Studien handlar om olika myndigheters samverkan kring frågor om barn som far illa eller riskerar att fara illa. I undersökningen studeras hur samverkan fungerar och vad målet med samverkan är. Dessutom identifieras framgångsfaktorer och hinder för samverkan. Studien görs utifrån PSSgruppens perspektiv, PSS-gruppen är en mindre samverkansgrupp mellan polis, skola och socialtjänst i Haparanda kommun. Studien är genomförd med hjälp av fyra semistrukturerade intervjuer med nyckelpersoner från respektive yrkesgrupp som i dagsläget deltar i PSS-gruppen. Det förebyggande arbetet är en orsak till att kommunen började samverka enligt samverkansmodellen. Studien visar att samverkan upplevs vara fungerande men att det i dagsläget behövs nya tag för att effektivisera det förebyggande arbetet. Samverkan har tidigare varit beroende av särskilt engagerade personer, så kallade eldsjälar, vars frånvaro i dagsläget påverkat samverkansgruppen negativt. Det framkommer både av intervjuerna som från tidigare forskning att ett väl strukturerat arbete med tydlig ledningsfunktion, planering och struktur skapar förutsättningar för en framgångsrik samverkan.

The evolution and development of eyespot and non-eyespot colour pattern elements was studied in Vanessa butterflies using a phylogenetic approach. A Bayesian phylogeny of the genus Vanessa was reconstructed from 7750 DNA base pairs from 10 genes. Twenty-four non-eyespot and forty-four eyespot color pattern elements from the Nymphalid ground plan were defined and studied and their evolutionary history was traced on the Vanessa phylogeny. Ancestral character states were predicted and the direction of evolutionary changes was inferred for all characters. Five serially arranged eyespots were predicted for the ancestral Vanessa on all wing surfaces. Homologous eyespot and non-eyespot characters on the surfaces of the forewing were more similar than those on the surfaces of the hindwing. Homologous eyespot characters on the dorsal surfaces of fore and hindwings show more similarities than the ventral surfaces, in contrast to what was found for non-eyespot characters. Independent Contrast analysis was also used to study correlations between eyespot characters. Independent Contrast analysis revealed significant correlations between eyespots 2 and 5 and eyespots 3 and 4 on all wing surfaces. This consistency among highly variable eyespot characters suggested a structural hypothesis: the existence of a Far-Posterior (F-P) compartment boundary and organizer could be responsible for the observed correlations. This hypothesis was tested in several ways. First, examination of wing patterns across species from all families of butterflies revealed correspondence between wing cells 1 and 4 and between cells 2 and 3. Second, evaluation of spontaneous mitotic clones in butterflies and moths reveals a peak abundance of clonal boundaries along the vein dividing wing cells 2 and 3. Finally, experimentally generated FLP/FRT mitotic wing clones produced in Drosophila, reveal a clonal boundary posterior to the L5 wing vein, which is homologous to the vein dividing wing cells 3 and 4 in butterflies. Collectively, this suggests the existence of an additional compartment boundary associated with an organizer in wing cell 3 responsible for patterning the posterior portion of insect wings. A model is proposed that predicts that the wing developmental compartment boundaries produce unique combinations of gene expression for each wing sector, permitting eyespot individuation. / February 2016

“Contested Childhoods” links together three major areas of historical inquiry: war and criminality, law and social change, and the law as it relates to children, in the first half of twentieth-century China. The founding of the People’s Republic of China (PRC) in 1949 has eclipsed the historical significance of Chiang Kai-shek’s Nationalist Government and the importance of its role during the wartime period. This study examines how the outbreak of China’s War of Resistance against Japan (1937-1945) served as a crucial catalyst to the construction of ideas of criminality and its relation to children during the wartime period. It examines the different measures by which Chiang Kai-shek’s Nationalist Government (1928-1949) attempted to handle the rise in levels of criminality involving juveniles. The study analyses how an increase in criminality during the wartime period challenged how ideas on and about children and childhood were in understood within Chinese society. Moreover, it argues that wartime conditions served as a crucial catalyst prompted the construction of a new judicial and legal framework that was aimed at delineating the boundaries between childhood and adulthood during this period.

