In the current sociological literature, there is very little research on the subject of the love shared between parents and children, and contemporary intimate father’s role in connection to Scottish and Romanian masculinities. Drawing from the aesthetic theory of emotions postulated by Ian Burkitt (2014) and from Esther Dermott’s (2008) reframing of modern fatherhood according to intimacy theory, the present research has looked at a specific group of men’s experiences of love. As such, it sees involved fathers as embedded in an intimate network of relationships: to their children, their partner and their own parents. Presenting results from 47 qualitative semi-structured interviews with a sample of middle-class and working-class, resident and non-resident, Romanian and Scottish fathers, the study explored fathers’ embeddedness in a particular class, culture and family configuration in relation to what guides them to adopt certain forms of emotionality. Results show that involved fathers understand love primarily as an activity (it is something they do), in which both love and power are intermingled, as power in the context of fathering is deeply relational, and socially-constructed as much as love is. In order to maintain loving relationships to their children, involved fathers also do emotion work in discursive and embodied ways. Providing is influenced by the intimate father’s discourse, which has permeated both cultures due to globalization and is increasingly commodified, but fathers can also resist this discourse. The cultural perspective of their fathering has more similarities in common than differences, while class differences appear more prominently, further emphasizing structural inequalities in how love can then be practised. Therefore, the ways in which fathers express their emotions are balanced between the masculine emotional demands of stoicism and the novel discursive prerogative for intimate self-disclosure (or between love and detachment). To help us understand how these tensions are created and then resolved, I have developed the concept of ‘emotional bordering’ from Barrie Thorne’s concept of gender borders (1993). Ultimately, it is argued that investigating love in relation to culturally-diverse masculinities as they interact with the intimate father’s role can offer sociologists a fresh perspective on intimate inequalities by further enhancing the vulnerability of the concept of ‘hegemonic masculinity’. It can also give a different understanding to the role of ideals in the nexus of family practices, into which practices of love and of fathering are embedded.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

Thesis (Ph. D.)--McMaster University, 2005. / Supervisor: Petra Rethmann. Includes bibliographical references (leaves 282-294). Also available online.

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The purpose of this essay is to do a case specific examination of the EU level implementation of the integration of Romanian Roma. The essay is divided into two parts. The first part of the essay constitutes a description of relevant European Union policy instruments and the current ambition to integrate the Romanian Roma. The second part of the essay is a qualitative text analysis based on debate articles published in the Swedish daily newspaper Dagens Nyheter. The articles are systematically categorized by different themes in order to try to analyze the reasoning and argumentation in this area. The aim of the qualitative analysis is to find the core of the debate and then try to compare it with the EU’s ambitions to integrate Romanian Roma.   The essay concludes that there are problematic aspects to the implementation of Romanian Roma integration. This essay shows one of these problematic aspects. It is a complicated problem without a single, given solution. Rather, there are a number of factors that contributes to the problem. The essay also offers some new facts that can constitute a basis for further research.

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Developing countries are quite attractive destinations for foreign investments in various economic sectors.Whether an MNC can successfully enter these markets embodies the aptitude to understand the external macroeconomic and social environment of the host country. An MNC must adjust their competitive stance, decipher adequate market potential and uncover the relevant entry strategy to acquire operational success. We have built a framework surrounded by essential operational strategy. This concerns matching a firm's resources and capabilities to the opportunities that arise in the external environment. In most common literature, emphasis lies within identification of profit opportunities in the external environment of the firm. Imperative emphasis shifts from the interface between strategy and the external environment; towards the interface between strategy and the internal environment. In this context, the concentration of the organization's resources and capabilities is targeted to combat turbulent external environments and devise a secure foundation for long term strategy. To understand why the resource-based view has had a major impact on strategy assessment, a preceding glimpse for strategy formulation can be considered. Conventionally, firms have answered the question “who are our customers?” “What are their needs we're seeking to serve?” “Who are our Competitors?” “How can gain a competitive advantage?” Through answering these questions in conjunction with macroeconomic analysis are inevitable prerequisites for pinpointing the key success factors (KSF) for the individual market segments. The KSF are the factors within the company's market environment that determine its ability to prosper and survive exploiting its core resources.

The intention of this thesis in political science is to understand how the European Union fights and prevents discrimination against the Roma minorities in Sweden and Romania, and how the implementation works in reality.   The study consists of defining what it means to be objectively discriminated, what ethnicity really means and how the implementation process consist of a comparison and statement has been made by the national governments and comparing how two socioeconomically different member states handle EU directives and implement them in Sweden and Romania.   The main findings of this study was that EU policies lack the capital and explicitness that is needed for great results to be accomplished and that the governments in both countries have different issues with implementing the protection of the human rights and Roma culture, and that EU needs to be more practical and develop in a faster pace.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.