With a number of major economic and social turnarounds already occurred in mankind¡¦s history, we are currently also at such an era. From the onset of the 90s, the rapid high-tech development and the global economic integration have fueled the world economy and the society to undergo rapid transformation, a shift that also fosters new research perspectives and viewpoint. Under the globalization, digitalization and diversification trend, with the present startup ventures having to confront the rapid changes in the external environment, a majority of the past startup venture studies and analyses that tend to fall under a still-mode, one-sided and single perspective approach, and a logical validation theory-based research methodology, has fallen short of manifesting the actual interactive process of the startup act. To compensate the deficiency of the past startup studies, the study attempts to truthfully present, in the duo capacity as a startup operator and a research, the process of a startup venture. With a startup entrepreneur regards the startup venture as an action-based startup process, while a research regards the startup as a research process, the searcher has, through nearly two years of research on entrepreneurship, developed eight story narrations through the author¡¦s self reflection and the constant self dialog as a startup entrepreneur. By putting the eight story narrations through the Narrative Inquiry to interpret the reconstruction process, the study discovers that successful startup ventures have not come from a perfected startup opportunity or a startup plan, but rather through the startup management process in how a startup initiator locate the resources, utilize the resources and group the resources. Of the research findings derived from the ¡§Bricolage¡¨ , the study will also offer an in-depth observation and emulate how startup entrepreneurs are able to constantly interact with the resources around them to promote the emergence of new organizations, new markets and new products.

Syftet med uppsatsen är att undersöka gymnasielärares didaktiska resonemang om att använda klassisk skönlitteratur i undervisningen. Det är till företrädelsevis de didaktiska frågorna varför, vad och hur som undersöks.  Jag vill undersöka hur lärarna tänker kring undervisningen samt vilka ramfaktorer som styr dem i arbetet och i urvalet av klassisk skönlitteratur.  Uppsatsen ämnar också besvara frågan om lärares förhållningssätt till en litterär kanon. Undersökningen grundar sig på fyra stycken lärarintervjuer och har sammanställts och analyserats med analysmetoden bricolage.    Studiens resultat visar att elever undervisas i klassisk skönlitteratur för att få ett ökat ordförråd men främst för att utveckla en empatisk förmåga och utvecklas som människor. Eleverna ska nå livskunskap via litteratur det vill säga kunskaper genom litteratur och inte om litteratur. Resultaten stämmer in under Svedners idéer om att kunskapssynen har förändrats. Från att tidigare har varit mer fokus på själva litteraturen för att utvecklas till mer fokus att nå livskunskap via litteraturen. Att läsa ur ett allmänbildningsperspektiv anses som en viktig del för att eleverna inte ska bli exkluderade från samhället. Lärarna nämner att deras urval styrs av olika ramfaktorer som tid, ekonomi, utbud och elevernas förkunskaper. Samtliga lärare arbetar både med muntliga och skriftliga uppgifter och nämner att arbetssätt beror på elevgrupp.    På frågan om lärares förhållningssätt till en gemensam litterär kanon är majoriteten av lärarna tveksam till detta då de anser att läraren bäst kan förmedla ett budskap om de själva är insatta eller tycker om verket. Några säger att det redan finns en slags inofficiell kanon även om styrdokumenten varken tar upp klassiska verk eller författare som ska läsas på gymnasiet.

Canadian Art Déco sites are often in jeopardy to make way for newer developments. The state of the former Eaton’s Ninth Floor Restaurant is of particular concern, especially in regards to its iconic design and nearly total erasure due to drastic re-development activities. By a practice of interior design, research and design explorations are co-ordinated to contextualize the site and its circumstances. The Ninth Floor is adaptively reactivated as an Art Déco microtopia known as Le 9e. New museum theory and practices are overlapped with critical art to direct the site’s purpose and programming. An approach of bricolage guides the implementation of re-design strategy and conservation processes to craft interior realms that are as much ideological as they are corporeal. Part museum, part commercial enterprise, and even part activist, Le 9e operates as both a social and analytical epicentre in its promotion of Art Déco education and conservation.

Canadian Art Déco sites are often in jeopardy to make way for newer developments. The state of the former Eaton’s Ninth Floor Restaurant is of particular concern, especially in regards to its iconic design and nearly total erasure due to drastic re-development activities. By a practice of interior design, research and design explorations are co-ordinated to contextualize the site and its circumstances. The Ninth Floor is adaptively reactivated as an Art Déco microtopia known as Le 9e. New museum theory and practices are overlapped with critical art to direct the site’s purpose and programming. An approach of bricolage guides the implementation of re-design strategy and conservation processes to craft interior realms that are as much ideological as they are corporeal. Part museum, part commercial enterprise, and even part activist, Le 9e operates as both a social and analytical epicentre in its promotion of Art Déco education and conservation.

