<p>The purpose with this inquiry was to investigate why women do not advance to higher positions of leadership in a bank. I have interviewed five female employees in the company. The theoretical starting points I have used in this study are such as organization theory and leadership. There are four conceptions that obstructs women to develop for higher positions of leadership. There are conceptions that men ought to have better social network with other men than women. Other conceptions that affects women’s position in the company is the dictatorial language that are used by the sexes. Women and men don’t understand each other, and it conducts in complications for women. The fourth conception is the family situation, for instance the maternity leave affects women in there position in the company.</p> / <p>Syftet med denna uppsats är att öka förståelsen för varför kvinnliga anställda inte avancerar till lokalbankschefsnivån i en bank. Jag har intervjuat fem kvinnliga anställda på företaget. De valda teoretiska utgångspunkterna utgör organisationsteori och ledarskap. Det finns fyra föreställningar som hindrar kvinnor att avancera sig på högre chefsnivå. Det är bland annat föreställningarna om att kvinnor och män har skilda uppfattningar om ledarskap. Det finns föreställningar om att männens nätverkskontakter skulle vara bättre än kvinnornas. Andra föreställningar som påverkar kvinnors situation på företaget är den maktspråk som finns. Kvinnor och män förstår inte varandra, vilket leder till komplikationer för kvinnorna. Den fjärde föreställningen är familjesituationen, exempelvis mammaledighet påverkar kvinnors position på företaget.</p>

This thesis argues that a literary change occurred after the fall of the dictatorships of the Southern Cone, characterized by the emergence of markets that provoked a "mini-boom" in sales and, at the same time, a change of aesthetics which abandoned the allegorical models of the post-boom in favor of a realistic literature in dialogue with popular culture. This is the sign of postmodernity and globalization in Latin America, reflected in its literature, particularly in the short story writing of the Southern Cone, which has utilized the parody and pastiche of the postmodern era without the trivialization that occurred in other parts of the world. With the goal of establishing a periodization that is different from that which has always prevailed in Latin American literature, the thesis proposes the term "post-vanguardist realism" to designate the literature of the 1990s and the twenty-first century in the Southern Cone. As is the case in all periods of rupture and new beginnings, polemics and disputes appeared between literary bands. The disputes protagonized by Alberto Fuguet and Jaime Collyer in Chile, experimentalists and "planetarians" in Argentina, and Escanlar and the generation of '45 in Uruguay, reflect this new commercial and aesthetic reality. Despite the emergence of a literature more in tune with popular culture and pastiche, the continental anthologies that unite these authors demonstrate how their projects began to fade away, and showcase the appearance of new voices, who take the lead after 2000 and break with this type of literature, in favor of a less schematic narrative with more intertextual dialogue, without, however, returning to magical realism. Despite local differences in short story writing and the literary traditions of each country, these new voices are united by a common aesthetic, the use of literary genres and themes from the shared history of the Southern Cone, and by the traumatic experiences of dictatorship and globalization.

The purpose with this inquiry was to investigate why women do not advance to higher positions of leadership in a bank. I have interviewed five female employees in the company. The theoretical starting points I have used in this study are such as organization theory and leadership. There are four conceptions that obstructs women to develop for higher positions of leadership. There are conceptions that men ought to have better social network with other men than women. Other conceptions that affects women’s position in the company is the dictatorial language that are used by the sexes. Women and men don’t understand each other, and it conducts in complications for women. The fourth conception is the family situation, for instance the maternity leave affects women in there position in the company. / Syftet med denna uppsats är att öka förståelsen för varför kvinnliga anställda inte avancerar till lokalbankschefsnivån i en bank. Jag har intervjuat fem kvinnliga anställda på företaget. De valda teoretiska utgångspunkterna utgör organisationsteori och ledarskap. Det finns fyra föreställningar som hindrar kvinnor att avancera sig på högre chefsnivå. Det är bland annat föreställningarna om att kvinnor och män har skilda uppfattningar om ledarskap. Det finns föreställningar om att männens nätverkskontakter skulle vara bättre än kvinnornas. Andra föreställningar som påverkar kvinnors situation på företaget är den maktspråk som finns. Kvinnor och män förstår inte varandra, vilket leder till komplikationer för kvinnorna. Den fjärde föreställningen är familjesituationen, exempelvis mammaledighet påverkar kvinnors position på företaget.