The dissertation examines the foundations of modern Arab national thought in nineteenth-century works of Buṭrus al Bustānī (1819-1883) and Aḥmad Fāris al Shidyāq (1804-1887) in which occurred an intersection of language-making practices and a national pedagogic project. It interrogates the centrality of language for Arab identity formation by deconstructing the metaphor "language is the mirror of the nation," an overarching slogan of the nineteenth century, as well as engaging with twentieth-century discussions of the Arab nation and its Nahḍa. The study seeks to challenge the conventional historiography of Arab thought by proposing a re-theorisation of the Arab Nahḍa as an Enlightenment-Modernity construct that constitutes the problematic of the Arab nation. The study investigates through literature and literary tropes the makings and interstices of the historical Arab Nation: the topography of its making. It covers a series of primary understudied sources: Bustānī's enunciative Nafīr Sūriyya pamphlets that he wrote in the wake of the 1860 civil wars of Mount Lebanon and Damascus: his translation of Robinson Crusoe, dictionary, and encyclopaedia. As well as Shidyāq's fictional autobiography, linguistic essays and treatise, and travel writings on Europe. The dissertation engages with these works to show how the 'Nahḍa' is a constituted by inherently contradictory and supplementary projects. It forms a moment of fracture in history and temporality – as does the Enlightenment in Europe – from which emerges a seemingly coherent national narrative.

Although by 1900, over 60% of the British missionary workforce in South Asia was female, women’s role in mission has often been overlooked. This thesis focuses upon women of the two leading Anglican societies – the high-Church Society for the Propagation of the Gospel (SPG) and the evangelical Church Missionary Society (CMS) – during a particularly underexplored and eventful period in mission history. It uses primary material from the archives of SPG at Rhodes House, Oxford, CMS at the University of Birmingham, St Stephen’s Community, Delhi, and the United Theological College, Bangalore, to extend previous research on the beginnings of women’s service in the late-nineteenth century, exploring the ways in which women missionaries responded to unprecedented upheaval in Britain, India, and the worldwide Anglican Communion in the 1920s, 1930s, and 1940s. In so doing, it contributes to multiple overlapping historiographies: not simply to the history of Church and mission, but also to that of gender, the British Empire, Indian nationalism, and decolonisation. Women missionaries were products of the expansion of female education, professional opportunities, and philanthropic activity in late-nineteenth and early-twentieth century Britain. Their vocation was tested by living conditions in India, as well as by contradictory calls to marriage, career advancement, familial duties, or the Religious Life. Their educational, medical, and evangelistic work altered considerably between 1917 and 1950 owing to ‘Indianisation’ and ‘Diocesanisation,’ which sought to establish a self-governing ‘native’ Church. Women’s absorption in local affairs meant they were usually uninterested in imperial, nationalist, and Anglican politics, and sometimes became estranged from the home Church. Their service was far more than an attempt to ‘colonise’ Indian hearts and minds and propagate Western ideology. In reality, women missionaries’ engagement with India and Indians had a far more profound impact upon them than upon the Indians they came to serve.

This thesis studies Han Dynasty stone carved tombs in Central and Eastern China. These multi-chambered tombs were constructed from carved stone slabs, and were very popular among the Han people. However, such horizontal stone structures were entirely new, and were a result of outside stimuli rather than an independent development within China. The stone carved tombs were a result of imitating royal rock-cut tombs, while the rock-cut tombs were stimulated by foreign examples. Moreover, many details of stone carved tombs also had Western features. These exotic elements were incorporated to satisfy specific requirements of the Han people, and reflected the desire to assimilate exotica within Chinese traditions. Some details within stone carved tombs showed high level of stone working technologies with Western influences. But in general the level of stone construction of the Han period was relatively low. The methods of construction showed how unfamiliar the Western system was to the Han artisans. Han Dynasty stone carved tombs were hybrids of different techniques, including timber, brick and stone works. From these variations, Han people could choose certain types of tombs to satisfy their specific ritual and economic needs. Not only structures, but also pictorial decorations of stone carved tombs were innovations. The range of image motifs is quite limited. Similar motifs can be found in almost every tomb. Such similarities were partly due to the artisans, who worked in workshops and used repertoires for the carving of images. But these also suggest that the tombs were decorated for certain purposes with a given functional template. Together with different patterns of burial objects and their settings, such images formed a way through which the Han people gave meaning to the afterworld. After their heyday, stone carved tombs ceased being constructed in the Central Plains as the Han Empire collapsed. However, they set a model for later tombs. The idea of building horizontal stone chamber tombs spread to Han borderlands, and gradually went further east to the Korean Peninsula. The legacy and spread of the Chinese masonry tradition was closely related to the political circumstances of late Han and post-Han period. The spread of stone chamber tombs in Northeast Asia is presented as a part of a long history of interactions between different parts of Eurasia.

