Background: Family-owned companies characterize both the Swedish and many of the world's corporate markets. The family circle is the core of the family business on which the family business depends. A successful generational change is thus a fundamental component for preserving the continuity of the family-owned company. Despite this, there is research that shows that generational shifts are not always feasible and research on why family members leave their empire is limited. This is where the master thesis takes over. Purpose: The purpose of the master thesis is to understand reasons that may be the basis for a family member's distancing from the family-owned company with a special focus on the board's functions. Method: Deductive research approach has been used where existing theory about the board's functions and factors that can affect the family-owned companies' succession process has built up the master thesis' theoretical model. The study has been carried out through a quantitative research method and more specifically a questionnaire survey where the collected data forms the basis for the empirical analysis and results that are presented. Conclusion: The study has, with some caution, been able to show that there is distancing in family businesses of family members and that this is often due to natural causes such as retirement and death. We have been able to confirm previous research regarding the companies' vision of a continuity and a long-term corporate governance perspective, but also that the need for the board’s control function will become a more central part when the company is faced with difficult financial times. / Bakgrund: Familjeföretag präglar både den svenska och många av världens företagsmarknader. Familjekretsen utgör familjeföretagens kärna som familjeföretaget är beroende av. Ett lyckat generationsskifte är därmed en grundläggande komponent för att bevara familjeföretagets kontinuitet. Trots detta finns det forskning som visar på att generationsskiften inte alltid är genomförbara och forskningen kring varför familjemedlemmar lämnar sitt imperium är begränsad. Det är här examensarbetets undersökning tar vid. Syfte: Syftet med examensarbetet är att förstå vilka orsaker som kan ligga till grund för en familjemedlems distansering från sitt familjeföretag med en särskild inriktning på styrelsens funktioner. Metod och genomförande: Deduktiv forskningsansats har använts där befintlig teori kring styrelsens funktioner och faktorer som kan påverka familjeföretagens successionsprocess byggt upp uppsatsens teoretiska modell. Studien har genomförts genom kvantitativ forskningsmetod och mer specifikt en enkätundersökning där den insamlade datan utgör grund till den empiriska analys och resultat som presenteras. Slutsats: Studien har, med viss försiktighet, kunnat påvisa att det förekommer distansering i familjeföretag av familjemedlemmar och att detta många gånger beror på naturliga orsaker såsom pensionering och dödsfall. Vi har kunnat bekräfta tidigare forskning vad gäller företagens vision om en kontinuitet och ett långsiktigt bolagsstyrningspespektiv, men även att behovet av styrelsens kontrollfunktion kommer bli en mer central del när företaget möts av svåra finansiella tider.

Syfte: Att beskriva aktivitetsmönster och upplevelse av aktivitetsbalans hos individer över 70 år efter införandet av Folkhälsomyndighetens rekommendationer om begränsad social kontakt i samband med covid-19-pandemin. Metod: Genom en kvalitativ induktiv ansats med ett strategiskt urval genomfördes 17 semistrukturerade intervjuer. Data analyserades genom en kvalitativ innehållsanalys för att upptäcka mönster och upplevelser av tillvaron i deltagarnas berättelser. Resultat: Deltagarna beskrev att det funnits både svårigheter och möjligheter för hur de kunde adaptera och hitta nya sätt att utföra aktiviteter på. Med färre aktiviteter och mer tid att förfoga över blev deltagarna angelägna om att komma till rätta och utföra aktiviteter som upplevdes meningsfulla för att finna balans i vardagen. Aktivitetsmönster tog ny form då aktiviteter förändrades och/eller försvann varpå deltagarna anpassade sig efter de nya förutsättningarna, och aktiviteterna med dem. Resultatet lyfte hur aktivitetsbalansen påverkades då aktiviteter förändrades eller försvann, att deltagarna utmanades att hitta strategier för att finna meningsfulla aktiviteter i den nya vardagen. Slutsats: Studien visade att engagemang i aktivitet hörde samman med välmående och vikten av tillgänglighet. Ökad kunskap behövs för att bidra med insikt i vad som bibehåller balans, hur tillgängligheten kan öka och vilket stöd arbetsterapeuter och samhället kan ge. / Aim: To describe patterns of daily occupations and experience of occupational balance in individuals over 70 years of age after the introduction of the Public Health Agency of Sweden's recommendations on limited social contact in connection with the covid-19-pandemic. Method: Through a qualitative inductive approach with a strategically planned selection, 17 semi-structured interviews were conducted. Data was analyzed through a qualitative content analysis to discover patterns and experiences of existence in the participants stories. Results: Participants described that there have been both difficulties and opportunities for how they could adapt and find new ways to perform activities. With fewer activities and more time at their disposal, the participants became eager to come to terms with and perform activities that felt meaningful in order to find balance in everyday life. Patterns of daily occupations have taken on new forms as activities have changed and/or disappeared, after which the participants adapted to the new conditions and the activities with them. The results highlight how the occupational balance has been affected when activities have changed or disappeared, that participants have been challenged to find strategies to find meaningful occupation in the new everyday life. Conclusion:The study showed that participation in occupation is related to well-being and the importance of accessibility. Increased knowledge can provide insight into what maintains balance, how accessibility can increase and what support occupational therapists and society can provide.

