Hooking up can carry a vast array of definitions, embody a multitude of implications, and is still somehow an almost unavoidable part of college life. The present study applies identity theory to the relatively new culture of sex and dating at college, more predominantly known as hookup culture, in order to examine the types of identities that might affect hookup behaviors. Identity theory is a particularly useful framework to understanding hookup culture because of its ability to examine how the individual (college student) situates oneself in the larger social environment (college). This study also incorporates commitment to identity as well as how certain meanings reflect that identity. Utilizing two waves of data from the "College Identity Study"—collected between 2015-2016 and surveying college students at a large, southeastern public university, aged 18-24 (n=187). Regression analyses were run in order to predict hookup behaviors using the partier identity, commitment to partier identity, and partier identity meanings. Ultimately, the model supports the hypothesis that college students who claim the partier identity are more likely to hook up, though commitment to this identity is low overall. / Master of Science / Hooking up can mean many different things to different people, but is still somehow an almost unavoidable part of college life. This paper looks at this relatively new culture of sex and dating on campus, also known as hookup culture, in order to better understand who is more likely to hook up. By using survey data from a “College Identity Study”—collected between 2015-2016 at a large, southeastern public university, from students aged 18-24—the study analyzes what kinds of college identities are most likely to engage in hooking up behaviors. Ultimately, the hypothesis that college students who claim the partier identity are more likely to hook up was supported, meaning there is a positive relationship between partying and hooking up.

Symbolic execution-based test generation is gaining popularity for software test generation. The increasing complexity of the software program is posing new challenges in software execution-based test generation because of the path explosion problem. We present a new 2-phase symbolic execution driven strategy that achieves high branch coverage in software quickly. Phase 1 follows a greedy approach that quickly covers as many branches as possible by exploring each branch through its corresponding shortest path prefix. Phase 2 covers the remaining branches that are left uncovered if the shortest path to the branch was infeasible. In Phase 1, a basic conflict driven learning is used to skip all the paths that may have any of the earlier encountered conflicting conditions, while in Phase 2, a more intelligent conflict driven learning is used to skip regions that do not have a feasible path to any unexplored branch. This results in considerable reduction in unnecessary SMT solver calls. Experimental results show that significant speedup can be achieved, effectively reducing the time to detect a bug and providing higher branch coverage for a fixed time out period than previous techniques. / Master of Science

Comment les conventions sociales se développent-elles dans les jeux entre enfants de 3 à 7 ans ? L’objectif de cette recherche est de mieux comprendre la co-construction de significations à travers l’étude des détournements d’usages d’objets. Très peu d’études s’intéressent au développement des usages d’objets chez l’enfant après 3 ans au sein de situations sociales et communicatives. La présente thèse vise donc à combler ce vide et suppose que les compétences symboliques enfantines examinées via les usages d’objets se développent entre 3 et 7 ans.Trois études ont été réalisées avec des dyades d’enfants de 3, 4, 5 et 7 ans. Les mêmes objets sont présentés dans chaque étude. La première étude est un jeu libre, sans contrainte. La deuxième invite les enfants à faire de l’humour avec les objets. La troisième est la plus contraignante du point de vue des détournements d’usages d’objets. Les enfants doivent prétendre préparer un repas n’ayant que des objets inadéquats pour le faire. Dans le jeu libre, les principaux résultats montrent que les enfants de 3 ans sont déjà très compétents pour détourner les objets. En revanche, la création d’usages détournés humoristiques est moins élaborée à 3 et 4 ans qu’à 7 ans. Enfin, dans le jeu du repas, les enfants de 3, 4 et 5 ans développent des significations moins complexes que les enfants de 7 ans. Ainsi, plus le jeu est contraint, plus les enfants de 3, 4 et 5 ans ont des difficultés à détourner et s’accorder sur de nouvelles fonctions pour les objets. Ces résultats apportent un regard nouveau sur les relations entre conventions sociales, jeu entre pairs, usages d’objets et théorie de l’esprit dans le champ de la psychologie du développement. / How do social conventions develop in children’s play between the ages of 3 and 7 years? The aim of the present research was to improve current understanding of the co-construction of meanings by investigating symbolic uses of objects. Very few studies have focused on the use of objects in social and communicative situations among children beyond the age of 3 years. The purpose of the current thesis was thus to fill this gap, based on the assumption that children's symbolic skills, examined here via the use of objects, develop between the ages of 3 and 7. Three studies were conducted with dyads of 3-, 4-, 5- and 7-year-old children. The same objects were used in each study. The first study consisted of free, unrestricted play. In the second one, the children were invited to play in a humoristic way with objects. The third one was the most constraining in terms of symbolic uses of objects, as the children had to pretend that they were preparing a meal, but were not given the appropriate objects. Results for the unrestricted play study, showed that the 3-year-olds were already very skilled at using objects in a symbolic way. However, the creation of humoristic symbolic uses was less elaborated in the 3- and 4-year-olds than in the 7-year-olds. Finally, for the pretend meal, the 3-, 4- and 5-year-olds developed less complex meanings than the 7-year-olds. Thus, the greater the level of constraint, the greater the difficulty for the 3-, 4- and 5-year-olds in using objects in a symbolic way, and the greater the difficulty in agreeing on new functions for such objects. These results shed new light on the relationship between social conventions, children’s play, object uses and theory of mind in the field of developmental psychology.

