Call number: LD2668 .T4 1986 J37 / Master of Science / Computing and Information Sciences

As externships evolved from their vocational education roots into the university setting, both the course purposes and the expectations of student changed toward deeper learning. While the students’ responsibility for gaining knowledge has increased, teaching methods designed by educators to prepare students for more critically evaluated outcomes has not evolved at the same pace. Educators still grapple over how educational design can combine the structured teacher-centered learning strategy used in university classrooms with the learner-centered approach students typically utilize in for-profit culinary workplaces. This dissertation is about culinary externships in the urban environment. The study examined the roles, reasoning, and behavior of culinary externship stakeholders: student externs, externship sites via their externship supervisors, and educators who facilitate externships under the academic rules and guidelines of both culinary bachelor programs and the rigor demanded by higher education. Further, the study explored what factors encouraged and empowered students to acquire durable knowledge from their externship experiences and the forms of social capital they use to invest in their experience, as well as the conditions that failed to secure durable knowledge from the externship. The findings indicate that each stakeholder approaches an externship from their own working perspectives. Further, the ability of students to socialize, utilize agency to achieve their personal ends, bear the sole weight of evaluation, and acquire practical work experience prior to the externship yielded the best outcomes. Additional questions are posed and answered within the study.

S'il est désormais acquis que les communautés d'artistes et plus généralement le système de l'art contemporain jouent un rôle majeur dans le changement urbain, il reste encore plusieurs aspects à éclaircir en ce qui concerne la spécificité de cette contribution. Dans le contexte des quartiers en voie de régénération en particulier, les artistes ont un impact sur le capital symbolique qui se transmet des communautés qui y habitent ou y travaillent, à l'espace ; un processus que l'on pourrait qualifier de « spatialisation du capital symbolique ». Ces hypothèses ont été développées à travers l'exploration d'un ensemble d'éléments artistiques ayant agi dans le processus de régénération urbaine, au sein du cadre spécifique du Berlin des années 1990.Afin de donner des réponses nouvelles à ces questions, il a fallu élargir le champ de l'analyse en associant aux dimensions sociologiques, géographiques, économiques et urbaines la considération des activités artistiques qui appartiennent à la sphère plus proprement esthétique. L'hypothèse étant que les œuvres d'art – qui ne sont pas nécessairement des objets – sont des « configurations signifiantes à partir desquelles il est possible d'exercer un jugement rationnel » parce que dans l'expérience esthétique qu'elles engendrent, se produisent des effets d'ordre « normatif, cognitif et pragmatique ». Le rôle crucial de l'espace urbain dans l'évolution de l'art depuis la fin du XIXe siècle étaye l'hypothèse d'un ensemble d'interactions spécifiques, sur le plan esthétique, entre expression artistique et espace urbain. On ne se réfère pas aux recherches artistiques qui trouvent dans la ville un sujet à représenter, mais à des expériences plus radicales qui ont pu choisir l'urbain comme espace d'intervention, substrat des œuvres et lieu où établir des relations plus directes avec le public et le monde réel. La compréhension de l'émergence d'une approche site-specific dans l'art du XXe siècle peut servir à comprendre les racines symboliques du rôle croissant du système artistique dans le changement urbain. Pour aborder une question intrinsèquement transdisciplinaire nous avons dû avoir recours à des instruments variés et hétérogènes. Ainsi cette recherche s'appuie sur une variété de sources : des fonds d'archives concernant les programmes publics et les initiatives institutionnelles ; des recherches anthropologiques visant à reconstruire des histoires de vie et des expériences racontées par leurs protagonistes ; des sources bibliographiques importantes sur le cadre historique et théorique. Le degré d'indépendance des acteurs artistiques dans la détermination de ces changements démontre une profonde ambivalence qu'on ne peut réduire à des formules synthétiques. Les résultats des actions artistiques peuvent être analysés soit comme une exploitation de la valeur symbolique produite par les acteurs institutionnels de la ville, soit au contraire comme la préservation et le développement d'une alternative urbaine et politique. Par rapport aux exemples observés à Berlin, nous avons essayé de retracer les liens qui unissent ces expériences à des phénomènes antérieurs similaires – et à d'autres encore en évolution dans le présent – cela nous a permis de les considérer ceux-ci comme l'expression d'une tradition constamment renouvelée. En ce sens, les acteurs artistiques dont nous nous sommes occupés peuvent être considérés comme les interprètes de besoins et de désirs latents du corps social et urbain qui reviendraient de façon cyclique et qui pourraient jouer un rôle dans le développement de la ville dans le future aussi. L'analyse approfondie des deux cas d'étude, au-delà de leur intérêt individuel, s'offre comme une exploration à l'intérieur d'un champ dans lequel les études sont encore limitées et souvent très circonscrites. Notre recherche se veut comme la tentative de formuler des concepts, des instruments et des stratégies d'analyse qui pourront par la suite être appliqués à d'autres contextes / The key role played in urban change by artist communities, and more generally the art system has been widely recognized, yet the specific characteristics of this contribution are still to be explored. In the context of regenerating neighborhoods in particular, artist communities are able to produce a symbolic value that is subsequently transferred to the space they inhabit and work into, in a process that we could define as a ‘spatialisation of symbolic value'. Our thesis is focused on a series of artistic elements and events that were able to interact with the urban regeneration process that took place in post-wall Berlin in the 1990s.To fully understand such process, it is necessary to broaden the scope of the analysis in order to associate to sociological, geographical, economic and urban aspects the consideration of those artistic activities that belong to the aesthetic sphere. Our hypothesis being that works of art – which are not necessarily objects – may be regarded as significant configurations whose consideration allows a rational judgment as the aesthetic experience they determine encompasses prescriptive, cognitive and pragmatic effects. The crucial role of urban space in the evolution of art since the end of the XIX century supports the hypothesis of the existence of specific interactions between artistic expressions and the urban environment. We are not referring to those art works that find in the city an object to represent, but to more radical researches that choose the urban dimension as a site of intervention, the foundation of the work of art and the place where a more direct relationship with the public and the real world may be established. The consideration of the ‘site-specific' approach that appeared in the art of the XX century has helped us to understand the symbolic nature of the role increasingly played by the art system in urban change. In order to deal with a question that pertains to urban and cultural geography, urbanism, history as well as art history, we had to rely on a set of heterogeneous tools and sources: archival material concerning public programs and institutional initiatives; anthropological enquiries concerned with ‘life histories' and experiences reconstructed through the direct testimony of their protagonists; extensive bibliographic sources used to analyze the broader context of more specific case studies. As a result of our analysis, the degree of independence of artistic actors in the determination of such changes is marked by deep ambiguity that cannot be reduced to synthetic formulas. At times the symbolic value produced may be subsequently commodified and exploited by the institutional players of the city, in other cases art interventions prove as the expression of an alternative vision for urban development and its politics. In the specific context of Post-wall Berlin, we have tried to explore the relationship that connects specific experiences of the time to similar ones occurring in the past – as well as others currently taking place. This effort has brought us to consider the events of the 1990s as the expression of needs and desires periodically reappearing at the surface of the urban and social body, forces that may still play an important role in the future development of the city. Besides its intrinsic interest, in depth analysis of two case studies appears as a further inquiry in a field where research is still lacking and often focused on specific perspectives. Our contribution is intended as an attempt to develop concepts, tools and analytical strategies that may in the future be applied to other contexts

