Este trabalho pretende analisar os aspectos do trabalho voluntário de tradução e, em qual medida, ele interfere nas relações socioculturais e sociedade. Para tanto, tomaremos como objeto de estudo um grupo de tradutores voluntários que atuam na Organização Não-Governamental Soka Gakkai Internacional. Como se pretende estudar os agentes que participam desse processo, como parte de uma estrutura social, utilizaremos a teoria de actor-network de Bruno Latour (2005). Com o intuito de analisar a função e o desenvolvimento dos tradutores voluntários envolvidos no processo, sua experiência pessoal e profissional e suas relações socioculturais, utilizaremos a noção de habitus discutida por Pierre Bourdieu (1972; 1990; 2003). Com base nos estudos preliminares, pressupõe-se que os atores que desenvolvem esse trabalho voluntário de tradução compartilham princípios e disposições semelhantes, ou seja, possuem basicamente os mesmos habitus e negociam as regras que regem o seu trabalho de acordo com a prática, e não partindo da teoria. Finalmente, busca-se confirmar a premissa de que, para o grupo em questão, os valores que permeiam o seu trabalho, a despeito da recompensa financeira, agregam novas características ao trabalho de tradução, sob uma concepção mais humanista e social. / This article aims to analyze translation as volunteering work as long as to what extent it influences socio-cultural relations and society. Thus, the object of our study is a group of volunteers who work as translators for the Non-Governmental Organization Soka Gakkai International. As we intend to study the agents who participate in this process, considering them to be part of a social structure, the empirical data are discussed against the background of the Actor-Network-Theory by Bruno Latour (2005). We also intend to analyze the role and development of the volunteering translators involved in the process, their background and socio-cultural relations, which will be framed in terms of Pierre Bourdieus concept of habitus (1972; 1990; 2003). Based on preliminary studies, we may argue that the actors who take part in this translation volunteering work share similar principles and dispositions, that is, they have the same habitus and their starting point is not the theory, but they negotiate the rules of translation according to their practice. Finally, we intend to confirm the hypothesis that, for this group, the value of their job is beyond the financial reward, and bring new characteristics to translation.

Teknologi har blivit en viktig del i barn och ungdomars liv. Spel, kommunikation, bloggar, skolarbeten och att umgås via sociala nätverk tillhör aktiviteterna online. Syftet med den här litteraturstudien var att utifrån ett teoretiskt perspektiv där bland annat Actor-Network-Theory (ANT) ingår belysa och utforska barns och unga människors interaktioner på och med Internet och det lärande och förutsättningar för hälsa som kan skapas. Tjugotre artiklar från tidskrifter med en disciplinär bredd, som bland annat innefattar utbildningsteknologi, psykologi, socio-logi och mediakunskap, har studerats. Interaktion var ett genomgående tema i artiklarna. Barn och ungdomar interagerade med varandra och med andra på olika sätt och med olika syften. Delaktighet och gemenskap var viktiga begrepp. Kamratstöd online har visat sig vara betydelsefullt för unga med allvarliga sjukdomar. Många av de populära spelen är onlinespel som kan spelas av ett stort antal spelare samtidigt. Spelarna umgicks med sina vänner, lärde känna nya människor, hjälpte varandra genom olika uppdrag i spelet och firade uppnådda mål tillsammans. Olika roller framträdde i de olika kontexterna, både självvalda och tilldelade av andra. Det lärande som uppstod i de olika kontexterna var situerat och bestod likaväl av akademiska kunskaper och digitala färdigheter som av social kompetens, socialisering och ”livsfärdigheter”. Den teoretiska referensramen i uppsatsen var inspirerad av bland andra Latour, Bandura, Antonovsky samt Lave och Wenger. Jag kallar den ”Del i det hela” och menar att ett aktörskap i ett heterogent nätverk med en gemensam aktivitet kan bidra till en känsla av sammanhang (KASAM), en känsla av mening. Dessa delar har betydelse för vår hälsa – den psykiska, den sociala samt den existentiella hälsan. / Technology has become an important part of children and young people’s lifes. Games, communication, blogs, school work and hanging out in social networks are examples of online activities. Using a theoretical perspective including Actor-Network-Theory (ANT), the aim of this literature review was to illustrate and explore children and youth’s interactions on and with the Internet, and the learning processes and conditions for health that can emerge. Twenty-three articles from journals of different disciplines, such as educational technology, psychology, sociology, and media science, were included. Interaction was a constant theme throughout the articles. Children and young people interacted with each other and with others in different ways and with different purposes. Participation and fellowship were important concepts. Online peer support has shown to be significant for youth with severe disease. Many of the popular games are online games that can be played by many players simultaneously. The players socialized with their friends, got to know new people, helped each other through various missions in the game and celebrated achieved goals together. Different roles appeared in the different contexts, some self-selected and some assigned by others. The learning processes that occurred in the different contexts were situated and consisted of academic knowledge and digital skills, as well as of social competence, socialization and life skills. The theoretical framework used in this essay was inspired by Latour, Bandura, Antonovsky, and Lave and Wenger. I call it “Part of it all” and believe that an actorship in a heterogeneous network with a collective activity may contribute to a sense of coherence (SOC), a sense of meaning. These elements are significant for our health – the psychological, the social, and the existential health.

