Reconciling work and family life has been the topic of intense discussion in Europe over the past decade, in large part because the continent's declining and aging population makes it necessary to attract the widest possible range of European society into the labor force. One of the available segments comprises mothers and fathers with very young children. This thesis analyzes the formulation of family policy in the Czech Republic and its support in the aarea of reconciling family and professional life. The analysis herein is based on a comparison of international practices. The goal of this work is to evaluate the formulation of the relevant instruments of family policy that are intended to help people successfully balance family and work.

Background, aim and objectives: Evaluating quality of care is essential when redesigning or improving practice. Medicines reconciliation (MR) on hospital admission is now policy in the UK. It is the process of obtaining an up-to-date and accurate medication list and documenting any discrepancies. The overall aim of this work was to develop quality indicators to evaluate MR on admission to hospital; the specific objectives include developing MR quality indicators, achieving consensus on their appropriateness and testing their feasibility by applying them in a hospital setting. Design: The study was designed in three parts, each consisting of three steps. In part I, ideas about potential indicators were obtained from two sources: a literature search and the nominal group technique. These ideas were converted to potential indicators using criteria for good indicators and then reviewed by nine reviewers. Part II was designed to achieve consensus on the appropriateness of the indicators to evaluate MR. It involved pre-piloting, piloting and conducting the main two-round online Delphi study. Several methods were used to approach predefined experts. Part III involved applying in hospital settings those MR indicators that had achieved consensus. It included developing operational definitions and directly observing the MR process as conducted by pharmacy staff in two hospitals. The indicators were further tested by collecting data about the MR process for all patients seen by pharmacy staff on one weekday in the two hospitals. Results: A systematic approach was followed to develop MR indicators. The idea generation step produced over 90 ideas about potential indicators, which were converted to 85 MR indicators. The assessment by the nine practicing hospital pharmacists discarded 29 of them and the remaining 56 MR indicators were carried forward to the Delphi study, during which 41 indicators achieved consensus as appropriate for evaluating MR on admission to hospital. In the feasibility study, 5 MR indicators were found not to be feasible and three not adequately assessed, while 33 indicators were considered feasible to be used in a hospital setting. Conclusions: This work provided a novel list of 33 indicators that achieved consensus and were found to be feasible to evaluate the MR process on admission to hospital. Further research should explore the use of these indicators, among others, to assess and improve the overall quality of care provided to patients on admission and throughout the hospitalization journey.

South African artist William Kentridge's (b. 1955) work frequently employs optical tools, such as the stereoscope, to highlight the contingency and instability of witness. These visual tools become metaphors for the process of historicization in post-apartheid South Africa. Kentridge is best known for his animations that are filmed by drawing with charcoal, photographing, erasing, redrawing and photographing again, leaving a palimpsest of previous traces on the paper's surface. Kentridge's prints, drawings, puppetry, theatrical projects and performances are also addressed in (un)Fixing the Eye. Kentridge's vast array of works narrates a history critical of the narrow and objective history of apartheid constructed by the Truth and Reconciliation Commission's (TRC) official report. Furthermore, the metaphors suggested by Kentridge's optical tools undermine the ideology that apartheid is in the past. It suggests the necessity of colonial narratives as well as issues of class and materialism, within apartheid as traces that are very much part of the present. Each chapter of (un)Fixing the Eye uses a separate optical device to explore the narration of history in South Africa. To do so I draw from an eclectic group of thinkers: psychoanalytic models of melancholia and reparation, Jacques Derrida's work on forgiveness, Hayden White's theories of narrative and Jonathan Crary's work on optical tools and perception. Chapter one argues there is an ironic and impossible condition of forgiveness and truth in the TRC. Using Kentridge's Ubu Tells the Truth and its specific invocation of Dziga Vertov's realist 'kino-eye' and Alfred Jarry's brutal and absurd King Ubu as metaphors of absurdity and truth represented through the movie camera, this chapter argues that there is an impossibility of truth in the TRC. Chapter two reads Kentridge's Felix in Exile as a materialist response to the naturalized and a historical landscape tradition in South Africa. Felix's use of the theodolite and sextant as mapping and navigation tools highlights colonial mapping practices and the history of property ownership, particularly in the mining industry. In this way these optical tools link colonialism and mining alongside of the violence rendered in the film, unearthing a history of colonialism and class issues in apartheid narratives. Chapter three uses X-rays and CAT scans as metaphors for the testimony in the TRC, as both require an expert to decode and contextualize the testimony. Kentridge's films during the TRC use medical imaging technologies that are ambiguous and uncertain within the TRC's discourse of truth. Chapter four returns to the camera, this time as a colonial image in Namibia, arguing its usage in Black Box/Chambre Noir creates a melancholic relationship between Enlightenment Europe and colonial Africa. In this melancholia, Kentridge's history of the 20th century's first genocide in Namibia links a tremendous number of global histories. The focus in optical discourses, particularly the stereoscope is not new in Kentridge's work but (un)Fixing the Eye considers a number of tools that have not previously been a part of this optical work in Kentridge's art. It expands the political scope of Kentridge's work to include colonialism and class issues, insisting on their place in the current political landscape. Ultimately this project argues that Kentridge's work through a destabilized optical apparatus works both formally and allegorically as a way of conceiving of narrative and ideological critique in an expanded sense from the narrow confines set by the TRC.

