Approved for public release, distribution is unlimited / The United States Navy Submarine Hydrodynamic/Hydroacoustic community is a decentralized, multiorganizational, geographically distributed enterprise. Strategic planning and management, whether formal or ad hoc, is necessary for effective functioning of any organization. However, formal strategic planning is particularly difficult in multi-organizational, geographically diverse enterprises. Enterprise-wide performance measurement and a shared understanding of enterprise performance is necessary to devise compelling and effective strategies. During the Cold War, the U.S. Navy submarine force had a clear mission and compelling goals, with resulting clarity on performance metrics. The Submarine Hydrodynamic/Hydroacoustic workforce was focused on helping the submarine force achieve these goals. In the post-Cold War era, the submarine force mission in the integrated battle space is less defined. The percentage of the military budget that can be spent on discretionary spending is decreasing. The Submarine Hydrodynamics/Hydroacoustic community has been directly impacted by the recent lack of focus and budget reductions. The purpose of this thesis is to research the past processes used to perform strategic planning for the Submarine Hydrodynamic/Hydroacoustic community, identify current strategic issues for the community, and document strategic lessons learned that can be identified through the evaluation of product successes and failures. / Civilian, United States Navy

La présente thèse propose une nouvelle lecture de l’œuvre photographique de Pierre Verger, de 1932 à 1960, en révélant en partie un corpus inédit, afin de mettre en exergue le caractère moderne et singulier de son œuvre. Sa pratique photographique est d’abord liée à l’instantanéité à travers le photoreportage pour la presse, pour l’agence photographique Alliance Photo, ainsi que pour divers éditeurs. Ces diverses expériences contribuent à révéler une « esthétique du reportage » dont la période brésilienne étendue de 1946 à 1948 constitue l’apogée. Son intérêt porté aux cultures extra-occidentales, et particulièrement au monde noir, va progressivement orienter ses reportages vers une photo-ethnographie, dans une dimension de mémoire et de sauvegarde. L’idée de modernité qui sous-tend son œuvre est à considérer non seulement par sa créativité photographique, étroitement liée à la Nouvelle Photographie française des années 1930, à la photographie de reportage et humaniste, mais aussi par sa perception de l’étranger qui génère une nouvelle représentation de l’Autre. / "The photographic art of Pierre Verger: the modernity of a regard" proposes a new lecture to the photographic work of Pierre Verger, from 1932 to 1960, and through a unic corpus it emphasizes on the modernity and singularity of his work. His photographic work is firstly linked to the snapshop, through his photo-documentary for media, edition, and the Alliance Photo agency. These various experiences contribute to reveal an "esthetic of documentary" whose brazilian period from 1946 to 1948 marks the apogee. His interest for non-western cultures, more particularly the black world, orientates his work to an ethnographic-photography, in a perspective of memory. The idea of modernity which underlines his work has to be considerated non only for its creativity and its links with the French New Photography of the 1930's and the humanist photography, but also from its perception of the foreigner generating a new representation of the Other.

The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.

This thesis assesses the role of the interview form within literature from the late nineteenth century to the present day. The project contends that the interview, although styling itself as a revealing, authentic, private confession, is a genre of life writing that deeply troubles the model of singular Romantic authorship that it simultaneously promotes. The thesis argues that the interview has been a key site for negotiating conceptions of authorship since its inauguration. Exploring issues of publicity, life writing and gossip, through nineteenth-century newspaper depictions of scandals (chapter one), I argue that the act of interview publication is a staging of the speaking self in the public sphere. In chapter two I triangulate discussions of journalism, celebrity and material modernism to argue that the characteristic modernist authorial persona, far from being revolutionary, avant-garde or iconoclastic, was in fact deeply retrograde. Chapter three examines how the interview operated as a negotiation of the study, the marketplace and the middlebrow in the 1930s, with reference to the popular Everyman magazine series “How Writers Work.” The development of an interrogative interview model in the postwar era forms the subject of chapter four, as I demonstrate how the backdrop of the Cold War transformed the ways in which writers as diverse as Ezra Pound and the Beat poets responded to the interview in their work. The penultimate chapter argues that the Paris Review interview offers a hitherto unrecognised link between New Criticism and New Journalism and can revitalise discussions around the historical institutionalisation of literary studies. Chapter six considers the interview’s prominent contemporary position within world literature as a purveyor of literary value and archive of global cultural memory. Overall, the project illustrates how central the interview has been in the cultural construction of authorship in the last 150 years.