The aim of this dissertation is to study exchange students’ movement and exchange studies as a trajectory in time and space. The dissertation is based on interviews with fourteen Korean exchange students at Swedish universities. The theoretical framework is based on Actor–Network Theory (ANT). ANT argues that everything that does something is an actor (human and non-human) and that an actor cannot be separated from a network that acts through the actor. ANT also argues that one’s location is not explained only in terms of Euclidean space and time but also in terms of spatiality and temporality, which are a network’s production. The dissertation shows that the students were enrolled and mobilized in the exchange programs by heterogeneous actors and that there were specific network spaces that produced exchange students at the home universities. The exchange students were excluded at the Swedish host universities by being formally included without direction. At the host universities, they went off course from their educational trajectories because the curriculum disappeared during their exchange studies. The dissertation also shows that the exchange students were enrolled and mobilized in the networks of “international students” at the host universities. Theses exchange students instead moved in the same way as the other exchange students, which stabilized the networks of “international students” at the host universities. It describes how the exchange students acted at a distance as actor of networks in Korea. When they returned, many of them had to prolong their educational period. This was a result of the translation of exchange studies at the home universities. In this dissertation, it shows that the exchange program was performed not only by individual exchange students; rather, it was performed in the associations of heterogeneous actors. / Syftet med avhandlingen är att undersöka utbytesstudenters rörelser och utbytesstudier som banor i tid och rum. Avhandlingen baseras på intervjuer med fjorton koreanska utbytesstudenter som vistats på olika svenska värduniversitet. Den teoretiska referensramen grundar sig i Actor-Network Theory (ANT). ANT argumenterar för att allt som gör något är en aktör, oavsett om den är mänsklig eller icke-mänsklig. En aktör kan inte urskiljas från nätverket vilken agerar genom aktören. Aktörens lokalisering kan inte enbart förklaras i termer av det euklidiska rummet och tiden, utan också i termer av rumslighet och tolkningar av tidsförloppen vilka är nätverksprodukter. Avhandlingen visar att studenterna enrollerades och mobiliserades till utbytesprogrammen av heterogena aktörer och att det fanns specifika rum där utbytesstudenterna skapades. På värduniversiteten exkluderades de genom att formellt inkluderas i olika kurser utan att dessa ofta hade någon riktning i deras studier. Utbytesstudenternas studier kom ur kurs jämfört med deras ordinarie utbildningar eftersom en läroplan saknades på värduniversiteten. Avhandlingen visar att utbytesstudenterna enrollerades och mobiliserades in i nätverk av de internationella studenterna på värduniversiteten. Utbytesstudenterna rörde sig på samma sätt som andra utbytesstudenter, vilket stabiliserade nätverken av ”internationella studenter” på värduniversiteten. I avhandlingen beskrivs även utbytesstudenternas fortsatta agerande som aktörer i nätverken i Korea. När de återvänt till Korea behövde de flesta förlänga sin utbildningstid och detta var ett resultat av hur utbytesperioden tillgodoräknades på hemuniversiteten. Det var ett resultat av översättningen i utbytesprogrammen på hemuniversiteten. Avhandlingen visar att utbytesprogrammen inte enbart genomfördes av de individuella utbytesstudenterna; snarare genomfördes de i förbindelser med heterogena (mänskliga och icke-mänskliga) aktörer.

