Este trabalho investiga os processos constitutivos, as condições de atuação e o sentido político do que chama de novo engajamento cultural. Desde os anos 1990 surge na cidade de São Paulo um novo conjunto de experiências associativas informais, autodenominadas coletivos, que atualizam as formas de relacionamento entre o fazer cultural e a militância política. Essa nova configuração político-cultural notabiliza-se por se aliar a temáticas cotidianas que emanam do meio social dos públicos ou territórios com que estão envolvidos ao mesmo tempo em que direciona seus esforços para fazer do coletivo um espaço de experimentação de novas relações produtivas. Do mesmo modo, o fenômeno parece desenvolver-se nos termos de novas modalidades laborais, já que a formação de coletivos aparece também como via alternativa de acesso a subvenções públicas propiciadas pelas novas políticas culturais estruturadas por sistemas de financiamento direto a projetos selecionados através de editais públicos. A hipótese é de que a emergência do novo engajamento cultural é estreitamente vinculada com o paradigma antropológico de política cultural que se firmou no país ao longo dos anos 2000, favorecendo-se das modulações políticas operadas pela era de hegemonia dos governos progressistas. Para tanto, privilegia como arco histórico de análise os debates, formulações e impasses enfrentados pelas instâncias organizativas de dois movimentos culturais que se formaram ao redor de dois programas públicos municipais: o Fomento ao Teatro para a Cidade de São Paulo, de 2002, e a breve experiência do Fomento à Cultura da Periferia de São Paulo, de 2016. Isso é feito através de observação direta participante (no período 2011-2017) em espaços organizativos dos movimentos; análise de dados secundários compostos por atas, legislações, projetos e outros documentos atinentes à relação entre coletivos e poder público; e pesquisa bibliográfica que permitiu pensar, por diferentes perspectivas, o atual papel da cultura frente às transformações mais recentes do sistema capitalista. Em seus resultados, a pesquisa sugere que a agenda cultural antropológica, forjada em sintonia com as novas estratégias de gerenciamento político global e com a centralidade assumida pela cultura na nova etapa de acumulação, degenera o sentido político destas pequenas experiências ao instrumentalizar a capacidade mobilizadora e auto-organizativa demonstrada por elas. Intrínsecos ao novo paradigma, os sistemas de financiamento baseado na forma-edital serviram a que a norma competitiva neoliberal se infiltrasse nestes pequenos ensaios organizativos informais, o que reduziu o potencial emancipador aí presente a uma forma subordinada de trabalho e transformou os processos interativos por eles produzidos em novas espécies de mercadoria. / This work researches the constitutive processes, the conditions of action and the political sense of what it calls a new cultural engagement. Since the 1990s a new set of informal associative experiences, self-described collectives, has emerged in the city of São Paulo and updated the forms of relationship between cultural making and political activism. This new political-cultural composition is notable for its alliance with the everyday themes emanating from the social milieu of the public or territory with which they are involved. At the same time, there are direct efforts to experiment new productive relations inside the collectives. Likewise, the phenomenon seems to develop in terms of new forms of labor, since constituting collectives also appears as an alternative way to access public subsidies through new cultural policies that fund projects which are selected in open calls. The hypothesis is that the emergence of the new cultural engagement is closely linked to the anthropological paradigm of cultural policy that was established in the country during the years 2000, favored by political modulations operated by an era of hegemony of progressive governments. In order to do so, it analises the historical arc of debates, formulations and impasses faced by the organizational instances of two cultural movements that were formed around two municipal public plans: Fomento ao Teatro para a Cidade de São Paulo, established in 2002, and the brief experience of Fomento à Cultura da Periferia, established in 2016. This is done through participant direct observation in organizational spaces of the movements (during the period of 2011-2017); analysis of secondary data composed by minutes, laws, projects and other documents concerning the relationship between collectives and public power; and bibliographical research as subsidy to reflect, from different perspectives, on the current role of culture in face of the most recent transformations of the capitalist system. In its conclusions, this research suggests that the anthropological cultural agenda, forged in tune with the new global political management strategies and with the centrality assumed by culture in the new stage of accumulation, degenerates the political meaning of those small experiences by instrumentalizing their demonstrated mobilizing and self-organization capacity. The funding systems based on the open call form, intrinsic to the new paradigm, served to the infiltration of the neoliberal competitive norm into these small informal organizational experiments; reducing thus the emancipatory potential present there to a subordinate form of work and transforming the interactive processes they produced into new types of commodity.

