This study examined the narratives of three women music teachers’ professional practice, drawing on the research question: Through examining processes of subjectification: (a) How do mid-career women music teachers construct narratives of their professional and musical practice? (b) What are the implications for women music teachers’ professional and musical sustenance? Participants Hayley, Becky and Lynne, all with 12 years teaching experience, told stories of diverse musical participation within and beyond their schools and within a range of social groups and institutional settings. Taking a post-structural feminist theoretical perspective, these narratives were viewed as 'technologies of the female self' (Foucault, 1988; Tamboukou, 2008, 2010). The research question was shaped and answered through the concept of subjectifcation and considered how these women constructed a portrait of ‘self-in-practice.’ This questioned how they fashioned their personal pedagogical approach, how they created and projected a music departmental identity within the school, and how they conceptualised their musical and teaching selves. Data collection took place over a seven-month engagement with three participants and involved: a narrative/biographical interview; the compilation of a ‘memory box’ in which participants gathered artefacts related to the theme, ‘My music, my teaching’; and a follow-up conversational interview. In the final interview participants presented their artefacts and told stories related to their gendered experiences in music and teaching. Narratives showed the ‘woman music teacher’ is a site of struggle, where material roles within different discursive fields such as the home, the community as well as the school, pulled at other subjectivities. Through an analysis of processes of gendered subjectification, these women music teachers presented a complex narrative of their professional lives, within discursive fields of competing and complementary institutional discourses. While individually teachers conceptualised their musical and teaching subjectivities in personal, biographically-shaped ways, collectively they used similar discursive strategies to create a music subject department identity. They all told stories of their practice sustained by moments of ‘musical space’ and enabling others. Extra-curricular music provided valued moments of musical and aesthetic gratification and professional autonomy, functioning as a way to project the standing of the music subject department in the school and the local community, but this also added to an already burdensome workload. The education system in Northern Ireland is undergoing a prolonged yet stilted process of reform, and with the increase in the collaborative sharing of curriculum with other schools, it is likely that in the future secondary music teachers will be teaching in very different circumstances. This may be particularly challenging for established music teachers who have worked to create musical worlds in their subject departments drawing on personal and affective biographical resources. It is suggested that identity work with teachers’ narrative understandings of their self-in-practice, as a form of professional development, may allow space for teachers to imagine and negotiate alternative personal/professional identities, values and beliefs within new managerial and collaborative structures.

The ‘technology’ of risk structures social relationships within and outside of organisations, even though risk tends to be perceived externally as objective, neutral and apolitical. In adopting a poststructuralist perspective, this research investigates the impact of ‘calculating’ risk and how cultural, economic, social, psychological and political aspects influence the concept of risk and risk management practices. Hence, it provides a contextualized understanding of how risk and risk management are constructed intra-organisationally. This is a study of risk based on immersion. After six months of critical ethnographic fieldwork in a Brazilian development bank, called BrazBank, and applying the Discourse Theory of Laclau and Mouffe as well as the Logic of Critical Explanation of Glynos and Howarth, this research contextualises and challenges the universal logic of the discourse of ‘risk’, from a regulatory point of view. This research links macro- and micro-discourses of risk to reveal its ‘hidden power’ and to provide a glimpse into the fundamental contingencies in this discourse of control. It considers that the potential multiple interpretations of risk allows the construction of a hegemonic discourse, with boundaries that constitute and subvert certain claims in a rhetorical historic (re-)articulation of power. By doing so, it exposes how a technology that was supposed to simplify and enable, creates miscommunication in an organisation. ‘Risk’ became a battleground as controlling the understanding of risk, meant control of the organisation. Therefore, reflecting shifts in the international macro-context of risk regulation, the power of risk shifted between departments and their managers over political mandates and empowered and constructed experts and non-experts. This research illustrates different articulations of risk in the BrazBank context, how different individuals and groups developed competing interpellations of risk and, by examining the role of ideology, how and why certain conceptions of risk management practice were conserved, even as an illusion or secret, to maintain hierarchical positions and power imbalances.

