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Institutional logics create order and stability. They organize interaction and prescribe how we should behave towards each other. Such logics have generally been regarded as exclusive, in the sense that an organizational field is always guided by a single institutional logic. If there are two or more institutional logics in one setting at the same time this will create conflicting demands and contradictions. So how do organizations and individuals that act in these settings, where different institutional logics do meet, cope with the conflicting demands?    This question is researched by studying actors who organize partnerships between corporations and non-profit organizations. Institutional logics have typically been studied at field level. My study follows a more recent literature strand focusing on individuals and their way of coping with conflicting institutional logics. In this thesis, interviews, text analysis and observations are used. The interviews were conducted with CSR managers of corporations, managers of corporate partners at non-profit organizations, CSR consultants, and project managers of intermediary organizations. These actors are working in an environment where conflicting institutional logics are played out. Using a narrative approach it is shown how these actors are aware of their institutional environment and its conflicts which requires them to constantly act as translators. The study shows that the actors organize an interplay between a market-logic and a social-welfare logic by bringing together the logics and establishing limits to what extent logics can be mixed. Thus, the actors can be understood as bilingual, rather than hybrids. Furthermore, it is argued that a narrative approach provides the possibility to understand institutional logics in empirical contexts as more present and visible than they are usually considered to be. The study concludes that bilingual actors balance conflicting demands and negotiate requirements set by institutional logics in their day-to-day work.  Settings where institutional logics meet can hence be understood as both a contradiction and an ongoing interplay.

In order for the innovation process to be successful, not only do innovations need to be developed and reached the market, but, once they are available for users, they have to spread on a large scale. In the innovation literature, a complete explanation is lacking of why some innovations reach a phase of large-scale diffusion faster than others, including both actor- and system-level components. For instance, what drives and hinders adopters to decide to adopt the innovation on the actor and system levels, and how adopters who participate in the largescale diffusion handle the adoption process and the implementation of the innovation, are questions still unanswered. As a consequence, it remains unclear how the large-scale diffusion process can be facilitated and speeded up. This thesis addresses these issues by studying the case of renewable electricity (RE) innovations. After decades of technology development and improvements, RE innovations are now mature enough to be bought off-the-shelf by individuals and organizations. Yet, the pace of their large-scale diffusion is still too slow for countries to reach their RE generation targets and to limit global warming. Through qualitative and quantitative methods including 59 semi-structured interviews with adopters, project developers and experts in Sweden, France and Germany as well as a survey sent to the whole population of RE adopters in Sweden, an adopter perspective is taken in order to explore the adoption dynamics shaping large-scale diffusion of innovation. More specifically, the thesis identifies the drivers and challenges of adoption during large-scale diffusion and their impact on adoption decisions and strategies. The outcome of this work is presented in a compiling synthesis and six appended papers. Findings show that adopters are heterogeneous with regard to their characteristics, as well as to the drivers, challenges and strategies that affect their adoption processes. Depending on their perceptions, some adopters are more influenced by drivers and challenges than others and, as a consequence, adopters base their adoption decisions on different motives and follow different strategies to implement the innovation. Moreover, the results suggest that the dynamics that occur during the large-scale diffusion process does not only come from the actor level and the level of the system where the largescale diffusion takes place, but also from parallel systems, which are related to adopters and their contexts, including both the social networks and the industries they primarily belong. This makes adopters the central drivers of the innovation diffusion process and this distinguishes the dynamics of large-scale diffusion from the dynamics of innovation development and early diffusion, in which the innovation is the central component. Based on the findings about the adoption dynamics shaping large-scale diffusion, the thesis raises the need to consider large-scale diffusion as part of a new system, different from the innovation system and that acknowledges the specificities of this process. A tentative model accounting for the central role of adopters and for the interactions between adopters, the diffusion system and parallel systems is introduced. Finally, the implications of these findings for policy makers and managers are put forward. In particular, there is a need for policies acknowledging adopters’ heterogeneity as well as the new challenges of large-scale diffusion. Strategies developed by adopters can be a source of inspiration for policy-makers, who can for instance promote the use of intermediaries, of adopters’ task environment and networks, as well as the formation of coalitions among adopters.

Sweden has been praised for its achievements, and promoted as a role model, in sustainable urban development. This thesis, comprising five separate articles and a cover essay, is a critical study of the Swedish urban sustainable imaginary. The first article examines how this imaginary is produced. Using an actor-network theory approach, I view the Swedish pavilion at the World Expo in Shanghai in 2010 as a node in a wider network, arguing that the notion of decoupling GDP growth from CO2 emissions constitutes a central storyline. The second and third papers study the circulation of this imaginary in practice, specifically examining two cases of exporting Swedish sustainable urban planning to Chinese eco-city projects. Few of these plans, I note, were materialised in built form; rather, they contributed to the circulation of a repetitive model of sustainable urbanism, reinforcing a paradoxical idea of urban sustainability as “green islands of privilege”. The storyline of decoupling – and the circulating business of sustainable urbanism into which it feeds – is based on a deficient territorial view of space. In this research, I advocate a political ecology perspective and relational view of space, wherein there are no such things as sustainable or unsustainable cities. Rather, planning should aim for more just socio-environmental relations within and across urban borders. The fourth and fifth papers address the wider question of how planning can foster more socio-environmentally just forms of urban sustainability. Here, I emphasise a consumption perspective on greenhouse gas emissions as an important counter-narrative and analyse two Swedish municipalities’ efforts to lessen citizens’ consumption through policy and planning practice.   This research highlights the need to continuously develop and contest imaginaries and planning practices of sustainability, of who is perceived as “sustainable” and what a socio-environmentally just perspective might mean in practice for policy makers and planners alike. / <p>QC 20170120</p>

