This dissertation is a sociolinguistic, data-driven study of authentic job interviews with second language speakers of Danish. The job interviews are part of a Danish governmental initiative aimed particularly at immigrants and newcomers to Denmark, who are assumed to experience linguistic and cultural difficulties at the Danish labour market. The particular designs of the job interviews as well as the explicitly stated evaluations of language and culture create an unusual frame. On the one hand we deal with "traditional" job interviews as institutional gatekeeping instruments; on the other hand we face a tailored selection process meant to address the needs of the vulnerable. These contradictory practices produce certain tensions: although the job interviews in focus are meant to accomplish the target group's special needs, they exemplify a practice in which the good intentions are all dressed up but have nowhere to go.

The rapport building phase of child investigative interviewing is referred to in practice guidelines as an essential. Nevertheless, in contrast with other aspects of the interview it has been subject to little empirical examination. There is a lack of information on the rapport phase’s impact on children’s communication and whether this changes across a variety of different circumstances. Finally, few researchers have empirically assessed different styles of rapport building. This thesis investigates the communicative influence of the rapport building phase in child investigative interviews. It also examines the effectiveness of a new collaborative play approach to rapport building with respect to its influence on children’s communication and the rapport levels between the interviewer and child. The investigation began by interviewing practitioners about their perceptions and experiences of rapport building practice, and their opinions on the use of play during the rapport phase. A grounded theory approach to analysis found that interviewers perceive the rapport phase as a tool for facilitating communication with children during the investigative interview. This is achieved in three main ways: (1) assessing the child during the rapport phase, (2) adjusting interview approach based on the child’s presentation during the rapport phase, and (3) producing a psychological outcome in the child that then facilitates communication. The resultant theory and the comments made about play rapport were used in subsequent experimental chapters to design and implement play rapport, and to interpret the empirical findings. The second line of enquiry investigated the communicative impact of a collaborative play approach to rapport building in adult-child interactions. Children across three different age groups (6-7, 8-10 & 12-14 year olds) were more communicative and demonstrated greater rapport with an adult after play rapport than children in a control condition. The findings indicate that a collaborative play format of rapport building is an effective communication facilitator. The third empirical study tested play rapport’s efficacy in a mock investigative interview situation. It was compared with the current open style of rapport building used by practitioners in the UK, and a control condition that involved no rapport phase. Older children (8-10 year olds) who experienced play rapport demonstrated information benefits in comparison with children in the control condition. No differences were found between the open style and the control, and the open style and play rapport for information detail or accuracy. Children (5-7 and 8-10 year olds) were however, more resistance to interviewer suggestion after engaging in a play rapport phase in comparison with children who experienced the open style of rapport building. These results indicate the potential of play rapport as a communication facilitator for children in investigative interview settings. The final empirical chapter examined anxiety data taken from the children during the third study. This was to address the hypothesis that improvements in recall as a result of the rapport phase, and in particular play rapport, were due to a reduction in the children’s anxiety levels. The data showed no differences across the rapport protocols in terms of anxiety for any of the measures. The information benefits found could therefore not be explained with respect to a reduction in anxiety. Alternative theories were then proposed, and future research outlined that could further investigate the psychological underpinnings of the communicative effects of the rapport phase, and the collaborative play rapport approach.

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The purpose of this study was to conduct an oral history of the lived experiences of nine African American doctoral recipients from 1970 to 1980, an era on the heels of the Civil Rights Act of 1964, the Higher Education Act of 1965, and the beginning of Affirmative Action in admission policies of Predominantly White Institutions (PWIs). This study comprised of six males and three females, who self-identified as African American and received their doctorate degree between 1970 and 1980. Eight of the nine participants’ college of origin was an HBCU, however all of the nine participants graduated with doctorates from PWIs. The data collection methods used for this qualitative study were biographical questionnaires and face-to-face interviews, which utilized semi-structured questions. The data analysis approach was coding categories that aided with sorting the data. Critical race theory (CRT) was used as the theoretical framework for this study. CRT was employed to analyze the lived experiences of these nine participants within American institutions such as K-12 schools, and colleges and universities. The findings revealed that race and racism played a role in the daily decision-making process of the participants, although it did not prevent these nine African Americans from receiving the doctorate degree. This study presented counterstories told by a group of scholars who are depicted as being on the margin of society. It is crucial that the voices of those on the margin of society are included in the history of higher education. These scholars’ stories will contribute to the gap in the literature regarding African American doctoral recipients from 1970 to 1980. This study offers a profound story of the lived experiences of nine African American doctoral recipients during a period of vast social changes in American society. / Access to thesis permanently restricted to Ball State community only. / Department of Educational Studies