This thesis is an ethnographically grounded description and interpretation of a variety of writing practices observable in an Arabic speaking community, primarily on the Internet. Working with, or in reaction to, the concept of diglossia, of which Arabic sociolinguistic setting is often cited as a textbook example, the majority of scholars have focused their attention on speech as a major site of language variation and mixing. Writing has been largely neglected. This thesis is a contribution to what I hope will become a growing number of works aimed at filling that lacuna. I examine linguistic features of a number of, mostly non-literary, texts in contemporary Egypt where Modern Standard Arabic (Fuṣḥa) and Egyptian Colloquial Arabic (ˤAmmiyya) constitute the theoretical poles of the diglossic continuum. The Egyptian sociolinguistic setting, however, is here understood as being defined and reconfigured by the increasing socio‑economic importance of yet another linguistic variety – English. The analysis of linguistic details is conducted with reference to a broader socio‑cultural context and local language ideologies surrounding the production and reception of a rapidly growing number of texts that employ a variety of features and draw on different linguistic resources, thus often defying, in the outcome, the hegemonic ideological projection that writing is the domain of Fuṣḥa. In order to offer an account of a dynamic, changing and diversified character of writing practices in present‑day Egypt, illustrative examples are drawn from a number of different texts and domains of writing, including Wikipedia Masry, Twitter, Facebook, advertisements, online campaigns for political and social causes, as well as books. The inventory of linguistic resources variously employed by various writers in various circumstances is identified to contain re-combinations across three linguistic varieties, Fuṣḥa, ˤAmmiyya and English, and two scripts, Arabic and Latin.

This dissertation is about the role of NGOs in the lives of subaltern youth in urban India. It is an ethnography on the everyday lives of young people between the ages of 18-32 from impoverished 'red-light areas' in Kolkata who grew up participating in NGO youth programmes. This thesis investigates how NGOs partake in a process of subject making, and how young people interact with and improvise NGO subjectification to better their own lives in a world- class aspiring city. The youth featuring in this dissertation spent their childhood and adolescence either residing in NGO shelter homes or regularly attending NGO drop-in-centres in their neighborhoods. They came of age attending NGO education programmes, job skills trainings, and human rights workshops. Grounded in 13 months of fieldwork, my ethnography tells the stories of young people’s lives after their participation in NGO programmes, amidst their everyday worlds of work, consumption, and politics. My examination of the young people’s post-NGO daily lives in Kolkata makes three key contributions. First, it reveals the contradictions of NGO development. It examines the ambivalent effects of NGOs on subaltern young people’s gender and class identity, as well as their social and political subjectivity and mobility. Second, it illustrates the plural forms of agency practised by urban marginalised youth. My thesis demonstrates how young people are not just passive recipients of NGO development opportunities, but active negotiators of development as they interact with NGOs and navigate its attempts to regulate youth. Third, it illustrates how NGOs and post-NGO youth both foster and trouble class divisions in the world-class aspiring city of Kolkata. I illustrate how young people develop cultural dispositions that straddle across subaltern and middle classes and unsettle class boundaries but not inequalities. This dissertation argues for ethnographic attention to the everyday lives of post-NGO youth as an analytical lens to theorise NGOisation and global city processes in contemporary India and the greater global South.

