La thèse met en relief l'émergence récente d'un mouvement activiste parmi les montagnards nord-thaïlandais, soutenu par de nombreuses ONG environnementalistes locales et investi dans l'élaboration de modèles alternatifs de préservation des ressources forestières destinés à empêcher la délocalisation de villages implantés dans des « parcs nationaux ». Ce faisant, les montagnards karen créent de ce que j'ai nommé une « éco-tradition », soit une éthique indigène de préservation de l'environnement, inspirée de leurs « savoirs locaux » sur la nature et revisitée à l'aune du discours moderne sur l'écologie et le « développement durable ». L'analyse s'attache alors à détailler le processus de construction et de légitimation de cette éco-tradition sous l'angle des modalités d'articulation entre des logiques locales et transnationales de développement. Cette approche propose ainsi de dépasser la dialectique traditionnelle du rapport entre Etat et minorités pour mettre plutôt en scène la polyphonie des forces sociales et politiques hétérogènes qui interagissent au sein de l'ensemble national autour de l'enjeu crucial du contrôle des ressources naturelles du pays.

This chapter reviews the literature examining interventions to reduce indoor tanning (IT). The first objective was to highlight programs that show promise for large scale dissemination. The second objective was to promote criteria and standards for future intervention research efforts. The scope of interest for this review includes universal (for everyone in the population), selective (for those in the population who are at a greater risk), and indicated (for those who already are experiencing conditions that identify them as at risk) programs. The evaluation of the interventions resulted in three levels of evidence: (1) most promising, (2) emerging, and (3) mixed. For an intervention to be considered “most promising”, it was required that ten criteria be met through examination of research findings in published reports consistent with Flay and colleagues (Prev Sci 6(3):151–175, 2005). Interventions that were classified as “emerging” met most of the criteria. Finally, interventions classified as “mixed” did not reach threshold on more than two criteria that were deemed critical. The results revealed that there was very limited research on IT interventions that meet all the evaluation criteria. Only one intervention approach met all of the criteria (Appearance Booklet) (Hillhouse and Turrisi, Behav Med 25(4):395–409, 2002; Hillhouse et al., Cancer 113(11):3257–3266, 2008). Although the number of published papers in the IT area has increased dramatically over the past decade, these efforts have yet to translate into rigorously conducted intervention trials. The review points to important issues that need to be addressed in future research on the prevention of IT. Keywords

This study searches for the origin and history of the concept of individual accountability and the reason for its absence in the African Traditional Religion framework. This search begins in the Axial Age (800-200 BCE), and discusses ancient Israel's Axial Age and its Axial Hebrew prophets' response models. The study tracks the introduction of Axial ideals to South Africa, via Christianity since 1826, and examines the Xhosa prophets' response models to their Axial context. The Social Christians attempts to impart Axial ideals during the period of segregation and the Tuskegeean response model are also examined. The similarities between ancient Israel and South Africa as revealed by Biblical archaeology, underlie this study's call for the utilisation of the power of religions such as Christianity, and of South Africa's religious elite, to rapidly alter current maladaptive beliefs within the African Traditional religious framework that impedes Africans' ability to adopt individual accountability. / Biblical and Ancient Studies / M. A. (Biblical Archaeolgy)

Listen. If I ask you to listen, what is it that I ask of you—that you will understand, or perhaps obey? Or is it some sort of readiness that is requested? What occurs with a body in the act of listening? How do sound and voice structure audio-visual-spatial relations in concrete situations? This doctoral thesis in fine arts consists of six artworks and an essay that documents the research process, or rather, acts as a travelogue as it stages and narrates a series of journeys into a predominantly sonic ecology. One entry into this field is offered by the animal “voice” and attempts to teach animals to speak human language. The first journey concerns a specific case where humanoid sounds were found to emanate from an unlikely source—the blowhole of a dolphin. Another point of entry is offered by the acousmatic voice, a voice split from its body, and more specifically, my encounter with the disembodied voice of Steve Buscemi in a prison in Philadelphia. This listening experience triggered a fascination with, and an inquiry into, the voices that exist alongside us, the parasitic relation that audio technology makes possible, and the way an accompanying voice changes one’s perceptions and even one’s behavior. In the case of both the animal and the acousmatic, the seemingly trivial act of attending to a voice quickly opens up a complex space of embodied entanglements with the potential to challenge much of what we take for granted. At the heart of my inquiry is a series of artworks made between 2012 and 2016, which constitute a third journey: the performance Limit-Cruisers (#1 Sphere), the praxis session Limit-Cruisers (#2 Crowd), the installations Therapy in Junkspace, Fluorescent You, and “Then, ere the bark above their shoulders grew,” and the lecture performance Articulations from the Orifice (The Dry and the Wet). The relationship between what is seen and heard is being explored and renegotiated in the arts and beyond. We are increasingly addressed by prerecorded and synthetic voices in both public and private spaces. Simultaneously, our notions of human communication are challenged and complicated by recent research in animal communication. My work attempts to address the shifts and complexities embodied in these developments. The three journeys are deeply entwined with theoretical inquiries into human-animal relationships, technology, and the philosophy of sound. In the essay, I consider as well how other artistic practices are exploring this same complex space. What I put forward is a materialist and concrete approach to listening understood as a situated practice. Listening is both a form of co-habitation and an ecology. In and through listening, I claim, one could be said to perform in concert with the things heard while at the same time being changed by them. / <p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: DoctoralStudies and Research in Fine and Performing Arts, 16. ISSN: 1653-8617</p>

