This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

Bearing witness to tragedy, the aftermath of genocide often resides quite evidently within the landscape. A potent container of memories and representation, the landscape provides both a symbolic role in which to honour the victims and give survivors a place to mourn and remember, but is also often infused with the tensions of post-genocide life. The memoryscapes of the Cambodian and Rwandan genocides illustrate these contested concerns explicitly. The case study sites investigated in this study - the Tuol Sleng Genocide Museum and the Choeung Ek Genocidal Centre in Cambodia, and the Kigali Memorial Centre in Rwanda - each express today (consciously or unconsciously) design strategies that engage the Euro-Western visitor. Termed Euro-Western ‘cues to connect’, encountered and existential phenomenological data is analysed in relation to design interpretation and the affective cognition of meaning. Finally, considered in relation to Berlin’s Memorial to the Murdered Jews of Europe, post genocide memorialisation is analysed in its ability to connect through time and culture - through its ability to transpose interpretations and evolve as the needs of society change.

This thesis explores how stakeholders in Mongolian rural development projects interpret the concept of 'participation'. While previous research has provided an ethnographic snapshot of participation in rural development projects, none has yet focused on Mongolia – a post-socialist nation that receives significant amounts of foreign aid. To gain a holistic picture of 'participation', this study explores: how stakeholders understand participation; what stakeholders perceive and prioritise as the benefits of participation; and which factors motivate or inhibit participation. This study's methodology involved an inductive, qualitative approach with a multiple case study design. Three Mongolia rural development projects, each with objectives of poverty-reduction and participation, were selected from three different development organisations and interviews were conducted with different stakeholder groups: development organisation managers, field staff, and local people of the project sites (participants and non-participants). The results of this study revealed a dominant or 'Mongolian' understanding of 'participation' existed across the various stakeholders: 'Participation is local contributions of group labour and information for material benefits, within a top-down authoritarian structure (including local institutions)'. This understanding arose from development organisations' emphasis on efficiency and sustainable results and local people engaging with the project as a normative livelihood strategy. In this study, given the incidence and nature of rural poverty, stakeholders prioritised the tangible benefits of participation over the intangible and linked empowerment to tangible outcomes. Development staff prioritised the longer-term tangible benefits (food security and income), and to ensure their sustainability sub-benefits were provided sequentially, mental capital, then physical capital, with social capital built naturally through the project's formal and informal activities. In contrast, local people prioritised the manifest tangible benefits, which initially meant the physical capital gifted by the project, and then later the material outcomes of the new livelihoods. While development staff envisioned intangible benefits as important in their own right, for Mongolian participants they were a gateway to the project's tangible outputs. Four prominent intangible benefits emerged: knowledge/mental investment, 'power within', social connections, and involvement in groups – each uniquely valuable within the Mongolian context. The results also showed that the factors which shaped participation reflected the unique circumstances of rural Mongolia and each project's activities. Economic rationality appeared as the foundational incentive for participation, followed by social motivations that included: widespread, detailed, and positive information about the project; the perceived power, leadership, and organisational skills of the development organisation; a deep personal relationship between development staff and local people; and rurally-oriented seminars and workshops. The major barriers to 'Mongolian' participation included: a lack of opportunity or incentive to participate; the current situation of poverty and unemployment; Mongolia's governance structures, culture, and history; the geography of isolation; the development organisation‟s procedures; and the dynamics of project 'groups'. Moreover, the results indicated that projects which require higher levels of local participation, i.e. decision-making, may face more fundamental obstacles because of the cultural value placed upon top-down, authoritarian leadership and a prevailing mentality of dependence. Based on these results, this study concludes that interpretations of participation arise out of field-level realities, and thus the level of participation incorporated into development projects needs to reflect the local culture, context, and history.

This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

Visitor non-compliance with protective recommendations is a major problem faced by recreational managers within natural environments. Although many studies have been conducted on noncompliant visitor behaviour within natural resource areas, few attempts have been made to gain an understanding of the behaviour, or to understand the decision making process. This dissertation seeks to address this gap by exploring salient motivations behind noncompliant behaviour within a natural recreation setting. The study was conducted over the summer of 2007-2008 within the popular tourist attractions of Fox and Franz Josef glaciers, Westland National park, New Zealand. The Department of Conservation has a legal and increasingly a moral obligation to provide a level of service and ensure a high standard of visitor safety within lands it administers. However, despite its efforts, management actions are criticised as being ‘over cautious’, and consequently a large number of visitors choose to ignore hazard warnings communicated by management and cross safety barriers, placing themselves and others at considerable risk. Previous studies at the glaciers have identified a number of causes for visitor non-compliance, including situational factors and the adequacy of current visitor management procedures. Through a quantitative measure, and qualitative interview responses, study findings show that visitor compliance with protective recommendations was strongly influenced by a number of situational factors including the proximity of track end points from the glacier terminus; the visibility of other visitors beyond the roped barriers; modest hazard perceptions of visitors; estimated visitor age; time of day and weather conditions. Based on visitor interview responses, motives of non-compliance were further explored by classifying behaviour according to Gramann and Vander Stoep’s (1987) typologies of normative violations. It is identified, using Ajzen’s (1985; 1991) theory of planned behaviour, that non-compliance with protective recommendations at the glaciers is motivated by, (1) a ‘belief’ that the situation or resource encouraged it; (2), through a release of ‘social pressure’, because everyone else was going over; and (3), a ‘perceived facilitation of the behaviour’, in that there were no obvious consequences to self or others. Implications for management to control noncompliant behaviour are discussed in detail.

