Syftet med denna studie är att undersöka förskollärares gränsdragning mellan det professionella och det privata i mötet med vårdnadshavarna och hur denna gräns kan komma att påverkas vid användandet av sociala medier. Detta görs utifrån följande tre frågeställningar; Var drar förskollärare gränsen mellan sin roll som professionsutövare och sin roll som privatperson? Hur drar förskollärare gränsen mellan det professionella och det privata i mötet med vårdnadshavare? och Hur förhåller sig förskollärare till den nya formen av offentlighet som sociala medier utgör? I genomförandet av studien används kvalitativ metod i form av semistrukturerade intervjuer med fem legitimerade förskollärare. Det empiriska materialet analyseras utifrån Erving Goffmans dramaturgiska perspektiv. Där mänsklig social samvaro jämförs med teaterföreställningar där skådespelare uppträder för en publik och där skådespelaren antingen befinner sig i ett för publiken synligt frontstage eller i ett dolt backstage. I analysen används även David Carrs sammanställning av olika synsätt gällande lärares moraliska ansvar. Resultaten av studien visar att det professionella och det privata är nära sammanlänkade och att en tydlig gränsdragning är omöjlig att göra. Användandet av sociala medier ställer därför krav på omdöme och digital professionalism i såväl det professionella som det privata.

Doctor of Philosophy / This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]

Doctor of Philosophy / This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]

The purpose of the paper is to give a detailed description to provide a better understanding of what strategies women use when online dating and in real life. The purpose of the paper is to identify how women create a sense of security for themselves, to make the leap from online communication to meeting an unknown male in the real world. For those two unknown people to take the step to meet each other face to face, there should be a kind of trust between them, how it is created, and what factors it is that determines that a meeting in real life will take place. In this essay, it has applied a qualitative method along with six thematically open interviews in which the informants have been women aged 20-30 years. In order to analyze the empirical approach, Sztompkas and Giddens's theory of trust and security have been used together along side Goffmans concept of front and backstage and other concepts are included as well. An analysis of the empirical material was found, the results showing that women often use fairly common strategies to create security in itself. These were as such, selecting a meeting place that is public and collecting information about the person they are meeting in advance using other channels of social media such as Facebook,Tinder, etc. This indicates that there is a general underlying concern about who the person really is on the other side of the computer screen/mobile screen. It also shows that the women are consciously or subconsciously using strategies to build up a sense of security among themselves before meeting with an unknown male. Keywords: Back stage, front stage, online dating, offline, online, role, security, social interaction, Tinder och trust. / Syftet med undersökningen är att bidra med en ökad förståelse för vilka strategier unga kvinnor använder sig av vid nätdejting, online kontra offline. Syftet med uppsatsen ligger i att identifiera hur kvinnor skapar en trygghet för sig själva för att ta steget från online till att träffa en okänd man i verkligheten. För att två okända människor ska våga träffa varandra ansikte mot ansikte bör det finnas en slags trygghet mellan dem, hur skapas den och vilka faktorer är det som avgör att ett möte i verkligheten sker? I den här uppsatsen har det tillämpats en kvalitativ metod tillsammans med sex tematiskt öppna intervjuer där informanterna har varit kvinnor i åldrarna 20-30 år. För att kunna analysera empirin har Piotr Sztompkas och Anthony Giddens teorier om trygghet och tillit använts i kombination med Erving Goffmans begrepp om frontstage och backstage samt andra som inbegrips i dessa. Genom en analys av det empiriska materialet påträffades resultat som visar på att kvinnor ofta använder sig av någorlunda gemensamma strategier för att skapa trygghet för sig själva, dessa var exempelvis: att välja en mötesplats som är offentlig, samla information i förväg om personen, användningen av andra kommunikationskanaler utöver Tinder etc. Detta pekar på att det överlag finns en underliggande oro för vem personen är på andra sidan datorskärmen/mobilskärmen, samt att personer omedvetet eller medvetet använder strategier för att bygga upp en trygghet hos sig själv innan mötet med en okänd människa. Nyckelord: Backstage, fasad, frontstage, inramning, nätdejting, offline, online, roll, social interaktion, tillit, Tinder och trygghet.

