The purpose of the essay is to examine how issues concerning gender equality are perceived and to show what areas are defined as problematic in different discourses. It also raises the question of who is defined as responsible for dealing with issues concerning gender equality in these different contexts. Theories used are the gender system and intersectionality. The study builds on a mapping of a company that is active nationally and internationally, with emphasis on the problems that can arise when these two social contexts meet, with a special focus on cathegories such as gender and “Swedishness”. The material was first gathered through the use of questionnaires and interviews, then analysed through discourse analysis. The analysis shows that discourses of gender equality can be seen as constructed and dependent on the context, problems concerning equality are defined in one way nationally and in another way internationally. In cases of sexual harassment internationally the informants often choose to look the other way and feel like it is difficult to bring the “Swedish” values concerning equality abroad. It is more common to adapt to the ways of international colleagues but the informants also find it important to point out that they don’t necessarily agree with these. / Syftet med uppsatsen är att ur ett genusperspektiv undersöka hur frågor om jämställdhet uppfattas och visa vilka områden man väljer att peka ut som problemområden i olika diskurser. Uppsatsen utreder även vem som anses ha ansvaret för frågor som rör jämställdhet i olika sammanhang. Det teorier som används är genussystemet och intersektionalitet. Analysen utgår från en kartläggning av ett företag som är internationellt aktiva och den problematik som kan uppstå i möten mellan olika sociala kontexter, med fokus på föreställningar av genus och ”svenskhet”. Arbetsmetoden består av enkät- och intervjustudier och analysen har gjorts genom diskursanalys. Denna visar att jämställdhetsdiskurser kan ses som konstruerade och kontextbundna. Jämställdhetsproblematik definieras på olika sätt beroende på om man befinner sig på arbetsplatsen eller utomlands. Om man utsätts för könskränkningar i det internationella arbetet väljer informanterna många gånger att se mellan fingrarna och tycker att det är svårt att tillämpa ett ”svenskt” synsätt internationellt. Det är vanligt att anpassa sig mycket efter sina utländska kollegor, men poängterar samtidigt att man egentligen inte håller med om deras synsätt.

Vad händer vid en medling och hur upplevs detta möte av de parter som ingår i medlingsprocessen? Denna fråga är utgångspunkten i föreliggande uppsats vilken belyser gärningspersoners och brottsoffers upplevelser samt den förändrade syn på sig själva och den andra parten vilken medlingen bidragit till. Medling vid brott innebär att gärningsperson och brottsoffer möts och samtalar om sina upplevelser av brottet. Denna uppsats har med intervjuer som bas studerat parternas egna upplevelser av medlingssituationen. De teoretiska utgångspunkterna för uppsatsen är George Herbert Meads ”Den Generaliserade andre”, Thomas Scheff och Susanne Retzingers skambegrepp, Erving Goffmans samspelsteori samt ”Det intersubjektiva tredje” vilket beskrivs av Samuel Gerson. Med hjälp av dessa teorier har gärningspersonerna och brottsoffrens upplevelser av medling analyserats, analysen visar att medling av båda parter beskrivs som ett möte där en motpart gett dem insikt om den andres upplevelse av brottet. Denna insikt resulterade i en för gärningspersonerna förändrad livssyn samt för brottsoffren en känsla av att få brottet utrett. Slutsatsen som dras i denna uppsats är att medling vid brott bidrar till att ge gärningsperson och brottsoffer en ny bild av händelsen och att denna nya bild leder till eftertanke kring det egna beteendet samt en förståelse för hur det egna agerandet påverkar andra. / What happens at a victim-offender mediation and how is this process perceived by the parties involved? That is the starting point in this paper illustrating perpetrators and victims’ experiences and their changing views of themselves and of the other party given by the mediation process. Criminal mediation means that the perpetrator and the victim meet to discuss their view of the crime. This paper, based on interviews, studies both parties own experiences of the mediation. The theoretical starting points of the paper are George Herbert Mead´s "the Generalized Other”, Thomas Scheff´s and Susanne Retzinger´s shame and reintegrative shame concept, Erving Goffman´s interaction ritual theory and "the concept of the third” described by Samuel Gerson. Perpetrators and victims experiences of the mediation have been analyzed by means of these theories, the analysis shows that mediation is described by both parties as a meeting giving them insight into the other parties’ experience of the crime. This insight resulted in a changed view on life for the perpetrators and a feeling of having the crime investigated for the victims. The conclusion in this paper is that victim-offender mediation gives the perpetrator and the victim a new view of the incident, resulting in reflection about their own behaviour and an understanding of how their acting affects others.