El objetivo principal que se persigue en este proyecto es la toma de conciencia sobre la pérdida del patrimonio cultural de la ciudad, entre alumnos, arquitectos, y la población en general. Por eso, la investigación se centró en el déficit de infraestructura cultural existente y se contrastó con el resultado del análisis de la zona urbano monumental en deterioro. En esta zona se clasificaron los edificios de acuerdo a su uso actual en tres categorías, donde resaltan los “Monumentos en estado de abandono”, por lo que se plantea la reactivación cultural de estos monumentos de acuerdo al déficit mencionado y se culmina la propuesta con el desarrollo de un Centro Cultural Metropolitano en el Ex Convento Santa María; edificio monumental importante gracias a la herencia histórica que le da el ser la primera edificación en construirse después de la conquista española que dio origen a lo que hoy es la ciudad de Chiclayo. Con el proyecto se pretende dotar a la población de espacios para el desarrollo de actividades dedicadas a la cultura y las artes en ambientes que conservan vestigios históricos pertenecientes al patrimonio local, y así acrecentar la identidad cultural en el poblador y su sentido de pertenencia, pues son elementos en actual decadencia en la ciudadanía.

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<p> Every year, hundreds of thousands of people visit the Native American ancestral lands in the western United States developed for tourism and recreation. The stewards of these lands seek to engage visitors and enrich their experience, and simultaneously to protect the lands&rsquo; natural and cultural resources. To achieve their mission, protected areas regularly use <i>interpretation </i>&mdash;materials and experiences that aim to educate visitors about resources and see them as personally meaningful. However, there is little literature on interpretive content in protected areas, few qualitative studies of interpretation as constructed by visitors and interpreters, and little literature on the representation of Native Americans in museums and protected areas. </p><p> I consider the public presentation of archaeology at exemplary protected areas in the U.S. Southwest and Great Basin within a theoretical framework of governmentality and representation. Within a mixed-method research design, this project used participant-observation at thirteen protected area locales to identify interpretive content and representational strategies, and semi-structured interviews with 31 individuals to elicit staff and visitors&rsquo; understandings of interpretation and display. This research found three types of narratives in the interpretation sampled&mdash;scientific narratives, cultural narratives, and management messages. In general, scientific narratives appeared more frequently than cultural narratives and both appeared more frequently than management messages. Archaeology dominated scientific narratives, cultural continuity dominated cultural narratives, and orientation dominated management messages. In general, archaeology appeared with greater relative frequency than any other component of interpretive content. This study also found that interpretation predominantly adopted a third-person omniscient point of view and represented people predominantly in the ancient past. </p><p> This study has both academic and applied outcomes. The work aims to contribute to the scant body of literature on interpretive content in protected areas stewarding natural and cultural resources, the few qualitative studies of interpretation as constructed by visitors and interpreters, and the existing literature on the representation of Native Americans in museums and protected areas as well as informing future interpretive practice. These findings inform a report on contemporary interpretive practice and recommendations for the public presentation of archaeology delivered to the US Fish and Wildlife Service in December 2013.</p>