The structure of social networks, and people's position within these networks, are important predictors of many individual and group-level outcomes. One type of social networks that is regularly studied are the mutually interdependent relations of friends. This thesis focusses on friendship networks between adolescents in the context of schools. Arguably the most important and consistently found regularities in adolescent friendship networks are i) the tendency of friendships to be mutual, called reciprocity; ii) their tendency to cluster in groups, known as transitivity; and iii) the tendency of friendships to be present between those that are similar to one another, called homophily. Various social theories originating in different disciplines have theoretically proposed and empirically found micro-mechanisms that explain the regular occurrence of these substructures in friendship networks. This thesis introduces a framework of how the relation between these different networks tendencies can be understood. I propose that each of the three network evolution mechanisms can be connected to a type of social situation in which friends interact to form and maintain their friendships. Social situations that are dyadic and only involve two persons are connected to reciprocal friendships. Group-based social situations, on the other hand, are related to transitivity and homophily, where the groups are either defined socially or through common characteristics. Starting from this proposition, I suggest that when two adolescents share one forum for interaction with one another, i.e. they regularly meet within one of the social situations, meeting in additional other situations does not increase the likelihood of a friendship tie existing as much as could be expected from the sum of the effect of meeting in either situation. Consequently, I expect a negative interaction between the different network mechanisms. After a series of empirical analyses that support the outlined reasoning, I use the developed perspective to investigate how the micro-mechanisms contribute differentially to the creation of newly formed friendships and to the maintenance of already existing friendships. Finally, I show how a situational understanding of friendship can be used to differentiate which friendships are most important for social influence and for peer pressure.

Joseph Campbell tells us that if you look closely at all cultures you find the story of “The Hero's Journey”, the vehicle for my thesis project, a devised theatre piece titled A Thousand Faces: Everyday Heroes. Though the subject of A Thousand Faces is the exploration of “The Hero's Journey” the foundation of the work is the application of the pedagogical principles of Ritual Poetic Drama Within the African Continuum (RPDWAC) as outlined in the practices of my mentor Dr. Tawnya Pettiford-Wates, Assistant Professor of Performance at Virginia Commonwealth University Theatre (VCU). I apply RPDWAC pedagogical principles to Archetypes for the Actor/Singer (AFAS), a training methodology developed by Frankie Armstrong and another of my mentors, Professor of Voice and Speech and Head of Performance at VCU Theatre, Janet B. Rodgers. This paper outlines the process and performance of a class that combined these methodologies.

This thesis is a personal journey examining the applications of Ritual Poetic Drama Within the African Continuum as developed by my mentor Dr. Tawnya Pettiford-Wates, to the profession of the dramatic artist whether they are actor, director, educator or producer, to the training of the dramatic artist as a means of empowering generative, self defined, self validating artists, and as a means of developing community specific dramas in the hopes of facilitating individual and personal revelation. Using the author’s personal experiences as evidence, it intends to affirm Ritual Poetic Drama Within the African Continuum as an emergent methodology for theatrical practitioners.

This thesis is an exploration of movement pedagogy as a continuation of basic acting lessons from Stanislavski. Using the example of an introductory semester of movement instruction, physical acting and movement concepts are explained in terms of their connection to and derivation from universally accepted acting terminology and ideas. This is put forth as a way to facilitate the synthesis of movement instruction with other acting curriculum, as well as providing a new way to view some familiar acting concepts. Several specific examples are explored in more depth as case studies in physical equivalents to the intellectual, visual, or emotional techniques familiar to all with a basic knowledge of Stanislavski based acting principles.

The aim of this paper is to illuminate how the principles of the Alexander Technique and the role of bodily systems can serve as a foundational support for actor training. Inclusion of the Alexander Technique in the acting curriculum proves to be an effective tool for bridging the gap between kinesthetic learning and its application to beginning acting training. Starting with the nervous system, the operating principles of the Alexander Technique are discussed through research and personal insights. Next, in light of how self-discovery plays a key role in the first year of actor training, the idea of release in the neuromuscular system is explored as a way to support that process. Delving further into the actor’s process of character development, the efficient use of the skeletal system and the spine specifically is examined as the center of physical expression. Lastly, the breath and proper use of the respiratory system is discussed in relation to how it aids actors in making connected use of themselves. The outcome of this thesis through research, my personal journey as a teacher trainee of the Alexander Technique and observations and feedback though conducting workshops, elucidates the importance of creating harmony and release within the whole mechanism as a means of facilitating full expression, of mind, body and spirit, in the actor.

Typically, singing training for the musical theatre student is divided into three subjects: music theory, private voice instruction and acting through song. By separating the study of the components of musical theatre performance, musical theatre programs reinforce this compartmentalization and few students are able to make connections between these components in performance. This thesis gives an account of my design of an interdisciplinary approach to the study of musical theatre, specifically a class I developed called Singing for the Actor. In this class, I focused on connecting three components of musical theatre singing: music theory, vocal production (specifically the Estill Voice Training System) and acting. My intent was to help students connect these skills so that they would be able to tell a story through song with more specificity. In this thesis, I detail my research and the design of the course, as well as the outcome and student response.