Text in Afrikaans / Approximately 50 percent of all marriages end up in divorce according to estimates. Thirty percent of divorcees enter into wedlock again within one year from being divorced, thereby creating a reconstructed family. The child in the late middle childhood years experiences some unique challenges during the reconstruction of the family due to influences such as the parent-child relationship, parenting styles and the start of puberty. The purpose of this qualitative study is to determine the child's psychological experience within the reconstructed family and to provide guidelines to parents (and co-therapists) on how to deal with children during the reconstruction process. The qualitative method of research was applied as it is a more informal research procedure and the boundaries of the study subject are reasonably wide and undefined. The method provides an adaptable strategy regarding problem formulation and data collection, which allow semi-structured interviews, observations and field notes, and enable the researcher to obtain first hand knowledge and understanding of the problem. / Social Work / M. Diac.(Play Therapy)

Este trabalho analisa as políticas de EJA desenvolvidas pela União e pelo Estado de São Paulo, no período 2003-2009, sob a ótica do regime de colaboração em um Estado federativo. Elegemos como instâncias a serem objeto de nossa análise a Diretoria de Políticas de Educação de Jovens e Adultos da Secretaria de Educação Continuada, Diversidade e Alfabetização do Ministério da Educação DPEJA/SECAD/MEC, e a Secretaria de Estado da Educação de São Paulo SEESP. Através da descrição e análise de políticas e programas, e dos dados de demanda e oferta escolar por essas duas instâncias, buscamos avaliar como o regime de colaboração, entre as esferas federal e estadual de governo, tem se concretizado no Estado de São Paulo, no sentido e garantir a efetivação do direito à educação das pessoas jovens e adultas que não puderam iniciar ou concluir a escolarização básica na idade considerada regular. A pesquisa foi realizada mediante análise de documentos, realização de entrevistas com pessoas envolvidas com a temática e revisão da bibliografia sobre o tema. Conclui-se que a as responsabilidades estabelecidas pela legislação referente à obrigatoriedade da oferta de EJA não tem sido respeitada pela União e pelo Estado de São Paulo. Um dos principais fatores ligados a este descumprimento da legislação é o fato de que a colaboração entre estes dois entes federados em relação à EJA não se efetivou satisfatoriamente no período analisado. / educational policy; youth and adult education; federalism; São Paulo (State)

digitization, digital transformation, innovation, energy industry, HR, work with students, trainee program, trainee scheme, corporate culture, project management, onboarding, gen Z, generation Z

The aim of my thesis is the current look and evaluation of architecture from the period of real socialism in Brno, since liberation in 1945 to the period of normalization in the seventies of the twentieth century, till 1975 (including duration of the implementation of the buildings). Emphasis put on realizations which are important from the nationwide perspective

Parish clergy and religious change in Prague's diocese from Council of Trent till the end of the 17th century The religious change that happens in Bohemia in the 17th century has no equivalent in the Europe at this time: the whole country, where Catholics were in a very minority, comes back to the roman Church. This evolution is here seen from a very prosaic point of view: how lay people live this change, and so how acts the parish clergy in this matter. Conversion's strategy, at the end of the Council of Trent, was to permit the use of the chalice to the laity. The consequence of this permission was a very hazy situation in the parishes, but Holy See did nothing before the battle of White Mountain, and after the battle, he suppressed chalice, mainly for pastoral reasons. During the Thirty years War, the kingdom is the place of a general reform, which has its origins in the catholic missionary movement of the beginning of the century and in the political theories of this time. Bohemia is strongly marked by the war that acts as a catalyst; at the same time political and religious authorities were lacking. The inhabitants, usually just formal Catholics at the beginning, convert themselves more and more deeply during the 17th century. The eldest, who remembered the non-Catholics services, died during the...

In Günter Grass's Danzig Trilogy and novella, Im Krebsgang, an antagonistic female type makes a repeated appearance. She appears in the guise of Susi Kater and Luzie Rennwand in Die Blechtrommel, and as Tulla Pokriefke in the other works, Katz und Maus, Hundejahre, and Im Krebsgang. This antagonistic female type is not like other women in these works. A review of Le Deuxième Sexe by feminist Simone de Beauvoir reveals several crucial components contributing to woman's position in society. Most essentially, a woman's natural attributes and (dis)abilities and the conventions of society have enforced her historical submission to man. This thesis analyzes how the antagonistic female type, or villain, compares and contrasts with other female figures in these works by Grass, according to a paradigm derived from Beauvoir's description of woman. From this analysis, a better understanding of the female villain's nature emerges. Indeed, such a comparison demonstrates that certain female figures in the works of Grass transcend their historically oppressed or subdued status by refusing to submit to those natural handicaps and societal restrictions identified by Beauvoir, and thus become a threat to man's status or security as an antagonistic female type, or villain. However, the villain figure is not always inherently evil, but possesses the capacity to change. The villain and victim can reconcile their differences and may even form a friendly relationship. This evolving villain-victim duality becomes most clear in Grass's work, Im Krebsgang, and suggests the possibility of assuaging contemporary conflicts as educators sympathize with the experiences of both extremist groups and victimized parties and help them come to terms with their differences.

