Undersökningen syftar till att utforska en postsekulär variant av integrationsbegreppet, genom att kritiskt granska aktuell forskning om integration. Detta genom ett explorativt begreppsstudium som primär metodologisk ansats, ett allmänt litteraturstudium som sekundär ansats, samt ett intersektionellt perspektiv som komplementär teoretisk ansats. Undersökningens postsekulära teoretiska ramverk utgörs av Zygmunt Baumans teori om flytande modernitet, Charles Taylors teori om den dialogiska funktionen, och Seyla Benhabibs teori om deliberativ demokrati. Undersökningen visar på fem centrala dimensioner av det postsekulära integrationsbegreppet; (i) mer än enbart religion, (ii) förändrade maktförhållanden och villkor, (iii) intersektionalitet, (iv) samtida aktivism, och slutligen (v) ideal och visioner. Den första dimensionen syftar till att problematisera den vetenskapliga debatten om postsekularitet, och påpeka dess ensidiga betoning på religion och religiositet i relation till sekulära samhällen. Den andra dimensionen syftar till att undersöka maktförhållanden och villkor, med grund i historiska, ekonomiska, sociala och globala faktorer. En tredje dimension belyser den mänskliga identitetens komplexitet och dess transformation, utifrån maktrelationer och tillhörighetskategorier. Den fjärde dimensionen som trädde fram accentuerade begrepp som deliberativ demokrati, omförhandling, försoning och solidaritet. Fokus lades främst på socialt engagemang och gräsrotsinitiativ som former av aktivism. Den femte och avslutande dimensionen anspelar på idealets och visionernas betydelse, och hur dessa träder fram i samtida sekulär kontext. Med grund i undersökningens resultat, är det möjligt att påvisa hur traditionella förståelser av integrationsbegreppet framträder som otillräckliga och kontraproduktiva i strävan efter jämlik och inkluderande integration. / The purpose of this study is to explore a postsecular alternative to the concept of integration, through a critical examination of current research on integration. This is achieved through an explorative conceptual study as the primary method, a general literature study as the subordinate method, and an intersectional perspective as a complementary theoretical approach. The postsecular theoretical framework of this thesis consists of Zygmunt Bauman’s theory of liquid modernity, Charles Taylor’s theory of the dialogical function, and Seyla Benhabib’s theory of deliberative democracy. The study presents five central features of the postsecular concept of integration as being; (i) more than just religion, (ii) change in power relations and conditions, (iii) intersectionality, (iv) contemporary activism, and lastly (v) ideals and visions. The first feature aims to scrutinize the scientific postsecular debate, and point out its one-sided emphasis on religion and religiosity in relation to secular societies. The second feature aims to examine power relations and conditions, constituted by historical, economic, social and global factors. A third feature illuminates the complexity and transformation of identity, with regards to power relations and categories of belonging. The fourth feature which appeared in the study emphasized concepts like deliberative democracy, renegotiation, reconciliation and solidarity. The focal point being social commitment and grassroots- levels of initiatives as forms of activism. The fifth and concluding feature refers to the significance of ideals and visions and how these appear in contemporary secular context. Based on this study, it is possible to claim how traditional understandings of the concept of integration appear inadequate and counterproductive in the endeavor of an equal and inclusive integration.

La tesis defiende la necesaria aportación de las humanidades en procesos de transformación cultural hacia la sostenibilidad y, más en concreto, profundiza en los proyectos que desde el arte se están llevando a la práctica. Nos basamos en la capacidad de la creación artística para potenciar la concienciación ambiental y la transformación social, entre otras funciones, haciendo énfasis en herramientas como la empatía y la colaboración. Para mostrar este nuevo rol de los creadores en la sociedad, nos situaremos en contextos de transición a la sostenibilidad entendida en sentido amplio, así como en el Movimiento de Ciudades y Pueblos en Transición (MCT), surgido en Reino Unido en 2005. Siendo dicho país pionero en MCT, revisaremos una recopilación de casos contenidos en la publicación Playing for time. Making art as if the world mattered (Neal, 2015) y pertenecientes a la red internacional Transition Network, para centrarnos más en concreto en los ejemplos que responden a nuestros criterios de selección. Dado que la mayoría de estudios sobre la transición se centran en casos anglosajones, (Haxeltine y Seyfang 2009; Bailey et al. 2010; Aiken 2012; Neal, 2013), estableceremos un paralelismo con las iniciativas actuales de la Red de Transición en España, destacando el caso de Almócita (Almería). Por otra parte, también se analizarán propuestas artísticas al margen del MCT como Nithraid y Dundee Urban Orchard en Reino Unido y, en España, Biodivers, El Cubo Verde y Aula-R entre otras. La metodología de investigación se basa en técnicas cualitativas como encuestas y entrevistas, así como en la Investigación Acción Participativa implicándonos en algunos de los proyectos estudiados, así como en la práctica artística personal en los casos de Biodivers y Aula-R. Siguiendo a la experta en arte público Suzanne Lacy, se analizarán estas propuestas en base a la participación, la intención de los creadores, los resultados, la estética, los puntos de tensión y puntos clave, la influencia de la financiación y las funciones