This thesis examines the emergence of the organization, the Glasgow UNESCO City of Music, following the award of the title UNESCO City of music to Glasgow in 2008 from a Bourdieusian perspective. Bourdieu's concepts of field, habitus, and particularly capital are used to interrogate the negotiation of symbolic capital (Bourdieu, 1986) in the field of music in Glasgow. The thesis examines how the members of the organization–viewed their organization's position in the field of music in Glasgow and their attempts to secure its legitimacy in a field with established players. It shows how agents ‘work' to negotiate for the positions they want, or need, in order to establish the legitimacy, and thus the position, of an organization through the acquisition and use of capital. Although cultural capital is a core constituent of an organization's original position in the field of music the dominant and influential position of economic capital means that it is the symbolic capital associated with being granted funding rather than cultural capital, which influences and thus legitimate organizations in the cultural field. In its discussion of capital the thesis contributes to the literature on institutional work and organizational legitimacy.

Esta pesquisa teve como objeto as condições sociais de produção da música popular no Rio de Janeiro nas três primeiras décadas do século XX e se desdobrou em três dimensões distintas: os significados culturais da música popular na sociedade da época, a organização do espaço de produção dessa música e as experiências profissionais de alguns músicos que se destacaram no período, como Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô e Pixinguinha. O estudo sobre as representações que os escritores registraram em romances, contos, crônicas, palestras, críticas e artigos de jornal mostram certa ambigüidade nos significados atribuídos à música popular. Se por um lado esse universo de produção cultural revela-se, já no início do século XX, um espaço de produção de um bem simbólico que vai ser a base para a construção da auto-representação dos músicos como merecedores da admiração e consideração pública, por outro lado, não oferece uma base legítima para o reconhecimento social de seu valor pelos agentes da cultura dominante, que vão enfatizar a vaidade e a presunção desses músicos. Mas essa convicção definitiva de seu próprio valor sugere o início de uma transição na ordem estabelecida pela cultura legítima e que vai se tornar evidente apenas nas décadas seguintes. Ao mesmo tempo, o estudo do espaço de produção da música de divertimento mostra um universo pouco autônomo e pouco estruturado, mas com capacidade de oferecer diferentes tipos de recompensas aos seus músicos: recompensas materiais nos circuitos que concentram as novas mídias e eventos culturais de massa, como o Disco e o Carnaval, e recompensas simbólicas nos circuitos próximos aos espaços legítimos de produção cultural, como o Teatro e a Literatura. Este estudo pretende contribuir para o conhecimento do universo musical do período, ainda pouco explorado, bem como contribuir para a reflexão sobre os modos como os condicionantes desse universo foram vivenciados e agenciados de diferentes maneiras por alguns dos músicos mais famosos do período. / The objective of this research is to present the social conditions underlying the production of popular music in Rio de Janeiro during the first thirty years of the 20th century, which was manifest in three separate dimensions: the cultural meanings of popular music in society at the time; how the space for producing such music was organized; and the professional experiences of some distinguished musicians of the period like Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô and Pixinguinha. Representations of popular music that writers recorded in novels, stories, narratives, speeches, critiques and magazine/journal articles express a certain ambiguity in the significance attributed to the genre. While, on the one hand, cultural production in the early twentieth century presents itself as a space for producing a symbolic good for musicians to construct their identities as meritorious of public admiration and consideration, on the other hand, it fails to offer a legitimate base for representatives of the dominant culture to socially acknowledge the value of this new genre, with those of the dominant culture notably emphasizing the vanity and arrogance of the emerging popular musicians. Yet this definitive conviction of their own value suggests the beginnings of a transition in the order established by the legitimate culture, a transition that only becomes clear decades later. At the same time, the productive space of entertainment music reveals an unstructured universe that is barely autonomous yet capable of offering various ways to compensate musicians: material compensation through new media circuits and mass cultural events, such as the gramophone records and Carnaval, and symbolic compensation through circuits near legitimate spaces of cultural production, such as the theater and literature. This study is intended to add to our knowledge of the musical universe of the period, which is still underexplored, and to contribute to our reflections on how the means and conditions of this artistic world where experienced and represented in different ways by some of the most famous musical artists of the time.