Magister Artium (Social Work) - MA(SW) / Heroin usage is on the increase in the Western Cape province of South Africa owing to globalization and to increased access to the drug in this province. The goal of this study is to explore the experiences of coloured heroin users in the Metro South area of , which stretches from Simons Town and Muizenberg to Retreat, Lavender Hill, Grassy Park, Parkwood and Wynberg. These individuals have been found to congregate in the Wynberg CBD. The overarching theoretical framework for the purpose of this research is social constructionism and symbolic interactionism, using a qualitative means of inquiry. Snowball sampling was used to recruit prospective participants and data was collected by means of in-depth interviews, with a semi structures interviewing schedule. The questions informed the subsequent themes and categories that arise from the data collection process. Snowball sampling was employed in this case, a non-probability sample, in which participants were recruited via key informants. The sample distribution included 13 participants, 10 of which were heroin users (5 female, 5 male) and the remaining 3 were key informants which contributed to triangulation of the data. In terms of the findings, participants spoke of mostly being involved in intimate relationships, which according to participants had dual benefits. For female participants intimate relationships offered a form of protection on the often dangerous streets of Wynberg and for certain males, intimate relationships offered an opportunity to fund their habit, by trading their female partners to perform sexual favors for money to acquire heroin. While the study found females were mainly involved in trading sexual favors for money, heterosexual males were also implicated in having sexual relations with homosexual men for money. Furthermore, the study found that heroin users in Wynberg represented a surrogate family, where, because of their lifestyle, they were disconnected from their own family. This family surrogate was found to be supportive, caring to a large extent, shared a living space, protective of each other and shared a common language and understanding.