Wireless sensor and actor networks are used in situations where interaction is required between a network and the environment in which the network is deployed. This research studies the functioning of a single mobile actor deployed in a sparsely connected network. When deployed in a sparsely connected network, an actor has to do more than acting. It has to perform the additional duties of an event collector - collecting events from the naturally occurring clusters - so that it can fulfill its primary obligation as an actor. The path taken by a mobile actor node is generated by a mobility model. The existing random mobility models are non-intelligent mobility models. While they may bring about a chance meeting between an actor and an event, there is no guarantee that these meetings will actually happen. This motivates the development of intelligent mobility models for the actor node, which will generate paths that are reflective of the network in which the actor is deployed. In this thesis, intelligent mobility models for the actor node were developed using the inherent clustering information of a sparsely connected network. These models were applied to an actor node in networks of varying sparseness and the following conclusions were reached: (i) Existing random mobility models are unsuitable for an actor in a sparsely connected network. (ii) High probability of events can be sensed when a sparsely connected network is used. (iii) 100% event detection by the actor node is possible at higher speeds. (iv) When the single actor functioned both as an event collector and as an actor, the number of events acted upon by the actor was very close to the number of events acted upon by an actor in a fully connected network. (v) The Correlation Theory developed in this research suggests using a combination of the intelligent mobility models to obtain the best performance results under all circumstances. (vi) Early detection of events can be supported where it is required. All of the above conclusions justify the deployment of a single actor and a sparsely connected network, either individually or as a combination.

Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

L’acteur est-t-il l’objet d’une nouvelle mise en cause radicale, un siècle après Maeterlinck, Jarry et Craig ? La discussion prend aujourd’hui une tournure inédite. Il ne s’agit plus d’écarter l’homme de la scène pour le remplacer par une marionnette idéale. Les acteurs artificiels, avatars, robots et autres doubles, semblent désormais pouvoir devenir autonomes. La question n’est pas seulement : qu’est-ce qui manque, lorsque l’acteur manque ? Mais aussi, qu’est-ce qui ne manque pas ? Pour étudier ce sujet, cette thèse s’appuie sur trois œuvres qui ont fait événement à l’orée du XXIe siècle : Les Aveugles de Denis Marleau, Stifters Dinge de Heiner Goebbels, et Re : Walden de Jean-François Peyret. Elle introduit la conjecture anthropologique d’une « disparition » de l’homme. Expression problématique, qui est à entendre de prime abord au sens d’un retrait ou d’une instrumentation de l’acteur, mais qui sous-tend en arrière-plan d’autres enjeux : brouillage des frontières entre vivant et artificiel, perte du lien au monde, déclin de l’humanisme, effondrement écologique. Si l’homme devait disparaître, c’est peut-être au théâtre qu’il résisterait le plus longtemps à sa disparition. Mais la proposition peut s’inverser : n’est-ce pas là qu’il ne cesse de s’effacer avec le plus d’ostentation, jouant depuis toujours avec les oppositions apparence / réalité, apparition / disparition ? La thèse explore ces problématiques, en s’intéressant aussi bien à la scénographie, à la dramaturgie, à la relation acteur spectateur, et aux nouvelles machines qui transfigurent le dispositif scénique en une anamorphose visuelle, sonore, éminemment troublante, de l’être humain en train de disparaître. / Is the actor thrown back into doubt again, one century after Maeterlinck, Craig and Jarry ? The topic happens to be brought up to date. But the purpose is no longer to get rid of the actor, so that he could be replaced by puppets. Artificial actors, like avatars, robots and other doubles, are likely to get their autonomy soon, on stage. The question is not only : what is missing, when the actor is missing ? But also, what is not missing ? This thesis is based upon three performances that stroke the minds on the first decade of the 21st century : Les Aveugles by Denis Marleau, Stifters Dinge by Heiner Goebbels, and Re :Walden by Jean-François Peyret. Our conjecture is about human disappearing on stage, with a special focus on anthropological aspects. The notion of « disappearing » means, at first sight, the withdrawing of actors, but we show that other deep challenges stand in the background : body instrumentation, interferences between life and artificial, disconnection to the phenomenal world, mankind decline and ecological disasters. If the human being is supposed to disappear soon, it’s probably on theatre stage that he will stand for a while. At the same time, isn’t it on stage that he has been playing for ever with appearing and disappearing, reality and illusion ? This thesis explores these problems, dealing with all the aspects : scenography, dramaturgy, actors and spectators, technology and new machines that are completely transforming the stage into a visual, sound, and highly confusing anamorphosis, by which the human being is involved in a vanishing process.