La présente thèse étudie le rapport entre la vie et l’oeuvre d’Eugène Ionesco selon la perspective de l’autoportrait. Dans ses ouvrages fort divers — essai, roman et théâtre — l’écrivain se penche ouvertement sur sa vie et son passé pour y trouver l’essence de son existence. L’autoportrait ainsi dressé revêt constamment de nouvelles formes. Complexe et transgénérique, il embrasse plusieurs enjeux littéraires et métaphysiques que nous tentons d’analyser et de circonscrire dans le cadre d’une réflexion tripartite. Dans un premier temps, nous étudions la nature de « l’écriture de soi » chez Ionesco en regard des notions d’autobiographie et de journal pour en saisir l’originalité. Nous abordons ensuite l’écriture romanesque de l’auteur afin de montrer d’une part comment ce dernier introduit une dimension autobiographique dans une œuvre fictive et afin de révéler d’autre part son objectif sur le plan de l’écriture de soi. Enfin, nous analysons la nature de l’autoportrait dramatique ionescien du point de vue générique et examinons le mode de représentation de soi « hors de soi », c’est-à-dire, sur scène. / This thesis analyzes the relationship of Eugène Ionesco's life and works through a selfportrait lens. In his rich variety of works across multiple genres, e.g. essays, novels and plays, the author openly examines his life and his past to find the essence of his existence. Thus approached, the self-portrait constantly takes on new forms. Complex and cross-genre, it takes up various literary and metaphysical issues which will be analyzed and delineated through a tripartite approach. Firstly, the nature of self-writing in Ionesco's works will be considered in comparison to the concepts of autobiographical and journal writing in order to appreciate his originality more thoroughly. Next, his novelistic writing will be explored to show, on the one hand, how he adds an autobiographical dimension to fiction, and to reveal on the other hand, his goal as far as self-writing is concerned. Finally, the nature of Ionesco’s dramatic selfportrait will be analyzed from a genre standpoint as will his self-representation from “ outside himself”, that is to say, on stage.

Made available in DSpace on 2016-04-28T19:58:55Z (GMT). No. of bitstreams: 1 Diana Pessoa de Almeida.pdf: 1497631 bytes, checksum: 57e56cc91ea99e5ce5c054c3ab6685ea (MD5) Previous issue date: 2015-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of this research is to analyze how y w absorbed by Chico Buarque de Hollanda in his play Ópera do Malandro, played in 1978 and published in 1979. To do so, the problem asks: how Chico Buarque, drawing on theatrical and literary resources, as the ones created and discussed by Bertolt Brecht, guarantee a dialectical narrative while proposes a new way of theater in a historical context marked by a dictatorship in Brazil. To achieve our goal, we propose the following hypothesis: Ópera do Malandro (1978) k ; dialectical theory absorbed by Brazilian theater implied a new theater by respecting the demands of each historical context; the irony and parody are procedures that generate a distancing effect on the audience allowing a transforming action. Regarding the development of the theme, our research aims to analyze comparatively the plays Ópera do Malandro , Chico Buarque, and Ópera dos Três Vinténs, . y were important to guide our steps. We highlight the importance of the following scholars: Anatol Rosenfeld, Antonio Cândido, and Mikhail Bakhtin, besides texts of Bertolt Brecht himself. Among the research results, we emphasize that Chico k w k w w strict censorship that took place in Brazil from 1960 and the mid 1980s. All and all, w y malandro announced by the title of the play / O objetivo desta pesquisa é analisar o modo como as teorias brechtianas foram absorvidas por Chico Buarque de Hollanda em sua produção teatral Ópera do Malandro, encenada em 1978 e publicada em 1979. Para isso a problematização pergunta: até que ponto Ópera do Malandro, valendo-se de recursos cênicos e literários, como propostos por Brecht, garante uma narrativa dialética ao mesmo tempo que propõe uma nova maneira de fazer teatro em um contexto histórico marcado pela ditadura militar de 1964? Propomos as seguintes hipóteses: a Ópera do Malandro (1978) busca, no teatro brechtiano, uma ação transformadora, seja da cena, seja do espectador; a dialética brechtiana absorvida pelo teatro brasileiro implicou um fazer teatral novo ao respeitar as exigências contextuais de suas épocas; a ironia e a paródia são procedimentos que geram o distanciamento do público da encenação, permitindo uma ação transformadora. No que diz respeito ao desenvolvimento da temática, nossa pesquisa emprega como estratégia metodológica um estudo comparativo dessa obra de Chico Buarque e a Ópera dos Três Vinténs, de Brecht. Como fundamentação teórica, valemo-nos das teorias brechtianas e às reflexões acerca da representação cênica. Destacamos os textos de Décio de Almeida Prado, Anatol Rosenfeld, Antonio Cândido, Mikhail Bakhtin, além de textos teóricos do próprio Bertolt Brecht. Entre os resultados da pesquisa, ressaltamos que Chico Buarque e sua equipe veem na obra de Brecht uma ferramenta que os permitiu driblar a censura que se estabeleceu no Brasil do início dos anos 1960 até meados de 1980. Desse modo, o diálogo com a obra de Brecht denuncia o autor como o próprio malandro anunciado pelo título da peça

