NBC?s situation comedy The Office reflects on the nature of workplace management in the 21st century. The show critiques a corporation that values conformity over individuality, while implying that promoting ?creative? employees to upper management is not credible alternative. The Office does this by focusing on Michael Scott (played by Steve Carell), a character whose unique creative working style makes him a great salesman but a poor manager. Michael?s character stands in contrast to Ryan Howard (played by B.J. Novak), who differs from Michael both in his approach to business and his success at it. The Office implies that creativity is a valuable asset for non-managerial workers, but creative management can be problematic. As workplaces continue to evolve, it is imperative to explore how creativity and bureaucracy co-exist. It may be unrealistic to expect creativity to saturate all aspects of professional life, but striking a balance between creativity and organization might be paramount in assuring job satisfaction and productivity for future generations of employees.

No description available.

The way I approached this analysis was to start with two general statements, one on the form and the other on the harmony. This was so the reader could get a sense of the direction of the piece. Then I did a fairly detailed analysis of the introduction since most of the ideas originate from there. The rest of the piece is discussed in less detail, but occasionally there were places that needed a little more detailed explanation. In the postscript I describe some of my influences.

Thesis (M.A.)--Kent State University, 2007. / Title from PDF t.p. (viewed July 3, 2008). Advisor: Jeffrey Wattles. Keywords: social self; self-other dialectic; pure experience; I-Me; I-Thou; sunyata; kenosis; basho; absolute nothingness; George H. Mead; Nishida Kitaro; Steve Odin. Includes bibliographical references (p. 65).

Thesis (M.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains iii, 90 p. Includes abstract. Includes bibliographical references (p. 88-90).

On a May morning in 2013 news broke that a unique figure within British musical life had died unexpectedly in his sleep at the age of fifty-eight. First coming to notoriety in the early 1980s, the composer Steve Martland's output spanned fusions of classical and popular instruments, a song cycle/pop album released on an independent alternative label, a predilection for string music descended as much from Dutch and American minimalists as his more pastoral English forebears, works for his own band of winds, guitars and drums, and ended with a choir piece giving traditional seafaring texts a minimalist treatment. Paralleling this stylistic evolution, all the while he was an opinionated and outspoken left-winger, frequently commenting on both the politics of music-making and broader socio-political topics. But from my perspective most compelling is how he sought to address these concerns with his compositions. With little sustained attention having been paid to Martland beyond journalistic writings and some from a sociological perspective, this dissertation seeks both to be the first tracing of his career but have as its central focus an examination of just how his politics were expressed in his compositions and how this evolved. I cast a critical eye toward the works themselves, sketches held at the British Library and interviews and reviews to build insight into an idiosyncratic artistic response to a period of great social and cultural change in Britain that reveals itself to be a great deal more nuanced, conscientious and sometimes contradictory than it first appears.

