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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 11 to 18 of 18 (0.028 seconds)| 11 |
Förekomst av mikroplaster i tångmärlor (Gammaridae) längs södra HallandskustenKarlsson, Joakim January 2020 (has links)
Since the middle of the 20th century, scientists have observed that marine organisms ingest plastics in various shapes, directly or through food. Plastics smaller than 5 millimetres, called microplastics, have in recent years gained more attention and been found to accumulate environmental toxins. A family of organisms which have been found to ingest microplastics is Gammaridae, which are important as food sources and detritivores in many ecosystems. In this study, the occurrence of microplastics in marine gammarids was investigated in three rural and three urban areas, along the coast of Halland and northern Skåne. The aim was to find out if these organisms contain microplastics and to compare the occurrence in rural versus urban areas. Microplastics were found in 33 (approx. 14.9 %) of 221 samples, ranging from 0 to 3 microplastics per individual. A significant difference in the average amount of microplastics per individual was found between the rural and urban areas; the urban areas had a higher average, with one exception. In other studies, urban areas have been found to often contain more microplastics than rural areas, increasing the possibility that organisms in these areas ingest plastics. With more boat traffic and inhabitants in general, along with streams transferring plastics from inland areas, the amount of emissions in urban areas can be greater than in rural parts. The result shows that microplastics occur in marine gammarids in the 3 examined areas and that these organisms therefore may have an important part in the transfer of microplastics between trophic levels. / Sedan mitten av 1900-talet har forskare observerat att marina organismer tar in plaster i olika former, direkt eller via föda. Plastpartiklar mindre än 5 millimeter, så kallade mikroplaster, har på senare år fått större uppmärksamhet och har också visat sig kunna ackumulera miljögifter. En familj av organismer som man funnit mikroplaster i är tångmärlor (Gammaridae), vilka i många ekosystem är viktiga som födokällor och nedbrytare. I denna studie undersöktes förekomsten av mikroplaster i marina tångmärlor på tre lokaler i stadsområden respektive landsbygdsområden, längs Hallandskusten och Skånes norra kust. Syftet var att se ifall dessa organismer innehåller mikroplaster samt jämföra förekomsten i landsbygdsområden kontra stadsområden. Av 221 analyserade prov förekom mikroplaster i 33 (ca 14,9 %) och förekomsten per individ varierade från 0 till 3 mikroplaster. En signifikant skillnad i medelvärde av mikroplaster per individ fanns mellan landsbygdsområden och urbana områden; urbana områden innehöll i genomsnitt mer men med ett undantag. I andra studier har man funnit belägg för att stadsområden ofta innehåller mer mikroplaster än landsbygdsområden, något som ökar risken för att organismer i dessa områden tar in plaster. Med mer båttrafik och antal invånare överlag, tillsammans med vattendrag som för med sig plast från inlandet, kan det i dessa områden ge en större utsläppsmängd i jämförelse med i landsbygdsområden. Resultatet visar på att mikroplaster förekommer i marina tångmärlor i de undersökta områdena och att dessa organismer därmed kan vara en viktig del i överföringen av mikroplaster mellan trofiska nivåer.