Entre 1937 e 1945 o Brasil esteve sob o governo ditatorial do Estado Novo, cuja ideologia de progresso e engrandecimento nacional aparece fortemente caracterizada pelos paradigmas do nacionalismo, a defesa da soberania nacional, a modernização das instituições, a industrialização dos processos de produção, e, principalmente, pela crença no Estado como mediador das tensões. Neste processo, marcado pela transformação do imaginário coletivo num instrumento regulador do cotidiano, a construção de uma identidade nacional unificadora, capaz de acomodar as diferenças, tornou-se um mecanismo central de poder. Além disso, pode-se dizer que, neste mesmo período, culminou o longo processo de construção de um campo profissional autônomo para a arquitetura - especialmente no que diz respeito a seu aspecto erudito -, que havia ocupado as décadas anteriores envolvendo procedimentos e estratégias diversas não só no campo da educação, mas também no que diz respeito à consolidação de uma linguagem plástica reconhecida, à construção de obras emblemáticas e ao poder de elaborar sua própria história. Neste contexto, arquitetura e Estado estabeleceram, especialmente durante estes anos de governo ditatorial, uma relação bastante particular. O objetivo da presente dissertação, portanto, é abordar algumas destas questões, a partir de um episódio específico: a construção das Escolas Práticas de Agricultura do Estado de São Paulo, erigidas pelo Interventor Fernando Costa, entre 1942 e 1945. Propôs-se para tanto investigar os processos de idealização, concepção do projeto e implantação das referidas escolas, procurando identificar, a partir de sua arquitetura, o entrecruzamento de projetos políticos diversos. Destaca-se particularmente nesse cenário a adoção da arquitetura neocolonial como aspecto central do projeto de implantação das referidas escolas - executado no âmbito de órgãos públicos estaduais -, e o discurso ideológico que assume para tanto, onde os elementos constituintes de sua linguagem formal ganharam importância ao assumirem uma carga simbólica que se referenciava e propunha novas construções para o imaginário coletivo; e onde tais elaborações eram vistas em uma perspectiva da função social da arquitetura. / Between 1937 and 1945 Brazil was under the dictatorial government of the Estado Novo, whose ideology of progress and national growth appears strongly characterized by the paradigms of nationalism, defense of the national sovereignty, modernization of institutions, industrialization of production processes, and mainly by the belief in the government as a mediator of tensions. In this process, marked by the transformation of the collective imagery in a regulatory instrument of daily life, the construction of a unifying national identity, able to accommodate differences, became a central mechanism of power. Furthermore, we can say that, in the same period, the long process of construction of an architectural autonomous professional field - especially in what concerns its erudite aspect - reached its culmination. This process, which was present in the previous decades, involved many procedures and strategies not only in the educational field, but also regarding the consolidation of a recognized plastic language, the construction of emblematic buildings and the power to elaborate its own history. In such a context, architecture and the state established, especially during these years of dictatorial government, a very particular relationship. The aim of this dissertation is to approach some of these questions by addressing a specific episode: the construction of the Practical Schools of Agriculture, carried through by the governor of São Paulo, Fernando Costa, between 1942 and 1945. Therefore the research was centered in the analysis of the idealization, conception of the architectural project and establishment of these schools, in the effort to identify, through its architecture, interconnected or contrasting political projects. In this scenario, special attention was given to the neocolonial architecture adopted as the central aspect of the conception of these schools - whose architectural projects were conceived by governmental institutions -, and its assumed ideological discourse, where the esthetic and symbolic elements made reference to but also proposed new constructions to the collective imagery, and where these elaborations were understood as part of architectural social responsibility.

