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Objectives of the study were 1) To investigate patterns of career development of two successful Indian football through media analysis. 2) To identify factors of career success in male v/s female Indian football players. Methodology: This is a career development narrative study where media analysis was used. Two famous Indian football players (Aditi Chauhan and Sunil Chhetri) were chosen based on he/she had represented India at National and International level and had an extensive career of 15-20 years. As the players were not available to be interviewed, several types of media data were retrieved and analysed.Narrative thematic analysis and Holistic form structural analysis was performed for the stories of the players. Findings: within first analysis, seven career development themes were identified; how their interest got developed in sports, their entry into Indian football, their settlement into their football positions, international level exposures received by each, barriers experienced & sacrifices made by each, career difficulties v/s career incline, and their journey towards transition v/s retirement in their careers. Underlining the career stories, three factors (athletic, psychological, and psychosocial) were identified followed by five themes(planning & goal setting, routine, mindset of the player, motivation, and support system) and six subthemes (fitness & diet, growth, internal motivation, parents, and family) of perceived factors of career success of the footballers. Within second analysis, types of narratives were identified. For Aditi it was sink or swim narrative and for Sunil it was performance narrative. Discussion: Both stories reflected the positive side and negative side of sports. From the whole person and whole career approach three major athletic career stages came up for the athletes’ stories which was initiation, development, and discontinuation stages. Media data focussed on whole athlete and whole career approach where training, competitions, and personal life events got covered. Thus, suggested that perceived factors of success played a key role in career development of Indian football players.

Research on employment in Canadian AIDS service and allied organizations (AASOs) should recognize the unique experiences of immigrant women workers of African descent given their transnational HIV histories, working roles, relationship and responsibilities, interconnected identities and senses of belonging, and intersecting systems of oppressions they navigate within their working lives. Guided by decolonizing, anti-colonial, and transnational feminist thoughts, the Because She Cares study aims to understand the experiences of African women living with HIV who are employed in the HIV sector in the province of Ontario, Canada. Using performance narrative methodologies, this inquiry explored HIV-related work as agential, cultural and social practices of caring work; and deciphered the local and transnational interconnections to African women’s sensemaking of their work as HIV caring work. Ten African women with employment histories in Canadian AASOs participated as the Narrators. Using performance narrative methods based on oral traditions, I gathered, interpret and shared their stories of HIV caring work. In collaboration with the Narrators, I poetically “retold” interview narratives to embody the emotive resonance of the original telling and evoke the theoretical and political relevance of the sharing. Study findings illuminate the multiple self, communal and social modes of caring that emerged in women’s HIV-related work, the shifting responsibilization of African women living with HIV as carers, the intersecting systems of oppression African woman navigate in Canadian work spaces and strategies of care-full work that translocates “back home”. This study documents work experiences of African women whose HIV-related engagement is notable yet, typically overlooked in Canadian research on HIV-related employment and civic engagement. Decolonizing, anti-colonial, and transnational feminist thinking allowed me to use culturally responsive methodologies that highlight how HIV caring work becomes processes of identity and belonging, and its corresponding rights and responsibilities, within and across local and transnational contexts. / Dissertation / Doctor of Philosophy (PhD) / Guided by decolonizing, anti-colonial, and transnational feminist thoughts, the Because She Cares study aims to understand the experiences of African women living with HIV who are employed in the HIV sector in Ontario, Canada. Study aims include better understanding HIV-related work as agential, cultural and social practices of caring work and deciphering its local and transnational interconnections. Ten African women with employment histories in Canadian AIDS service and allied organizations (AASOs) participated as the Narrators. Using performance narrative methods based on oral traditions, I gathered, interpret and shared their stories of HIV caring work and “retold” narratives as poems. Study findings illuminate the multiple self, communal and social modes of caring that emerged in women’s HIV-related work, the shifting responsibilization of African women living with HIV as carers, the intersecting systems of oppression African woman navigate in Canadian work spaces and strategies of care-full work that translocates “back home”.