Abstract   This paper is the comment and analysis of the translation of twelve articles in a book with the title Dessine-moi un Parisien by Olivier Magny, originally written as a blog in English on internet, but after huge success also recently published in French. It is a creative, expressive and communicative text, which is fun and often ironic when it tries to describe the nature of a native Parisian. As all texts appear in a cultural context, it is part of the translator’s work to adapt the translated text into the new cultural context in which it will appear. This is especially difficult when a cultural phenomenon (expressed by proper nouns, proverbs, idioms etc.) in the source culture doesn’t even exist in the target culture or, if there is an equivalent translation, is associated with a different connotation.   The aim of this paper is to analyze whether it is possible to translate a text full of local cultural references, by using the many pragmatic and semantic strategies and tools proposed in Konsten att översätta (Ingo: 2007) while trying to keep to the original functions of the text.   Two further strategies, foreignizing and domesticating, have also been of interest as they deal with the basic questions why, when and to what degree one should accomplish all the possible changes in order to adapt the text to the new cultural context.   The analysis shows that all the tools have been of great use and that a good translation is possible. To define a suitable strategy in every single situation, the importance of the pragmatic and the semantic meaning have guided us. It further shows that the situation in which the sentence appears is the most important, even though there is another obvious translation. It has also been possible to endeavor ourselves to obtain some “French color” that is so important for the style in the original blog.   Keywords: cultural adaptations, equivalences, cultural phenomenon, foreignizing, domesticating

Every theory of liberal multiculturalism is premised on some account of the nature of culture, cultural difference and social reality, or what I call “the conditions of multiculturality”. In this dissertation, I offer a revised account of the conditions and challenge of multiculturality. Beginning with the widely accepted idea that individuals depend on both culture and community as social preconditions for choice, freedom and autonomy, and informing this idea with collectivist and individualist lessons from Tyler Burge’s famous externalist thought-experiment, my analysis shows that social contexts are multicultural when they are characterized by a plurality of social communities offering distinct sets of cultural norms, and individuals are multicultural to the extent that they are capable of using cultural norms from various social communities. The depth, pervasiveness, and complexity of multiculturality raises important normative questions about fair and just terms for protecting and promoting social communities under conditions of internal and external cultural contestation, and these questions are not only restricted to cases involving internal minorities. As a theory of cultural justice, liberal multiculturalism must respond to the challenge of multiculturality generated by cultural difference per se, but it cannot do so adequately in all cases armed with only the traditional tools of toleration, freedom of association and exit, fundamental rights and freedoms, and internal political autonomy. My analysis demonstrates that, upon the revised conception of multiculturality, liberal theories of tolerationism, egalitarianism and nationalism leave significant cultural remainders, or unaccounted for cultural interests. What is needed is a different liberal multiculturalism, which respects the individual’s fundamental rights and freedoms, is committed to the equal and just treatment of individuals, tolerates voluntary cultural groups and practices in the social sphere, recognizes an individual right to culture, and provides some measure of state assistance to individuals seeking to protect and promote their cultural communities in the private sphere. This is a recipe for liberal cultural justice, and for a defensible liberal multiculturalism without nationalism. / Thesis (Ph.D, Philosophy) -- Queen's University, 2012-12-14 19:00:46.433

ABSTRACT Title: Cross-cultural management in international construction projects: Case study of China Machinery Industry Construction Group Inc. Level: Final assignment for Master Degree in Business Administration Author: Yuan Liu, You Li Supervisor: Aihie Osarenkhoe Examinor: Maria Fregidon-Malama Date: 2014.04.18 Aim : This study presents the characteristic and current status of the international construction projects, and figure out which barriers caused by cross-cultural differences the multinational corporations and enterprise would face, as well as the solutions for these barriers. Method: This study was carried out by using a qualitative and quantitative research method. We gathered relevant information by conducting questionnaire to Chinese employees working in Congo, Rep and interviews which include four managers of China Machinery Industry Construction Group Inc (CMICGI). By comparing the literature review and finding, we find barriers caused by cross cultural differences and relevant solutions. Result &amp; Conclusions : Through the literature review associating with the analysis of the questionnaire and interview, we find out that there are nine barriers in the project, the reason why they appeared and how them influence the projects. We also find solutions to solve the barriers. Suggestions for future research: This study restricted to geographical and time, it only included one company and one country. More cases can be concluded in future research. Contributions for the study: The study results show how barrier case of cross-cultural different impact in international construction project. We also - 3 - contribute the evaluation for each barrier. Cultural differences between multinational trading are frequently neglected by firms but have a significant impact. Our research can help more companies to find some problems which they usually ignored. KEYWORDS — Cross-cultural management, Barriers, Cross-cultural difference, International construction projects, Identification, Evaluation