Entre 1937 e 1945 o Brasil esteve sob o governo ditatorial do Estado Novo, cuja ideologia de progresso e engrandecimento nacional aparece fortemente caracterizada pelos paradigmas do nacionalismo, a defesa da soberania nacional, a modernização das instituições, a industrialização dos processos de produção, e, principalmente, pela crença no Estado como mediador das tensões. Neste processo, marcado pela transformação do imaginário coletivo num instrumento regulador do cotidiano, a construção de uma identidade nacional unificadora, capaz de acomodar as diferenças, tornou-se um mecanismo central de poder. Além disso, pode-se dizer que, neste mesmo período, culminou o longo processo de construção de um campo profissional autônomo para a arquitetura - especialmente no que diz respeito a seu aspecto erudito -, que havia ocupado as décadas anteriores envolvendo procedimentos e estratégias diversas não só no campo da educação, mas também no que diz respeito à consolidação de uma linguagem plástica reconhecida, à construção de obras emblemáticas e ao poder de elaborar sua própria história. Neste contexto, arquitetura e Estado estabeleceram, especialmente durante estes anos de governo ditatorial, uma relação bastante particular. O objetivo da presente dissertação, portanto, é abordar algumas destas questões, a partir de um episódio específico: a construção das Escolas Práticas de Agricultura do Estado de São Paulo, erigidas pelo Interventor Fernando Costa, entre 1942 e 1945. Propôs-se para tanto investigar os processos de idealização, concepção do projeto e implantação das referidas escolas, procurando identificar, a partir de sua arquitetura, o entrecruzamento de projetos políticos diversos. Destaca-se particularmente nesse cenário a adoção da arquitetura neocolonial como aspecto central do projeto de implantação das referidas escolas - executado no âmbito de órgãos públicos estaduais -, e o discurso ideológico que assume para tanto, onde os elementos constituintes de sua linguagem formal ganharam importância ao assumirem uma carga simbólica que se referenciava e propunha novas construções para o imaginário coletivo; e onde tais elaborações eram vistas em uma perspectiva da função social da arquitetura. / Between 1937 and 1945 Brazil was under the dictatorial government of the Estado Novo, whose ideology of progress and national growth appears strongly characterized by the paradigms of nationalism, defense of the national sovereignty, modernization of institutions, industrialization of production processes, and mainly by the belief in the government as a mediator of tensions. In this process, marked by the transformation of the collective imagery in a regulatory instrument of daily life, the construction of a unifying national identity, able to accommodate differences, became a central mechanism of power. Furthermore, we can say that, in the same period, the long process of construction of an architectural autonomous professional field - especially in what concerns its erudite aspect - reached its culmination. This process, which was present in the previous decades, involved many procedures and strategies not only in the educational field, but also regarding the consolidation of a recognized plastic language, the construction of emblematic buildings and the power to elaborate its own history. In such a context, architecture and the state established, especially during these years of dictatorial government, a very particular relationship. The aim of this dissertation is to approach some of these questions by addressing a specific episode: the construction of the Practical Schools of Agriculture, carried through by the governor of São Paulo, Fernando Costa, between 1942 and 1945. Therefore the research was centered in the analysis of the idealization, conception of the architectural project and establishment of these schools, in the effort to identify, through its architecture, interconnected or contrasting political projects. In this scenario, special attention was given to the neocolonial architecture adopted as the central aspect of the conception of these schools - whose architectural projects were conceived by governmental institutions -, and its assumed ideological discourse, where the esthetic and symbolic elements made reference to but also proposed new constructions to the collective imagery, and where these elaborations were understood as part of architectural social responsibility.