Submitted by Debora Spacini Nakanishi null (deh_cini@hotmail.com) on 2018-02-22T22:19:58Z No. of bitstreams: 1 Dissertação - Débora Spacini Nakanishi.pdf: 2719206 bytes, checksum: b020074fb308a0b2610fc3ba2f00959f (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-26T17:49:27Z (GMT) No. of bitstreams: 1 nakanishi_ds_me_sjrp.pdf: 2719206 bytes, checksum: b020074fb308a0b2610fc3ba2f00959f (MD5) / Made available in DSpace on 2018-02-26T17:49:27Z (GMT). No. of bitstreams: 1 nakanishi_ds_me_sjrp.pdf: 2719206 bytes, checksum: b020074fb308a0b2610fc3ba2f00959f (MD5) Previous issue date: 2018-02-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Este trabalho de pesquisa tem como objetivo refletir sobre 12 anos de escravidão, em duas vertentes: o livro de Solomon Northup (1853) e a adaptação cinematográfica de Steve McQueen (2013). Entendemos, assim, as duas obras como representações do sistema escravagista e da vida do escravo, no caso, especificamente, de Northup, servindo como mediadoras do trauma cultural na sociedade norte-americana e influenciando a forma como a identidade do afro-americano é construída. Pretendemos estudar o gênero narrativas de escravos, contextualizando a autobiografia de Northup, com o intuito de analisá-la especificamente. Utilizaremos, então, autores como Olney (1984), Lingold (2013), Pope (2014), Roy (2015), entre outros. Faremos, doravante, um exame sobre filmes comerciais com o tema escravidão, com o intuito de apontar como cada um deles dialoga com a sociedade na época de sua produção, tornando-se contradiscursos ao pensamento vigente. Basearemo-nos em Sklar (1978), Kellner (2001), Mascarello (2006) e Rosenstone (2015). Passaremos à análise do filme de McQueen, procurando indícios de uma nova abordagem do tema escravidão no cinema, apontando, também, como, em diversos momentos, livro e filme se relacionam, seja na semelhança ou na diferença. A seguir, propomos uma reflexão sobre como as duas obras influenciaram e influenciam a construção da identidade do afro-americano, levando em consideração o trauma cultural legado pelo sistema escravagista na sociedade estadunidense. Apoiaremo-nos em textos de Cartmell e Hunter (2001), Browne e Kreiser Jr. (2004), Wilt e Shull (2004), Levine (2010), Ross (2010), Dubey (2010), Keizer (2010), Nigro (2011), Romney (2014), além dos de Eyerman (2001, 2011) e Pederson (2014), que falam especificamente sobre trauma cultural. Finalmente, faremos um breve levantamento de fatos e obras importantes que acontecem após o lançamento do filme, a fim de ressaltar a importância e relevância de 12 anos de escravidão para a continuação da discussão sobre a instituição peculiar norte-americana. / This research aims to reflect on 12 Years a Slave, regarding two media: the Solomon Northup novel (1853) and the Steve McQueen film adaptation (2013). Therefore, the two works are considered as representations of the slavery system and slave life, in Northup’s case, specifically, serving as cultural trauma mediators in the North-American society and influencing the way African-American identity is built. We intend to study the slave narrative genre, contextualizing Northup's autobiography, aiming to analyze it specifically. We will draw on authors such as Olney (1984), Lingold (2013), Pope (2014), Roy (2015), and others. Henceforth, we will examine commercial, slavery-themed movies, with the goal of pointing out how each of them dialogs with the society at the time of its production, becoming counter-discourses to the valid thinking then. We will be supported by Sklar (1978), Kellner (2001), Mascarello (2006), and Rosenstone (2015). We will carry on to the analysis of McQueen's movie, searching for indications of a new approach to the slavery theme in film, also pointing out how, in several moments, the novel and the movie relate to each other, whether in similarities or differences. After, we propose a reflection on how the two works have influenced the African-American identity construction, taking into consideration the cultural trauma left by the slavery system in the American society. We will draw on research conducted by Cartmell e Hunter (2001), Browne e Kreiser Jr. (2004), Wilt and Shull (2004), Levine (2010), Dubey (2010), Keizer (2010), Nigro (2011), Romney (2014), besides the ones of Eyerman (2001, 2011), and Pederson (2014), which specifically talk about cultural trauma. Finally, we will briefly yield data on important facts and works that happened after the movie launching, aiming to highlight the importance and relevance of 12 Years a Slave to the continuing of the discussion on this peculiar North-American institution.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-22T19:41:53Z No. of bitstreams: 1 FernandoBuenoMenino_DISSERT.pdf: 8006188 bytes, checksum: 5a0d410b243158db65b4b27482799ae5 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-07T23:11:01Z (GMT) No. of bitstreams: 1 FernandoBuenoMenino_DISSERT.pdf: 8006188 bytes, checksum: 5a0d410b243158db65b4b27482799ae5 (MD5) / Made available in DSpace on 2017-03-07T23:11:02Z (GMT). No. of bitstreams: 1 FernandoBuenoMenino_DISSERT.pdf: 8006188 bytes, checksum: 5a0d410b243158db65b4b27482799ae5 (MD5) Previous issue date: 2015-12-03 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / O presente trabalho tem por finalidade identificar, segundo a literatura e discografia, novas possibilidades de execu??o para obras minimalistas do compositor norte-americano Steve Reich, escritas entre 1972 e 1983. Mais especificamente, o artigo apresenta um estudo focado na adapta??o de algumas de suas composi??es as quais n?o foram escritas originalmente para serem executadas por um ?nico int?rprete (formato solo). A metodologia consiste na ?nalise deste repert?rio e suas respectivas t?cnicas composicionais. Posteriormente, extra?ram-se novas vers?es, com car?ter experimental, focados na intera??o entre instrumentos de percuss?o e recursos tecnol?gicos. Tais possibilidades foram implementadas atrav?s das oficinas de experimenta??o. Como resultado, gerou-se uma nova possibilidade de interpreta??o para a obra Clapping Music (1972). Deste modo, o trabalho aqui reportado visa apresentar as considera??es relacionadas ? performance, os processos utilizados para a implementa??o, assim como os resultados obtidos durante as oficinas. Concluiu-se que tais implementa??es, aliadas ? intera??o com recursos tecnol?gicos, proporcionaram ao int?rprete um maior aprofundamento do aspecto t?cnico/interpretativo, assim como das possibilidades de intera??o entre instrumentos de percuss?o e dispositivos eletr?nicos. / This study aims to identify, according to the literature and discography, new performance possibilities for minimalist works of American composer Steve Reich, written between 1972 and 1983. More specifically, the article presents a study focused on the adaptation of some of its compositions which were not originally written to be executed by a single performer (solo format). The methodology consists of analyzing this repertoire and their compositional techniques. Posteriorly, new versions were extracted with experimental character, focused on the interaction between percussion instruments and technological resources. Such possibilities were implemented through experimentation workshops. As a result, it generated a new possibility of interpretation for the work Clapping Music (1972). Thus, the work reported here is to present the considerations related to performance, the processes used to implement, and the results obtained during the workshops. It was concluded that such implementations, combined with interaction with technological resources, provided the interpreter further deepening of technical/interpretative aspect, as well as the possibilities of interaction between percussion instruments and electronic devices.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:24:00Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Felipe dos Santos Tartas - 2013.pdf: 1098710 bytes, checksum: 4d77c38b227951702d4aefb818978d22 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-16T17:41:23Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Felipe dos Santos Tartas - 2013.pdf: 1098710 bytes, checksum: 4d77c38b227951702d4aefb818978d22 (MD5) / Made available in DSpace on 2015-01-16T17:41:23Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Felipe dos Santos Tartas - 2013.pdf: 1098710 bytes, checksum: 4d77c38b227951702d4aefb818978d22 (MD5) Previous issue date: 2014-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Advertising Apple, inspired by the work of George Orwell's 1984, aired during the telecast of Super Bowl XVIII served as an allegory of the historical configuration of technological sphere of the United States of America at the time. Affectivity and rationality, whereby antagonism in a relational logic defined Apple. The success of Steve Jobs is linked to technological changes in recent years, a greater enchantment that sphere, which reflects the broader social structure of the U.S., means by which it was possible, from the provision of symbolic tools and materials, transmutation of social, energy accumulated in these disputes who have settled there, by Steve Jobs at Apple company. Operation that put himself and his main company prominently. / A publicidade da Apple, inspirada na obra 1984 de George Orwell, veiculada durante a transmissão televisiva do Super Bowl XVIII serviu como alegoria da configuração história da esfera tecnológica dos Estados Unidos da América à época. Afetividade e racionalidade, antagonismo pelo qual, em uma lógica relacional, se definiu a Apple. O sucesso de Steve Jobs está atrelado às mudanças na esfera tecnológica nos últimos anos, a um maior encantamento dessa esfera, que reflete a estrutura social mais ampla dos EUA, meio pelo qual foi possível, a partir do fornecimento dos instrumentos simbólicos e materiais, a transmutação de energia social, acumulada nessas disputas que ali se estabeleceram, por parte de Steve Jobs à empresa Apple. Operação que colocou ele mesmo e a sua principal empresa em lugar de destaque.

