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[ES] Esta tesis examina la representación de subjetividades lésbicas en el arte español durante la década de los noventa, un período marcado por la consolidación de la democracia y la influencia de la globalización. Este contexto histórico y social propició un auge en la experimentación artística y la expresión de identidades diversas, con un enfoque especial en las perspectivas feministas y queer. Este estudio busca llenar el vacío en la literatura existente respecto a la representación lésbica, explorando las representaciones artísticas que abordan temas en torno al cuerpo, la construcción de identidades y las relaciones múltiples entre sexualidad y género. La investigación contribuye a la reconstrucción de una genealogía de las subjetividades lésbicas en el contexto del Estado español que irrumpe con fuerza durante los años noventa, desde perspectivas teóricas, críticas, históricas y artísticas. Se realiza un análisis de la producción discursiva entre arte y sexualidad, y la influencia internacional de los discursos, teorías y prácticas artísticas que tuvieron repercusión en las artistas de esa década. A través del análisis de cuatro casos de estudio basados en los proyectos de Cecilia Barriga, LSD, Cabello/Carceller y Carmela García, se exploran conceptos como el desarrollo de las tecnologías de la imagen en movimiento, el activismo sexo político, la performatividad y la heterotopía. Estos casos reflejan temas recurrentes entre las artistas de la década de los noventa y proporcionan una visión integral del contexto en el que estas prácticas artísticas se desarrollaron, situándolas dentro del marco cultural más amplio del movimiento lésbico español del siglo XX y su legado en estas décadas del siglo XXI. / [CA] Aquesta tesi examina la representació de subjectivitats lèsbiques en l'art espanyol durant la dècada dels noranta, un període marcat per la consolidació de la democràcia i la influència de la globalització. Aquest context històric i social va propiciar un auge en l'experimentació artística i l'expressió d'identitats diverses, amb un enfocament especial en les perspectives feministes i queer. Aquest estudi busca omplir el buit en la literatura existent respecte a la representació lèsbica, explorant les representacions artístiques que aborden temes entorn del cos, la construcció d'identitats i les relacions múltiples entre sexualitat i gènere. La investigació contribueix a la reconstrucció d'una genealogia de les subjectivitats lèsbiques en el context de l'Estat espanyol que irromp amb força durant els anys noranta, des de perspectives teòriques, crítiques, històriques i artístiques. Es realitza una anàlisi de la producció discursiva entre art i sexualitat, i la influència internacional dels discursos, teories i pràctiques artístiques que van tindre repercussió en les artistes d'eixa dècada. A través de l'anàlisi de quatre casos d'estudi basats en els projectes de Cecilia Barriga, LSD, Cabell/Carceller i Carmela García, s'exploren conceptes com el desenvolupament de les tecnologies de la imatge en moviment, l'activisme sexe polític, la performativitat i la heterotopia. Aquests casos reflecteixen temes recurrents entre les artistes de la dècada dels noranta i proporcionen una visió integral del context en el qual aquestes pràctiques artístiques es van desenvolupar, situant-les dins del marc cultural més ampli del moviment lèsbic espanyol del segle XX i el seu llegat en aquestes dècades del segle XXI. / [EN] This thesis examines the representation of lesbian subjectivities in Spanish art during the nineties, a period marked by the consolidation of democracy and the influence of globalization. This historical and social context fostered a surge in artistic experimentation and the expression of diverse identities, with a special focus on feminist and queer perspectives. This study seeks to fill the gap in the existing literature regarding lesbian representation, exploring artistic representations that address themes around the body, the construction of identities, and the multiple relationships between sexuality and gender. The research contributes to reconstructing a genealogy of lesbian subjectivities in the context of the Spanish State that burst forth strongly during the nineties from theoretical, critical, historical, and artistic perspectives. An analysis is conducted of the discursive production between art and sexuality and the international influence of discourses, theories, and artistic practices that impacted the artists of that decade. Through the analysis of four case studies based on the projects of Cecilia Barriga, LSD, Cabello/Carceller, and Carmela García, concepts such as the development of moving image technologies, sex-political activism, performativity, and heterotopia are explored. These cases reflect recurring themes among artists of the nineties and provide a comprehensive view of the context in which these artistic practices developed, placing them within the broader cultural framework of the Spanish lesbian movement of the 20th century and its legacy in these decades of the 21st century. / Franco Peña, MY. (2024). Genealogías bolleras. Representación lésbica en las artes visuales en la década de los noventa en el Estado español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/204864