<p>Slutgiltigt godkännandedatum: 2022-10-03</p>

Cette thèse étudie la façon dont trois romans latino-canadiens utilisent le trope de l’exil comme allégorie d’un trauma historique qui comprend plus que l’expérience individuelle de ses protagonistes : la transition forcée de l’État vers le Marché en Amérique latine effectuée par les dictatures. Cobro revertido (1992) de José Leandro Urbina; Le pavillon des miroirs (1994) Sergio Kokis; et Rojo, amarillo y verde (2003) de Alejandro Saravia, explorent divers aspects de ce processus à travers les exercices de mémoire de leurs personnages. L’exil oblige les protagonistes de ces oeuvres à se confronter aux limites des structures sémiotiques par lesquelles ils essaient de donner un fondement idéologique à leur existence sociale. Ils découvrent ainsi qu’il n’est pas possible de reproduire des hiérarchies, des valeurs, ni des relations de pouvoir de leur pays d’origine dans leur pays d’accueil, non seulement à cause des différences culturelles, mais aussi à cause d’un changement historique qui concerne la relation du sujet avec la collectivité et le territoire. Ces œuvres abordent l’expérience de ce changement par un dialogue avec différents genres littéraires comme le roman de fondation, la méta-fiction historique du Boom, le roman de formation et le testimonio, mis en relation avec divers moments historiques, de la période nationale-populaire aux transitions, en passant par les dictatures. Cela permet aux auteurs de réfléchir aux mécanismes narratifs que plusieurs œuvres latino-américaines du XXème siècle ont utilisé pour construire et naturaliser des subjectivités favorables aux projets hégémoniques des États nationaux. Ces exercices méta-narratifs comprennent le rôle de l’écriture comme support privilégié pour l’articulation d’une identité avec le type de communauté imaginaire qu’est la nation. Ils servent aussi à signaler les limites de l’écriture dans le moment actuel du développement technologique des médias et de l’expansion du capitalisme transnational. Ainsi, les auteurs de ces œuvres cherchent d’autres formes de représentation pour rendre visibles les traces d’autres histoires qui n’ont pas pu être incorporées dans le discours historique officiel. / This thesis studies how three Latino-Canadian novels use the trope of exile as an allegory of a trauma that goes beyond the individual experience of their protagonists: the transition from State to Market led by the dictatorships in Latin-America. José Leandro Urbina’s Cobro revertido (1992), Sergio Kokis’s Le pavillon des miroirs (1994), and Alejandro Saravia’s Rojo, amarillo y verde (2003) explore different aspects of this process through the memory of their characters. Exile forces these characters to confront the limits of the different semiotic structures that they try to use as an ideological foundation for their social lives. They discover that it is not possible to recreate the same hierarchies, values and power relations of their home countries in their host country, not only because of cultural differences, but also because of a historical turn that has changed the relationships between the subject, the community and the territory. These novels work-through the experience of this change by entering a dialogue with different genres, such as the foundational romance, the Boom’s historical meta-fiction, the Bildungsroman and the testimonio, covering various historical periods, from the national-popular to the dictatorships and the democratic transitions. Thus, these authors reflect on the mechanisms used in several works of 20th century Latin-American fiction to create and naturalize subjectivities aligned with the hegemonic projects of the nation-states in the region. These meta-narrative exercises also cover the role of writing as the privileged media for the articulation of an identity based on the type of imagined community that is the nation. They point to the limits of writing in the present state of media’s technological development and the expansion of transnational capitalism. This allows these authors to explore other forms of representation that make visible the traces of other stories that could not be dialectically incorporated into the official historical discourse. / Esta tesis estudia la manera en que tres novelas latino-canadienses utilizan el tropo del exilio como alegoría de un trauma que va más allá de la experiencia individual de sus protagonistas: la transición forzada del Estado al Mercado operada por las dictaduras en América Latina. Cobro revertido (1993) de José Leandro Urbina; Le pavillon des miroirs (1994) de Sergio Kokis; y Rojo, amarillo y verde (2003) de Alejandro Saravia exploran diversos aspectos de este proceso a través del ejercicio de memoria de sus personajes. El exilio obliga a los protagonistas de estas obras a confrontar los límites de las matrices semióticas con las que intentan dar un sustento ideológico a su existencia en sociedad. Ellos descubren que no es posible reproducir las jerarquías, valores y relaciones de poder de sus países de origen en el país de acogida, no solo por las diferencias culturales, sino también a causa de un cambio histórico que atañe a la relación entre el sujeto, la colectividad y el territorio. Estas obras elaboran la experiencia de este cambio a través de un diálogo con distintos géneros literarios como los romances fundacionales, la meta-ficción histórica del Boom, la novela de formación y el testimonio, abarcando diversos momentos históricos, desde el periodo nacional-popular hasta las transiciones, pasando por las dictaduras. De este modo, sus autores reflexionan sobre los mecanismos narrativos con los que muchas obras del siglo XX latinoamericano han servido para construir y naturalizar subjetividades favorables a los proyectos hegemónicos de los Estados nacionales. Este ejercicio metanarrativo se extiende al papel de la escritura como medio de articulación de una identidad con el tipo de comunidad imaginada que es la nación, señalando sus límites en momento actual del desarrollo tecnológico de los medios de comunicación y la expansión del capitalismo transnacional. De este modo, los autores de estos textos exploran otras formas de representación que hagan visibles los residuos de otras historias que no pueden ser incorporadas por la dialéctica del discurso historiográfico oficial.