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Bostadsnära grönområden i Falkenberg : En jämförelse av tillgänglighet med buffertanalys, nätverksanalys och Two-step Floating Catchment Area-metoden / Residential Urban Green Space in Falkenberg : A comparison of accessibility using Buffer analysis, Network analysis and Two-step Floating Catchment Area MethodHandzic, Kaj January 2024 (has links)
Vi lever i en urbaniserad värld och mer än hälften av jordens befolkning bor i städer globalt. God tillgång och tillgänglighet till bostadsnära grönområden har påvisats öka vår psykiska och fysiska hälsa. Världshälsoorganisationen (WHO) och Förenta nationerna (FN) har båda antagit program med mål att öka och säkra tillgängligheten till grönområden. I detta examensarbete jämförs fyra olika metoder för att analysera nuläget av tillgång och tillgänglighet i Falkenberg. Analysen genomförs i tre steg. I steg 1 definieras de grönområden som ingår i analysen. I steg 2 jämförs buffert- och nätverksanalys och i steg 3 beräknas tillgängligheten med 2 modeller av Two-Step Floating Catchment Area metoden (2SFCA). De polygonbaserade beräkningar som sker med buffert- och nätverksanalys beräknar tillgången ensidigt och beräknar den spatiala tillgängligheten eller befolkningstrycket på ett grönområde. Med 2SFCA-metoderna kombineras tillgången och efterfrågan i samma analys. Analysen finner att cirka 90 % av invånarna i Falkenberg har tillgång till bostadsnära grönområden inom 300 meter, dock är både tillgång och tillgänglighet lägre i de centrala delarna av tätorten. I studien jämförs traditionella metoder för att beräkna den spatiala tillgängligheten så väl som nyare metoder. 2SFCA-metoderna beräknas med och utan avståndsviktning. I vidare studier vore det intressant att implementera en kvalitetsaspekt där så väl ett grönområdes kvalitet som dess avstånd avgör attraktionskraft. / More than half of the world population live in cities or urban areas today. Urban green spaces (UGS) have been found to have an impact on the mental and physical well-being of urban citizens. The World health organisation (WHO) and United Nations (UN) both have set goals to increase and secure the accessibility to UGS, especially for children and young people. The aim of the study is to measure the spatial accessibility to UGS in Falkenberg, Sweden. The work consists of three steps. Step 1 is to define what constitutes a green space. Step 2 aims to compare buffer and network analysis to determine which method is best suited for the third step. Step 3 is to measure the accessibility by using the Two-step Floating Catchment Area Method (2SFCA) and thereafter integrate a Gaussian distance decay to the function and conduct the measures with the Enhanced two-step floating catchment area method (E2SFCA). Step 2 finds that there is no major difference in access to green space between the buffer and network analysis as approximately 90 % of the population have access to green space within 300 meters from their home. In step 3 the implementation of the 2SFCA Method finds that 13 % has no access to UGS and 41 % has a low accessibility score. By introducing the distance decay function the population with low-mid to high-mid accessibility score increases as well as the overall accessibility. This is due to the nature of E2SFCA which does not treat the distance threshold dichotomous. Further studies could benefit from implementing a probability function to the E2SFCA method to incorporate the attraction to a UGS by using the qualitative values in combination with the distance.
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Healing maori through song and dance? Three case studies of recent New Zealand music theatre.Johnston, Emma Anne January 2007 (has links)
This thesis investigates the way "healing" may be seen to be represented and enacted by three recent New Zealand music theatre productions: Once Were Warriors, the Musical-Drama; The Whale Rider, On Stage; and Footprints/Tapuwae, a bicultural opera. This thesis addresses the ways each of these music theatre productions can be seen to dramatise ideologically informed notions of Maori cultural health through the encounter of Maori performance practices with American and European music theatre forms. Because the original colonial encounter between Maori and Pakeha was a wounding process, it may be possible that in order to construct a theatrical meeting between the "colonised" Maori and the "colonial" non-Maori, "healing" is an essential element by which to foster an idea of the post-colonial, bicultural togetherness of the nation. In all three productions, Maori song and dance forms are incorporated into a distinctive form of western music theatre: the American musical; the international spectacle; Wagnerian opera. Wagner's attempts to regenerate German culture through his music dramas can be compared to Maori renaissance idea(l)s of cultural "healing" through a "return" to Maori myths, traditions and song and dance.
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Evangelistic Performance in New Zealand: The Word and What is Not SaidBond, Greta Jane January 2008 (has links)
In 1518, Martin Luther is reputed to have nailed his 95 theses to the door of the Castle Church at Wittenberg, an act that sparked the Protestant Reformation. Luther sought change in the Catholic Church: a return to an unmediated relationship with God based on a closer understanding of the Word. Since then, Protestant evangelism has been a force for social change: and this is particularly true in New Zealand, where evangelism has gone hand in hand with the colonisation of the country.
This thesis proposes that it is not, in fact, the literal understanding of the Word that gives these services meaning, and that such an understanding is problematic and perhaps even impossible: the Word is always a translation. Instead, it is through what is not said - the performative aspects of evangelistic services, including the use of space, the actions of the evangelist, and pre-existing cultural “horizons of expectation” - that meanings are produced.
