The digital era has significantly transformed many aspects of society, including prostitution, with the internet emerging as a central platform for the trade of sexual services. This shift has introduced new challenges for social workers tasked with supporting women involved in online prostitution. This study investigates social workers' approaches to identifying and assisting these women, highlighting the difficulties encountered in this context. Through focus groups discussions, the research reveals that while social workers aim to provide effective support, their methods are often shaped by preconceived notions and a lack of comprehensive understanding of online prostitution. Additionally, the study examines how social workers' approaches are influenced by their perceptions and connections to social constructionist theory and sexual script theory. The findings indicate that traditional approaches may be insufficient to address the complexities associated with online prostitution, underscoring the need for specialized professional development. The study emphasizes the importance of nuanced and empathetic strategies to better cater to the unique experiences and needs of women involved in online prostitution.

Hollywood film editing remains on the theoretical margins of contemporary film scholarship, and the cause of this is three-fold. First, despite advances in collaborative authorship studies, the Hollywood film director is still largely regarded as the sole creative lynchpin upon which the film’s success or failure ultimately lies. Second, Classical Hollywood film editing—commonly referred to as the continuity aesthetic—is considered successful if it remains unnoticed, if it remains invisible. Therefore, within this continuity aesthetic, the editor’s ultimate goal is to hide his or her own labor. Third, determining exactly how and where a film editor contributed to a film text during post-production is an incredibly difficult task. So, what is the solution? This dissertation explores how film archives can contribute to knowledge about the cinematic post-production process. My central research questions are: what kinds of information do film archives contain regarding the creative collaboration between the director and the editor? And, what does available archive material tell us about the changes and creative revisions in post-production? To answer these questions, I conducted original archival research on the following Hollywood Renaissance films: Bonnie and Clyde (1967), The Conversation (1974), Annie Hall (1977), and Raging Bull (1980). These films reflect a highly creative era in the Hollywood industry and are well-known for the collaborative relationship between the directors and the editors. To determine how and where collaborative authorship occurred in these films, I compared archival documents such as the storyboards and shooting scripts to the final film texts. These documents contain explicit instructions about how the scenes should be lit, decorated, and shot and how the film itself should be edited together. Therefore, I argue that any editing discrepancies between these documents and the final films were the result of a creative collaboration between the director and the editor. Ideally, this model of “script-to-screen” archival research will inspire other academics to investigate how and where a film’s creative revision occurs during post-production—and to what effect. / text

This dissertation interrogates obscured Indigenous identities by way of an original dramatic script that employs story-telling as an inherent cultural device that sustains a sense of peoplehood. In an art-based inquiry, I use Gerald Vizenor's notion of "postindian" to respond to the ways in which postindian identities establish "survivance"; that is, how the presence, resistance and endurance of Indigenous lives challenge simulations. Native histories in the shadow of dominance can be reimagined through cultural acts of resilience that overcome internalized oppressions or what Augusto Boal referred to as the "cop in the head". Reproductions of the image of oppressor are too often constructed in the image of self that prevents authentic being. The script demonstrates the criticality of authoring a counter-narrative that celebrates Indigenous history remembered and survived. Through Indigenous values of relationality and responsibility, it offers an unfinished third act of the play. The final act confers agency upon a future community audience to engage in an interactive style of participation known as Theater of the Oppressed to explore various resolutions.

MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a career in the entertainment industry, why are so many components of an actor’s skill set left to the side and considered peripheral? One can make the argument that their actor training program is exclusively for the theatre, and even more specifically for straight plays for the theatre. Of course, what your career preparation institution chooses to target is your prerogative and as long as that is clear to the incoming students who wish to specialize only in that one faction of the artist’s opportunities for work then my argument is moot. However, if you believe that actor training has a duty to prepare actors to work in an ever changing and transforming field and to be competitive in meeting the demands of various media, among many other areas of focus you should consider preparing your students to develop their craft for musical theatre as legitimately as you would for a classical or contemporary straight play. In this thesis I propose an approach to creating a role for musical theatre using as an example my character development technique for the role of Sally Bowles from a recent production of Cabaret. My desire is to illustrate a seamless continuation of the actor’s craft to meet the additional requirements of skills necessary to perform in a musical. Rather than signifying a separate style of acting for musical theatre which is identified as being altogether different and often dismissed as inferior to the craft of acting in a straight play, I hope to challenge the reader to consider a new perspective in which the foundation of musical theatre performance is built on the fundamentals of acting in a straight play.

The theme of the diploma dissertation became a view of a field of alphabets (letters and types) in contexts of communication, history, art and education. The theoretical part is focused on historical, contemporary movements of the phenomenon all at once. Inclusive of reflecting on alphabets in art and also links to a medial communication. The second part of the diploma dissertation reacts to the strongest and the most inspiring moments. It focuses on a practical applications for art lessons. The third part [artistic] takes advantage of media knowledges and art lessons. They are interfaced into an interactive teaching material which challenges students to an active perception of visual culture.