249 pages / We are witnessing today the beginning of a return to and renewal of the theory and practice of political revolution. This return to revolution, however, takes none of the traditional forms: the capture of the state, the political representation of the party, the centrality of the proletariat, or the leadership of the vanguard. Rather, given the failure of such tactics over the last century, coupled with the socio-economic changes brought by neoliberalism in the 1980s, revolutionary strategy has developed in a more heterogenous and non-representational direction. The aim of this dissertation is to map an outline of this new direction by drawing on the theory and practice of two of its main inspirations: French political philosophers Gilles Deleuze and Félix Guattari and, what the New York Times has called “the first post-modern revolution,” the 1994 Zapatista Uprising in Chiapas, Mexico. The aim of this dissertation is thus threefold. First, I provide a philosophical clarification and outline of a revolutionary strategy that both describes and advances the process of constructing real alternatives to state-capitalism. Second, I focus on three influential and emblematic figures of revolutionary history, mutually disclosive of one another, as well as this larger revolutionary return: Deleuze, Guattari, and the Zapatistas. Third, and more specifically, I propose four novel theoretical practices that characterize this return to revolution: (1) a multi-centered diagnostic of political power; (2) a prefigurative theory of political transformation; (3) a participatory theory of the body politic; and (4) a theory of political belonging based on mutual global solidarity.

Orientador: Antonio Carlos Rodrigues de Amorim / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T18:23:12Z (GMT). No. of bitstreams: 1 Dias_SusanaOliveira_D.pdf: 60227914 bytes, checksum: bed9ebe47d966828ebc0d7412cc468db (MD5) Previous issue date: 2008 / Resumo: Seres. Objetos. Conteúdos. Corpos. Palavras. Imagens. Discursos. Proposições. Linguagens. Recusar a parada no ser dos corpos, desviar sucessivamente da observação dos corpos. Recusar a parada no ser das linguagens, desviar das interpretações subjetivas daquele que vê, relata, aproveita, experimenta. Resistir a separar corpos e linguagens e escolher a articulação corpo-linguagem. Essas escolhas movimentam o papelar deste papel-pesquisa por entre ciências, imprensas e educação. Traz à tona a violência do mundo dos signos do papel imprensa: velocidade, atualidade, veracidade, objetividade. Signos que fixam identidades do papel imprensa e mantêm a educação submetida à comunicação-recognição, à política representacional, à incorporação do tempo cronológico. Papel-máquina. No encontro com imagens as mais diversas, e produzidas pelos papéis-mídias, emerge uma violência de outra natureza: a violência afirmativa de que o papel não é nada, não significa nada, não representa nada. Uma força de esvaziamento que abre para um devir-qualquer-coisa do papel. A possibilidade de que o papel imprensa possa, além de repetir a vida, gerar uma vida nova, além do visível, além do vivido. Uma repetição distinta, capaz de extravasar a diferença. Suspendendo a sentença de morte que atravessa as passagens dos seres-objetos do mundo ao papel. Abertura para um tempo-acontecimento, incorporal que se efetua numa experimentação de uma fabulosa Escrita-vida, desde dentro do papel-máquina, que possa fazer com que ciências, imprensas e educação sofram os abalos sísmicos da criação, e das forças que sob ela se agitam. Fazer do papel algo novo: objeto de liberdade. Lançar a tese neste vento foi um convite que os esvoaçantes encontros-sopros com Gilles Deleuze, Félix Guattari, Antonio Carlos Amorim e o grupo do Humor Aquoso movimentaram. Vento que invadiu a escrita e arrastou outros encontros: Kleist, Verbos, Ossos, Artigos, Lewis Carrol, Corra Lola, Corra, Substantivos, Manoel de Barros, Gatos, Borges, Relógios, Remedios Varo, Conectivos, Gritos, Clarice Lispector, Walmor Corrêa, Pássaros, Marli Wunder, Marguerite Youcenar, Ricardo Aleixo, Dinossauros, Papéis / Abstract: Beings. Objects. Contents. Corpus. Words. Images. Speeches. Propositions. Languages. To refuse being stopped at the being of the corpus, successively veering off from the observation of the corpus. To refuse being stopped at the being of the languages, veering off from the subjective interpretations from whom sees, reports, takes advantage, tries. Resisting separating corpus and languages and choosing the articulation corpus-language. Those choices compel the papering of this paper-research among sciences, presses and education. It brings to the surface the violence of the world of the signs in the role of the press: speed, present time, truthfulness, objectivity. Signs that fasten identities of the paper press and maintain the education submitted to the communication-recognition, to the representational politics, to the chronological time incorporation. Paper-machine. In the meeting with the most several images, and produced by the paper-media, a violence of another nature emerges: an affirmative violence that the paper is not anything, it doesn't mean anything, it doesn't represent anything. An emptying force that opens for a devir-any-thing of the paper. The possibility that the paper press can generate a new life, beyond being a repetition of life. A new life beyond the visible, the already lived. A distinctive repetition, capable to extravasate the difference. Suspending the death sentence that crosses the transit of the beings-objects from the world to the paper. Opening for an in corporal time-event, that takes place in an experimentation of a fabulous Writing-life, from inside of the papermachine, that can make sciences, presses and education suffer the earth quakes of the creation and of the forces that are swaying under it. To do something new to the paper: object of freedom. To launch the thesis into this wind was an invitation that the billowing meetings-blows with Gilles Deleuze, Félix Guattari, Antonio Carlos Amorim and the group of the Aqueous Humor had moved. Wind that invaded the writing and dragged other meetings: Kleist, Verbs, Bones, Goods, Lewis Carrol, Run Lola, Run, Nouns, Manoel of Barros, Cats, Borges, Clocks, Medicines Pierce, Conectivos, Screams, Clarice Lispector, Walmor Corrêa, Birds, Marli Wunder, Marguerite Youcenar, Ricardo Aleixo, Dinosaurs, Papers / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