O trabalho foi realizado com 40 gestantes que haviam recebido diagnóstico de malformação fetal não letal. Descreve as repercussões emocionais iniciais após o diagnóstico; avaliando a relação entre o tipo de malformações e as repercussões emocionais; a presença e a fase de stress em que estas gestantes se encontravam. Foi realizada uma entrevista semidirigida e aplicado o Inventário de Sintomas de Stress de Lipp. Os resultados apontaram repercussões emocionais com choque e negação. Não houve diferenças emocionais associadas à gravidade ou ao tipo de anomalia. Quanto ao stress, este está presente na maioria das gestantes e, parece associado a interpretaçãos individuais de fontes estressoras / This research was done with 40 pregnant woman that had received the diagnosis of non lethal fetal malformation. The emotional repercussions are described after the diagnosis; evaluation the relation between the type of malformation and the emotional repercussions; the presence and level of stress that these pregnant woman were in. A semidirected interview was done and the Inventory of Stress Symptoms by Lipp was applied. The results showed emotional repercussions such as shock and denial. There were no emotional differences associate with the degree or type of anomaly. And as for stress, it is present in the majority of the woman and is associated to individual interpretations of stress causes

The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.

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Jacques Brel, Georges Brassens and Léo Ferré are three emblematic figures of post-war French song, who have been seen by critics, journalists, and the public, as the epitome of chanson, and more generally of ‘Frenchness’. The starting point of this study is the observation that the legacy of the systematic association of Brel, Brassens, and Ferré – crystallised in Cristiani’s 1969 interview and in Jean-Pierre Leloir’s photograph of the interview – has enjoyed a prosperity which seems disproportionate to the actual relevance of the comparison between the three artists. In 1969, the three singers were significant figures of French song, but they were not the only ones. Bringing them together was therefore a promise of media success, but it was in no way expected to start a legend; and yet, the myth of the interview has today taken over its reality, to the extent that the Comédie Française is presently, almost thirty years later, turning it into a play which was staged in May 2008. The photograph of the three singers smoking and drinking around a table is, today, and for a vast majority of people, the only thing that they know about the famous interview, if not about the singers. The lack of obvious grounds to justify the exclusivity of the trio suggests that there is more to it than a musical trinity. By taking into consideration the oral dimension of song, the socio-cultural context in which the trio emerged, and the mediation of their celebrity, this study aims to identify the factors of cultural and national identity that have held together the myth of the trio since its creation. Besides shedding new light on the significance of the three artists individually, this study proposes to demonstrate that each singer embodies qualities with which the French people likes to be associated, and that the trio Brel-Brassens-Ferré can therefore be seen as an arbitrary sketch of a certain ‘Frenchness’. In particular, this thesis focuses on the trio illustrating the popular representation of a key issue of French national identity: the paradoxical aspiration to both revolution and the status quo. By taking the cultural icon ‘Brel-Brassens-Ferré’ as a case study through which to address questions of popular and national identity, this study contributes to cultural studies in two different ways. Firstly, through theorising the implications of the oral dimension of songs, it demonstrates the necessity of taking into consideration factors such as performance, the media, and the socio-historical context, when studying artists as societal phenomena. Secondly, it evidences the importance of the study of forms of popular culture, such as iconic singers or music, when investigating the ways in which a society perceives its own national identity.