que desempeñan. Además comprobaremos como responden estos casos a los principios del transitional art definidos por la autora Lucy Neal (2015). Como resultado mostraremos la función del arte en el fomento de la cooperación en la comunidad local, en la celebración colectiva, en la construcción de identidad, en la revitalización del territorio, en el aumento de resiliencia, en la conexión de las personas con su entorno y como desencadenante de dinámicas de cambio, entre otras funciones. Pero también se subrayan las dificultades para hacer visible su papel, la necesidad de introducir las preocupaciones de la huella ecológica en la práctica artística y los requisitos de sostenibilidad en el campo cultural, especialmente en España. El texto contribuye así al conocimiento del MCT más allá del contexto anglosajón y a la valoración del arte como importante herramienta para el cambio cultural hacia la sostenibilidad que necesitamos. / La tesi defén la necessària aportació de les humanitats en processos de transformació cultural cap a la sostenibilitat i, més en concret, aprofundeix en els projectes que des de l'art s'estan portant a la pràctica. Ens basem en la capacitat de la creació artística per tal de potenciar la conscienciació ambiental i la transformació social, entre altres funcions, fent èmfasi en ferramentes com l'empatia i la col.laboració. Per a mostrar aquest nou rol dels creadors en la societat, ens situarem en contextos de transició a la sostenibilitat entesa en sentit ampli, així com en el Moviment de Ciutats i Pobles en Transició (MCT), sorgit en Regne Unit l'any 2005. Sent el dit país pioner en MCT, revisarem una recopilació de casos continguts en la publicació Playing for time. Making art as if the world mattered (Neal, 2015) i pertanyents a la xarxa internacional Transition Network, per a centrar-nos més en concret en els exemples que responen als nostres criteris de selecció. Atés que la majoria d'estudis sobre la transició se centren en casos anglosaxons (Haxeltine i Seyfang 2009; Bailey t'al. 2010; Aiken 2012; Neal, 2013), establirem un paral¿lelisme amb les iniciatives actuals de la Xarxa de Transició a Espanya, destacant el cas d'Almócita (Almeria). D'altra banda, també s'analitzaran propostes artístiques al marge del MCT com Nithraid i Dundee Urban Orchard en Regne Unit i, a Espanya, Biodivers, El Cubo Verde i Aula-R entre altres. La metodologia d'investigació es basa tant en tècniques qualitatives com enquestes i entrevistes, com en la Investigació Acció Participativa implicant-nos en alguns dels projectes estudiats, així com en la pràctica artística personal en els casos de Biodivers i Aula-R. Seguint l'experta en art públic Suzanne Lacy, s'analitzaran aquestes propostes basant-se en la participació, la intenció dels creadors, els resultats, l'estètica, els punts de tensió i punts clau, la influència del finançament i les funcions que exerceixen. A més comprovarem com responen aquests casos als principis del transitional art, definits per l'autora Lucy Neal (2015). Com a resultat mostrarem la funció de l'art en el foment de la cooperació en la comunitat local, en la celebració col¿lectiva, en la construcció d'identitat, en la revitalització del territori, en l'augment de resiliència, en la connexió de les persones amb el seu entorn i com a desencadenant de dinàmiques de canvi, entre altres funcions. Però també se subratllen les dificultats per a fer visible el seu paper, la necessitat d'introduir les preocupacions de l'empremta ecològica en la pràctica artística i els requisits de sostenibilitat en el camp cultural, especialment a Espanya. El text contribueix així al coneixement del MCT més enllà del context anglosaxó i a la valoració de l'art com a important ferramenta per al canvi cultural cap a la sostenibilitat que necessitem. / This thesis defends the significant contribution of the humanities in processes of cultural transformation towards sustainability and, more specifically, delves into how emerging practices in art are specifically contributing to it. We rely on the ability of artistic creation to enhance environmental awareness and social transformation, among other functions, emphasizing tools such as empathy and collaboration. To show this new role of creators in society, the research is situated in contexts of transition to sustainability understood in a broad sense, as well as in the Transition Town Movement (TTM), which emerged in the United Kingdom in 2005. Being UK a pioneer in TTM, the study will review a collection of Anglo-Saxon cases contained in the publication Playing for time. Making art as if the world mattered (Neal, 2015) and belonging to the Transition Network. It will draw on specific cases that meet our selection criteria. Given the fact that a great part of the international studies are focused on Anglo-saxon case studies, (Haxeltine and Seyfang 2009; Bailey et al., 2010; Aiken 2012; Neal, 2013), the research will develop a comparative study with the current initiatives of the Transition Network in Spain, highlighting the case of Almócita (Almería). On the other hand, artistic proposals will also be analyzed outside the TTM such as Nithraid and Dundee Urban Orchard in the United Kingdom and, in Spain, Biodivers, El Cubo Verde and Aula-R among others. The research methodology is based on qualitative techniques such as surveys and interviews, as well as on Participatory Action Research, involving myself as a researcher in some of the projects studied, as well as in personal artistic practice in the cases of Biodivers and Aula-R. Following the framework developed by the expert in public art Suzanne Lacy in her practice-led PhD (2013), these proposals will be analyzed based on the participation, the intention of the