No description available.

Jämställdhet mellan kvinnor och män är en uttalad målsättning inom internationell samt svensk politik. Under de senaste 20 åren har jämställdhetsintegrering har varit den huvudsakliga strategin för jämställdhetsarbete men långt ifrån alla är överens om hur strategin ska tolkas och praktiskt implementeras inom förvaltningsmyndigheter. Syftet med denna studie var att beskriva hur förvaltningsmyndigheterna Arbetsmiljöverket och Ekonomistyrningsverket tolkar begreppet jämställdhetsintegrering för att sedan redogöra vilka likheter och skillnader som fanns i deras arbetssätt gentemot deras respektive externa verksamhet och även se hur deras utfall kan förklaras. Studiens teoretiska ramverk användas för att belysa möjligheter och begränsningar inom jämställdhetshetsintegrering. Genom en kvalitativ tematisk textanalys presenteras resultatet som visar att myndigheternas implementering av jämställdhetsintegrering skiljer sig åt. Slutsatserna visar likheter och skillnader inom implementeringen där utfallas förklaras utifrån myndigheternas resurskapacitet, kunskap om ämnet och tillgång till externt stöd.

Aldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la taille­douce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions. / Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions.

Plusieurs films américains des années 2000 (Mulholland Drive et INLAND EMPIRE de David Lynch, The Virgin Suicides de Sofia Coppola, Memento de Christopher Nolan, The Pledge de Sean Penn, Broken Flowers de Jim Jarmusch et Zodiac de David Fincher) opèrent une remise en question de la fonction, du fonctionnement et de la représentation des indices sur lesquels s’appuient tant la littérature que le cinéma policiers. Ces films, qui reprennent certains codes du genre sans être tous à proprement parler des « films policiers », ont pour point commun de mettre en scène une enquête qui n’aboutit pas et qui se retourne contre l’enquêteur jusqu’à ébranler son identité. Ils font ainsi écho aux récits de détection dits métaphysiques (The Crying of Lot 49 de Thomas Pynchon, City of Glass de Paul Auster...) : l’indice, loin de permettre la clôture du récit, devient le moyen de son ouverture. À sa juste interprétation succède le foisonnement des lectures et des histoires possibles. Autrefois transparent, il se fait opaque ; de fluide, sa circulation devient accidentée – ce à quoi correspondent de nouvelles manières de le filmer. Les codes du genre policier visant à marquer l’indice tout en favorisant sa lisibilité et l’identification avec l’enquêteur (insert en gros plan, raccord-regard, faible profondeur de champ…) sont détournés selon diverses stratégies : inversion, exagération, etc. Celles-ci ont pour effet de déjouer les attentes des spectateurs et de les rendre inquiets en rétablissant l’incertitude fondamentale de la littérature policière, que le cinéma policier tend à minorer, tout en la mettant au service de projets esthétiques par ailleurs très différents les uns des autres. / A few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-16T13:11:30Z No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:13:31Z (GMT) No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:13:58Z (GMT) No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) / Made available in DSpace on 2016-07-13T14:13:58Z (GMT). No. of bitstreams: 1 liliancarvalhomoreira.pdf: 6233245 bytes, checksum: 5463d90e79e4c76afef6e028bbe548fc (MD5) Previous issue date: 2015-08-13 / As Aventuras de Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou Lá , os livros mais famosos de Lewis Carroll, foram amplamente traduzidos intersemióticamente nos últimos 150 anos. Uma enorme quantidade de ilustrações, peças, balés, músicas, filmes, programas de TV e outros foram feitos por artistas conceituados e menos conhecidos. Não existe, no entanto, uma abordagem sistemática desse fenômeo no campo específico da intermidialidade e da tradução intersemiótica. Dois exemplos notáveis servirão para análise: uma famosa série de TV de Jim Henson, The Muppet Show , que foi ao ar entre 1976 e 1981, estrelando fantoches e uma pessoa convidada em que um episódio da quinta temporada levou Brooke Shields interpretando Alice em 1980; e um filme de 1988 com uma mistura de stop motion e animação pelo muitas diretor tcheco vezes premiado, Jan Švankmajer, intitulado Neco z Alenky . Pretendemos aqui comparar essas duas traduções dos romances de Alice, em que os tradutores escolheram características do livro opostas entre si, porém ambas de importância fundamental para a fonte. / Alice’s Adventures In Wonderland and Through the Looking Glass And What Alice Found There , Lewis Carroll’s most famous books, have been widely intersemiotically translated throughout the last 150 years. A number of illustration, plays, ballets, songs, movies, TV shows and others was made by renowned and lesser known artists. There is not, however, a systematic approach of this phenomenon in a more strict field of analysis of intermediality and intersemiotic translations. Two notable examples will serve for analysis: a famous TV series by Jim Henson, The Muppet Show , aired from 1976 to 1981, featuring puppets and a human guest, in which an episode from the fifth season starred Brooke Shields playing Alice in 1980; and 1988 film with a blend of stop motion animation by multiple prize winner Czech director Jan Švankmajer, called Neco z Alenky . We intend to compare these translations of Alice’s novels, in which translators choose opposingly distinct characteristics of the books, but both of fundamental importance to the source.