Utifrån sex intervjuer med kolloledare, som uppsatsen baseras på, framkommer att en tydlig skiljelinje görs mellan kollo och livet utanför. Kollo beskrivs som en särskild och annorlunda värld. För intervjupersonerna innebär arbetet på kollo att separeras från sin vanliga kontext för att istället bli del av ett nytt och relativt slutet sammanhang. Genom att bland annat tillämpa Michel Foucaults idéer om heterotopier och antropologen Victor Turners tankar om liminalitet och communitas skapas förståelse för hur kollo som rum inverkar på ledarnas villkor, förutsättningar, handlingsmöjligheter, relationer, tankar, sinnesstämningar och kroppsuppfattningar. Uppsatsens övergripande intresseområde är rum, sammanhang och varande som erfars och konstrueras som något utöver det vanliga och vardagliga. / <p>Uppsatsventilering ägde rum den 13-01-2023 på Stockholms universitet. </p>

Hur upplever coacher och studie- och yrkesvägledare sina yrkesroller? Vad är centralt i rollerna och hur beskriver coacher och studie- och yrkesvägledare vad de gör och framförallt hur definierar de sin yrkesroll. Finns där några likheter i yrkesrollerna och vilka är skillnaderna? Med många olika frågeställningar i bagaget har vi med hjälp av ett rollteoretiskt perspektiv studerat dessa båda yrkesroller. Vi har genomfört åtta semistrukturerade intervjuer med lika många coacher som studie- och yrkesvägledare där vi försökte förstå intervjupersonerna ur olika perspektiv. De perspektiv vi särskilt tittat på är den egna uppfattningen om yrkesrollen, vilken kompetens de olika rollerna uppfattar sig ha och hur de tolkar olika begrepp. Utöver det har vi observerat deras yrkesmiljö, det vill säga hur scenen där de spelar sin yrkesroll ser ut. Bakgrunden till att vi intresserat oss för att jämföra de båda yrkesrollerna är att vi som snart färdiga studie- och yrkesvägledare vill granska en kommande arbetsmarknad – en marknad där efterfrågan på coacher är tio gånger så stor som efterfrågan på studie- och yrkesvägledare. De slutsatser vi drar från vår studie är att det professionella samtalet är centralt i utövandet av båda yrkesrollerna. Båda yrkesrollerna tar grund i samma typ av samtalsmetodik och båda grupperna fokuserar på att vidga klienternas perspektiv. Den andra delen av yrkesrollerna skiljer sig åt; studie- och yrkesvägledare förväntas ha kompetens om utbildningssystemet och coacherna förväntas ha ett bra kontaktnät på arbetsmarknaden. Vår undersökning talar för att studie- och yrkesvägledare kan coacha som vägledare och som coach. Skillnaden ligger främst i utbildningsbakgrunden och kanske i ett mer medvetet användande av samtalsmetodik. Coacher kan också vägleda och kan ha en gedigen utbildningsbakgrund men kan också vara verksamma utan någon speciell utbildning.

In this study of intercultural communication, I investigate the multi-faceted meaning of the expression " cultural fit " in the sense that it is used by recruiters when shortlisting Indian information technologists to fill skills shortages for the Y2K project in Australia. The data is in the form of ten videotaped interviews in Bangalore and the recruiter commentary on those tapes in Melbourne. A crucial decision to be made by recruiters in any shortlisting process is " How will the candidate fit into the workplace?" This question becomes more problematical when applied to overseas-trained professionals. I take a critical approach, drawing principally on the research traditions of linguistics where studies of intercultural communication and workplace interaction intersect, employing chiefly the tools of Critical Discourse Analysis and Interactional Sociolinguistics and the more abstract notions of Bourdieu. A bridge between these different discourse approaches is provided by Sarangi & Roberts < 1999 < who show the connection between the larger institutional order and interactional routines, through an elaboration of frontstage talk and backstage talk following Goffman < 1959 < . An analysis of the interviews < frontstage talk < reveals "cultural fit" to involve a knowledge of institutional talk, in particular, directness. The recruiter commentary < backstage talk < draws attention to issues of intelligibility, body language, technical expertise and workplace values. the study shows that Indian Information Technologists have "partial fit" in that they possess technical fit but do not demonstrate, or lack the opportunity to demonstrate in the interview, Australian workplace values such as small talk, humour and informality. The recruiter judgments were fleeting and apart from checking for intelligibility, were made on the basis of candidates' body language thus highlighting its importance and its relative absence from the discourse approaches mentioned above. This study shows clearly that there is room for more communicative flexibility on the part of all the stakeholders.