G. Hays II American "Foreign Policy" in Film Abstract This work takes David Campbell's concept of "foreign policy," as applied to American elite identifiers, and expands its application to sub-elite identifiers as well. As with Campbell's analysis of American identity, the common context is international conflicts where the United States is a participant. The discourse of the elite is represented by State of the Union Addresses covering the times of the conflicts, while the sub-elite discourse is represented by major war films about those same conflicts. While Campbell's argument implies that there should be a common resultant identification of the elite and sub-elite identifiers, this is not the case. Across time, conflicts, and administrations, the elite identifications stress hierarchy and order, as was also concluded by Campbell. Across time, conflicts, and productions, the sub-elite identifications stress proximity of experience and right action. The identifications of the two groups, while both laying claim to the identity of "America", are in conflict with each other. Through the analyses and conclusion, this work challenges the dominant post-structuralist concept of the "inside"/"outside" of a political-identificational space (only relevant for the elite) and suggests in its place the more fluid and...

This dissertation conducts a genealogy of freedom of the seas discourse in United States foreign policy in order to problematize the contemporary representation lying at the heart of American political-military strategy in the Western Pacific. This project aims to accomplish two goals. First, this project aims to show that freedom of the seas is not an enduring historical principle consistently championed by the United States, as is often claimed in contemporary governmental publications. Rather, it shows that the current understanding is a recent phenomenon that emerged after the Second World War. By highlighting the contingency of the contemporary understanding of freedom of the seas, this work seeks to show that such discourse is not a necessary foundation on which to place American political-military strategy. The second objective of this genealogical analysis is to show that the contemporary freedom of the seas discourse in U.S. foreign policy is not an altruistic principle championed on behalf of the global community, but rather facilitates American control over the global ocean space. By showing that freedom of the seas is a mechanism of sea control, this work aims to show that in an era of maritime great power competition, strategies predicated upon the discourse are more dangerous than would otherwise appear. Together, this genealogical analysis, and the two goals that are made possible by it, will make a substantive contribution to the critical strategic studies literature, in conjunction with the wider critical security studies literature, by showing that American political-military strategy in the South China Sea can and should be reconceptualized. / Doctor of Philosophy / Currently, the United States is locked in a fierce competition with China in the South China Sea. The United States believes that Chinese actions in the region, such as claiming large swaths of maritime territory, constructing militarized artificial islands, and deploying weaponry designed to endanger American forces operating in the region, violates the principle of freedom of the seas. The United States asserts that it has consistently championed the principle freedom of the seas because it is the essential foundation of international peace and prosperity. Due to this, the U.S. claims that it will continue to defend the principle of freedom of the seas against Chinese depredations. However, this dissertation argues that the United States' political-military strategy in the Western Pacific is misrepresenting the concept of freedom of the seas and therefore failing to see the dangers at stake in the regional confrontation. To show this, this work writes a history of how the concept of freedom of the seas has been used in U.S. foreign policy over the course of American history. Such a history shows that the concept of freedom of the seas has not been consistently championed by the United States and is not an altruistic principle defended on behalf of international peace and prosperity. Instead, this project shows that the concept of freedom of the seas is used by the United States to facilitate control over the world's oceans on behalf of U.S. interests. It is problematic to portray the pursuit of American national interests as a universal altruistic good because it does not leave room open for compromise. In a time where China is rapidly developing their military forces to control sea themselves, basing American political-military strategy on the concept of freedom of the seas is increasingly dangerous.