Taking as material Samuel Marsden’s first service in New Zealand in 1814, in which the Word was preached in English to a congregation who primarily spoke only Maori, the more contemporary example of televangelist Benny Hinn, who performs miracles to television cameras, and the religious and political performances of Destiny Church’s Brian Tamaki, this thesis uses the tools of performance studies to undertake an ethnographic study of evangelistic services. This brings into focus the ways in which evangelists may create congregations and produce meanings in their services through different modes of performance and the ways in which these ulterior meanings impact, and have impacted, on New Zealand society.
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Acting and its refusal in theatre and film.McCurdy, Marian Lea January 2014 (has links)
This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
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Between Liminality and Transgression: Experimental Voice in Avant-Garde PerformanceJohnston, Emma Anne January 2014 (has links)
This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious.
The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective.
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Att arbeta med social hållbarhet i kommunen : En kvalitativ studie om den sociala hållbarhetsstrategens perspektiv på socialt hållbarhetsarbete och dess påverkan på invånares livsvillkor i HallandLomander, Johanna, Samuelsson, Ellen January 2018 (has links)
Intresset för social hållbarhet har vuxit globalt det senaste decenniet och är idag ett fokus i såvälden privata som offentliga sektorn. Det finns en kunskapslucka i hur det strategiska arbetet medsocial hållbarhet utförs i svenska kommuner, vilket uppsatsen önskar bidra till. Länsstyrelsen iHalland gav oss i uppdrag att öka förståelsen för det kommunala arbetet med social hållbarheti Halland. Strävan är att skapa en förståelse för motivet bakom de strategier som uppdagats ochanalysera utvecklingsmöjligheter. Med utgångspunkt i begreppen välfärd, jämlikhet, tillit ochrättvisa har fem av Hallands sex kommuners sociala hållbarhetsarbete undersökts genomintervjuer som tolkats genom teorier från Jämlikhetsanden, The Just City och Feminism sombyråkrati. Uppsatsen redogör också för hur social hållbarhet tolkas och implementeras avrespektive kommun samt hur det sociala hållbarhetsarbetet påverkar invånarnas livsvillkor.Resultatet av studien var att samtliga kommuner nyligen påbörjat arbetet med social hållbarhetoch att det som prioriteras i nuläget framför allt är integration, ungas hälsa, segregation, tillitoch ANDTS. Studiens teoretiska referensram visar att implementering och konkretisering avsocial hållbarhet är viktigt för ett fortsatt godartat arbete med social hållbarhet. / The interest for social sustainability has grown global the last decade and is today a focus forthe private and the public sector. There is a knowledge gap in how the strategic work with socialsustainability is done in Swedish municipalities, which the essay wishes to contribute to.Hallands county government assigned us their wish to increase the understanding for themunicipal work done with social sustainability in Halland. The ambition is to create anunderstanding for the motives behind the discovered strategies and analyze opportunities fordevelopment. Based on terms such as welfare, equality, trust and justice the work with socialsustainability made by five of Hallands six municipalities was studied through interviews andinterpreted through the theoretical approach by The Spirit Level, The Just City and Feminismas bureaucracy. The essay also describes how social sustainability is interpreted andimplemented by each municipality and how the work with social sustainability has effect onthe living conditions of the inhabitants. The result show that all municipalities recently begantheir work with social sustainability and that the current priorities are integration, the health ofyoung people, trust and dependency issues. The theoretical reference frame which the study isbased on show that implementation and concreteization of social sustainability is essential fora continued well made work with social sustainability.
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The Rebellious Mirror,Before and after 1984:Community-based theatre in AotearoaMaunder, Paul Allan January 2010 (has links)
In this thesis I outline the contribution Community-based theatre has made to New Zealand theatre. This involves a defining of theatre production as a material practice. Community-based theatre was a tendency from the 1930s, a promise of the left theatre movement and, I argue, was being searched for as a form of practice by the avant-garde, experimental practitioners of the 1970s. At the same time, early Māori theatre began as a Community-based practice before moving into the mainstream.
With the arrival of neo-liberalism to Aotearoa in 1984, community groups and Community-based theatre could become official providers within the political system. This led to a flowering of practices, which I describe, together with the tensions that arise from being a part of that system. However, neo-liberalism introduced managerial practices into state contracting and patronage policy, which effectively denied this flowering the sustenance deserved. At the same time, these policies commodified mainstream theatre production.
In conclusion, I argue that in the current situation of global crisis, Community-based theatre practice has a continuing role to play in giving voice to the multitude and by being a practice of the Common.
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