Esta pesquisa teve como objeto as condições sociais de produção da música popular no Rio de Janeiro nas três primeiras décadas do século XX e se desdobrou em três dimensões distintas: os significados culturais da música popular na sociedade da época, a organização do espaço de produção dessa música e as experiências profissionais de alguns músicos que se destacaram no período, como Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô e Pixinguinha. O estudo sobre as representações que os escritores registraram em romances, contos, crônicas, palestras, críticas e artigos de jornal mostram certa ambigüidade nos significados atribuídos à música popular. Se por um lado esse universo de produção cultural revela-se, já no início do século XX, um espaço de produção de um bem simbólico que vai ser a base para a construção da auto-representação dos músicos como merecedores da admiração e consideração pública, por outro lado, não oferece uma base legítima para o reconhecimento social de seu valor pelos agentes da cultura dominante, que vão enfatizar a vaidade e a presunção desses músicos. Mas essa convicção definitiva de seu próprio valor sugere o início de uma transição na ordem estabelecida pela cultura legítima e que vai se tornar evidente apenas nas décadas seguintes. Ao mesmo tempo, o estudo do espaço de produção da música de divertimento mostra um universo pouco autônomo e pouco estruturado, mas com capacidade de oferecer diferentes tipos de recompensas aos seus músicos: recompensas materiais nos circuitos que concentram as novas mídias e eventos culturais de massa, como o Disco e o Carnaval, e recompensas simbólicas nos circuitos próximos aos espaços legítimos de produção cultural, como o Teatro e a Literatura. Este estudo pretende contribuir para o conhecimento do universo musical do período, ainda pouco explorado, bem como contribuir para a reflexão sobre os modos como os condicionantes desse universo foram vivenciados e agenciados de diferentes maneiras por alguns dos músicos mais famosos do período. / The objective of this research is to present the social conditions underlying the production of popular music in Rio de Janeiro during the first thirty years of the 20th century, which was manifest in three separate dimensions: the cultural meanings of popular music in society at the time; how the space for producing such music was organized; and the professional experiences of some distinguished musicians of the period like Chiquinha Gonzaga, Ernesto Nazareth, Catullo da Paixão Cearense, Eduardo das Neves, Sinhô and Pixinguinha. Representations of popular music that writers recorded in novels, stories, narratives, speeches, critiques and magazine/journal articles express a certain ambiguity in the significance attributed to the genre. While, on the one hand, cultural production in the early twentieth century presents itself as a space for producing a symbolic good for musicians to construct their identities as meritorious of public admiration and consideration, on the other hand, it fails to offer a legitimate base for representatives of the dominant culture to socially acknowledge the value of this new genre, with those of the dominant culture notably emphasizing the vanity and arrogance of the emerging popular musicians. Yet this definitive conviction of their own value suggests the beginnings of a transition in the order established by the legitimate culture, a transition that only becomes clear decades later. At the same time, the productive space of entertainment music reveals an unstructured universe that is barely autonomous yet capable of offering various ways to compensate musicians: material compensation through new media circuits and mass cultural events, such as the gramophone records and Carnaval, and symbolic compensation through circuits near legitimate spaces of cultural production, such as the theater and literature. This study is intended to add to our knowledge of the musical universe of the period, which is still underexplored, and to contribute to our reflections on how the means and conditions of this artistic world where experienced and represented in different ways by some of the most famous musical artists of the time.

Research has shown that late-arriving teen English language learners (ELLs) are deeply rooted in the sociocultural and educational system of their home country for a majority of their schooling time (Duff, 2001; Minichello, 2001). In their transition to a new society in North America, this group encounters sociocultural and linguistic differences in their daily lives. Through a lens entitled Critical Multiple Social Spaces, which combines the Multiple Worlds Model (Phelan et al., 1991), the concept of Third Space (Bhabha, 1994) and a sociocultural perspective on language use (Fairclough, 2001; Pennycook, 2010), this qualitative case study focuses on 10 Chinese ELL adolescents who came to Canada after the age of 15, and examines their cross-trajectory experiences of English practice in their daily lives and their language identities. At the time of this study, they were at the stage of completing high school and applying for admission to higher education institutions. Findings showed that this group’s language use in daily life is full of conflicts, negotiation and consolidation, not only at school as a usual space of contested language practice, but also at home, with peers and in other spaces. At school, social division existed both in and out of class, yet such social division was not merely due to ELLs’ reluctance to integrate. Participants positioned themselves differently in English Literature courses and core classes in accordance with their perceived proficiency. Home, generally regarded as a traditionally stable space of language practice, became another site of complex dynamics. Peer networks also emerged as embodying similar complications. In addition to racial and ethnic factors, age on arrival and length of residence played a significant role in social interaction, impacting both same-ethnic and cross-ethnic peer networks. Based on these findings, four categories are identified pertaining to participants’ cross-trajectory language experiences, in which English spaces are positioned differently in relation to other spaces. Equally noteworthy are the dynamics between social spaces, social relations and language use, which shape – and are shaped by – symbolic power, investment and language identities. The implications of these findings on ELL adolescents’ language use in a broader migration space are also discussed.