The topic of this thesis is AI recruitment chatbots, digital discrimination, and data feminism (D´Ignazio and F.Klein 2020), where I aim to critically analyze issues of bias in these types of human-machine interaction technologies. Coming from a professional background of theatre, performance art, and drama, I am curious to analyze how using AI and social robots as hiring tools entails a new type of “stage” (actor’s space), with a special emphasis on social acting. Humans are now required to adjust their performance and facial expressions in the search for, and approval of, a new job. I will use my “theatrical glasses” with an intersectional lens, and through a methodology of cultural analysis, reflect on various examples of conversational AI used in recruitment processes. The silver bullet syndrome is a term that points to a tendency to believe in a miraculous new technological tool that will “magically” solve human-related problems in a company or an organization. The captivating marketing message of the Swedish recruitment conversational AI tool – Tengai Unbiased – is the promise of a scientifically proven objective hiring tool, to solve the diversity problem for company management. But is it really free from bias? According to Karen Barad, agency is not an attribute, but the ongoing reconfiguration of the world influenced by what she terms intra-actions, a mutual constitution of entanglement between human and non-human agencies (2003:818). However, tech developers often disregard their entanglement of human-to-machine interferences which unfortunately generates unconscious bias. The thesis raises ethical questions of how algorithmic measurement of social competence risks holding unconscious biases, benefiting those already privileged or those acting within a normative spectrum.

Posthumanistischer Feminismus ist ein transdisziplinäres Wissenschaftsgebiet, das dem kritischen Posthumanismus zugeordnet werden kann. In diesem rückt die Frage nach der vergeschlechtlichten Dimension des Humanismus-Diskurses in den Fokus, der u. a. auf der androzentrischen Gleichsetzung von Mensch und Mann sowie der rassistischen Gleichsetzung von Mensch und Weiß-Sein beruht. Für eine feministisch-posthumanistische Forschungsprogrammatik gelten folgende Perspektiven als zentral: Der feministische Posthumanismus gesteht allen Lebewesen, Artefakten, Hybridwesen und weiteren belebten und unbelebten Konfigurationen Handlungsfähigkeit (agency) und Aktivität zu und kritisiert die Differenzierung zwischen Natur und Kultur und daran anknüpfende Grenzziehungen zwischen männlich/weiblich sowie Weiß-Sein/Schwarz-Sein. Zudem wird die Frage nach Körperfigurationen und -grenzen sowie nach deren sozialem Konstruktionscharakter und ihrer Kontextabhängigkeit aufgeworfen.

<p>The term magical realism traces back to the German art critic Franz Roh, who in the early twentieth century applied it to (visual) art expressing the wondrousness of life. However, this definition has been eclipsed over time. Reorienting critical attention back to magical realism as the art of portraying wonder and wondering, I explore the magical realist novels of contemporary African American and Asian American women writers. Specifically, I examine Toni Morrison’s <em>Paradise</em> (1997), Jesmyn Ward’s <em>Sing, Unburied, Sing</em> (2017), Karen Tei Yamashita’s <em>Through the Arc of the Rain Forest</em> (1990), and Ruth Ozeki’s <em>A Tale for the Time Being</em> (2013). In wonder, all frames of reference at hand suddenly become inadequate. Simultaneously, the subject’s interest is heightened. As such, the act/experience of wondering may lead to humility and respect, the two attitudes at the base of any ethically flourishing life—a life that flourishes <em>with</em> others. For this reason, the Asian American woman writer and peace activist Maxine Hong Kingston espoused wondering. Affiliated with groups marginalized within the US, like Kingston my writers also promote wonder. I examine how these writers, through compelling use of both content and form, guide their readers toward a particular kind of wondering: wondering with an awareness of how the act/experience might lead to ethical flourishing.</p>

No description available.

Erika Cudworth's Developing Ecofeminist Theory provides a helpful foundation for a non-essentialist, properly intersectional ecofeminist account of oppression, marginalization, and domination, but her rejection of what she refers to as "postmodernism" appears to be based on a misreading of Judith Butler. I attempt to provide a synthesis of Cudworth's framework with Butler, particularly through the use of Karen Barad's agential realism, in order to provide possibility for new alliances between ecofeminism and other anti-oppressive frameworks. I then examine what it might look like to do ecofeminist praxis, given the complex view of agency, ontology, and intersectionality rendered by such a synthesis. I draw from bicycling as an example from which to extrapolate what it means to resist oppression, and then draw from the Philosophy for Children movement to consider what such resistance might look like within the classroom. This dissertation thus attempts to move from theory to practice, recognizing that "the real world" is both always at hand and also subject to performative deconstruction.

This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.