creators, the results, the aesthetics, the points of tension and key points, the influence of funding and the functions they perform. How these cases respond to the principles of transitional art defined by the author Lucy Neal (2015) will also be checked out. As a result the case studies will show how art is expanding its role with positive narratives in the field of sustainability playing a function in promoting cooperation in the local community, in the collective celebration, in the construction of identity, in the revitalization of the territory, in the increase of resilience, in the connection of people with their environment and as a trigger for dynamics of change, among others. But it also underlines the difficulties to make visible its role, the necessity to introduce ecological footprint concerns in the artistic practice and sustainability requirements in the cultural field, specially in Spain. The text thus contributes to the knowledge of the TTM beyond the Anglo-Saxon context and to the appreciation of art as an important tool for cultural change towards sustainability in order to face the biggest challenge of the 21st century: the environmental crisis. / Sánchez León, N. (2018). La función del arte en procesos de transición a la sostenibilidad: casos anglosajones y españoles [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/113603 / TESIS

Interfaith dialogue is no luxury for Christians living in a pluralistic~ effervescent world of intenningling, multi-religious realities. Many Christians take seriously their responsibility towards interfaith dialogue. However, different Christians understand this responsibility in different ways, which often leads to acrimonious accusations of unchristian dialogical approaches. The question is whether there is any means of ordering and assessing the Christian responsibility towards other religions in a mutually uplifting and increasingly holistic way? Ken Wilber provides an integral, or All-Quadrant, All-Level hermeneutics that may assist us with an answer. All holonswhich means everything in the "Kosmos" - emerge or arise in holarchical fashion. On one level, it is a whole, on the next transcendent level it is a part of the whole. This process is infinite and is only ever released in One Taste/salvation/Nirvana/the Kingdom of God, or simply unqualifiable Suchness. Wilber provides an integrated methodology for understanding the process by which holons find their release in One Taste. The holon of Christian responsibility towards interfaith dialogue also emerges through discreet, recognizable stages. Each stage is integrated into the next higher level. The lower levels are more fundamental since they exist as a part of the higher levels. However, the higher levels are more significant, since they have an increased capacity to explore aspects of dialogue previously hidden. The levels we explore are the mythic rational, the rational and the centauric. 'lbese levels emerge through four interrelated dimensions or Quadrants: the Upper Left or spiritual/faith dimension of the person entering into dialogue, the Upper Right Quadrant or theology of dialogue that emerges, the Lower Left or communal and interpretive realm, and Lower Right which covers the social organizational patterns with which the person in dialogue chooses to associate him or herself. We define responsibility in tenns of these four Quadrants: The response or theology (UR) of the person is dependent upon her response-ability, or interior faith development (UL), which is informed by the worldview (LL) of her faith community to whom she feels responsible, with the sociological patterns of her community (LR), to some extent, offers clues as to her stage of development. / Religious Studies and Arabic / D.Th.(Religious Studies)

In this essay Murakami Haruki’s novel The Wind Up Bird Chronicle was analysed from the perspective of Mikhail Bakhtin’s theory of the chronotope. The aim was to explore the concept of time and space as presented in the novel. In particular, the analysis focused on how Bakhtin’s chronotopes can be applied to The Wind Up Bird Chronicle, how the chronotopes can enhance our understanding of the novel, and finally how the chronotope theory can be applied to the concept of ‘magic realism’ that is often used to describe Murakami’s authorship. Four chronotopes, presented by Bachtin, were selected and applied to the novel: every-day life, the road, crisis and the castle. The concept of the chronotope allows analysis of how time and space work together in literature and how they form patterns of correlation in the sujet. Results showed that the four chronotopes were found in the novel, and that they also interacted with each other. The chronotope of everyday-life was apparent throughout the novel, and the narrator was under its control. The narrator also seemed to create every-day life out of the chronotopes of the road and crisis by re-living the crises in the road. These three chronotopes seemed inseparable in The Wind Up Bird Chronicle. Finally, the fourth chronotope, the castle, illustrated how a concrete room in the novel, a house, became a part of time and space through a character who, by his presence, gave the impression of slowing down time. When this character disappeared, time made its way through space, making the chronotope of the castle visible. The essay concludes that the chronotope theory was a relevant way to analyse The Wind Up Chronicle as it provided a concept of how time and space appeared together in a novel where time and space is always present. The analysis helped creating a way of understanding the patterns in the novel, which were not always clear, thereby also increasing the understanding of The Wind Up Bird Chronicle.