Les raisons qui incitent les anciens belligérants à se réconcilier et à coopérer intéressent autant les praticiens que les théoriciens, elles sont cependant un sujet de débats controversés.Les études, peu nombreuses, menées sur les relations franco-algériennes, bien qu’elles soulignent l’importance de l’élément du passé dans l’évolution de ces relations depuis l’indépendance, elles n’identifient pas néanmoins son rôle en confrontation avec d’autres facteurs, car elles visent à atteindre d’autres objectifs.Cette présente thèse se veut alors une étude constructiviste du rôle du passé dans le processus de coopération et de réconciliation. Une approche globalisante qui n’exclue pas le rôle des facteurs objectifs ou personnels de l’éclosion du processus de coopération et de réconciliation, mais elle tend à les lier à une représentation de soi et à l’identification de l’autrui. Ces deux derniers éléments sont importants dans la définition de la relation à autrui et dans l’expression des relations belliqueuses ou coopératives. La reconnaissance est un moyen par lequel des rapports conflictuels peuvent se transformer en rapports plus coopératifs.Notre étude des relations extérieures franco-algériennes, montre que l’interaction antérieure de l’Algérie avec la France a généré une quête de reconnaissance. La représentation du passé inclue l’image d’une mémoire victimaire (torts infligés) et/ou d’une mémoire de vainqueur (gloires). En langage constructiviste, ceci indique une reconnaissance ou un déni de reconnaissance.Le déni de reconnaissance a incité l’Algérie à chercher un rapport d’égalité. Le succès de sa révolution d’indépendance lui a octroyé une identité de rôle (porte parole de Tiers-Monde). Ces deux éléments (la quête de l’égalité mais aussi l’affirmation de son identité de rôle) ont influencé le processus de coopération et de réconciliations entre la France et l’Algérie, notamment à l’ère de Boumediene (1965-1978). Bien que le rapprochement avec la France depuis l’arrivée d’Abdelaziz Bouteflika au pouvoir en 1999 a rendu la coopération inéluctable, néanmoins le processus de réconciliation a connu plusieurs reports, en raison de nombreux dénis de reconnaissance, tel que le vote d’une loi le 23 février 2005, au niveau de l’Assemblée française, qui insiste sur un certain « rôle positif » de la colonisation, suivi par d’autres dénis, lors de la présidence de Nicolas Sarkozy. Alors qu’à l’arrivée de l’élu socialiste sur la tête de l’Etat français, les choses ont changé progressivement vers l’établissement d’une réconciliation et de relations solides et durables. En concédant sur le plan de la mémoire, en reconnaissant les souffrances, les injustices et les torts, François Hollande veut donner aux relations franco-algériennes une nouvelle tournure, l’apaisement et la réconciliation / The reasons that lead the former belligerents to cooperate and achieve reconciliation remain a subject of a controversial debate. Both practitioners and theorists are interested in the question.The small number of studies conducted on the French-Algerian relations, although they highlighted the past as one of the important factors in the evolution of these relations since independence, they do not however measure its role in comparison with other factors, because they wanted to reach another objectives. The present thesis is therefore a constructivist study of the role of the past in the process of cooperation and reconciliation in comparison with other factors to demonstrate its right value. Past is generally presented as the memory of victimhood (wrongs) or memory of the winner (glories) or both. In constructivist language, it represents a denial or recognition.The constructivism is a global approach that does not exclude the influence of objective and personal factors in the process of cooperation and reconciliation, but it tends to associate those factors to self-representation and identification of others. These last two elements are important in defining the relationship to others and in the expression of hostile or cooperatives relationships. Recognition is a means by which conflicting relations may turn into ones more cooperatives.Our study of the French-Algerian relations demonstrates that the previous interaction between Algeria and France (colonization and Algerian war) has generated a quest for recognition. The denial of recognition in the past (victim), prompted Algeria to seek recognition of equality. Its image after the success of its revolution (winner) gave it a role identity recognized worldwide. These two elements (the quest for equality, and affirming its role identity), both aims in Algerian foreign policy, have influenced the process of cooperation and reconciliation between France and Algeria, mainly under Boumediene’s presidency (1965-1978). Although the rapprochement of Algeria with France since the coming to power of Abdelaziz Bouteflika in 1999 made the cooperation inevitable, despite the reconciliation process has known several postponements, due to many denials of recognition, such as the enactment of a law on 23 February 2005 at the French Assembly insisting on “a positive role” for the colonization, followed by other offenses and denials during the presidency of Nicolas Sarkozy. Since the election of François Hollande as head of the French state, things have changed gradually toward the establishment of reconciliation and strong and lasting relations between Algeria and France. By recognizing of the past wrong, suffering and injustices of the colonial period to Algerian people, Francois Hollande wants to give the French-Algerian relations a new twist, appeasement and reconciliation.