Ce travail étudie l’impact de la cyberlangue, induite par le développement des technologies de l’InfoCom, sur les situations de communication médiatisée, jusqu’à la ritualisation des interactions sur les dispositifs sociotechniques.Ce travail mobilise un pluralisme théorique et méthodologique, une approche quantitative et typologique. Il s’appuie sur un terrain de données nativement numériques sur un forum de discussion en ligne, dans le domaine de la téléréalité. En appui sur les concepts de langue et langage, réduction de l’incertitude, cyberlangue, dispositif, communauté, réseau, rites et ritualités, et sur les théories de la conversation, du lien social, du lien rituel, de la «posture intentionnelle » et les rites d’interaction en ligne, une étude exploratoire permet d’identifier des procédés d’écriture élaborés et créatifs et d’établir une typologie enrichie des marqueurs de la cyberlangue.Dans une enquête, la confrontation des usages aux représentations permet de comprendre la perception de la cyberlangue par les internautes. Dans les micro-communautés identifiées par la mesure des interactions, la présence des interacteurs, le poids et la concentration des marqueurs cyberlangue et la polarité du discours interactionnel, l’étude de situations rituelles permet d’identifier une typologie de rites d’interaction associés à certains marqueurs cyberlangue et de corréler les potentialités de pacification de la cyberlangue aux intentionnalités de distanciation et de compensation des interacteurs, dans une dynamique de coconstruction pour le maintien du lien social. / This study examines the impact of cyberlanguage, induced by the development of InfoCom technologies, on mediated communication situations, up to the ritualization of interactions on socio-technical devices. This work mobilizes a theoretical and methodological pluralism, a quantitative and typological approach. It relies on a native digital data field on an online discussion forum, in the field of reality show. In support of the concepts of language, reduction of uncertainty, cyber-language, device, community, network, rites and rituals, and the theories of conversation, social bond, ritual bond, "intentional posture" and online interaction rites, an exploratory study identifies elaborate and creative writing processes and establishes an enriched typology of cyberlanguage markers.In a survey, the confrontation of uses with representations makes it possible to understand the perception of the cyberlanguage by Internet users. In the micro-communities identified by the interactions measurements, the presence of interactors, the weight and concentration of cyberlanguage markers and the polarity of the interactional discourse, the study of ritual situations makes it possible to identify a typology of associated interaction rituals to certain cyberlanguage markers and to correlate the pacification potential of the cyberlanguage with the intentional distancing and compensation of the interactors, in a dynamics of coconstruction for the maintenance of the social bond.

No description available.

<p>This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels <i>Muriel at Metropolita</i>n (1975) and <i>Amandla!</i> (1980), and several short stories from <i>Mihloti</i> (1984) and <i>Footprints in the Quag</i> (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.”</p><p>Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in <i>Muriel</i> which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in <i>Amandla!</i>. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from <i>Amandla!</i> to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.</p>