Donald Judd, Dan Flavin, Carl Andre et Sol LeWitt sont parmi les principaux représentants de l'art minimal aux Etats-Unis. Les oeuvres analysées dans cette thèse sont majoritairement tirées de leur pratique des années soixante et soixante-dix, et se rattachent à la sculpture. À partir de ces oeuvres, notre recherche se propose de montrer les rapports entre l'esthétique et le politique, en regard d'un questionnement sur la rationalité que ces oeuvres induisent. Dans les premier et second chapitres, nous présentons une analyse initiale des oeuvres en exergue, et une mise en situation contextuelle. Celle-ci s'établit en regard d'un corpus critique et d'un commentaire sur le climat épistémologique de l'époque étudiée. Le troisième chapitre renvoie aux sources formelles et théoriques, en maintenant l'idée de filiation -et d'infléchissement de ces mêmes filiations -qui se dégagent des chapitres précédents. Les deux derniers chapitres reprennent les principaux éléments théoriques que nous avons retenus pour les besoins de notre analyse. Nous y étudions, à l'aune des pensées de Deleuze et d'Adorno, l'articulation particulière de l'esthétique et du politique dans l'art minimal. Le politique s'y appuie sur une interrogation de la rationalité qui travaille l'idée de totalité et d'immédiateté de la perception. Avec la prémisse de la reconduction dans l'oeuvre d'instances paradoxales basées sur une synthèse connective ou une répétition profonde qui sous-tend la répétition sérielle première. En somme, il s'agit dans le commentaire critique des oeuvres et des artistes choisis, d'étudier des notions qui se posent comme paradigmes de l'ambiguïté de l'oeuvre minimale. L'ancrage théorique privilégié en découle. L'investigation de concepts prégnants dans l'oeuvre minimale, tels la différence et la répétition, le matériau et les rapports forme/contenu, et la mimésis qui renvoie aux problématiques du simulacre ou du reflet, qualifient la représentation dans l'oeuvre minimale. Une analyse renouvelée de ces termes récurrents demandait un champ théorique inusité. Ce dernier ouvre à une qualification de l'oeuvre minimale basée, non pas uniquement sur les certitudes de ce que l'on voit, mais également sur ce qui échappe à la perception immédiate. Cette conjonction spécifique reconduit une oeuvre déterminée par ce qui l'indétermine. Et une interrogation de l'esthétique et du politique à travers celle d'une rationalité où perce le sensible. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art minimal, Esthétique, Politique, Rationalité, Éléments.

Denna studie intar ett perspektiv mellan de två motsatsparterna social konstruktion och en individualistisk syn på individers konstruktion av sig och sin värld. Begreppet existentiellkonstruktivism hänvisar till att omgivningen alltid gör intryck på individen men att den yttre världen först måste filtreras genom individen för att ha en inverkan på bilden individen skapar sig av sig själv och världen. Vår neomoderna tidsålder har en säregen inverkan på denna relation mellan omvärlden och individen och ökar tendensen för individer att infinna sig i tilldelade identiteter. Institutioner spela här en stor roll. Utifrån denna tes ska denna studie se på vilka värderingar som Malmö Stads integrationsarbete går in i arbetet med sina objekt, det vill säga invandrare. Genom en analys av stadens dokument analyseras arbetets ideologiska och teoretiska premisser vilka borde ha en avgörande betydelse för hur institutionerna hanterar invandrare, och därför hur invandrares liv och självbild präglas av dessa premisser. De resultat som analysen av Malmö Stad når fram till sätts i förhållandet till studiens existentiellkonstruktivistiska utgångspunkter. Studien hoppas kunna ställa Malmö Stads syn på individen gentemot en existentiellkonstruktivistisk individsyn och resonera hur detta förhållande kan sättas i samband med samtida problem inom den etniska dimensionen.