L’immersion au sein des organisations ouvre à l’étude et à l’analyse de l’action collective. La thèse que nous défendons s’inscrit dans cet axe de recherche et tente de proposer une lecture processuelle de l’assimilation de dispositifs de gestion innovants.Un dispositif de gestion est par définition à large spectre : concrétisant l’action organisée en règles, objets et outils ; tout en en retenant les dimensions abstraites et non formalisées.L’analyse proposée est le fruit d’itérations entre concepts et repères théoriques retenus et observation empirique du contrôle de gestion appliqué aux banques au Maroc. Nous explorons en premier lieu les mutations profondes qui refaçonnent les systèmes bancaires et ouvrent à l’exploration des déterminants de la mise en place du contrôle de gestion au sein des banques. Le recours aux théories institutionnelles dans leurs développements nouveaux ancrent la recherche dans une analyse multi-niveau et non dissociée du phénomène. A la lumière de ces repères théoriques et conceptuels, s’entame une phase d’étude empirique approfondie dans une démarche qualitative d’étude de cas multiple (trois banques sont observées). La discussion des résultats aboutit à la proposition d’une grille de lecture décrivant le processus par lequel l’intégration progressive d’instruments de gestion – innovation managériale par les organisations du champ conduit à l’institutionnalisation de scripts se concrétisant, au sein de ces mêmes organisations, en l’ancrage de dispositifs différenciés. / Direct involvement in organizations allow for the study and the analysis of collectiveaction. Our thesis work follows this research process and attempts to propose aprocedural lecture of the implementation and integration of innovative managementdevices. Evidently, a management device has a broad spectrum: concretizing organizedaction rules, objects and tools, while retaining an abstract not formalized dimensions.The proposed analysis is the result of iterations between theoretical concepts andempirical observations of management control applied to banks in Morocco. We explorefirst the profound changes that are reshaping the banking systems that allow exploringthe determinants of the implementation of management control within banks. The use ofnew developments in institutional theories orients our analysis into a multi-level andnon-dissociated phenomenon. In light of these theoretical and conceptual references, thein-depth empirical study of a qualitative multiple case study (three banks are observed).The discussion of the results led to the proposal of a framework describing the processby which the gradual integration of management tools by the field’s organizations led tothe institutionalization of scripts embodying, within these same organizations, widerangingmanagement devices.

Ce travail se propose une double tâche : penser l’expérience théâtrale à partir de ses coordonnées internes et, partant de là, voir à quelles conditions elle peut constituer une expérience de pensée. Dans la première partie, nous procédons à une analyse praxéologique de la situation théâtrale (ses termes, sa numéricité, son unité) qui met à jour l’articulation de deux dimensions (poïétique et pratique) auxquelles sont diversement noués chacun des termes de cette expérience triadique (« acteurs », « public » « texte »). Cette analyse s’efforce de mettre à jour ses propres procédés méthodologiques et de les confronter à d’autres. La seconde partie, plus nettement prescriptive, propose l’examen de trois opérations du théâtre, envisagées comme ses opérations de pensée. Ces opérations sont coextensives à l’expérience et appuyées aux conditions pratiques que la situation dispose : la première opération, portant sur l’objet de la pensée théâtrale, indique comment le théâtre peut faire vérité sur des situations d’hétérogénéité (amour, inimitié) en les convertissant à la tenue d’une action infinie et partagée ; la seconde, partant du régime de la répétition dont la situation se soutient, consiste en l’advenue, comme mode de la pensée théâtrale, d’une relation de crédibilité ; la troisième donne pour fin (finalité) à la pensée théâtrale la suspension de l’individualité en l’insérant dans un système de mises où se mesure, à partir d’une « mise » en commun, la situation historique de l’assemblée. / This work intends to meet a double task : consider the theatre experience starting from its internal references and, from there on, see in what conditions it can form a thought experience. In the first part, we carry out a praxeological analyses of the theatre situation (it’s terms, numerical aspect, unity) revealing the articulation between two dimensions (poïetical and practical) to which are variously linked each of the terms of this triadic experience («actors » - «public» - «text»). This analysis strives to reveal its own methodological processes and check them against others. The second part, more distinctly prescriptive, puts forward the study of three theatre operations, considered as its thought operations. These operations share extensions with experience and rely on the practical conditions laid by the situation : the first operation, bearing on the object of theatrical thought, points out how theatre can make truth on heterogenous situations (love, enmity) by converting them to holding an endless or shared action ; the second operation, based on the repetition scheme where the situation is self-sustaining, consists in the happening, as theatrical thought mode, of a credibility relationship ; the third gives as theatrical thought end (finality) the suspension of individuality by inserting it in a stake system where one can mesure, using a shared « stake », the historical situation of the gathering.

The acceptance and the use of cold-formed steel sections has significantly increased in recent years due to advantages such as consistency and accuracy of profile, ease of fabrication, high strength and stiffness to the lightness in the weight. For thin-walled columns, made by folding a plane plate into a section, it is possible that when they are subjected to compression loads they may buckle either locally, if the member is very short, or globally if the member is very long. In addition to local and global buckling, a thin-walled member of an open cross section may also show buckling involving a “distortion” of the cross section. Compared to local and global buckling, distortional buckling is not very familiar and has been discovered only in thin-walled members of open cross sections such as cold-formed steel section columns. The objective of this study is to investigate the behavior of polygonal semi-closed cross-section with pure compression. The study comprise to only elastic buckling and the methodology is consisted by using CUFSM analysis. In order to execute CUFSM of polygonal profiles, the scripts have created which match the Matlab script files (m-files) downloaded from CUFSM 4 open source. The distortional buckling mode is governing as a buckling failure, which occur and dominate in the cases where spring values are 100 kN or higher. However, the contrary result reveals by a decreasing of the spring values. The behavior of the cross-section is dependent on how the interaction of different buckling modes prevails at the corresponding critical half-wavelength. Considering the predomination of distortional buckling mode indicates that the most of polygonal cross-section do not behave as rigid, i.e. as whole cross-section. A reducing of distortional mode and increasing of local mode as well as global mode gives indication that the behavior of the cross-section has changed and turned significantly into more rigid and thus is expected to behave more as whole cross-section.  The more spring values decrease, the higher global mode arises and dominates for the lower slenderness range. The critical half-wavelength for each profile illustrates the needed density between bolts on the longitudinal part of the member. In the interest of eliminating distortional buckling failure, due the fact that distortional buckling is unpredictable, the bolt-density should be lower than the corresponding half-wavelength for the profile where the distortional mode is predominating.

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