I conducted a qualitative study, interviewing thirty-three workers from the baby-boomer generation, with an objective of examining the intersection of aging and economic restructuring for boomer professionals. Participants’ careers had been impacted by the restructured economy at a point after they reached the age of forty. I applied an identity theory framework that emphasized meanings associated with growing older in the workforce, changes in the economy, self-meanings, and behavior in the restructured workplace. My focus also included process and questions of structure and agency. I used grounded theory methods to provide theory that explains the experience of transitioning from an existing work role as a downsized worker seeking a new job, entering selfemployment, or pursuing a reinvention of one’s career. I examine the transition process, the effects of structure, the formation and maintenance of identity in the transition role, and the factors that impact transition outcomes. I propose a theoretical argument that provides a comprehensive framework for the transition process. I establish transition as a relatively new and legitimate role for today’s worker, identify hegemonic structure as being particularly influential in the development of transition role identities, conceptualize personal resources—specifically self-esteem, selfefficacy, and authenticity—as key aspects of maintaining identity during transition, and investigate worker attributes that relate to transition outcomes. I assess career outcomes in terms of how successfully the transition role is negotiated and identify characteristics that comprise successful and unsuccessful transitions. I then discuss the implications of unabated economic restructuring for boomer professionals and, more broadly, for the future of the U.S. economy.

Title: Artists’ identity and image – a brand perspective The purpose of this study has been to create an understanding of how artists in the music business can be seen as brands and to see what stands out when having this approach. During the study we have focused on the two terms identity and image. We find this issue interesting and relevant since branding has been widely discussed in business economy, but not enough when it comes to artists in the music business. To answer our research question we have targeted three aims for this essay, which is to clarify and analyze:  Identity and image when people are viewed as brands  What specifically characterizes the image of the artists when they are seen as brands and what it might mean that artists are considered as brands  How artists identity and image can be highlighted, shaped, influenced and how it can change In this study we have used a qualitative approach to get the topic in depth and gain a greater understanding for the subject. The essay has been characterized by an abductive approach. The collected empirical material consisted of seven interviews with people who have good insight into the music business and/or brands. Six of these interviews were made face-to-face and one of them was implemented by email. The study has shown that it is more common today to consider artists as brands. It has also become more common to think “outside the box” when record sales are no longer the obvious source of income. It is important that artists find their unique basis that imbues everything they do to create a unified and strong brand.

The importance of passion increases with the extent of sorrow. While money can replace the passion by offering the opportunity to buy the added value for oneself and the society, social enterprises, artists and start-up organizations have bigger issues to organize the necessary resources. Passion is inevitable for making a difference in the society while suffering a lack of money. Thus, the presence of a certain obsession is a favorable situation for smaller organizations in order to go through difficulties. This thesis investigates the miracle of passion in order to gain an understanding about the ability of leading passionate people. Theories and experiences from passionate individuals are combined in this research paper and suggest different perspectives a leader must consider by leading passion. I assume the social interaction between leaders and followers which result in a mutual influence of behavior and performance. This thesis is focused on the perspective of passionate followership and elucidates factors that are needed to act passionate as well as the role of the leader within this passionate environment.

This dissertation is interested in how people talk about character in a variety of public spheres. Specifically, it explores the tangled relationship between authenticity and ethos, or what is taken as the distinction between intrinsic and constructed character. While this dissertation does not presume to settle the question of authenticity’s actuality, it does discuss the ways authenticity cues in rhetorical acts continue to influence how “sincere character” in those acts is understood, even as audiences exhibit shrewdness in recognizing that character is a purposeful manifestation of the rhetor. The fundamental phenomenon this dissertation seeks to describe is how people, with better and worse success, negotiate the dissonance between valuing character as authentic and as presentation and representation. Character in this view is a much richer and more paradoxical concept than many discussions of the term admit. A too-diluted study of ethos limited strictly to pinpointing credibility in an argument makes it difficult to articulate why an exhibition of character sometimes works and sometimes flops. Ethos in its fullest complexity is, and is not, constructed by any single act; it is the consequence of narratives, both of those narratives, and also what we say about those narratives; it is something we know about a rhetor, at the same time that it comes from what the rhetor claims to know; it is, most important, an appeal to authenticity, even when we know ethos is discursively, kairotically, and socially constructed. This dissertation offers an expanded definition of ethos as rhetorical transactions that rhetors and audiences mutually negotiate in order to determine the extent to which all sides will have their rhetorical needs met, and the extent to which all sides can assent to the those needs. The dissertation, using the works of Wayne Booth, Kenneth Burke, and Chaïm Perelman as its primary theoretical structures, offers pedagogic implications for these mutual negotiations. / text