As a result of a historically anchored relationship between the Swedish state and the sports movement, gender equality has been a prioritized area of interest in Swedish sports since the 1970s. Despite long-term work in this field, research indicates a notable gap between what is said and done at the central level and locally. Research also indicates attitude problems; gender equality is often seen as an insignificant or unnecessary issue. This thesis seeks to relate to and analyze this development. Answers are sought via male sport coaches and leaders. This approach is motivated by the fact that gender equality-related sport research in Sweden seldom focuses on men and masculinities. At the same time men have been overrepresented as power holders and decision makers, and gender equality has consequently been constructed as a women’s issue. By means of a post-structural discourse analysis, the aim is to investigate constructions of gender equality in interviews with 47 leaders selected from seven sports. How is gender equality constructed in terms of meanings of and standpoints in relation to the concept, and which discourses set the frames for these constructions? Which subject positions are articulated? Results show that gender equality is given many different meanings in the interviews and that these meanings are produced in line with three discourses: a women’s rights discourse (semi-essentialism, structural feminism, a quantitative and qualitative support for women’s sport), a gender critical discourse (constructionism, structural feminism, “women can”, deconstructions of femininities) and a liberal discourse (“sport for all”, individualism, gender neutrality). Furthermore, four subject positions are distinguished: the skeptic, the cynic, the women rightist and the norm critic position. When the results are related to the production of gender equality policies four aspects are discussed, 1) relations between discourses (the discourses generate contradictory interpretations of sport, subjectivity, gender and equality), 2) men and gender equality, 3) the relatively substantial lack of interest in gender equality in the interviews and 4) sport and pluralism. One conclusion in the thesis is that the women’s rights discourse dominates and that the liberal discourse is marginalized in the interviews. Further, it is suggested that an elaboration and a more frequent practice of the gender critical discourse could be useful in the development of the gender equality project in Swedish sport. / Forskningslinjen Fritid

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

John Baldessari’s Blasted Allegories (1977-1978) represent a concerted reconsideration of the most active and critical pursuits of the 1960s and ‘70s, including structuralism, post-structuralism, systems-based art, constraint-based approaches to composition, chance, and allegory. Thirty-five of the sixty-some Blasted Allegories are designated here as “later” works in the series because they share formal and structural characteristics; they present arrangements of colored photographs on neutral matte board. Although the later Blasted Allegories initially appear as colorful sentences, the close readings undertaken in this dissertation reveal that these pieces have been generated by the imposition of individual sets of constraints on a combinatorial system. In addition, many of these works appropriate structural models from cultural anthropologist Claude Lévi-Strauss, narratologist A. J. Greimas, and grammarian Noam Chomsky; even though they subsume the rules implied by these structural models, they undergo a post-structural critique wherein fixed relationships are destabilized by word play, homophones, rhyme, and the imposition of such additional operations as algorithms. This dissertation demonstrates how Baldessari solicits art as an experience of cognitive construction, pleasure, and protracted play with the possibilities of meaning. His crypto-narratives take readers along the cognitive spiral theorized by psychologist Jean Piaget that begin with sensory perceptions, expand into operational understandings of these works as products of a combinatory system, and can be built into logical and mathematical apprehensions of the resultant texts. Like many of the embedded models, Piaget’s spiral is counterbalanced in this series by the conflation of vying cultural models into a cacophony of signification. Baldessari’s texts play with readers’ proclivities to search for meaning. The artist solicits protracted interactions from viewer/readers, who are able to discern multiple, simultaneous readings and thus relinquish an ensconced approach toward art as a synthesis of embedded cultural models. Baldessari’s series engages conceptions of allegory as a procedure, a condition of the text, and a hedge against reductive, overarching interpretations. Working in a Duchampian vein, Baldessari posits the components of new syntaxes for art that return readers to these pieces, where variable interactions between readers and these heteroglossic texts ressemble open systems that can unsettle artist-imposed significations.

A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.