This paper sets out to conduct a critical policy analysis of the government report SOU 2017:47 with a focus on Sweden’s pursuit of equal health. This is done within a theoretical framework based mainly in governmentality theory, with a focus on governing through self-regulation. This theoretical framework identifies a need for a balance between people’s ability to problematize their behaviour (self-regulation) and their ability and capacity to act on their problematization for equal health to be possible. Due to Sweden’s pursuit for equal health the assumption is made that this balance must be absent form Swedish policies. This problem is made operationalized by searching for indications of a focus on “the individual” or “the system”.Hence the goal of this paper is to identify how and if this balance can be identified in SOU 2017:47. This is done with the method “What’s the problem represented to be?” (WPR) based on Bacci’s (2009) approach to analyse public policy. The method is structured after six questions that sets out to find and analyse how problems are represented in policies. The problem representation shows the problem of unequal health as resource based which can be solved with the help of the Swedish welfare system. The analysis shows that no balance can be identified in SOU 2017:47. Instead the results show that focus lies on various systematic changes in regards to public and welfare institutions. Therefore it can be concluded that focus lies on people’s abilities and capabilities to act and no clear balance can be identified.

Made available in DSpace on 2015-04-09T12:28:10Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-09-30Bitstream added on 2015-04-09T12:48:04Z : No. of bitstreams: 1 000815075.pdf: 3465938 bytes, checksum: 5fda70f39177f7498e4b8303d6e1b289 (MD5) / Esta dissertação se propõe a apresentar o artista plástico, cenógrafo e figurinista Walter Bacci, assim como situar histórica -plástica e teatralmente sua produção. Adicionalmente, esta dissertação tem a intenção de investigar como a formação e desenvolvimento do artista plástico Walter Bacci teve grande influência em sua produção cenográfica e de figurino. Egresso da Escola de Belas Artes do Rio de Janeiro e um dos primeiros artistas brasileiros a utilizar a técnica do silkscreen, Bacci esteve presente como cenógrafo ou figurinista em algumas das mais importantes montagens teatrais dos palcos brasileiros, entre elas “Se Correr o Bicho Pega, Se Ficar o Bicho Come” (1966) e “Gota D´Água” (1975). Bacci também expôs na mostra oficial da Bienal de Arte de São Paulo no ano de 1965 e após um período de estudo em Paris, retorna ao Brasil, onde começa a difundir a técnica do silkscreen, algo que o acompanha em dezenas de trabalhos de cenografia e figurino na cena teatral carioca. / This dissertation intends to introduce Walter Bacci, a painter, stage and scenographic designer, as well as to historically and theatrically place his artistic production. Additionally, this work has the intention to investigate how Walter Bacci’s artistic education and development influenced on his scenographic and stage design production. Graduated at Escola de Belas Artes do Rio de Janeiro and one of the first Brazilian artists to make use of the technique known as silk -screen, Walter Bacci takes part in some of the most relevant theater plays in the 1960’s and 1970’s, such as, “Se corer o Bicho Pega, Se Ficar o Bicho Come” (1966) written by Oduvaldo Viana Filho and Ferreira Gullar and “Gota D’Água (1975) written by Chico Buarque Hollanda and Paulo Pontes. Having his most active period comprised in the 1960’s and 1970’s, Walter Bacci also participated on the Bienal de Arte de São Paulo in 1965, and after a period of studies in Paris, he returned to Brazil where he started to intensively use silk-screen, and the technique accompanied him in various of works on scenography and stage design, mostly in Rio de Janeiro theater scene.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-10-05Bitstream added on 2014-06-13T19:27:47Z : No. of bitstreams: 1 leonardi_lm_me_ia.pdf: 1489038 bytes, checksum: 0e74d1be4d2465ed851859dc591300f5 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho é uma reflexão sobre os processos de criação da Compagnia Laboratorio da Fondazione Pontedera Teatro, na Itália, de 1986 a 2009. O foco das análises está na relação “diretor ignorante” e “ator emancipado”, conforme as expressões cunhadas por Jacques Rancière, em referência à relação aprendizagem/criação cujo mestre/diretor não assume a figura tradicional de instrutor. Nos processos de criação analisados, tal como no modelo apresentado por Rancière, a igualdade, a liberdade e a autonomia são pressupostos para a criação. Assim, o experimento artístico adquire maior importância que a obra acabada, pois é considerado uma prática pedagógica de autoformação, ou seja, trabalho do ator sobre si mesmo. O presente estudo percorre a história destas práticas nos processos da Compagnia até as experiências mais recentes, realizadas entre 2008 e 2009. Para alcançar a essência dessas vivências coletivas, apoiei-me metodologicamente na análise do discurso dos atores, empreendida por meio das “unidades de significado”, procedimento apresentado por Ozeneide Venâncio Mello Machado / This work is a reflection on the creating process of the Compagnia Laboratorio da Fondazione Pontedera Teatro, in Italy, from 1986 to 2009. The analysis focus is the relationship ignorant director and emancipated actor, as the expression coined by Jacques Rancière, in reference to the relationship learning / creating whose master / director does not take the traditional figure of the instructor. On the creating processes analyzed, as in the model presented by Rancière, equality, freedom and autonomy are preconditions for creation. Thus, the art experimentation takes greater importance than the finished work, because it is considered as a pedagogical practice of self instruction, in another words, the actor's work on himself. This study covers the history of these practices in the processes of the Compagnia to the most recent experiments, carried out between 2008 and 2009. To achieve the essence of these collective experiences, I relied methodologically on the actors' speech analysis, undertaken on the meaning units, presented by Ozeneide Venâncio Mello Machado