Creative ambiguity as a negotiation strategy is used often in peace agreements and refers to when ambiguities are used in agreements to serve as a positive motivation to get over obstacles. While it has many positive impacts, the use of creative ambiguity also often times shifts the burden of the negotiation phase to the implementations phase, and thus can result into agreements that are not implemented as well as plummeting the relations between the parties affected. This thesis aims to understand how the use of creative ambiguity in the Brussels Agreement between Kosovo and Serbia had an impact on the heightened conflict between the countries. This thesis is a single instrumental case study that illustrates the issue of creative ambiguity through the case of the Brussels Agreement. Through analysing interferences from material mainly collected from both countries’ government websites, this study conducted that the use of creative ambiguity had a harmful impact not only on the relations between Kosovo and Serbia, but also on the implementation of the agreement.

Doctor Educationis / This thesis will investigate the narrative approach to moral formation by comparing the narrative paradigm as espoused by James H. Cone and Stanley Hauerwas and will apply the findings to post-Apartheid South Africa. I am interested in the extent to which the principles of modernity forms part of the society and the shaping of morality, yet the thesis does not focus on modernity, but on narrative as ideal ethical framework for moral formation. This thesis will look at community, narrative and agency through Stanley Hauerwas’ notion of virtue and James H. Cone’s views of black theology and oppression as means for narrative informed moral formation. This thesis is divided into three major parts. First; an investigation into narrative which includes the arguments made against modernity, narrative and history as it pertains to moral formation and how narrative is understood. Second; James H. Cone and Stanley Hauerwas’ views on narrative and moral formation followed by closer look at Cone and Hauerwas and the critiques of their views. Third; contextualising the findings in a South African context by using the findings in conjunction with South African scholars. The aims are to investigate if moral reform is possible by means of narrative ethics through justice; by means of reconciliation and transformation.