Research has shown that late-arriving teen English language learners (ELLs) are deeply rooted in the sociocultural and educational system of their home country for a majority of their schooling time (Duff, 2001; Minichello, 2001). In their transition to a new society in North America, this group encounters sociocultural and linguistic differences in their daily lives. Through a lens entitled Critical Multiple Social Spaces, which combines the Multiple Worlds Model (Phelan et al., 1991), the concept of Third Space (Bhabha, 1994) and a sociocultural perspective on language use (Fairclough, 2001; Pennycook, 2010), this qualitative case study focuses on 10 Chinese ELL adolescents who came to Canada after the age of 15, and examines their cross-trajectory experiences of English practice in their daily lives and their language identities. At the time of this study, they were at the stage of completing high school and applying for admission to higher education institutions. Findings showed that this group’s language use in daily life is full of conflicts, negotiation and consolidation, not only at school as a usual space of contested language practice, but also at home, with peers and in other spaces. At school, social division existed both in and out of class, yet such social division was not merely due to ELLs’ reluctance to integrate. Participants positioned themselves differently in English Literature courses and core classes in accordance with their perceived proficiency. Home, generally regarded as a traditionally stable space of language practice, became another site of complex dynamics. Peer networks also emerged as embodying similar complications. In addition to racial and ethnic factors, age on arrival and length of residence played a significant role in social interaction, impacting both same-ethnic and cross-ethnic peer networks. Based on these findings, four categories are identified pertaining to participants’ cross-trajectory language experiences, in which English spaces are positioned differently in relation to other spaces. Equally noteworthy are the dynamics between social spaces, social relations and language use, which shape – and are shaped by – symbolic power, investment and language identities. The implications of these findings on ELL adolescents’ language use in a broader migration space are also discussed.

This thesis seeks to analyze how social position is negotiated by particular consumption practices. Thesis is theoretically based upon social-constructivist claims that reality is a social construct that comprises of continuously negotiated meanings. That implies that observed phenomena, such as among others consumption and social position, are seen as constituted by the cultural and symbolic dimensions of society. Methodological basis of the thesis is qualitative research. In the context of consumer behavior research I follow the research stream of consumer culture theory. Key findings of the study are that discourses on consumption are partially determined by social position while higher classes are comparatively more reflexive in their interpretations of consumption. However, social boundaries are not strictly given which creates a space for negotiating one`s social position. That might be accomplished by reinterpretation of social position. Prominent strategies of such reinterpretations were defined by discourses of neoliberalism and egalitarism. Another option consists of transgressing the economic boundaries by utilizing cultural capital. However, in the Czech society there has not yet been developed a clear consensus on what cultural capital consists of - that creates even more potential for negotiating one`s own social position.

This thesis explores the transformative potential of the co-authorship dynamic between game developers and players in The Squared Circle, an abstract video game designed to facilitate personality development. Drawing inspiration from existentialist philosophy, psychotherapy, and game design, the study examines the intricate interplay between gameplay mechanics, narrative depth, and psychological exploration. Employing a research-through-design methodology, the researcher analyzes The Squared Circle’s elements through psychological, philosophical, and ludological literature. The game's initial focus on engaging gameplay mechanics evolved to incorporate textual significance and symbolic play, inspired by Carl Jung's theory of Individuation. Through playtesting, observations, and interviews, the study investigates the psychological and philosophical effects of the game. Players engage in symbolic representation and journaling, delving into their unconscious aspects and exploring personal experiences within the game world. The co-authorship dynamic fosters introspection expands self-understanding, and invites transformative experiences. The findings highlight the significance of journaling and symbolic play as tools for personal growth and self-expression within the game. Players navigate the symbolic landscape, uncover hidden meanings, and co-create their own narrative, leading to increased self-awareness and psychological integration. This research contributes to understanding games as a medium for personal transformation and psychological exploration. The study underscores the importance of co-authorship, journaling, and symbolic representation in designing games that facilitate introspection, meaningful experiences, and the development of the player's personality.