[pt] A proposta da presente dissertação é buscar pontos na teoria psicanalítica de Freud e Lacan que contribuam para as filosofias da linguagem de Austin e de Wittgenstein. O sujeito dos atos de fala de Austin é pensado a partir do modelo freudiano dos atos falhos do sujeito do inconsciente, passando-se a levar em conta o conceito psicanalítico de pulsão no que diz respeito à fala como ato do sujeito. O ato de fala é colocado como subordinado às peripécias do que Lacan chamou de Grande Outro, uma vez que é na instância do simbólico que esse ato ocorre. No que diz respeito à teoria de Wittgenstein, o principal foco do trabalho é a relação do pensamento do filósofo com a afirmação lacaniana de que o inconsciente é estruturado como uma linguagem. A relação entre subjetividade e linguagem bem como o acesso que a subjetividade tem ao mundo através da linguagem são pensados na ordem do inconsciente; em outros termos, é pensada a relação entre o sujeito do inconsciente e o sujeito da linguagem. / [en] The purpose of this thesis is to search for ways in which Freud’s and Lacan’s psychoanalytical theory can contribute to Austin’s and Wittgenstein’s philosophies of language. We propose that the subject of Austin’s speech acts be framed within Freud’s theory of parapraxis as acts of the unconscious, so that the Freudian concept of drive can be related to speech as an act of a subject. The speech act is, then, thought as being subordinate to the vicissitudes of what Lacan called the Great Other, since the act occurs in what Lacan named the symbolic order. As to Wittgenstein’s theory, the focus of this work is on its relations to Lacan’s claim that the unconscious is structured like a language. The psychoanalytical concept of the unconscious is here used to consider the relations between language and subjectivity and the way how the subject accesses the world through language; in other words, the focus is on the relations between the subject of the unconscious and the subject of language.

A dissertation submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Art by Dissertation. Johannesburg 2016 / Colour has always played an important role in South Africa; from the beginning of colonialism when “Africans” were converted to Christianity and baptised in white robes, to the bright colourful church garments that flood Soweto on Sundays. In the nineteenth century “Africans” began to reimagine their faith and spiritually. Seeking independence and a sense of identity, they began to fuse Western Christian ideologies with “African” spiritual beliefs and attire, which led to the origin of African Independent Churches (AIC). I aim to demonstrate how colour was not only used as a break away from colonial influences, but was also used to portray African spiritual beliefs and to create a distinctive “African” religious identity. This paper aims to study colour usage and it’s meaning within the South African context in order to show how colour use within Apostolic and Zionist movements relates to traditional African spirituality. The paper aims to show how colours used within both movements are symbolic and are thus used as spiritual codes. The paper will look at contemporary colours in order to show how Apostolic and Zionist movements continue to use colour to shape their spiritual identity.

A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, Johannesburg, 2016 / Since the latter part of the 20th century to the present, we have seen growing concerns about the potential collapse of socio-ecological systems due to climate change. On the other hand, palaeoenvironmentalists, archaeologists and anthropologists consistently point to evidence of how Homo-sapiens have survived within climate variability underpinned by an embodied/embedded relationship to their environments. Archaeological data shows how indigenous groups such as the Bushman have inhabited landscape features such as caves for longer than 10 000 years and thus survived through periods of climate variability. Another well researched element of Bushman life is their ritual practices. Given the low supply of livelihood resources within the contexts where such communities have survived, this study hypothesised a possible relationship between Bushman ritual practices and their long-term resilience when faced with variability. Using the Holocene habitation of the Wonderwerk Cave as the main case study, this study explored the relationship between people, place and ritual. Furthermore, the study applied phenomenology as the primary data collection method. The resultant first-person experience guided the researcher in engaging with secondary data from archaeology and ethnography. The study found that Bushman ritual practices such as trance constituted a critical adaptation tool in response to perpetually variable environments. Through such practices and their related tools such as art, space and myth, such communities managed to sustain a synchronised dialogue with place thus facilitating for ongoing dissolution of maladaptive behaviour. Another key finding is that our inability to change constitutes a key characteristic of our species today as we have been seduced into the trap of our deep psychic longing for existential continuity. The study argues for an architecture for resilience whose primary role would be to facilitate higher fluidity in our embeddedness to place and allowing for faster and trauma-free transitioning in synchronicity to our changing environments. In conclusion, the study finds that our own contemporary climate change has implications far beyond the techno-scientific understanding which has prevailed so far and is instead calling to be understood as an existential phenomenon to be primarily resolved through relevant/responsive ritual practices to facilitate our own transitioning and continued resilience. / MT2017

