bahima and Karimojong pastoralists; and how effectively the providers of non-formal education programmes can integrate the nomadic livelihood in the provision of non-formal education The literature review has focused on the Bahima and Karimojong pastoralists, but attempts have also been made to draw relevant lessons from other nomadic groups like Gypsies, travellers, and occupational travellers. The review has been intended to sharpen specific aspects related to pastoral and national education practices that can enable appropriate and strategic provision and implementation of non-formal education programmes to occur among the Bahima and Karimojong pastoralists in their pastoral context. Qualitative research methods used in the study were fundamentally relevant and suited for locating the meaning that semi-nomadic Bahima and Karimojong pastoralists placed on events, processes and structures of their lives, their perceptions, assumptions, prejudgments, presumptions, and for connecting these meanings to the social world around them. Presentation and analysis of data is divided into three sections including a recast of the items in the interview schedules, a summary of the research findings presented on a conceptually clustered Matrix Sheet, and a presentation of the data analysis resulting form the data displayed on the Matrix Sheet. Recommendations of the study have been clustered under the following three thematic categories: · Relevance of non-formal education programmes to the Bahima and Karimojong pastoraslist, · Factors for implementation of non-formal education programmes, and · Strategies for implementation and sustenance of non-formal education programmes among the Bahima and Karimojong pastoralists. / Educational Studies / MED (COMPARATIVE EDUCATION)

Ce projet de recherche en danse est né du désir et du besoin de questionner ma propre pratique artistique en danse contemporaine, en la mettant en perspective et en conversation avec celle de deux autres artistes chorégraphes, Monica Klingler et Barbara Manzetti. L’étude de ces (nos) pratiques, que j’ai qualifiées de «mineures» (au sens deleuzien) a été réalisée en les approchant par le «milieu», dans leur devenir, en les «accompagnant» pendant une période délimitée, celle de la durée de la thèse. Les questions qui dynamisent la recherche concernent les notions de présent et de vivant, contenues dans le terme «processus» : comment rendre compte de processus créatifs au moment même de leur surgissement? Comment se positionner pour pouvoir les décrire, les analyser? Une autre question explorée à travers différentes pratiques d’écriture, dont la thèse, est celle du rôle de l’écriture dans un projet de danse. Quelles pratiques d’écriture mettre en place pour accompagner la danse, pour la penser et pour la partager à travers le langage? L’analyse des démarches artistiques des trois artistes étudiées a été réalisée à l’aide de concepts issus de théories féministes. Elle s’appuie sur la notion de «hors de soi», du choix d’exacerber la vulnérabilité (Judith Butler) ; sur le positionnement des artistes comme des sujets non unitaires, des «sujets nomades» et en devenir (Rosi Braidotti) ; sur la mise en mouvement de formes fluides, changeantes et non réductibles à une œuvre, à l’«un» (Luce Irigaray).La recherche, considérée comme un «processus de danse», a donné forme à différents projets artistiques, Materia Viva, Figuras, Avec le masque, ainsi qu’à l’écriture de la thèse. / The desire and need to question my own artistic work in contemporary dance has led to this project in dance research. To do so, my own practice had to be put into perspective and into conversation with the practices of two other artists, Monica Klingler and Barbara Manzetti. These (our) practices, which I qualify as « minor» (according to Deleuze), were studied in midst, in their process of becoming, and were «accompanied» during the limited lapse of time of this research project. The main questions arise from the notions of the present and liveliness which are contained in the word « process ». How could a creative process be described at the very moment of its emergence? What stance must one take in order to analyse these creative processes?Another main question deals with writing practices. Which is the part of writing in a dance project? Which writing practices should we set up to accompany the dance, to reflect upon it and to share it through language? I have analyzed the artistic approach of the three artists using some concepts taken from feminist theories : « out of oneself», exacerbating the vulnerability (Judith Butler) ; the positioning of artists as non-unitary subjects, « nomadic subjects », and subjects in the process of becoming (Rosi Braidotti) ; and how the artist sets fluid and changing forms in motion, which cannot be reduced to «one» single work (Luce Irigaray).The research project, considered as a « dance process », has given birth to different artistic projects, such as Materia Viva, Figuras, Avec le masque, along with the writing of the thesis.