This dissertation pursues three overarching themes. The first of these is empirical: to illuminate the actual functioning of the property market in Delhi. After reconstructing the pattern of depression and boom from 1920-40, I argue that these cycles shaped the nature of participation in the market. During the depression of the 1920s many indigenous financial firms came to rely on property rentals and sales. Alongside these, a nascent sector concentrating primarily in real estate came into existence. Compared to planned state intervention, most of Delhi’s urban fabric was created by private construction. Analysis of the state’s relationship to the property market is the second aim of the work. The colonial state both embraced and was constrained by the commodification of land. Though it was the largest landowner in the city, it did not leverage this position. Rather than construction, the state was happier to act on the market indirectly. One means of indirect action concerned forms representations of urban land as commodity. Leases, advertisements and other documents were crucial for its circulation. The strength of the state in the property market derived from its role as enforcer and repository of representations of commodified space. A third aim is to study the forms of struggle engendered by urban property. Struggles over commodification of urban land, when they took collective forms, did not necessarily splinter along class lines. In fact, subsidised housing emerged out of caste, class and nationalist struggles. Conversely, the commodification of land was at issue in struggles that were not ostensibly about property. For instance, this dissertation tracks its salience for understanding communal conflicts over urban shrines. Taken together, the three themes constitute a picture of the city in which forms of capital accumulation – particularly those relating to space – cannot be ignored.

In much existing literature the incidence of sexual violence during Hindu-Muslim conflict has been attributed to the militant ideology of Hindu nationalism. This thesis interrogates this view. It first examines the ideological framework laid down by the founding ideologues of the Hindu nationalist movement with respect to sexual violence. I argue that a justification of sexual violence against Muslim women is at the core of their ideology. In order to examine how this ideology has contributed to the actual incidents, this thesis studies the episodes of Hindu-Muslim violence that occurred in 1969, 1985, 1992 and 2002 in the western Indian city of Ahmedabad, Gujarat. An examination of these episodes shows that sexual violence against Muslim women, in both extreme and less extreme forms, were significantly motivated by Hindu nationalist ideology. However, in addition to this ideology, patriarchal ideas that serve to normalize sexual violence as ‘sex’ and sanction its infliction to maintain gendered hierarchies also motivated such crimes. Moreover, this thesis argues that the manifestation of Hindu nationalist and patriarchal motivations in acts of sexual violence was enabled by the breakdown of neighbourhood ties between Hindus and Muslims in 1969 and 2002. By contrast, during the 1985 and 1992 riots Hindus and Muslims strengthened neighbourhood ties despite extensive communal mobilization, which seems to have prevented the perpetration of extreme sexual violence against Muslim women. Thus, by providing a comprehensive analysis of the contribution of Hindu nationalist ideology, and arguing for the significance of the patriarchal ideas and neighbourhood ties in the infliction of sexual violence during conflict, this study contributes to and departs from the existing literature.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire de maîtrise examine les processus d’intertextualité liés à la représentation de la femme dans la culture musicale folk ou soft rock et examine les mécanismes par lesquels ils sont récupérés par les tenants du suprémacisme blanc. Le mémoire se consacre exclusivement à l’analyse d’une ballade folk pour voix et piano: Tomorrow Belongs To Me, telle qu’enregistrée par la chansonnière suédoise raciste Saga. Cet arrangement d’un extraitde la trame sonore du film Cabaret soulève la problématique de l’apparition des femmes sur la scène musicale suprémaciste, ainsi que celle de la réception de leur musique par les militants masculins. La recherche montre que le choix esthétique de Saga lui permet concurremment de se complaire aux codes d’un milieu à nette dominance masculine et de les défier, assimilant du coup l’idéologie fasciste à l’expression et à l’expérience de la féminité. Le présent travail est basé dans un premier temps sur l’analyse sémiologique des composantes musicales de l’oeuvre, appuyée à la fois sur la littérature musicologique et sociologique sur le folk et la musique de masse, ainsi que sur des entrevues visant à recueillir chez les sujets des matériaux de comparaisons interobjectives, ceci d’après le modèle de Tagg. L’analyse s’appuie ensuite sur une approche holistique intégrant l’analyse du texte, sa mise en contexte et la compréhension de cette pièce en tant que propagande,cela afin de saisir les nouvelles formes de rhétorique employées dans le créneau musical raciste. / This Master’s thesis examines the intertextuality processes related to female gender representation in the folk and soft rock music culture and examines the mechanisms by which those are hijacked by tenants of white supremacism. The research focuses solely on the analysis of a folk ballad for voice and piano: Tomorrow Belongs To Me, as recorded by Swedish racist songstress Saga. This arrangement of an excerpt from the movie soundtrack Cabaret raises the issue of the emergence of women on the racist musical scene, as well as the issue of the reception of their music by male militants. The thesis shows that Saga’s esthetic allows her to conform herself to the codes of a male-dominated milieu, as well as to defy them simultaneously, thus allowing her to assimilate a fascist ideology to the expression and experience of womanhood.In its first section, the paper is based upon the semiological analysis of the musical components of the piece, supported by musicological and sociological literature about folk and mass music, as well as by interviews aiming at collecting inter-objective comparison material from the participants, according to Tagg’s model. The analysis is then grounded ona holistic approach, which integrates a text analysis, providing the setting as context in addition to the understanding of that piece as propaganda, with the aim to understand the new forms of rhetoric employed in racist music.

Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.