This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as André Breton, Joan Miró, Max Ernst, Wolfgang Paalen, Oscar Domínguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention—one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous. / text

The aim of this study was to examine how social workers relate to unaccompanied asylum-seeking children, regarding their cultural background and potential social issues. In order to achieve a more profound and comprehensive view of the social workers views regarding the separated children, we selected to execute semi structured interviews with social workers. These interviews were aimed at those social workers who performed assessments and investigations concerning unaccompanied children. We completed nine interviews which we recorded and transcribed in a strict manor. When we analyzed the empirical material, certain themes where identified as more protuberant and thus we our selection was based on what we regarded as the most relevant topics, in accordance to the aim of the study. Furthermore, our focus was set upon the social workers views regarding cultural differences between unaccompanied asylum-seeking children and Swedish children. We also decided to focus on which views these social workers portrayed, regarding the unaccompanied asylum-seeking child’s cultural background and how social issues could affect the social workers frame, their assets and formulation of their interventions, concerning separated children. We learned during our study that the social workers are enduring a heavy workload, especially since the numbers of arriving separated children are rapidly increasing. Furthermore, the economical recourses, in forms of personnel, are not increasing the same pace. In recent years, societal attitudes have altered and more negative and separative views regarding separated children are apparent. However, the social workers have applied a more universalistic approach towards the children to show the resemblances rather than differences between unaccompanied asylum-seeking children and Swedish children. Our study makes evident, that underneath this universalistic policy, culturalization of the children took form and this development also affected how the interventions were framed. Conclusively, this study displays how culturalization of the interventions affected the care of the children negatively and resulted in a declining standard of care, as well as differentiation of care.

Doutor -- Universidade de Sao Paulo. Faculdade de Saude Publica. Departamento de Nutricao, Sao Paulo, 2003.

This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".

Prenant comme bornes chronologiques les grandes mutations que connait le paysage institutionnel français, ce travail analyse comment les lieux culturels deviennent un terrain d'action critique pour les artistes. La première partie montre qu'avec l'indexation de l'oeuvre sur le contexte les pratiques in situ sont l'aboutissement de la logique d'ancrage dans la société que les courants artistiques des années 1960 promeuvent. En proposant une généalogie de ces pratiques à partir des oeuvres de Jean-Michel Sanejouant, Mark Brusse et Daniel Buren, l'auteur défend l'idée qu'elles constituent un préalable nécessaire à la mise en cause des lieux culturels. La seconde partie engage une discussion des catégories établies par l'historiographie - majoritairement anglo-saxonne. Si les récits développés au sujet des notions "Site specificity" et d'"Institutional critique" informent la reflexion, il est proposé en retour de les réviser à l'aune du cas français, notamment de l'oeuvre d'André Cadere. La troisième partie aborde les rapports que les pratiques artistiques critiques entretiennent avec les mouvements contestataires : après les soulèvements de 1968, les lieux culturels deviennent de véritables espaces de protestation. En s'intéressant à une série d'évènements significatifs, tels que les Biennales de Paris de 1969 et 1971, l'exposition "72-72" ou l'ouverture du Centre Georges Pompidou, l'auteur explore les multiples positions et modes d'action critiques qui s'invitent sur le terrain des lieux culturels : vision réformatrice, activisme, pratiques artistiques critiques. Ce travail constitue ainsi une investigation sur les rapports entre mouvements sociaux et critique artiste dans la France des années 1960-1970 / Taking as chronological markers the major changes that the French institutional landscape experiences, this work analyzes how cultural places become a field of critical action for artists. The first part shows that with the indexing of the work on the context in situ practices are the result of the logic of anchoring in society that 1960s artistic movements promote. By providing a genealogy of these practices from the works of Jean-Michel Sanejouand, Mark Brusse and Daniel Buren, the auhor argues that they are a necessary prerequisite for the questioning of cultural venues. The second part undertakes a discussion of the categories established by the historiography - mainly Anglo-Saxon. If the stories developed about the concept "Site specificity" and "Institutional critique" inform the discussion, it was proposed in return for review in the light of the French case, especially the work of André Cadere. The third part discusses the reports that the critical artistic practices have with the protest movements : after the uprisings of 1968, cultural veneus become real protest sites. By focusing on a series of significant events such as the Paris Biennials of 1969 and 1971, the "72-72" exhibition or opening of thez Pompidou Centre, the author explores the multiple positions and modes of critical action that invite in the field of cultural venues : reforming vision, activism, critical artistic practices. This work is thus an investigation on the relationship between social movements and artist critic in France from 1960-1970

The core of this work is research and analysis of documents, correspondence, memoir, and secondary reflection of relations among Czech and French surrealists, primarily from the area of literature. Attention is paid both, the Le grand jeu group and the group around Andre Breton. Based on comparisons and analysis that have been carried out, formation of mutual discursive dominant is described, together with way of their period interpretation.