Syftet med studien var att ta reda på hur gymnasieungdomar upplever utomhuspedagogiska moment i undervisningen. . Det är en kvalitativ undersökning gjord vid Bernadottegymnasiet i Stockholm. Studien baseras på deltagande observationer under drygt två fältdygn och på semi-strukturerade intervjufrågor med tolv elever, i tre fokusgrupper. Resultatet visar att elever upplever utomhuspedagogiska undervisningsmoment positivt. Eleverna anser att dessa moment utgör ett viktigt komplement till traditionell undervisning, och att utomhuspedagogik ökar både motivation och förståelse av begrepp, genom den autenticitet de erbjuder. Den positiva upplevelsen förstärks om lärsituationen upplevs som relevant och autentiskt. / The aim of this study was to investigate upper secondary school pupils' attitudes to outdoor learning. It is a qualitative study done at the Bernadotte upper secondary school in Stockholm. The study is based on participant observations during two days and on semi-structured interview questions with 12 pupils in three focus groups. The results show that pupils in upper secondary school experience outdoor learning as positive. The pupils argue that those exercises constitute an important complement to traditional education and that outdoor education increases both motivation and understanding due to the authenticity it offers. This positive impression is strengthened if the educational situation is perceived as relevant and authentic.

I den här essän söker jag svar på följande frågor: Vad gör egentligen en berättare? Närmare bestämt: vad utmärker professionellt, muntligt berättande jämfört med det publika berättande som författare och skådespelare ägnar sig åt? Vad är det som just en muntlig berättare kan? Jag använder forskning som studerat förutsättningarna för dessa yrken – särskilt hur berättelser konstrueras och berättande går till – och tillämpar studierna på ett konkret fall: mina egna erfarenheter av att förbereda och framföra sägnen om Råttfångaren från Hameln vid Ljungby berättarfestival 2012. Det jag då gjorde och hur jag såg på det efteråt, jämförs med fiktiva berättares verksamhet i Mario Vargas Llosas roman El Hablador och Ursula K. Le Guins The Telling. Jag prövar bilden av en råttfångare som metafor för en muntlig berättare och kommer till slutsatsen att berättaren kan vara lika fängslande och lika förledande. Även skådespelare och romanförfattare kan fängsla sin publik, men inte luras så som en berättare kan. Att kunna förleda är baksidan av den djupt mänskliga förmågan att kunna säga som det är. Till vardags är vi väl medvetna om detta och god berättare tar med sig den insikten även upp på scenen. / In this essay I seek answers to the following questions: What is a storyteller in fact accomplishing? What distinguishes professional, oral storytellers from other public narrators such as authors of fiction and actors? What can a storyteller do, that they can’t? I use research investigating the conditions of these professions – in particular how narratives are constructed and how narration works – and apply it to a real case: my own experiences in preparing and performing The Pied Piper of Hamlin at Ljungby storytelling festival 2012 . What I did and the way I looked at it afterwards, is compared to the activities of fictional storytellers in Mario Vargas Llosa’s novel The Storyteller and Ursula K. Le Guin’s The Telling. I test the image of a pied piper as a metaphor for an oral storyteller, and reach the conclusion that the teller can be just as captivating and deceitful. Authors of fiction and actors can also spellbind their public, but not deceive the way a storyteller can. This talent is the obverse to the human capacity of telling it like it is. We are well aware of this in our daily lives and a good storyteller keeps this insight in mind also on stage.