I bring together ethnographic interviews with deck officers, studies in actor-network theory, explicit and tacit knowledge theory, and performativity theory in this work. I prove that bridge technologies produce what are called mimeomorphic (repeatable with some variation) actions that contain no deck officer collective tacit knowledge. I argue that deck officer bridge watch situated actions are mostly polimorphic (actions can vary depending on social context), and these actions are in fact performatives (in an Austin sense) derived from a more oral than literate performance production process. These performatives constantly build the mariner's identity within the maritime deck officer community and their successful performatives give deck officers agency in the form of an oppositional view to deskilling. These same performative acts are the value of the mariner's experiential technological knowledge within the ship's bridge technology framework. / Ph. D.

Could a performative reconstruction of the past be considered urban praxis? And if so, how? This paper analyses the connections between critical spatial and urban practices and embodied practices of remembering, by which historical reconstructions of the past are performed by collective bodies and communities in historical settings and heritage sites. Embodied practices of remembering include historical festivals, mediaeval fairs, battle reenactments, and living dioramas that relate to our common past, shifting between mediating experience and what is referred to as “doing history”. Immersing the participant in a mediated past, such practices make use of sensuousness and affect to produce and disseminate knowledge, playing with specific relationships between times [past-present] and spaces [urban-rural]. More specifically, this paper will inquire into how embodied practices of remembering reconfigure established understandings of the concepts of authenticity, accessibility and antagonism by analysing a widely cited example, Jeremy Deller’s 'The Battle of Orgreave' [UK, 2001].

En publicerad studie avslöjar en överraskande brist på konsumenters medvetenhet kring storleken på deras garderober. Denna insikt pekar på en växande överkonsumtion och ett behov av att förenkla våra livsstilar. Tidigare forskning inom textil- och modeindustrin har visat att sektorn är en betydande förbrukare av resurser och en källa till föroreningar. Med tanke på en växande överkonsumtion och branschens miljöpåverkan, ämnar studien att undersöka vad konsumenters uppfattningar om hållbar klädkonsumtion och identifiera hur konsumenterna ser på begreppet hållbarhet när det gäller deras klädkonsumtion. För att besvara syftet används en kvalitativ metod och insamling av data genomfördes via garderobsundersökningar, som sedan följdes upp med semistrukturerade intervjuer med informanterna. För att tolka resultaten har de teoretiska perspektiven, consumer culture theory samt det performativa perspektivet använts. Resultatet av studien visar att det finns en mångfald i tolkningen av begreppet "hållbara kläder", vilket är starkt påverkat av individuella föreställningar och den kulturella och sociala kontexten. I resultatet kunde även en klyfta mellan föreställningar och köpbeteende identifieras, där konsumenternas faktiska köpbeteende inte alltid speglar deras uttalade värderingar kring hållbarhet. Trots uttalade önskemål att konsumera mer hållbart mode möter konsumenterna hinder i form av bristande tillgänglighet av information och priskänslighet. Insikter utifrån resultatet understryker ett behov av ökad tillgång till pålitlig information från företag. Bristen på tillförlitlig information från företag utgör en betydande utmaning för konsumenter som strävar efter att göra hållbara val och hindrar konsumenterna från att agera enligt sina värderingar. / A published study reveals a surprising lack of consumer awareness regarding the size of their wardrobes. This insight points to growing overconsumption and a need to simplify our lifestyles. Previous research within the textile and fashion industry has observed that the sector is a significant consumer of resources and a source of pollution. Given the increasing overconsumption and the industry's environmental impact, the study aims to investigate consumers' perceptions of sustainable clothing consumption and identify how consumers view the concept of sustainability in relation to their clothing consumption. To answer this purpose, a qualitative method was used, and data collection was conducted through wardrobe surveys, which were then followed up with semi-structured interviews with the informants. To interpret the results, the theoretical perspectives of consumer culture theory and the performative perspective were applied. The results of the study show a diversity in the interpretation of the concept of "sustainable clothing", which is strongly influenced by individual beliefs and the cultural and social context. The results also identified a gap between perceptions and purchasing behavior, where consumers' actual purchasing behavior does not always reflect their stated values regarding sustainability. Despite expressed desires to consume more sustainable fashion, consumers face obstacles such as a lack of accessible information and price sensitivity. Insights from the results highlight the need for increased access to reliable information from companies. The lack of reliable information from companies poses a significant challenge for consumers striving to make sustainable choices and prevents them from acting according to their values.

