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Zugl.: Bremen, Univ., Diss., 2007

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Submitted by Marcia Silva (marcia@latec.uff.br) on 2015-11-04T16:03:51Z No. of bitstreams: 1 Dissert Marcela do Carmo Silva.pdf: 1260604 bytes, checksum: 5a6bafa07bff31e3f4c8208a54fb7aa8 (MD5) / Made available in DSpace on 2015-11-04T16:03:51Z (GMT). No. of bitstreams: 1 Dissert Marcela do Carmo Silva.pdf: 1260604 bytes, checksum: 5a6bafa07bff31e3f4c8208a54fb7aa8 (MD5) Previous issue date: 2015-07-04 / A presente pesquisa aborda os efeitos da aplicação das práticas em gerenciamento de projetos associadas às tipologias de cultura organizacional desenvolvidas por Charles Handy, realizada por meio de uma pesquisa com gerentes de projetos no Brasil. A metodologia utilizada quanto à natureza é básica de observação, com objetivo descritivo feito por meio de uma abordagem dos dados de forma qualitativa e uma pesquisa enviada por meio eletrônico. O estudo restringe-se à orientação da revisão da literatura, na academia, da escola pragmática estadunidense de cultura organizacional, e às práticas de gerenciamento de projetos mais utilizadas no Brasil pelos gerentes de projetos. Este estudo apresenta como resultado, em quase todas as culturas, uma tendência a concentração da utilização da prática em gerenciamento de projeto do PMBOK, pela padronização e certificação – demandadas pelos clientes dos projetos – ao que esta prática representa no mercado brasileiro, apesar de existir uma forte tendência e percepção de utilização das práticas em gerenciamento de projetos que mais se assemelham às tipologias observadas, e associadas no estudo desta pesquisa. / This research address the application of practices in managing projects related to organizational culture typologies developed by Charles Handy, conducted through a survey of project managers in Brazil. The methodology of the nature is basic observation, with descriptive goal done through an approach of data quanlitatively and a survey sent electronically. The study is restricted to the orientation of the literature review, the academia, the American pragmatic school of organizational culture, and the project management practices commonly used in Brazil by project managers. This study presents as a result, in almost all cultures, a tendency to concentration using the practice PMBOK project management, the standardization and certification - demanded by customers' projects - to this practice is the Brazilian market, although there are a strong trend and perceived use of project management practices that more closely resemble those observed types, and associated in this research study.

No description available.

At the 2018 Appalachian Studies Association conference, I propose to reassess the work of Appalachian-native W. C. Handy, an influential musician/composer/publisher. During his life (1873-1958), Handy was publicly revered as a successful African American entrepreneur and as a music pioneer—the “Father of the Blues” (a notion advanced by Handy himself through his myth-making autobiography). In recent years, his reputation declined, a situation likely resulting from his political conservatism, his accommodationist stance on racial matters, and a perception—particularly among younger African Americans—that he had co-opted and commodified his music from tradition (rather than innovatively renegotiating tradition). While other African American musicians from his generation have received scholarly and popular attention in recent years (Jelly Roll Morton, Lead Belly), Handy has been generally neglected. Today, few of his own recordings are in general release, while even his legendary compositions (“St. Louis Blues,” “Memphis Blues”) are seldom interpreted by contemporary musicians, probably because of a perspective that Handy’s blues compositions are generally considered as defined by and entrenched in an earlier soundscape. In my presentation, I will provide a biographical sketch of Handy, briefly discussing his upbringing in post-Civil War Florence, Alabama; his years as an itinerant teacher and musician in Alabama, Mississippi, Kentucky, and Indiana; his creatively innovative years in Memphis, Tennessee, as a regionally and then nationally recognized musician and composer; and his years of increasing financial success as a publisher based in New York City. I will suggest that one of the reasons for neglect of Handy as a culture figure was because his artistic identity was complex—he worked in folk, popular, and elite realms simultaneously without obeisance to rigid aesthetic categorizations. As a businessman he was a pragmatist. He was organized and methodical in his interpretation of traditional materials in the pursuit of marketable cultural expressions of African American cultural values that ultimately appealed to Americans on both sides of the Jim Crow Era racial divide.

Zugl.: Stuttgart, Univ., Diss., 2006

Techn. Univ., Diss., 2006--Darmstadt