This thesis examines stylistic technique and narrative strategy in a range of George Orwell’s fictional and non-fictional texts to demonstrate how personal experience and detached interpretation interact dialectically in his work to create layers of narrative complexity. Moving from Raymond Williams’ observation that the figure of “Orwell” is the writer’s “most successful” creation, this study asserts a vital correlation between form and content in Orwell’s work, specifically in the central position that perspective occupies in his political outlook. The multiple perspectives that surface in Orwell’s texts – the reluctant Imperial policeman, the tramp in disguise, the advocate of the working poor, the rebellious and satirically-inclined anti-totalitarian writer – correspond with the author’s life experiences, and yet are revealed as rhetorically constructed positions that are adopted strategically to generate nuanced, and at times contradictory, impressions of a wide range of subject matter. Chapter 1 treats Orwell’s Burmese writings as ethnographically-inflected texts; Chapter 2 examines the figure of the mask in Down and Out in Paris and London and in The Road to Wigan Pier; Chapter 3 analyses a dialectic of experience and interpretation at play in Homage to Catalonia; Chapter 4 scrutinizes the mobilization of the rebel writer figure in a selection of Orwell’s mature essays; and Chapter 5 examines the strategic deployment of competing perspectives in Nineteen Eighty-Four’s anatomy of the totalitarian state. This array of analytical approaches serves the dual function of highlighting the versatility and sophistication of narrative strategy across a range of individual texts in Orwell’s oeuvre, and of demonstrating a trajectory in his work that adheres simultaneously to both formal and political considerations. Orwell’s highly prolific two-decade-long writing career, I argue, can be productively understood as an ongoing experiment with narrative strategy, and this experiment exerts at each stage a direct influence on his evolving political aesthetic.

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Marcia Cristina dos Santos.pdf: 318871 bytes, checksum: 319a8bcf9d1f95ff48450e158953186c (MD5) Previous issue date: 2010-05-26 / Secretaria da Educação do Estado de São Paulo / The aim of this dissertation is to think about the hybrid writing of the African novel The Happy Partridge s Song (2008) of the authorship of Paulina Chiziane. The research of this reading of the Mozambican novel pointed out in the orality, boundaries and narrative performance, consequent of the intersection between voice and letter, in agreement with the mythical origins of its culture. The items of the our research are inter-related with the figurative sights of the questions between relation tradition and modernity and their insurgencies in the social reality of Zambezia, especially, in relation to black woman while loud voice looking for autonomy, social status and individual freedom. The light of this culture social question, bring us as a result that change and the emptying of social positions occupied by woman in troubles bring up a eccentric writing by the communicated dialogism of the word with the orality, responsible method by the fusion of two or more voices in the representation of hybrid speech of the novel. The effect is the constant and invariable mobility of the narrator and her ideological eminence in the handling passionate and libertarian trouble of the black woman voice in the context of the patriarchal society, like voices linked authorial / O objetivo desta dissertação é refletir sobre a escritura híbrida do romance africano O Alegre Canto da Perdiz (2008), de autoria de Paulina Chiziane. A investida da leitura desse romance moçambicano situou-se nos limites da oralidade e da performance narrativa, resultante da interseção entre voz e letra, concordantes com as origens míticas de sua cultura. Os objetos de nossa investigação são interrelacionados com os aspectos simbólicos do mito, fenômeno que traz a problemática da relação tradição e modernidade e suas insurgências na realidade social da Zambézia, principalmente, em relação à mulher negra como voz gritante em busca de autonomia, status social e liberdade individual. À luz dessa questão sócio-cultural, concluímos que a mudança e o esvaziamento de lugares sociais ocupados pela mulher na intriga geram uma escritura ex-cêntrica pelo dialogismo comunicante da palavra com a oralidade, método responsável pela fusão de duas ou mais vozes na representação do discurso híbrido do romance. O efeito é a mobilidade constante e descontínua da narradora e seu acento ideológico no tratamento da intriga passional e libertária da voz da mulher negra no contexto daquela sociedade patriarcal, como vozes enlaçadas à voz autoral