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Heritage conservation and management has its own challenges and opportunities. If done correctly, it has the potential to re-establish the thread of continuity with a previous time. Most prominently, heritage conservation and management has the ability to facilitate legislative change, promote reconciliation and social reconstruction in a sustainable manner. It is this research papers intention to re-imagine the conservation and management process at a postcolonial heritage site with a shared history and meaning. Keeping this objective in mind, Cockatoo Island is discussed as a suitable heritage site and case study for the paper. The investigation into the case study will be undertaken by taking inspiration from Roha W. Khalaf’s publication of Cultural Heritage Reconstruction after Armed Conflict: Continuity, Change, and Sustainability. The study will reframe Khalaf’s concepts of cultural continuity, change and sustainability, by investigating its application to the discussed heritage site’s conservation and management processes. The synergies between Khalaf’s conceptual ideas could strengthen the connections between indigenous communities and their heritage sites. Further, these synergies could also facilitate for the social reconciliation of post-colonial communities, especially in the context of shared history and meaning. / Mini Dissertation (MSocSci)--University of Pretoria, 2020. / Andrew Mellon Foundation / Tangible Heritage Conservation / MSocSci (Tangible Heritage Conservation) / Unrestricted

In Ben Okri's The Famished Road, rituals such as baptism are easily lost in the dense symbolism. The novel is, in the words of Douglas McCabe, a "ramshackle and untidy affair, a hodge-podge of social ideologies, narrative forms, effusive enthusiasms, and precision-jeweled prose poems" (McCabe 17). This complex untidiness can be discouraging for readers and critics alike, and yet "there is something contagious about the digressive, meandering aesthetic of The Famished Road" that makes the novel difficult to consign to confusion (Omhovere 59). Commonly considered post-colonial, post-modern, and magical-realist, The Famished Road deals with, among other things, spiritualism, family relations, and political and sociological tensions in Nigeria in the decades before its publication in 1991. These themes are depicted with a rush of symbols, and in such a clamor, baptism and other rituals may have trouble making themselves heard. And yet, paying attention to the repeated performance of baptism transforms this audacious, ramshackle novel into a story of liminality, alienation, and reconciliation, a story which celebrates these things as inevitable and necessary parts of life. As readers, we can use baptism to decode The Famished Road. In doing so, the novel develops a cyclical, ongoing narrative focused on the difficulties of and increased agency in liminality and the necessity of ritual, on an individual, familial, and socio-cultural level, in navigating that in-betweeness. I will begin by exploring baptism in The Famished Road in order to understand the performance and power of ritual. Here, ritual acts as a doorway, giving characters a chance to navigate liminality without removing themselves from it. This navigation gives them an increased understanding of how the world works and how they may operate in it. After exploring baptism as a ritual, I will examine Okri's "universal abikuism" and its connection to the flexibility of liminality.

In work entitled CHANGE, I return in my memories to my home region, a town where I have lived and lived most of my life and which has been nicknamed the "Triangle of Death" for decades. This time period has had and continues to have a significant impact on my existence. In the first phase of the timeline of creating the topic of the diploma thesis, are my returns through induction and deduction. I approach my father's illness, which is not uncommon in my homeland. I connect connections leading to finding out the causes of origin and occurrence. Subsequently, I recall memories related to the stories heard from people about the factory, which was supposed to be and perhaps was the livelihood for the inhabitants of the poor eastern Slovakia, as well as the production of PCBs. I create, compile and depict images hidden in the memory of moments from my lived childhood. I depict the Chemko Strážske factory, which at that time was a kind of illusion of a happy life. I am looking for a way of acceptance and ways of reconciliation using painting techniques, through the representation of symbols and the central characters that represent it all.