The study consists of a psychobiography of the American entrepreneur and innovative co-founder of Apple Computers, Steven Paul Jobs (1955 – 2011). The psychobiographical research method qualitatively considers the lived life of an individual in an attempt to understand the psychological development in the context of applied psychological theory. A theoretical integration of Adler‘s Individual Psychology and Antonovsky‘s Sense of Coherence was utilized in the present study. This integrative approach facilitated a dynamic and holistic picture of the individual‘s functioning in illuminating not only personality but also the individual‘s social context, choice making capacity, general resistance resources and the individual‘s ‗meaning making‘ capacity in the strive towards health and superiority. Steven Paul Jobs revolutionised personal computing. Ranked as Forbes‘ seventeenth most powerful person and Man of the Year by The Financial Times in 2010, Jobs‘ contribution to modern technology is widely acknowledged and revered. To ensure the accurate description of the lived life of Steven Paul Jobs, extensive data was examined by utilizing Alexander‘s model of identifying salient themes. The study considered the nature and methodology of psychobiography, the theories of Alfred Adler and Aaron Antonovsky and the life of Steven Paul Jobs that resulted in an integrated psychological description of the subject. The findings of this study indicate that Steven Paul Jobs‘ unique context (environment and constitutional attributes) was valuable in light of the theoretical frameworks that the present study is grounded upon as it illustrated an individual‘s self-determination and capacity to exercise choice in response to life challenges. The study highlighted that the individual is not necessarily a passive bystander to his life events but rather is driven by an internal forward striving. Key concepts: Aaron Antonovsky, Alfred Adler, Apple Computers, Individual Psychology, Psychobiography, Sense of Coherence, Steven Paul Jobs.