Elektroniniu formatu saugomos informacijos apimtys ir svarba vis didėja. Pamažu į elektroninę erdvę perkeliama vis daugiau dokumentų ir viešųjų paslaugų. Anksčiau dokumentų ir duomenų originalumą bei teisingumą patvirtindavo dokumento originalas saugomas archyve, ant kurio visuomet turėjo būti atsakingų asmenų parašai. Siekiant užtikrinti elektroninių dokumentų autentiškumą sukurta elektroninio parašo technologija. Elektroninis parašas – efektyvus būdas užtikrinti dokumento autentiškumą, t.y. patikima ir pasitikėjimą kelianti technologija. Ką daryti tuo atveju, kai reikia didinti pasitikėjimą duomenimis, kurie gaunami iš dokumento ir išsaugomi kaip tam tikros sistemos duomenys? Daliai tokių duomenų būdinga savybė keistis, pvz. moters pavardė po santuokos, kiti duomenys atvirkščiai – turi likti nepasikeitę visą savo gyvavimo periodą, pvz. eksperimentų rezultatai, finansinės apskaitos duomenys. Pirmuoju atveju dažnai tikslinga žinoti kas, kada ir kaip keitė duomenys. Antruoju – tikslinga įsitikinti, kad duomenys tikrai nebuvo pakeisti. Šio darbo metu nagrinėjama būtent pastaroji problema, t.y., kaip padidinti pasitikėjimą duomenimis, kurie turi išlikti autentiški. Darbo metu analizuojama sukurta sistema, kuria siekiama užtikrinti duomenų, o ne dokumentų autentiškumą, panaudojant elektroninį parašą. Taip pat atliekamas eksperimentas palyginantis jau egzistuojančio sprendimo ir pasiūlytos sistemos charakteristikas. / The importance and volume of information stored in electronic form grows in days rather than years. More and more documents and public services are gradually being moved to electronic space. Some time before, document and data originality were endorsed by the original documents which were stored in archives. To ensure electronic documents originality the electronic signature technology was created. Electronic signature is an effective way to ensure the authenticity of the document, i.e. this is a reliable and raising confidence technology. What should we do in case of a need to increase confidence in the data, which are derived from the document and saved as a third party system data? One kind of the data have tendency to change, for example woman's surname after marriage. The other kind has opposite feature – it remains unchanged throughout the period of its existence, for example results of experiments, the accounting data. In the first case is often useful to know who, when and how changed the data. The second case is a bit different – it is crucial to make sure that the data did not change at all. This work is a research on the latter issue, i.e. how to increase confidence in the data, which must remain authentic. A system was developed during the research. It uses electronic signature to prove data authenticity rather than document. We also conducted an experiment comparing the existing and the proposed system performance.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Denna uppsats behandlar en jämförelse hur Auschwitz-Birkenau-museet samt Livrustkammaren arbetar med sina respektive artefakter rörande bevarandeperspektivet. Detta innebär att författarna kommer fokusera på hur respektive museum arbetar för att bevara autenticiteten i de artefakter som finns. Författarna valde att besöka Oswiecim, mer känt under namnet Auschwitz, som är en stad beläget i södra Polen. Ett besök till Livrustkammaren i Stockholm, Sverige, genomfördes även. Motiveringen för valet av Auschwitz-Birkenau museet samt Livrustkammaren är grundat i att de båda huserar utställningsartefakter vars unika egenskaper inte är påträffbar någon annanstans i världen. / This thesis discusses the difference in choice of perspecitve of preservation between Auschwitz-Birkenau museum and The Royal Armoury. This results in that the authors therefore will focus on how each of the museums operate with the preservation of the authenticity within their exhibits. The authors chose to visit Oswiecim, more known as Auschwitz, a town in the southern parts of Poland and a visit to The Royal Armoury, in Stockholm, Sweden, took place as well.The reason for choosing Auschwitz-Birkenau museum as well as The Royal Armoury is based in that they’re both both housing unique exhibits, that are non-present in other parts of the world and also because the preservation of these exhibits needs for a more cautious approach.

The thesis analyses the continuously changing discourse of cultural diversity. The focus of this study is the ways in which this discourse is shaped within contemporary Swedish cultural politics in general, and how it unfolds and further changes through the specific activities performed by a cultural institution in Stockholm – Södra teatern. Where as the cultural diversity inspired cultural politics seems to be caught in the tension between defending the autonomous position of culture in society and arguing for the supposed positive integrative consequences of such a perspective the Södra teatern mirrors a similar complexity in their ways of performing cultural diversity. This complexity is expressed through the three aspects of cultural diversity the thesis analyses – the real, the good and the cool cultural diversity. Each of the three aspects expresses a search for authenticity as well as a resistance towards the very same notion; a belief in the enlightenment of knowledge at the same time as the content of the very same knowledge is questioned; and finally that ethnic differences some times is enforced through utterances that stresses tradition where as the supposed hybrid forms in other situations is celebrated. The three aspects of cultural diversity analysed here all express how cultural diversity works as a hyper complex concept within cultural policy where no single possible meaning erases other potential meanings. On the contrary: different and even contradictory meanings of the concept exist side by side. Thus the thesis argues that the discourse of cultural diversity expresses a hyper complex problem. / Avhandlingen analyserer hvordan mangfoldsdiskursen formes på det kulturpolitiske området ved å studere hvordan denne formes i så vel Södra teaterns virksomhet som i den statlige kulturpolitikken. Mens den statlige mangfoldsorienterte kulturpolitikken preges av en spenning mellom på den ene siden å forsvare kulturens autonome stilling og på en andre siden å forsvare det man kan kalle for integrasjonspolitiske hensyn, så uttrykker Södra teaterns arbeid med kulturelt mangfold en lignende kompleksitet. Denne kompleksiteten uttrykks gjennom de tre ulike aspekter av den mangfoldsdiskursen avhandlingen analyserer – det ekte, det gode og det coole mangfoldet. De tre aspektene uttrykker hver for seg både en søken etter autentisitet og en motstand mot autentisitet; en opplysningstro så vel som en selvrefleksivitet i forhold til hva det opplyses om; og til slutt at etnisitetsforskjeller i visse situasjoner forsterkes gjennom ytringer som vektlegger tradisjon, mens andre ytringer snarere hyller det som oppfattes som hybride uttrykk. Disse tre delanalysene visere hvordan kulturelt mangfold fungerer som et hyperkomplekst begrep innenfor kulturpolitikken da tilsynelatende ulike og motsigelsesfulle tolkninger kan eksistere side ved side. Således argumenterer avhandlingen for at mangfoldsdiskursen uttrykker et hyperkomplekst problem.