MA, School of Music, Faculty of Humanities, University of the Witwatersrand / In 2003 I made a documentary film called Karoo Kitaar Blues with South African songwriter and guitarist, David Kramer, on the rare musicians, music, and instruments of scattered coloured communities in the Northern Cape. When I set out, seven years ago, to make the film I had no intention of making an ethnographic film or producing a visual ethnography in the anthropological sense (I am a documentary filmmaker), but two academic reviews, critical of its lack of ‘ethnographic context’ caught my intention. This dissertation attempts to respond to their critique. I explore the territory of visual anthropology and ethnographic methodology in order to understand why my film, with hindsight, is and is not ‘ethnographic’, and to establish how ethnographic practice could enhance my work as a filmmaker. I use Karoo Kitaar Blues as my visual monograph and examine the differences between ethnographic film and documentary (in the observational mode) with reference to ethnographic methodologies and theory in ethnomusicology, and consider how film can be used ‘as’ ethnography or ‘in’ ethnography. I conclude that Karoo Kitaar Blues film lies somewhere between ethnographic and observational filmmaking.

Essa tese interpreta a remoção de uma favela da Vila Madalena, zona Oeste de São Paulo, em 2005, através do estudo etnográfico realizado antes e durante a remoção da mesma e o recolhimento de histórias de vida de seus ex-moradores. O foco da tese recai sobre o modo como esses sujeitos interpretam a casa, as coisas e o entorno dessas: a relação com os vizinhos, o bairro e a cidade. Recoloca a questão da remoção como algo dentro de suas trajetórias de vida e não isoladas no tempo e no espaço. Ao re-interpretar essas interpretações acerca do texto dos sujeitos e da observação de seu cotidiano na favela e dois anos após sua remoção, essa tese procura abrir os sentidos dessa experiência, abrindo-lhe outros significados, no intuito de elaborar um pensamento a respeito do habitar na cidade. / This work interprets the removal of a favela (slum) of Vila Madalena, an west area of Sao Paulo, in 2005, through ethnographic study conducted before and during the removal of the same favela (slum) and collection of lifes stories of its former residents. The focus of this work lies with the way these people interprets the house, things and the surroundings like: the relationship with neighbors, the neighborhood and the city. Ask again the question of removal as something within their paths of life, not isolated in time and space. To reinterpret these interpretations about the text of the subject and their daily observation about the slum (favela) and two years after their removal, that approach seeks open the senses of this experience, opening it other uses, aiming prepare a thought about the living in the city.

This thesis utilizes a multi-perspectival cultural and media studies approach analyzing the production, filmic text, and reception of Taarka, the first film about Setos, that is advertised as a (docu)drama. However, the analysis shows that it can also be interpreted as an ethnographic film. It examines which intersecting identities related to Seto women are depicted in the film and whether audiences and critics recognize the power dynamics of these intersections. It also analyses how the Estonian cultural economic environment, the filmic text, audience comments and critics reviews reinforce or challenge hegemonies connected with these intersections. Drawing on the principles of postcolonial feminism, intersectionality, and other critical theories, the thesis concludes that even though the filmic text challenges traditional gender roles, it still reinforces the Estonians’ one-sided portrayal of an exotic, commodified Seto ethnicity. Moreover, the cultural economic environment and reception of the film also bolster this view of Seto ethnicity. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

The Kenyan society is patriarchal, has an alarming rate of deforestation where rural farmers, especially women, are highly affected by climate change. There is little research on companies operating in dry areas with a mission to address poverty, ecology and women. The objective of this study was therefore to understand how an investment model can alleviate poverty in rural Kenya and what the consequences of doing so are for the local community. This was answered using a qualitative research approach presented in an ethnographic case study, conducting 29 interviews. The field research took place at three different locations at Better Globe, an agroforestry company operating in dry areas who mainly employ and work with women in rural Kenya. Our research, analysed through an ecofeminist lens, demonstrates that the local community benefits on several areas; access to water, employment, firewood and grass, microfinance, training and education. However, there is a big power distance within the company and a high dependency from the workers as Better Globe is the sole big employer in the region. We welcome further research between the merging of ecofeminism and business, operating within the structures of the patriarchal and capitalist society.