This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels Muriel at Metropolitan (1975) and Amandla! (1980), and several short stories from Mihloti (1984) and Footprints in the Quag (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.” Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in Muriel which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in Amandla!. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from Amandla! to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2018-11-08T13:48:45Z No. of bitstreams: 2 Sandra_Silva_2018.pdf: 1053978 bytes, checksum: 44a284d8cb94dba426f9246bfe53216d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-08T13:48:45Z (GMT). No. of bitstreams: 2 Sandra_Silva_2018.pdf: 1053978 bytes, checksum: 44a284d8cb94dba426f9246bfe53216d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-09 / This dissertation contemplates a comparative study between the dramaturgical text The Threepenny Opera (1928) and The Threepenny Novel (1934), by Bertolt Brecht, in which focuses the comprehension of the esthetic elements developed by Brecht in the epic theater: distancing effect and social gestus. The research presents reflections on the development and self-appropriation of the conceptual formulations proposed by Brecht in different textual genres, but which maintains narrativity, since epic theater is essentially narrative. Understanding the formal differences among literary genres, temporalities and historical contexts, we tried to verify how Brecht transmigrates elements of his dialectical epic theater to the romanesque narrative and how these elements contribute to read the social relations and their historical and idiosyncratic temporalities. The research also presents a study on Brazilian theater groups and collectives that re-elaborate Brechtian aesthetics in their plays in contemporary times. So, the present dissertation is articulated from three parts, named as acts. Act One has a reflection on the theory of the Brechtian dialectic theater, especially on the distancing effect and the social gestus, and based on these reflections, it is analyzed how these elements of the Brechtian theater are presented in the play The Threepenny Opera. Act Two presents a comparative analysis between the play and the novel, showing how the epic theater elements are presented in The Threepenny Novel. In Act Three we reflected on the scope of the Brechtian aesthetics in the Brazilian Collectives of Theater Companhia do Latão, Companhia do Feijão and Coletivo de Teatro Alfenim, and how these groups reimport the Brecht’s aesthetic. / Esta dissertação contempla um estudo comparado entre o texto dramatúrgico A Ópera dos Três Vinténs (1928) e o Romance dos Três Vinténs (1934), de Bertolt Brecht, no qual se foca a compreensão dos elementos estéticos desenvolvidos por Brecht no teatro épico: efeito de distanciamento e gestus social. A pesquisa apresenta reflexões sobre o desenvolvimento e as autoapropriações das formulações conceituais propostas por Brecht em gêneros textuais diferentes, mas que mantêm entre si a narratividade, uma vez que o teatro épico é essencialmente narrativo. Compreendendo-se as diferenças formais entre gêneros literários, temporalidades e contextos históricos, procurou-se verificar de que modo Brecht faz transmigrar elementos do seu teatro épico dialético para a narrativa romanesca e como tais elementos contribuem para para que se leia deles as relações sociais e suas temporalidades históricas e idiossincrasias. A pesquisa apresenta também um estudo sobre grupos e Coletivos de Teatro Brasileiros que reelaboram a estética brechtiana em suas peças na contemporaneidade. Desse modo, a presente dissertação está articulada a partir de três partes, intituladas como atos. O Ato I volta-se para a reflexão sobre a teoria do teatro dialético brechtiano, em especial sobre o efeito de distanciamento e o gestus social. Com base nestas reflexões, analisa-se como esses elementos do teatro brechtiano se apresentam na peça teatral Ópera dos Três Vinténs. O Ato II apresenta uma análise comparativa entre a peça e o romance, mostrando como tais elementos do teatro épico se fazem presentes no Romance dos Três Vinténs. No Ato III, refletimos sobre o alcance da estética brechtiana nos Coletivos de teatro Companhia do Latão, Companhia do Feijão, Coletivo de Teatro Alfenim, e como esses grupos ressignificam a estética brechtiana.

The rapidly spreading pandemic of SARS-CoV-2 (COVID-19) infection with high morbidity and mortality has overwhelmed the global healthcare services. With mysterious origins and the capacity of affecting multiple types of tissues, SARS-CoV-2 has baffled many scientists - which has posed great challenges in the development of pharmaceutical treatments and preventions (i.e., vaccination). The COVID-19 pandemic has also led to a slew of non-pharmaceutical interventions (NPIs) to slow down the spread of the virus. The sudden imposition of these NPIs including social distancing, lock-down, school closures, isolation, and quarantine of suspected cases or contacts, has greatly affected the mental health of children and adolescents. Concerns about the impact of these NPIs on mental health, especially for vulnerable populations such as children and adolescents, have emerged. This study discusses several different aspects of the impact of the COVID-19 pandemic on the mental health of children and adolescents.Accumulating evidence has shown that the vast majority of children and adolescents exposed to the SARS-CoV-2 virus are asymptomatic, although few cases turned unfortunately severely ill. The genomics, microbiology, and biochemistry of this novel coronavirus reveal several peculiarities, making it a tough entity. The profound impact of social distancing along with the closure of schools, parks, and other recreational activities on the delicate minds of children and adolescents makes them irritable, angry, and rebellious. This assumes a major challenge in children with mental health issues or in those with special needs. Lock-down, quarantine and isolation further complicate the mental health issues and are discussed along with remedial measures. The impact of an already overwhelmed medical care system on the mental healthcare quality can be profound and needs a specially chartered approach by the psychiatrists supplementing the COVID-19 control activities. Children/adolescents with neuropsychiatric issues need special care, as they have abnormal impulsive behaviour and actions such as running away, unhygienic acts, spitting etc. All these mental health issues in children and adolescents, who form a sizable population of the society and are the future of the planet, forms the subject matter of this work. Thus, all programmes of COVID-19 control must simultaneously address these important mental health issues of children and adolescents to prevent this ‘parallel pandemic’ of psychiatric disorders. The latter may persist much longer and prove equally challenging and costly.