China's futures market has undergone a significant structural change. It was a 'vertical silo' and now it is being developed into a 'horizontal' structure with Chinese characteristics. Such a change involves a series of changes in institutional arrangement. If researching the phenomenon when it was settled, the observation and, consequently, the conclusion would likely to see it was the state that had led the change. However, participated and observed through the change, this thesis is going to argue that the grassroots heroes, the practitioners from a marginalized sub-sector, have contributed significantly. The state is powerful and dominant whereas the regional exchanges leveraged their resources to corral the state and shape the institutional field. The focus of organizational and management studies can be roughly categorized as three dimensions: how changes occur within organizations, how the institutional environment shapes organizations and how organizations influence the sociocultural context within which they operate (Parsons, 1956). In the recent decades, organizational studies have made significant progress in the first two but little in the third (Barley, 2010). Research should progress in the third dimension regardless of the untidy and unaesthetic nature of the reality, as organizations have influenced the sociocultural context substantially. The purpose of this thesis is to contribute to the third dimension by arguing that institutional bricolage characterizes the process by which individuals and organizations change institutions to fulfil their purposes, be it changing the institutions, building a market or protesting the constraints imposed upon them. Institutional bricolage is the strategy, mentality and philosophy for grassroots heroes who have no political power but are still ambitious to have their voices heard and hence influence the change from the lower strata. The ideas in this paper are informed by the experience of China's futures market, where the researcher participated as a strategy manager for about a year. The organization in question is a regional exchange that previously had no place in China's official market structure and became legitimized as the outcome of a regulatory crackdown. This thesis, therefore, uncovers the underexplored part of China's financial market, the regional exchanges, and sheds light on China's institutional change.

In this dissertation, Claire Lauer proposes a spatial-metaphorical model for exploring and communicating the self in composition. She uses the concepts of Edward Soja's Thirdspace, Michel de Certeau's tactics, and Turkle and Papert's bricolage as lenses through which to analyze and understand the spatial-metaphorical self-constructions that students in her classes built in the virtual reality of the MOO. These lenses reveal a new kind of agency, one that finds power in complexity and refuses reduction. Through their sites, students show themselves to be comfortable with the unfamiliar and the ambiguous, but also able to adapt, change shape, and see the I as an all--as an infinite sum and ever-changing total. Lauer argues that offering students the opportunity to construct themselves spatially and metaphorically disrupts their assumptions about identity and provides them with new ways of expressing their postmodern subjectivities--of speaking to and about their ever-shifting proximities to the people and events in their lives.Lauer argues that recognizing the complexity of identity facilitates a recognition of the complexity of culture and communication, and shows how identity construction assignments can thus serve as models for larger knowledge exploration and construction. She concludes by arguing that the analysis and production of new media in the composition classroom is essential to the continued goal of composition instructors fostering critical engagement in the classroom. As an extension of identity investigation, such engagement should be a cornerstone of first-year composition and does not have to be at odds with the more practical work of preparing students for their academic careers. In fact, it facilitates the more practical work instructors do in composition because it allows students to see the constructed nature of all discourses and become aware of how we both compose and are composed by the texts we encounter.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

Hierdie verhandeling is geplaas binne die studieveld van Praktiese teologie, spesifiek homiletiek. Die studie geskied deur middel van ’n literatuurstudie om die oorkoepelende vraag te bedink: Is die sinvolle/effektiewe gebruik van humor in prediking moontlik? Die studie is aan die hand van Osmer (2008) se vier vrae beantwoord: Wat is aan die gang? (“What is going on?”) – ʼn Beskrywende empiriese ondersoek. Waarom is dit aan die gang? (“Why is it going on?”) – ʼn Interpretasie van die redes waarom dit plaasvind. Hoe behoort dit te wees? (“What ought to be going on?”) – ʼn Normatiewe teologiese toetsing van die verskynsel. Hoe kan ons reageer? (“How might we respond?”) – Hoe die gemeente kan optree om die probleem aan te spreek? In die homiletiekveld is daar ’n vlaag van handleidings en publikasies oor die kuns van prediking. Daar is egter ’n groot leemte in die oorgrote meerderheid resente handleidings. Selde word die tema van humor aangespreek in homiletiekhandboeke. As die tema aangespreek word, bestaan dit dikwels net uit aanhalings, outeurs se kort menings oor humor of staaltjies. Dit is duidelik dat daar ’n navorsingsgaping is vir die studie van humor in prediking. ’n Kort blik op die fenomeen humor, maak dit duidelik dat die betekenis van humor nie so voor die hand liggende onderwerp is nie. Daar word ’n hoofstuk opgedra aan die vraag: wat is humor? Dit bied ’n oorsig oor die enorme veld van humor met verskeie uitgangspunte. ’n Studie van humor in die Bybel is ook aangepak. Die hoof vraag wat uit hierdie hoofstuk gekom het, is: is daar humor in die Bybel en is dit van toepassing in prediking? Die oorgrote meerderheid teoloë en Bybelkundiges bevestig die voorkoms van humor in beide die Ou en die Nuwe Testament, alhoewel daar ’n uiteenlopende hoeveelheid meningsverskille is oor wat as humor gesien kan word. Uiteindelik word daar tot die gevolgtrekking gekom dat die Bybel oor die algemeen nie op sigself humor bevestig nie, maar dit wys ook nie humor af nie. Die woord ‘humor’ kom byvoorbeeld nie in die Bybel voor nie. Humor in die Bybel is duidelik nie in alle gevalle baie voor die hand liggend nie en somtyds is dit ook nie noodwendig baie snaaks nie. Daar is egter verskeie elemente van Bybelse humor wat van groot belang is vir humoristiese prediking. In ’n laaste hoofstuk spesifiek oor humor in homiletiek is daar oorkoepelend ’n paar vrae gevra: Moet/mag ‘n preek snaaks wees? Behoort ’n preek lag aan te moedig? Hierdie vrae word beantwoord deur die voorafgaande hoofstukke se insigte. Dit het duidelik geword dat navorsing oor humor geen grap is nie. Nie alle humor soorte is toepaslik vir die gebruik in prediking nie en daar is talle slaggate waarin ’n prediker kan trap met die poging om humor te gebruik in prediking. Daar is egter verskeie ander ‘veiliger’ humor soorte wat die prediker tot sy of haar beskikking het om te gebruik. / Dissertation (MTh)--University of Pretoria, 2017. / Practical Theology / MTh / Unrestricted