Magíster en gestión cultural / Este proceso de investigación se enmarca dentro del trabajo realizado durante el año 2015 y 2016, con la ejecución de diferentes etapas de trabajo. Desde el objetivo general, se desprende la causa basal o el origen e inicio de la investigación de las comunidades ribereñas situadas a orillas del río Envira, en la Región amazónica de Acre, Brasil, y comunidades rurales situadas en la ribera del río Queuco en la comuna de Alto Bio Bío, en la Región del Bio Bío, Chile. El objetivo central se basa en la dilucidación de dos realidades equivalentes, pero con contextos geográficos y políticos diferentes, lo que implicó un trabajo mayor en la profundización de la indagación de tales divergencias. Una de las principales problemáticas, que ha sido transversal para realizar este trabajo, es la condición de pobreza de las comunidades estudiadas. Frente a ello, se puede expresar que la pobreza se asocia a la privación o insuficiencia de ciertos aspectos vinculados a las necesidades básicas y psicosociales a las que tiene derecho todo ser humano (Espejo, 2014: 109).

Magíster en Gestión y Políticas Públicas / El presente estudio de caso pretende analizar críticamente el caso de la gestión del patrimonio material porteño designado como tal por la decla-ratoria de la UNESCO con fecha del 2003. Tal tema se aborda desde el ángulo de las alianzas entre el sector público y los diferentes entes priva-dos que actúan en pro de la restauración y mantención del patrimonio. La metodología utilizada para llevar a cabo este trabajo se caracteriza por un análisis cualitativo de la realidad porteña referente a su patrimonio inmueble, análisis cualitativo que consiste en una serie de entrevistas semi-estructuradas a profesionales porteños - académicos, funcionarios públicos e inversionistas privados y lecturas de fuentes secundarias. Un análisis de los stakeholders involucrados con el panorama patrimonial viene a complementar las herramientas metodológicas. El análisis de la situación del patrimonio de Valparaíso enfocado a través del panorama de las alianzas público-privadas nos lleva a darnos cuenta de una acción dirigida hacia varios objetivos según el tipo de actor: las entidades públicas suelen elaborar e implementar iniciativas directamente vinculadas con el patrimonio, su teorización, restauración y mantenimien-to así como hacer de su gestión algo sustentable y coherente con los planteamientos que motivaron la nominación de la ciudad en los años anteriores al 2003. Mientras que los actores privados suelen tratar el patrimonio como un pretexto para darle a sus negocios, generalmente vinculados con el turismo, un ángulo ad hoc con la demanda por bienes culturales. Se trata entonces de ver cómo se pueden combinar estos dos puntos de vista para hacer del patrimonio porteño un objetivo común, consecuente con los lineamientos de la UNESCO y que respete además lo que la sociedad civil entiende por patrimonio.

El proyecto de investigación tiene el propósito de examinar la cultura del Diseño en Chile, desde una revisión histórica y actual de la disciplina como es el ejercicio de economía local en barrios de Santiago (Bellas Artes e Italia). El contexto social, académico, político y profesional del área ha cambiado durante los últimos años, por lo cual una investigación dedicada a profundizar los tópicos direccionales del Diseño en Chile, aportará a la comunidad involucrada una reflexión necesaria para aumentar la extensión en el país y la forma de afrontar el emergente desarrollo de la Industria Creativa.