Made available in DSpace on 2016-04-28T19:58:54Z (GMT). No. of bitstreams: 1 Liniane Haag Brum.pdf: 6383423 bytes, checksum: 6702515acecea6ffb93b0307da91ddbe (MD5) Previous issue date: 2014-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is inscribed into a zone of interval between critics and literary creation, that is, between the critical discourse about a work, Before the past: silence comes from Araguaia (2012), by my authorship, and the potential creation of another work - Stone house. Its objective is to speculate possible points of view for the narrator of a potential narration stablished around what is to be said by another one, already published: the novel Before the past, inscribed in the post-dictatorial Brazilian literature. Our methodological strategy is structured around two cores. The first one embraces the analysis of Before the past: the silence which comes from Araguaia, which was based on the concepts of narrator, vestige and threshold according to Wayne Booth and Walter Benjamin studies. The second one is centered on the work in progress - Stone house and has as conceptual axis the notions of archive, act and potency came from Michel Foucault e Giorgio Agamben studies. From this context, emerges the proposition of giving ear and trying to identify, describe and analyze Before the past narrative voice procedures, departing from a site where we are settled simultaneously as a researcher and a reader who scrutinizes her own work. In Part II, the architectural mechanisms of Stone house are investigated by a reflexive voice, which mixes first and third persons that narrate the creation research construction in the form of a writer s book , in the light of the book Passages, by Walter Benjamin. As a result, we delineated a sort of literary cartography of proto-book, which is Stone house, based on collecting and organizing archives made of documental vestiges, memories, audiovisual interviews, photographs, written and oral narratives about Brazilian military dictatorship, and the disappearing and death through a fragile narration which tries to keep itself in a threshold between said and non said, creation and (un)creation / Esta dissertação inscreve-se numa zona intervalar entre a crítica e a criação literária, ou seja, entre o discurso crítico sobre uma obra, Antes do Passado o silêncio que vem do Araguaia (2012), de minha autoria, e a criação potencial de outra Casa de Pedra. O objetivo é o de especular possíveis pontos de vista para o narrador de um relato potencial cujo esteio está naquilo que ficou por dizer em outro, já publicado: o do romance Antes do Passado inscrito na literatura brasileira do período pós-ditatorial. A estratégia metodológica se estruturou em dois núcleos. O primeiro abrange a análise da narração de Antes do Passado o silêncio que vem do Araguaia, tendo como fundamentos os conceitos de narrador, rastro e limiar a partir dos estudos de Wayne Booth e Walter Benjamin. O segundo centra-se na obra em processo de criação - Casa de Pedra - e tem como eixo conceitual as noções de arquivo, ato e potência, a partir de Michel Foucault e Giorgio Agamben. Surge, deste contexto, a proposição de uma escuta que procura identificar, descrever e analisar procedimentos da voz narrativa de Antes do Passado, partindo de um lugar onde nos colocamos, simultaneamente, como pesquisadora e leitora que perscruta a própria obra. Já na Parte II, são investigados os mecanismos arquitetônicos de Casa de Pedra, por meio de uma voz reflexiva que mescla primeira e terceira pessoas, a narrar a construção da pesquisa de criação na forma de um Livro do Escritor , à luz do livro das Passagens de Walter Benjamin. Como resultado, delineamos uma espécie de cartografia literária de um proto-livro , que é Casa de Pedra, a partir da recolha e da organização de arquivos feitos de rastros de documentos, memórias, entrevistas audiovisuais, fotografias, narrativas verbais e escritas sobre a ditadura militar brasileira, o desaparecimento e a morte por meio de uma frágil narração que busca se manter no limiar entre o dito e o não dito, entre criação e des-criação

Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern. / During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century.

Grâce à une réflexion sur ma création poétique, cette thèse exploite « la poétique négro-africaine de l’exil » à travers cinq recueils de Césaire, Kayóya, Senghor et Tshitungu Kongolo. D’une part, mon recueil extériorise les joies et les peines du Burundi précolonial, colonial, postcolonial et d’un exilé francophone au Canada largement anglophone. Mes exigences esthétiques sont, premièrement, l’emploi des figures de style pour que mes poèmes soient des paroles plaisantes au cœur et à l’oreille. Deuxièmement, chaque poème véhicule une poly-isotopie. Troisièmement, pareil à mon identité hybride, mon recueil est un mariage de la poésie des vers courts français et des unités discursives burundaises. D’autre part, mon analyse critique examine la manière dont le poète exilé idéalise le pays perdu et suggère des réserves face au pays hôte qui lui impose une nouvelle identité. Ensuite, mon analyse révèle que l’écriture poétique est en elle-même un exil.