Khyber Pakhtunkhwa (31 ° 49'N, 70 ° 55'E bis 35 ° 50'N, 71 ° 47'E) liegt im Nordwesten Pakistans im Süden Asiens. Das Hindukusch-Gebirge in Afghanistan liegt im Westen, dem indischen Himalaya im Nordosten und die Karakorum Berge südlich vom tibetischen Hochland auf der Nordseite. Diese Arbeit besteht überwiegend aus drei separaten Studien entlang eines 200 km langen Transekts mit einem Höhengradienten ausgehend von den Sedimentbecken im Peshawar Tal (275 m ü.M.) bis hinauf zu den Malam Jabba Hills im Swat-Tal (2600 m ü.M.). Die erste Studie, die auf einer Datengrundlage von 160 Poaceae Arten beruht, zeigt Trends, dass polyploide C3- und C4-Poaceae-Arten größere Pollenkkörner als die jeweiligen diploiden Arten haben. In diesem Datensatz haben alle C4-Arten größere Pollenkörner als die C3-Arten. Ob Grassländer von C3 oder C4 Arten dominiert werden kann in verschiedenen Regionen und Lebensräumen durch die Untersuchung der Muster des Trends von zu- oder abnehmenden Pollenkorngrößen ermittelt werden. In unserem Datensatz ist Polyploidie bei C4-Gräsern häufiger als bei den C3 Arten. Die verwendete Methode kann auf Poaceae-Pollenkörner in Umweltarchiven angewendet werden, um das Klima der Vergangenheit zu rekonstruieren und die Dynamik der früheren Graslandökosysteme zu bewerten. Dieser Ansatz wird nicht nur bei laufenden paläoökologischen Studien helfen aufzuklären, wie die Änderungen der Vegetations-zusammensetzung und die Veränderungen in Biomen vergangener Graslandökosysteme zu entschlüsseln sind, sondern auch nützliche Erkenntnisse für die Vorhersage zukünftiger Entwicklungen ermöglichen. Die zweite Studie befasst sich mit modernen Pollenspektren aus Oberflächenproben und ihre Beziehung zu der umgebenden Vegetation, die nützliche Daten für die Interpretation von holozänen Pollenprofilen bietet. Dabei konnten entlang eines 200 km langen Höhengradienten vier verschiedene Höhenstufen unterschieden werden, wo die dominierenden Pflanzenfamilien, Poaceae, Asteraceae, Cyperaceae, Verbenaceae, Acanthaceae und Euphorbiaceae eine signifikante Korrelation mit dem gefunden Pollenniederschlag hatten, während sich bei anderen Familien, den Boraginaceae, Saxifragaceae, Apiaceae, Balsaminaceae und Rubiaceae große Unterschiede zu der zugehörigen Vegetationszusammensetzung ergaben. Für die Kalibrierung und Interpretation fossiler Pollendaten sollte also immer auch die aktuellen Beziehungen von Pollenniederschlag und Vegetationsdaten zumindest auf der Familienebene berücksichtigt werden. Die dritte Studie befasst sich mit einem Pollenprofil aus der Kabal Swat-Region, welches eine detaillierte Geschichte der Vegetation und des Klimas des Hindukuschs der letzten 3300 Jahre, also dem späten Holozäns enthält. Von 3300 bis 2400 cal BP, war eine subtropische semiaride krautige Vegetation hauptsächlich durch Cyperaceae- und Poaceae-Arten vertreten. Sie wurde ersetzt von gemischten Nadelwäldern mit Taxus, Pinus, sowie Juglans, Poaceae und Cyperaceae während der Zeit von 2400 bis 900 cal BP, was auf eine vergleichsweise moderate Klimaschwankung während des späten Holozäns weist. Der Rückgang der Poaceae von 2400 bis1500 cal BP und eine erneute Zunahme von 1500 bis 1200 cal BP Jahre zeigen, dass das Kabal Swat nass-kühlere und trocken-wärmere Phasen durchmachte. Nadelbäume in den gemischten Nadelwäldern treten heute bei größeren Höhe im alpinen Bereich auf. Weitere hochauflösende holozäne Pollenprofile des Hindukusch sind notwendig, um einen ausführlicheren Vergleich zu anderen süd- und zentralasiatischen Paläo-Archiven zu ermöglichen, die auch ein detaillierteres und anwendbares Wissen für Management und Naturschutzfragen ergeben.

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A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.