The South African school curriculum recognises the vital importance of life skills acquisition through the learning area, Life Orientation (referred to in the primary school as Life Skills). The Curriculum Assessment Policy Statement (CAPS) Life Skills (Creative Arts) for the Intermediate Phase promotes drama-based instruction in life skills learning. The curriculum links to Forum Theatre techniques which are aimed at the learner’s holistic development through, among others, social game playing, improvised role-play and devising and performing a problem play which includes audience participation mediated by a ‘Joker,’ a facilitator role usually filled by an experienced and trained teacher. Children learn about the self, their peers and society through reality-based exploration and the conflicts that arise due to socialisation and power-based problems. Cognitive behavioural, existential and experiential learning theories and the theatrical theory and practice of Augusto Boal, who invented Forum Theatre as part of the Theatre of the Oppressed, formed the framework for this performative case study inquiry conducted in a South African primary school. A researcher-designed Forum Theatre intervention was implemented by the Grade 6 (Creative Arts) teacher with four Grade 6 classes over eight weeks in Life Skills (Creative Arts) classes, culminating in Forum Theatre performances by the four classes, respectively. Data were gathered through classroom observation in which the researcher assumed the role of observer-participant, conducted individual and focus group interviews with Grade 6 teachers, did interviews with Grade 6 learners, took video recordings of learners’ classroom activities, recorded the Forum Theatre performances, and collected the learners’ written reflections. The findings indicated: the process adjustments required to facilitate Forum Theatre activities in a primary school setting; effectiveness of experiential learning of life skills through game-playing and discovery; performative pedagogy fostered life skill acquisition; performative pedagogy harnessed nonverbal, embodied learning to build social insight; and describes the teacher experience in implementing a Forum Theatre intervention. Recommendations for practice include teacher training for experiential, explorative, and performance-based teaching in line with the CAPS document, which provides for a range of performative teaching and learning activities to promote effective life skills acquisition in primary school learners. / Educational Studies / Ph. D. (Education)

The purpose of this study is to examine children's intra-active relations with sounds in an explorative work at a preschool (1-to 2-year old children) analyzed through the lens of agential realism (Barad 2007, 2008), and to examine its didactical effects. This study has a transdisciplinary and cross-disciplinary design based on preschool didactics and the natural sciences, mainly physics andbiology. Research data consist of pedagogical documen-tation in the form of a short video sequence generated in a preschool sound project. An agential realistic approach in this study means an analysis of how sound is produced intra-actively in children's play and exploration in a pre-school. Barad’s agential realism also defines specific ethical stances for both the researcher’s involvement in the production of knowledge and the ethical implications of what that new knowledge and reality reveals(Barad 2007, 2008). The results of this study demonstrate the possibility to work with young preschool children around sound and how sound can be understood as a significant partner in children's play and exploration. This work ́s transdis-ciplinary goal, which is to work across the boundaries of preschool practice and scientific theory, contributes new knowledge about how sound vibration, frequency, loudness, hearingand acoustics intra-acts with children ́sbodies, feelings and thoughtsand the educational environmentsand discourses that children face in preschool. This study's specific impact on practice is that preschool staff can gain a greater understanding on the significance and im-pact of furnishings, architecture and organization according to time and place on how children express themselves and explore sound as a material-discursive phenomenon.