This thesis is concerned with creativity as an object of educational governance and a category of subjective identification. It studies a ‘creativity explosion’ in higher education in New Zealand, focusing on how fashion design students are being mobilized as subjects of creativity through ‘joined up’ modes of governance and technologies of educational choice. Using a poststructural ethnographic ‘methodology’ I explain how, from the late 1990s, models of educational governance began to appear dysfunctional and unable to deliver the attributes and capacities expected of citizens in a knowledge economy. I argue that creativity gained significance as a result of new ways of ‘thinking culture and economy together’. Neoliberal rhetorics representing creativity as flexible human capital and a generic, transferable skill needed by workers in the new economy, were articulated with liberal humanist notions about creativity, which are commonly understood and performed through the social categories of art. All kinds of individual and institutional actors took advantage of these shifting opportunity structures to position themselves with ‘creative’ identities. Within various cultural organisations, including universities, moves to strengthen a liberal agenda and retain creativity as a form of ‘arts knowledge’ with high cultural capital, rubbed up against counter-hegemonic strategies to enlist and develop more universal concepts about creativity as a collaborative endeavour, vital to new forms of capitalist enterprise. By historicising the context in which a new ‘normative doctrine’ of creativity has emerged, and by treating its theorisation as culturally performative, I develop the position that fashion design graduates, as ‘creative girls’, are highly productive performers in the new categories of cultural economy. However I argue that the creative girl occupies a subject position fitted to after-neoliberalised social and economic arrangements, not because she is shaped by neoliberal ideologies, but because she is made up by techniques and tactics of an ‘after-neoliberal’ governmentality. This demonstrates the mutual constitution of ‘creative economy’ and ‘creative persons’ and underlines the fact that despite after-neoliberal ambitions for managing education, there can be no simple cause and effect relation between higher education and economic performance.

Este trabalho buscou demonstrar que a concepção de mundo/cosmovisão, (reunião das escolhas ontológicas, epistemológicas e metodológicas) base teórica/paradigmática do pesquisador das Ciências Sociais, posta em crise pela passagem da modernidade para a pós-modernidade, pode ser retomada através da construção da sua Identidade Intelectual - expressa na sua palavra - prova da autonomia e da autodeterminação. / This research aimed at demonstrating that the conception of the world/Cosmo vision (assembly of ontological, epistemological and methodological choices) theoretical grounds for the researcher in Social Sciences, in crisis by the transition from Modernity to Post-Modernity, can be rescued through the building of its intellectual identity - expressed in ones voice - proof of autonomy and self-determination.

Forschungsinfrastrukturen werden in Zukunft für die Geistes- und Sozialwissenschaften eine ähnliche Bedeutung einnehmen, wie dies bereits in den Naturwissenschaften der Fall ist. Am Beispiel von CLARIN wird die technische Umsetzung eines Infrastrukturprojektes sowie die Interaktion mit der Nutzercommunity vermittelt. Für einen konkreten Anwendungsfall wird dargestellt, wie diese Infrastruktur fachwissenschaftliche Arbeit unterstützt. Dabei werden verteilte Daten und Werkzeuge genutzt, um Ressourcen zu finden, aufzubereiten, zu analysieren und die Ergebnisse zu visualisieren. / Research infrastructures will be of high importance in the humanities and social sciences, as it is already the case in the natural sciences. Using the example of CLARIN, the technical implementation of an infrastructure project and the interaction with the user community will be demonstrated. For a specific use case we show how this infrastructure supports scientific work. Distributed data and tools are used to find, process, and analyse resources and to visualize the results. / Les infrastructures de recherche occuperont à l’avenir la même place dans les sciences humaines et sociales que dans les sciences naturelles. L’article décrit la mise en oeuvre technique d’un projet d’infrastructure et de l’interaction avec la communauté des utilisateurs en se basant sur l’exemple de CLARIN (« Common Language Resources and Technology Infrastructure »). Il montre comment cette infrastructure soutient le travail de spécialistes à l’aide d’un exemple d’une application concrète. Dans cette application, des données et outils mis à disposition sont utilisés pour trouver des ressources, les traiter, les analyser et pour visualiser les résultats.