This study examines the current pastoralists' education situation in Uganda in the context of the education policy established, and non-formal education interventions being conducted among the Bahima and Karimojong pastroralists by both Governmental and Non-Governmental Organizations, as an attempt to address the problems and issues of illiteracy and pastoral development. It is evident that education for pastoralists in Uganda creates a social consciousness with values, norms, knowledge and skills, which have a complex and dynamic relationship among the pastoralists. The problems of investigation in this research focus on information available on the functioning of pastoralism for effective provision of non-formal education programmes to the Bahima and Karimojong pastoralists; and how effectively the providers of non-formal education programmes can integrate the nomadic livelihood in the provision of non-formal education The literature review has focused on the Bahima and Karimojong pastoralists, but attempts have also been made to draw relevant lessons from other nomadic groups like Gypsies, travellers, and occupational travellers. The review has been intended to sharpen specific aspects related to pastoral and national education practices that can enable appropriate and strategic provision and implementation of non-formal education programmes to occur among the Bahima and Karimojong pastoralists in their pastoral context. Qualitative research methods used in the study were fundamentally relevant and suited for locating the meaning that semi-nomadic Bahima and Karimojong pastoralists placed on events, processes and structures of their lives, their perceptions, assumptions, prejudgments, presumptions, and for connecting these meanings to the social world around them. Presentation and analysis of data is divided into three sections including a recast of the items in the interview schedules, a summary of the research findings presented on a conceptually clustered Matrix Sheet, and a presentation of the data analysis resulting form the data displayed on the Matrix Sheet. Recommendations of the study have been clustered under the following three thematic categories: · Relevance of non-formal education programmes to the Bahima and Karimojong pastoraslist, · Factors for implementation of non-formal education programmes, and · Strategies for implementation and sustenance of non-formal education programmes among the Bahima and Karimojong pastoralists. / Educational Studies / MED (COMPARATIVE EDUCATION)

The aim of this thesis is to create an ethnolinguistic analysis of two corpuses of Mongolian riddles (Lovor and Ölziikhutag 1990 and Ölziikhutag 2013). The work contains over one hundred riddles appended with translations and morpheme-to-morpheme glosses. The riddles are further analyzed on a phonetic level, including descriptions of specific sound patterns and alliterations, as well as their lexical and semantic properties. This complex analysis, in conjunction with findings gained in field research, renders possible the description of a specific language of Mongolian riddles, characterized by the frequent occurrence of borrowings, the presence of semantically and phonetically 'damaged' words, ideophones, metaphors and many specific cultural expressions. The language of Mongolian riddles also often skilfully exploits overt abstractions, allusions, and lexical and morphological ambiguities, in addition to other techniques which facilitate conceptual mapping and cognitive blending. This linguistic analysis makes possible a description of the various aspects of the worldview of Mongolian nomads concealed in these riddles, including the characteristic linking of the 'sacred and profane,' as well as the relationship of these riddles to mythology and religious ideas.

No description available.

This paper explores through Donna Haraway's storytelling practices feminist approaches to collaborative writing. Employing a phenomenological qualitative research approach, the thesis aims to analyze how Haraway herself exercises feminist writing and facilitates the learning of collaborative storytelling. The first research question: How does Haraway practice storytelling while simultaneously situating herself as well as others, is focused on investigating Symbiosis, Symbiogenesis and the Lively Arts of Staying with the Trouble, a chapter from Haraway's publication Staying with the Trouble: Making Kin in the Chthulucene (2016). Drawing on the qualitative analysis carried out through the process of phenomological re-telling, two case studies are presented. The two publications The Books of the Books, edited by Carolyn Christov-Bakargiev in association with dOCUMENTA (13) in 2012 and Critical Zones – The Science and Politics of Landing on Earth, edited by Peter Weibel and Bruno Latour building on the exhibition Critical Zones: Observatories for Earthly Politics in 2020 are examined in terms of their curatorial and editorial orientations in order to answer the question: How can the position of a curator perform as a multidisciplinary editor without resigning to its own singularity or acting omnisciently? In the proposed practice of a phenomological approach of re-telling, it is referred to Rosi Braidotti's remarks on the nomadic subject, along with feminist modes of (academic) writing, as motivated by scholars such as Mona Livholts and Nina Lykke. The thesis demonstrates that collaborative storytelling and writing directs the emphasis on methods of citation and referencing, just as their various possible layouts. In highlighting these, the paper also reveals the challenges of such writing to produce perceived hegemonic knowledge while not being collaboratively situated.