The generation of domestic waste is at present less than 1 kg/day per person in Thailand, but generated amounts keeps steadily growing. This trend is closely connected to an increasing population and economic growth, something that is creating waste management issues. The Asian Institute of Technology (AIT) outside Bangkok has the potential of being a leader in sustainable development in the Southeast Asian region, however a substantial opportunity is being missed – best environmental practices are currently not prioritized. Only 4 % of the total waste generated on campus is recycled at AIT, 3 % is composted and 93 % is taken to the municipal waste disposal site. Fluorescent light bulbs and other hazardous household waste are disposed on the campus dumpsite. Some measures have been undertaken in order to improve the solid waste management (SWM) at AIT, e.g. a new waste collection facility has been built in the outskirts of campus, where more space is provided in order to facilitate waste separation. The field research for this study was carried out at AIT and the goal was to examine the SWM network, the problems and to analyse the recycling habits on campus. To investigate and visualize the actors involved in the SWM at AIT, the Actor-Network theory (ANT) was applied as an analytical framework. The generation of waste is the macro actor i.e. the reason for the existence of SWM. Other actors are the AIT students and staff (produce waste), the new Campus Environment and Development Committee – CEDC (the controlling part), environmental awareness (attitude towards recycling), and waste collectors. The results from the survey witness of that people have a positive but somewhat cautious attitude towards the sustainability of source separation. Separating waste at source is a key mechanism for solving the SWM problem but people are uncertain of how to separate each waste fraction. There is a strong need to designate a coordinator of the SWM at AIT and as long as there is a lack of leadership, a goal of environmentally sustainable practices cannot be reached. The new CEDC is currently not performing any actions towards an integrated SWM. / Idag produceras mindre än ett kilo hushållsavfall per dag och person i Thailand men mängden växer stadigt med ökad befolkning och bättre ekonomiska förutsättningar vilket leder till sophanteringsproblem. Asian Institute of Technology (AIT) i Thailand har  potential att vara en ledstjärna inom hållbar utveckling i Sydostasien men en stor möjlighet går om intet – den bästa miljömässiga tillämpningen i sophanteringsfrågan prioriteras inte. Endast 4 % av soporna återvinns på AIT, 3 % komposteras och 93 % hamnar på den kommunala soptippen. Lysrör och annat farligt hushållsavfall dumpas på universitetets soptipp. Vissa åtgärder har vidtagits för att förbättra sophanteringen på AIT, t.ex. har en ny sopanläggning byggts i utkanten av campus med ökad kapacitet för sopsortering. Fältarbetet för uppsatsen genomfördes på AIT och målet var att kartlägga sophanteringen, nätverket kring den, problemen runtom, samt att analysera återvinningsbeteendet på detta universitetscampus. För att gestalta och utreda aktörerna som är involverade i sophanteringen på AIT, använde jag Actor-Network theory som ett analytiskt verktyg. Själva produceringen av hushållssopor är makroaktören, dvs. skälet till sophanteringens existens. Andra aktörer är studenterna och de anställda på universitetet (skapar sopor), den nya kommittén för Miljö och Utveckling på campus (den kontrollerande delen), miljömedvetenhe (inställningen till återvinning) och sophämtarna. Resultaten från enkätunderökningen vittnar om att människorna har en positiv men försiktig inställning gentemot hållbarheten i källsortering. Källsortering är grunden för att lösa sophanteringsproblematiken men folk är osäkra på hur de ska sortera avfallet. Det finns ett stort behov av en avfallshandläggare för sophanteringen på AIT och så länge bristen på ledarskap kvarstår, kan inte målet om miljömässig hållbarhet nås. Den nya kommittén för Miljö och Utveckling på campus genomför för tillfället inga handlingar i riktning mot en integrerad sophantering.