Erving Goffman is an important sociologist whose dramaturgical perspective on social interaction and presentation of the self is a classic within sociology. However, social interaction and presentations of the self occurs increasingly more online. Goffman’s perspective is, unfortunately, limited to face-to-face interaction. The aim of this study is to discuss how far Goffman’s dramaturgical perspective can take us in a discussion on the private and the public in online presentations of the self in Facebook and personal blogs. The aim is specified with the following research questions: What are the possible constrains and possibilities? What happens to the central concepts in the model? How can the model be critically developed to online presentations of the self? The discussion connects to the distinction between the private and the public, as it implicitly is presented in Goffman’s model. The discussion draws on empirical material consisting of reflections of ten individuals on their social practices on Facebook and personal blogs. As all respondents use both applications, it opens up for a comparison between how they present themselves in each forum. All respondents presented themselves differently on Facebook compared to their personal blogs. Goffman’s model works better on self-presentations on Facebook than on personal blogs, which are contradictive to the model. Facebook is about staging a successful character. Conversely, the idea with the personal blog was to stage the front stage as a backstage. Performances on the personal blog constitute an inverted model where the intimate is sublimated and ritualized. Additionally, impression management follows an altered logic of selective opening of the backstage. However, the performances are just as, if not even more, theatrical and dramaturgical as performances in Goffman’s model. Moreover, social situations on Facebook and personal blogs are dissimilar to face-to-face situations. Both settings can be seen as an abstract sociability rather than a concrete sociability. There is no immediate co-presence between the interactants which has the consequence of creating an uncertainty of in front of whom the performance actually is held, which in addition makes the social situation diffuse, scattered and harder to define.

O presente trabalho, fundamentado a partir da Análise da Conversa Etnometodológica (LODER; JUNG, 2008), tem como objetivos 1) descrever os momentos de ensaio, apresentação e fechamento da atividade pedagógica de encenar em grupos, segundo a concepção da abordagem de ensino por tarefas (conforme NUNAN, 1999), e 2) descrever momentos em que os participantes estejam se orientando para a construção de aprendizagem (ABELEDO, 2008) por meio da análise de seqüências de pedidos e ofertas de ajuda (BULLA, 2007). Os dados consistem em uma hora de registros audiovisuais de uma aula de inglês como língua estrangeira em uma escola de línguas. Foram registradas 6 ocorrências de pedidos de ajuda e 3 ocorrências de ofertas de ajuda. A análise de tais ocorrências permitiu observar que, para realizarem a atividade pedagógica de encenar em grupos, os participantes precisaram trabalhar interacionalmente a fim de instaurar a realidade ficcional e mantê-la. Assim, participantes demonstraram não estar simplesmente treinando para que um dia fizessem uma discussão familiar, mas sim estar construindo tal discussão aqui-e-agora. Foi possível descrever a atividade pedagógica de encenar em grupos como constituída em um momento de instruções (em que uma participante dividia os demais em grupos e distribuía os papéis a serem encenados por cada um), dois momentos de prática distintos (o de ensaio, em que os participantes produzem pedidos de ajuda como ações preferidas e ofertas de ajuda como ações despreferidas, e o de apresentação, em que os participantes produzem pedidos e ofertas de ajuda como ações despreferidas e produzem exibições de competência lingüística) e um momento de fechamento (em que os participantes discutem as ações construídas no momento da apresentação da encenação, além de produzirem exibições de competências e avaliações a respeito do desempenho no momento das apresentações). Assim, realizar a atividade pedagógica de encenar em grupos propicia a construção e a manutenção de diversas realidades dentro da sala de aula e a categorização (SCHGLOFF, 2007) dos participantes em categorias além das de aprendiz/professor. / This research is grounded on Ethnomethodological Conversation Analysis (LODER; JUNG, 2008) and is aimed at 1) describing the rehearsal, presentation and accountability (NUNAN, 1999) of the pedagogical activity of role-playing, and 2) describing moments in which participants orient to the construction of learning (ABELEDO, 2008). These objectives are achieved through the analysis of sequences of offers and requests for help (BULLA, 2007). The data consists of about one hour of video recorded interactions in one English class in a language center. I collected 6 sequences of requests for help and 3 sequences of offers of help. The analysis of such sequences enables the observation that, while performing the roleplaying pedagogical activity, participants produce interactional work to establish and maintain a fictional reality. Participants demonstrate that they are not only practicing the use of language for a further use in a different context; they are indeed using language in order to build and maintain a context here-and-now. We can describe the pedagogical activity of roleplaying as organized in a moment of instructions (in which one participant divided the others in groups and distributed the roles to be played), two different moments of practice (the rehearsal, in which participants produce requests for help as preferred actions and offers of help as dispreferred actions, and the presentation, in which participants produce offers and requests for help as dispreferred actions and produce exhibitions of linguistic competence) and an accountability (in which participants discuss the actions built during the presentation of the play, besides producing exhibitions of competence and assessments of the performance of the participants who produced the presentation of the plays). So, the pedagogical activity of role-playing is an opportunity for learners to build and maintain different realities in classroom and produce different actions and activate categories (SCHGLOFF, 2007) beyond learner/teachers.