I denna kvalitativa studie är syftet att undersöka förskollärares argument och erfarenheter till varför de använder TAKK, Tecken som Alternativ och Kompletterande Kommunikation till det yngsta barnet i förskolan, 1–3 åringar. Syftet besvarades genoms frågorna: vilka skäl har förskollärare för att använda TAKK? Vad har förskollärare för erfarenheter av användandet med TAKK? TAKK är ett verktyg som utförs med händerna och förstärker det viktigaste ordet i en mening samtidigt som personen talar och tecknar det förstärkande ordet. TAKK används av barnet och den vuxna för att hitta ett gemensamt språk som alla på förskolan kan förstå.   För att få fram resultatet till studien användes semistrukturerade intervjuer. De genomfördes med åtta förskollärare i fyra kommuner, deras tankar ställs mot det sociokulturella perspektivet. Resultatet visar att förskollärarna är positiva till användandet och menar att det är barnets rättighet att kunna få en ”röst” för att kunna påverka sin livssituation. Genom att ge barnet kommunikationsmöjligheter via TAKK ökar delaktigheten, inflytandet, självständigheten och det bidrar positivt till språkutvecklingen för barnet. Det framkom att det vardagliga användandet av TAKK i förskolan kan ses som en utmaning. TAKK ska ses som en naturlig del under hela dagen på förskolan. Engagerade förskollärare kan genom TAKK skapa stora möjligheter för barnets kommunikation, självkänsla och frihet.

[pt] A proposta da pesquisa é refletir sobre a projeção de valores aos bens de consumo nos discursos da publicidade, adotando como objeto de estudo anúncios impressos de automóveis. Será tomado como pressuposto, primeiro, o consumo como fato social imbricado nas relações socioculturais moderno-contemporâneas; e, segundo, a publicidade como discurso público que valoriza simbolicamente o consumo dos bens nas tramas produzidas em seus anúncios. Dentro desta perspectiva, objetivar-se-á mapear, apoiando-se em entrevistas com informantes- receptores, seis peças publicitárias - duas referenciais e quatro comparativas, lançando com isto um olhar sobre essa forma discursiva de representação do automóvel e, complementarmente, sobre o potencial publicitário de motivar significações ao consumo como parte das orientações culturais na atualidade. / [en] The purpose of this research is to reflect on the projection of values of consumption goods within the speeches of the advertising segment, adopting as this study's object six printed advertisements from the automobile industry. It is taken as presuppositions: first, consumption as a social fact inserted in modern cultural relations; and, second, advertising as a public speech that symbolically values the consumption of goods in the trams produced in its advertisements. Under this perspective, it will be examined, supporting the analyses in interviews with receiving-informers, six distinct advertisements - two used as reference and four used as comparatives, launching with this process a look onto the discursive form of automobiles' portrayal and, complementarily, at the potential of advertising to motivate meanings to consumption as a main part of cultural orientation in the present time.

A transmissão do Programa do Ratinho colocou em evidência uma antiga questão sobre a qualidade dos programas exibidos pela televisão brasileira, em que se traça uma distinção entre o que é de alto nível e o que é de baixo nível. A leitura dos artigos publicados na imprensa revela que o programa provoca um profundo mal-estar em determinados grupos, por outro lado, a etnografia do programa mostra que as rupturas, tanto das normas de conduta quanto das regras do gênero televisivo, são propositais e carregam uma dimensão cômica. É essa inter-relação entre o mal-estar e o riso que sugere o sentido das rupturas praticadas no programa. O diálogo indireto entre o conteúdo do programa e as críticas impressas nos jornais mostra a construção de uma identidade positiva em torno do ideal de autenticidade, que se opõe à imagem negativa, de degradação moral, veiculada pela imprensa. Nesse sentido, revela uma disputa simbólica que conjuga no mesmo movimento a distinção e a desqualificação do outro. O programa encena essa disputa, em que se define o que é desejável e o que é desprezível, o que dá dignidade e o que degrada o ser humano, simulando a inversão da escala de valores na qual aqueles que se incomodam são colocados como inferiores em relação ao apresentador e aqueles que apreciam o programa, os quais se apropriam das qualidades associadas à superioridade moral. / The purpose of this essay is to analise the interconnections between the disgusting and the comic in Ratinho`s TV programme. This programme came up the old question about the quality of TV programmes in Brazil, where there is a clear distinction between the good level and the bad level. The reading of public papers shows that the programme causes a deep bad feeling in some groups of society. On the other hand, the programme´s ethnography shows that the breaking of behavior rules and TV rules is intentional and has a comic dimension. These interconnections between the disgusting and the comic are the aim of the breaking rules. The indirect comunication between the program content and the media`s critiques in the newspapers shows the construction of a positive identity of authenticity in contrast with the media´s negative image of moral degradation. Furthermore, it revels a symbolic war that causes the same movement of other´s distinction and desqualification. The programme is the scene of this war, in which one can define what is desirable and what is disgusting, what gives dignity and what gives degradation to human being. Ratinho´s programme simulates a inversion of moral rules, in which the one´s who criticize the programme are taken as inferiors to the one´s who like it, so, these can put themselves in a position of moral superiority.