Providing context behind customer feedback remains a challenge for company’s who rely on approaching Customer Experience (CX) through standardized Customer Satisfaction (CS) metrics like Net Promoter Score (NPS), Customer Satisfaction Score (CSAT), and Customer Effort Score (CES). Practical guidelines for monitoring CS throughout the customer journey are limited, creating a gap in academic research. This study addresses this gap by offering practical guidelines for CS, actionable insights, and alternative survey design strategies within the context of invoicing. Utilizing a Research-through-Design (RtD) approach guided by the Double Diamond design model, the study consists of four phases: Discover, Define, Develop, and Deliver. From a service design perspective using qualitative methods, the study acquires and analyzes both organizational and customer insights. Synthesized empirical findings emphasize the need for a more comprehensive approach that targets specific phases of the customer journey utilizing a more customer- centric approach, paving the way for alternative methods that reaches beyond just simply measuring CS. Introducing the concept of a personal companion, the study presents a dialogical approach where surveys are experienced as ongoing interactions rather mere tasks. By highlighting the importance of contextualization, alternative survey approaches, and a dialogical approach, this research aims to guide company’s in managing customer feedback strategies.

This thesis explores how current ways of imagining possibilities for intersexed and trans embodied lives within medical contexts might be informed by and reimagined through the historical lived experiences of intersexed and trans individuals as they have been articulated in autobiographical accounts. Postmodern, queer, intersex, and trans researchers and activists have criticised existing standards of intersex and trans healthcare for limiting the possibilities for diverse embodied lives by articulating certain forms of embodiment and selfhood as more likely to enable a liveable life than others. This has often been done in a medico-legal context by referring to experiences in the past of the unliveability of corporealities and gendersexed situations that differ from privileged positions. With a point of departure in these critiques, this thesis reopens questions about how intersexed and trans people may be embodied and have relations with others by reflecting upon the period of the first three-quarters of the 20th century, when the present standards of care and diagnostic categories were emerging, but had not yet become established. Drawing upon a unique set of historical source material from the archives of the Danish Ministry of Justice and the Medico-Legal Council, intersexed and trans persons’ life stories are rearticulated from their own and medico-legal experts’ accounts written in relation to applications for change of legal gendersex status and medical transition. In this way, the process is traced through which these life stories have been repeatedly rearticulated in order to become a usable basis for diagnosis and decision-making. At the same time, the stories are unfolded once more in a rearticulation focusing on their complexity and diversity. / Denna avhandling undersöker hur nuvarande sätt att föreställa sig möjligheter för intersexuella och transpersoners liv inom medicinska sammanhang kan informeras av och omföreställas genom historiska livserfarenheter hos intersexuella och transindivider, som de har artikulerats i självbiografiska berättelser. Postmoderna, queer, intersex- och transforskare och aktivister har kritiserat existerande normer för intersex- och transhälsovård för att begränsa möjligheterna för olika förkroppsligande liv genom att artikulera vissa former av förkroppsligande och subjektivitet som mer sannolikt att möjliggöra ett levbart liv än andra. Detta har ofta gjorts i ett medicinskt-juridiskt sammanhang genom att hänvisa till förflutna erfarenheter av levbarhet kring förkroppsligande och genusifierande situationer som skiljer sig från privilegierade positioner. Med utgångspunkt i denna kritik, återupptar denna avhandling frågor om hur intersexuella och transpersoner kan bli förkroppsligade och ha relationer till andra, genom att reflektera kring de första tre fjärdedelarna av nittonhundratalet när de nuvarande normerna för vård och diagnostiska kategorier uppstod, men ännu inte blivit etablerade. Med utgångspunkt i en unik uppsättning av historiskt källmaterial från Danska  Justitiedepartementet och Medicinsk-Etiska Rådets arkiv, återges intersexuella och transpersoners livshistorier från egna och medicinsk-etiska experters berättelser skrivna i relation till ansökningar av förändring av juridiskt kön och medicinsk transition. Genom denna process har livshistorier upprepande gånger blivit omartikulerade för att bli en användbar grund för diagnos och beslutsfattande. Samtidigt är dessa livshistorier uppöppnade än en gång i en omartikulation med fokus på deras komplexitet och mångfald.