O presente trabalho, fundamentado a partir da Análise da Conversa Etnometodológica (LODER; JUNG, 2008), tem como objetivos 1) descrever os momentos de ensaio, apresentação e fechamento da atividade pedagógica de encenar em grupos, segundo a concepção da abordagem de ensino por tarefas (conforme NUNAN, 1999), e 2) descrever momentos em que os participantes estejam se orientando para a construção de aprendizagem (ABELEDO, 2008) por meio da análise de seqüências de pedidos e ofertas de ajuda (BULLA, 2007). Os dados consistem em uma hora de registros audiovisuais de uma aula de inglês como língua estrangeira em uma escola de línguas. Foram registradas 6 ocorrências de pedidos de ajuda e 3 ocorrências de ofertas de ajuda. A análise de tais ocorrências permitiu observar que, para realizarem a atividade pedagógica de encenar em grupos, os participantes precisaram trabalhar interacionalmente a fim de instaurar a realidade ficcional e mantê-la. Assim, participantes demonstraram não estar simplesmente treinando para que um dia fizessem uma discussão familiar, mas sim estar construindo tal discussão aqui-e-agora. Foi possível descrever a atividade pedagógica de encenar em grupos como constituída em um momento de instruções (em que uma participante dividia os demais em grupos e distribuía os papéis a serem encenados por cada um), dois momentos de prática distintos (o de ensaio, em que os participantes produzem pedidos de ajuda como ações preferidas e ofertas de ajuda como ações despreferidas, e o de apresentação, em que os participantes produzem pedidos e ofertas de ajuda como ações despreferidas e produzem exibições de competência lingüística) e um momento de fechamento (em que os participantes discutem as ações construídas no momento da apresentação da encenação, além de produzirem exibições de competências e avaliações a respeito do desempenho no momento das apresentações). Assim, realizar a atividade pedagógica de encenar em grupos propicia a construção e a manutenção de diversas realidades dentro da sala de aula e a categorização (SCHGLOFF, 2007) dos participantes em categorias além das de aprendiz/professor. / This research is grounded on Ethnomethodological Conversation Analysis (LODER; JUNG, 2008) and is aimed at 1) describing the rehearsal, presentation and accountability (NUNAN, 1999) of the pedagogical activity of role-playing, and 2) describing moments in which participants orient to the construction of learning (ABELEDO, 2008). These objectives are achieved through the analysis of sequences of offers and requests for help (BULLA, 2007). The data consists of about one hour of video recorded interactions in one English class in a language center. I collected 6 sequences of requests for help and 3 sequences of offers of help. The analysis of such sequences enables the observation that, while performing the roleplaying pedagogical activity, participants produce interactional work to establish and maintain a fictional reality. Participants demonstrate that they are not only practicing the use of language for a further use in a different context; they are indeed using language in order to build and maintain a context here-and-now. We can describe the pedagogical activity of roleplaying as organized in a moment of instructions (in which one participant divided the others in groups and distributed the roles to be played), two different moments of practice (the rehearsal, in which participants produce requests for help as preferred actions and offers of help as dispreferred actions, and the presentation, in which participants produce offers and requests for help as dispreferred actions and produce exhibitions of linguistic competence) and an accountability (in which participants discuss the actions built during the presentation of the play, besides producing exhibitions of competence and assessments of the performance of the participants who produced the presentation of the plays). So, the pedagogical activity of role-playing is an opportunity for learners to build and maintain different realities in classroom and produce different actions and activate categories (SCHGLOFF, 2007) beyond learner/teachers.