The problem is the investigation of the possibility of an alternative theory of literature that attempts to show literature's relation to human consciousness. A phenomenological theory of literature is presented as a comprehensive theory of literature as opposed to extrinsic theories that are not comprehensive. The basic assumption is that a comprehensive theory of literature must take into account literature's relationship to human consciousness. The shortcomings of traditional modes of literary theory are discussed in order to provide grounds for the proposed intrinsic alternative. The philosophical foundations for the proposed alternative are laid in the phenomenology of Husserl, Ingarden, Heidegger, and the French existentialists. These four positions are mediated through the introduction of the philosophy of Paul Ricoeur. Finally, the proposed alternative theory of literature is applied to the test case of Joseph Conrad's Lord Jim.

Public space in New Orleans became increasingly segregated following the 1896 U. S. Supreme Court decision in Plessy v. Ferguson. This trend applied to sites of recreation, as nearly all public parks in the city became segregated. African Americans turned, instead, to private parks. This work examines four private parks open to African Americans in order to understand the external forces that affected these spaces, leading to their success or closure, and their significance for black city residents. While scholars have argued public space in New Orleans was segregated during Jim Crow, little attention has been paid to African American parks as alternative spaces for black New Orleanians. Whites were able to control the location of the parks and the parks’ reliance on profit to survive resulted in short spans of existence for most. However, this thesis argues that these parks were crucial sites of identity and community formation and of resistance to segregation.

Although extensive quantitative research has been conducted on Black American incarceration rates, to date, there has not been a study from an Afrocentric (Black American) perspective in the field of public policy. Using Dillard's conceptualization of Afrocentric theory, this study added to the field of public policy by examining how the stigmas associated with mass incarceration have reduced political and economic opportunities for Black Americans born 1965 - 1984. The purpose of this ethnographic study was to provide an Afrocentric voice by which the members of the Black American community are the center of the data collection on the stigmas associated with incarceration as a product of the new Jim Crow (mass incarceration) for those born between 1965 -1984 (the hip-hop generation where the music is the center of the culture) in the United States. Data were collected through semistructured interviews with selected informants based on their background work, experience, and cultural orientation within the Black American community; these data were analyzed via a summative content analysis, which revealed new perspectives on the stigmas associated with incarceration. The new perspective that was gained asked for the structure of the Black American church to be reexamined due to the rise in the mega-church, an improved culturally sensitive K-12 public educational system, and the overall reconnection and strengthening of the Black American family structure. These findings suggest that social change can only occur when researchers of color are allowed to provide their perspectives on issues that affect those they represent. Hence, the social change implications for this study ask that political leaders work directly with the hip-hop generation and the Black American community as a whole to make changes in legislation through political liberalism.

Blanche Armwood was a remarkable black woman activist, from Tampa, Florida, who devoted her life to improving the political, social, and economic status of blacks in the Jim Crow South. Local historians have kept Armwood's legacy alive by describing her achievements and by emphasizing her dedication to the African-American population during one of the most racist periods in American history. In their efforts to understand Armwood's career, scholars depend upon race as the primary category of analysis and focus mainly on the external forces that defined Armwood's world. They argue that she became resigned to her lot in life as a black woman, and consequently chose to accommodate rather than challenge the Southern racial system. This thesis offers an alternative interpretation of Armwood's activism. It argues that Blanche Armwood rejected the white supremacist ideology of the Jim Crow South and insisted on equal opportunity and political equality for all African-Americans. This study examines how social variables such as race, gender, and class intersected in her life, shaping her world view and leadership style. It explores how Armwood's experiences as a southern, middle-class, black woman affected her racial ideology. Armwood left behind a powerful legacy of resistance against the second-class status that white America imposed on blacks during the nadir in African-American history. She contested the white South's perception of African-American women. In a world that associated them with Mammy and Jezebel stereotypes, Armwood insisted that African-American women deserved the same respect that society accorded white women. Armwood fought for political equality, demanding that black women should have the right to vote and participate in the civic process as women and as African-Americans. In addition, she believed that the federal government had a responsibility to protect all its citizens and that every American was entitled to equal treatment before the law. Finally, Armwoodʹs racial uplift work revealed her faith in the cornerstone of the American creed, its promise of equal opportunity. She provided some blacks with the chance to move away from poverty and illiteracy to become respectable middle-class Americans.

La presente tesis doctoral aborda el primer periodo de la filmografía de Jim Jarmusch. La tesis principal es que su cine supone una respuesta cinematográfica al estado de las cosas durante el denominado "Periodo Reagan" y una relectura de la tradición fílmica anterior. / The present Ph.D. tackles the first period in Jim Jarmusch´s Filmography. The main Thesis is that his Cinema is a reaction to the Status Quo during the so-called "Reagan in-office Period" and a relecture of the previous Filmic Tradiction