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No description available.

This study will be investigating the perceptions of the implementation and modelling of best practices in technical vocational education and training (TVET) areas of endeavour. Four lecturers from three selected programmes will be investigated see how well they are preparing their students to enter the technically advanced workplace in an urban tertiary TVET institute in Jamaica. It has been reported by employers that graduates’ performance has been unsatisfactory in the sectors which require technically skilled professionals (HEART Trust, 2012). This investigation will incorporate a literature review of the apprenticeship system, and the current occupational training requirements as well consider competency based methods of teaching used in the TVET classroom. This will be in the context of career development theories, and constructivist and social learning theories. A qualitative research design method will be applied, using a case study approach. In addition to data collected from the lecturers, interviews, observation and focus group discussions with three groups of 15 students will also be collected. Additionally, the Director/ Principal of the Vocational Development Training Institute (VDTI) will be interviewed. Finally, a stakeholders’ report based on employee attitudes in various industries will be used to attain their perspectives on the preparedness of the TVET graduates for the workplace. The results and recommendations will be used to evaluate the best practices of the TVET lecturers. / Educational Leadership

This dissertation examines the various discursive expressions of black agency that formed the stereotypical representations of African descendants found in Victorian racial discourse. It is, therefore, an analysis of the discursive practices of peoples of African descent and not of the actual stereotypes frequently associated with Victorian racial discourse. I believe that a close reading and analysis of the discursive practices of peoples of African descent subject to British rule will generate more focused critical narratives about the fantasies that plagued the British imagination well into the twentieth century. This study also suggest that contemporary scholars should start looking at Victorian racial discourse as an active dialogue and conversation with the Other, rather than a description of the psychology of power. / English

xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation examines the relationship between British and American conceptualizations of the Anglophone Caribbean and the way that Anglophone Caribbean fiction writers and filmmakers tend to represent the region. Central to my project is the process of reexportation, whereby Caribbean artists attain success at home by first achieving renown abroad. I argue that the primary implication of reexportation is that British and American conceptualizations of the Anglophone Caribbean have had a determining effect upon attempts by Anglophone Caribbean fiction writers and filmmakers to represent the region. Chapter I introduces the dissertation. Chapter II, "The 'Double Audience' of Samuel Selvon and The Lonely Londoners ," concerns Trinidadian author Samuel Selvon, who--along with George Lamming, Derek Walcott, and V. S. Naipaul--is cited as being among the most important and influential of the West Indian authors who began publishing in the 1950s. Although I consider all of Selvon's ten novels in that chapter, my main concern is The Lonely Londoners (1956), Selvon's best known and perhaps most pivotal and misread novel. Chapter III, "Contrapuntally Re-reading Perry Henzell's The Harder They Come, " features a reevaluation of the Jamaican filmmaker's 1972 motion picture, which in many complex ways remains the Caribbean film. Chapter IV, " Pressure and the Caribbean," focuses on Trinidadian filmmaker Horace Ove's Pressure (1975), which I deliberately treat as a Caribbean film although it is still best known as Britain's first feature-length dramatic movie with a "black" director. Vital secondary texts include selected works by Edward Said, Mikhail Bahktin, and Richard Dyer, as well as Kenneth Ramchand, Keith Warner, and D. Elliott Parris. The three existing book-length analyses of Selvon's fiction are the main voices with which the Selvon chapter is in discourse. David Bordwell's work in cinematic narrative theory and Marcia Landy's contribution to the study of British genres are essential to the frameworks through which I read the cinematic primary texts. / Adviser: Gordon Sayre