Queer people of color in the United States are perpetually under siege politically, psychically, economically, physically, and affectively in the twenty-first century under capitalist white supremacist heteropatriarchy. Radical Self-Care, connects radical artivist performance in Austin, Texas with the theoretical genealogies of queer of color critique, women of color feminism, queer studies, and performance studies in order to propose a program for queer of color survival, sustainment and political revolt. Radical self-care is the holistic praxis that names the confluence of two distinct but inextricable processes developed in the first two chapters of this thesis. In chapter one, I take up the Generic Ensemble Company’s workshop production of What’s Goin’ On? as a case study in order to theorize the ‘performative of sustenance,’ a mechanism of queer worldmaking and queer world sustainment defined by its erotic and utopian affects. Chapter two, through a discussion of reproductive rights activism at the Texas state capitol, reformulates the concept of ‘parrhesia,’ the Socratic practice of ‘free speech’ taken up by Foucault in discussions of the care of the self, into a performance praxis of speaking truth to power with the potential to interrupt hegemonic systems of oppression. The final chapter explicates the ways in which these two mechanisms converge and operate as a dyad in the holistic process of radical self-care through an analysis of Fat: The Play, a devised work that premiered in Austin by and about fat queer femmes. Ultimately, Radical Self- Care aspires to offer queers of color a methodology of queer world sustainment that is also a program of political intervention, grounded in solidarity politics, into those systems of oppression that too often characterize queer of color existence as a project of survival rather than a project of flourishing. / text

Avhandlingen behandlar införande av varsin dator till elever och lärare, här kallat en-till-en. Syftet är att bidra med kunskap om hur en-till-en påverkar lärande. Särskilt fokus ligger på kunskapsproduktionens karaktär och kvalitet och på förhållanden i den svenska skolan. En ytterligare ambition är att väcka reflektioner kring och bilda kunskap om hur en-till-en, som en produkt av kunskapssamhället, påverkar såväl kunskapssynen som kunskapsbildningens kvalitet och villkor. Därtill är också ambitionen också att, mot bakgrund av kunskapssamhällets särskilda villkor, bidra till nya insikter kring kunskapsbegreppets utvecklingsmöjligheter i relation till en-till-en.Utgångspunkten tas i kunskapssamhället och villkoren för kunskapsproduktion och i hur Sverige har valt att fokusera på behovet av att ge eleverna digital kompetens. Den teoretiska ansatsen ligger i fenomenologi som ontologiskt ställningstagande och i fenomenografi gällande perspektiv på lärande. Avhandlingen bygger på fyra studier: en narrativ forskningsöversikt med fokus på vad forskning berättar om elever respektive lärare i en-till-en projekt. Vidare ingår en teoretisk artikel med fokus på att utveckla en alternativ förståelse för villkoren för kunskapsbildning på den sociala webben med utgångspunkt från Martin Heideggers fenomenologi. En intervjustudie kring elevers upplevelser av sitt lärande i en-till en ingår också samt en fenomenografisk analys av inlämnade kunskapsuppgifter med fokus på kritiska dimensioner och kunskapsdjup. Resultaten diskuterar huruvida det starka färdighetsfokus som uppstår vid kunskapsbildning i en-till-en är samstämmigt med den performativa kunskap som i kunskapssamhället antas vara av vikt och hur det påverkar kvalitet och karaktär på bildad kunskap. Avhandlingen diskuterar också hur en-till-en påverkar elevers sätt att uppleva sitt lärande i en situation som präglas av flexibilitet och ständigt nya förutsättningar för lärande. Slutligen diskuteras också ett möjligt sätt att utveckla kunskapsbegreppet mot bakgrund av de resultat som framträtt i avhandlingens fyra studier genom att formulera begreppet 'stretchad kunskap'.

The purpose of the present thesis is to analyse a particular ritual treatment, the so-called mouth- washing, appearing in diverse rituals of ancient Mesopotamia and its implications for the status of the ritual object treated in this way. Instead of generalizing the function of this element as known from the eponymous Mouth washing ritual for induction of cult images, this thesis considers its employment in all its attested occurrences. The author assumes a strongly metaphorical character of mouth-washing and analyses the concept of purity underlying it. Its shifting significance in different rituals is observed and a typology of these is outlined. A following case study is devoted to the Ritual for covering a kettledrum. A close examination of the sources reveals a possible development of the tradition as well as the ritual's interconnectedness with the Mouth washing ritual. This relation is treated as a case of interrituality, a concept introduced by Burkhard Gladigow. The divine status of the kettledrum is achieved through the ritual for its covering which intentionally employs elements used in the ritual induction of cult images. A special emphasis laid on the kettledrum's status in Seleucid Uruk corresponds with wider socio-historical changes. Methodologically, the offered interpretation rests...