Le cinéma est un art qui repose sur des moyens techniques de capture et de reproduction du mouvement et du son. Il s’impose après la littérature, la peinture et la photographie par sa virtuosité nouvelle à créer des artifices à l’image du monde. Une fois défait de l’objectif mimétique, il conquiert sa légitimité artistique par l’écart discursif esthétique ou critique. Il ne reproduit plus seulement les images en mouvement de la nature, des hommes et des sociétés, il les met en scène et les met en tension. Le discours universitaire a investigué et continue d’interroger les traces du monde qu’il propose, la spécificité de ses images, ses techniques et sa grammaire, la conception de l’art et de l’artiste qu’il offre. En histoire du cinéma, la littérature consacrée aux cinématographies nationales et aux monographies de réalisateurs est importante tandis que la sémiologie, l’analyse de films et la philosophie du cinéma ont construit les concepts opératoires nécessaires à la considération transversale des œuvres par-delà les frontières nationales et génériques. Les travaux de recherche consacrés à la réalisatrice martiniquaise Euzhan Palcy s’inscrivent dans cette tradition. En effet, l’analyse a à cœur de rendre compte de son travail et de la placer dans l’histoire du cinéma et de l’art. / Cinema is an art based on technical devices to capture and reproduce motion and sound. It surpasses literature, painting and photography by its virtuosity in creating new reality-like images of the world. Once rid of its mimetic purpose, cinema conquered its artistic legitimacy by making full use of its technical specificities to develop discursive, aesthetic and/or critical perspectives. It no longer simply displays moving images of nature, people and society, it stages them and builds narrative tension. The academic discourse has investigated and continues to examine the traces of the world it offers, the specificity of its images, techniques and grammar, the conception of art and the understanding of the artist it suggests. In film history, the literature on national cinematography and monographs about directors is important while semiotics, film analysis and the philosophy of cinema gave rise to the operational concepts needed to consider works across national liens and genres.The research devoted to Martinican director Euzhan Palcy fits into this tradition. The analysis aims to account for her body of works and places her in the history of cinema and the arts.

abstract: The following thesis tries to rescue the novels Sab and Dos mujeres, written by the XIX century writer Gertrudis Gómez de Avellaneda, from the hegemonic discourse offered by the contemporary critics. This is possible by comparing the Epistolar novel Tu amante ultrajada no puede ser tu amiga with the two novels analyzed. Also, this thesis examines the epistolary novel as a set of documents that creates a literary work on their own. That is to say, it studies how these letters, written to her lovers during the years 1839 to 1854, create an autobiographical fiction, a novel of the romantic period, and a character that makes a myth out of the writer and poet Gertrudis Gómez de Avellaneda. / Dissertation/Thesis / Masters Thesis Spanish 2016

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No description available.

This study examined the impact of migration and the resulting intercultural interactions on the cultural identities of first-generation immigrant Trinidadians living in the Philadelphia area of the United States. It focused on four identities: race, ethnicity, socioeconomic status, and nationality. The goal of the study was to determine how Trinidadian immigrants define and reconceptualize these four dimensions of their identities as they make new lives in American society. Another goal was to determine whether identities shift and, if so, how, for Trinidadian immigrants when they move across cultures to a society where they are no longer in the racial, ethnic, or cultural majority. Using a mixed-methods approach, the research included an initial online survey followed by qualitative interviews with a few selected participants. Survey results showed that for three of the identities (ethnicity, socioeconomic status, and nationality), more than half of respondents indicated no change in saliency. Survey respondents rated their shift in racial identity as almost equal between more salient and no change in saliency upon moving to the United States. However, qualitative findings showed that, of the four identities, race became most salient in the United States, even for those who showed no shift in this identity after resettling here. The racial identity of interviewees was influenced by three main factors: the racial identity they were ascribed in the United States, their experiences with racial discrimination, and being made to feel “othered” in a society that does not recognize their Trinidadian racial and ethnic categories. Findings also showed that immigrants in this study who are ascribed a Black identity in the United States acculturate to both African American and European American cultures in multicultural Philadelphia, while maintaining a strong connection to their Trinidadian national identity. This research has practical implications for intercultural researchers and trainers who work with Trinidadian or West Indian populations.