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<p>Empowerment is a catchword that has recently entered current development debate. Development is largely perceived as a process of building capacities hence empowering people to be able to handle their affairs. As such it is a concept highly espoused by prominent development actors and mainly Non-governmental organizations (NGOs). The study attempted to examine the theoretical and empirical aspects of community empowerment from a critical perspective by surveying activities of three NGOs in Ethiopia. A recent framework developed by a working group of the World Bank for measuring and structuring analysis was used for analyzing findings. Conceptualization and practices of empowerment seem to be at a nascent stage and tools for measuring it as well / that is what the findings of the study indicate. Despite the rhetoric surrounding the concept, the experience of surveyed NGOs also shows disparities between theory and practice.</p>

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Risk has become a key concept in social theory and has had a significant impact across academic disciplines including criminology. On the one hand, several criminologists argue that the rise of risk has fundamentally reconfigured the operations of courts, corrections, and policing. Many claim that, over the last few decades, crime control has moved away from the old rehabilitative and retributive approaches of the past and towards more actuarial approaches based on risk management – crime has become a risk to be managed in aggregate terms rather than a moral transgression in need of rectification. On the other hand, while risk-based approaches to governing crime have grown significantly, cultural criminologists and sociologists of sport have noted a heightened emphasis on risk-taking by urban graffiti writers, illegal street racers, extreme sports enthusiasts, and illicit drug users. For these people, the risk-averse logic of actuarial governance – risk as potential harm to be avoided – is inverted such that risk is positively embraced for the excitement it affords. What is particularly characteristic about the present, then, is that a politics of risk management is colliding with a culture of risk-taking. In attempts to make sense of this puzzling paradox, in this thesis I offer a primarily theoretical investigation of the dominant approaches used in the study of risk management (chp. I) and risk taking (chp. II & III) in sociology and criminology. After exploring how the rise of risk has reconfigured crime control over the last quarter century in Chapter one, in Chapter two I develop the argument that orthodox criminology provides two dominant images of criminal risk-taking. While dispositional theories explain criminal risk-taking as the pathological behaviour of individuals with particular body types, low-self control, or of lower-class origin, situational theories conceive of criminal risk-taking as the (ir)rational decisions of necessarily risk-averse actors. Despite differences between dispositional and situational theories, both leave no room for risk-taking that is controlled and intentional. In Chapter three I enlist the work of Jack Katz on the seductions of crime and of Stephen Lyng on the sociology of risk-taking to develop a third, cultural approach to risk-taking that is voluntary and cross-class. I illustrate how, for Katz’s and Lyng’s actors, risk is approached as a challenge rather than seen as a deterrent. Lastly, I add to the historicity of the cultural approach to risk-taking by tracing its roots in a romantic worldview that arose out of 19th century disenchantment with the bureaucratic rationalism and alienation of capitalist modernity. In conclusion, I summarize the main argument of the thesis and outline some potential avenues for future research.

This thesis has focused on the development of a design process to strengthen the human-environment relationship through emphasizing the identity of place. By exploring and researching a comjnunity's cultural context, some sense of societal identity can be uncovered. However, it is in identifying a culture's values and traditions through its folklore that architects can begin to comprehend the meanings behind the symbols, stories, myths, music and rituals present within a community.Secondary research into the cultural-architectural relationship revealed what was coined in the 1960's and 70's by such scholars as Ian McHarg, Amos Rapoport, Christopher Alexander, and John Zeisel as "man-environment relationships." This research spoke of timelessness and connections of architecture to anthropology, archaeology and sociology.The question that arose from this investigation was, "How does one find the identity or spirit of a p/ace?" Through its people? Through its relics? What is missing as an important piece of the puzzle in the connection? Merely looking at a context or culture does not provide one with the underlying meanings of symbols, gestures, rituals, building practices and social values. One needs to see, listen, comprehend and internalize the culture and context of a place if one is to understand the culture in which the building exists. The connection with folklore and folklore studies became an avenue to be researched in finding this missing piece of the puzzle.The research method used to identify folklore within a given parameter was of the participatory-observation approach. Living for six months in the community started to unveil traits, customs and actions only primary research can reveal. Music, art, stories, rituals, and myths are the means by which people cannot otherwise explain values, thoughts and messages. These instruments. of folklore are the segways into understanding the people of a place. The primary and secondary sources of research set the stage for the conceptual design development of a civic structure within the cultural context of the community. What evolved from this architectural design experience is a scenario for this process to be integrated into architectural curricula at the college level. In creating designers that value unique identities of "place," the building of unique places respective of cultural context foster identity and meaning in an ever-changing global society.Architects have the challenge of designing in areas of the world that possess a variety of differing cultural contexts. How architects respond through creating the built environment in the 21St century will have lasting affects upon the identity of those cultures and their communities. / Department of Architecture

My research focuses on the notion of 'not being at home' in relation to identity issues, post-colonial society and art practice, focusing in particular on Taiwan. I explore Sigmund Freud's theory of the 'uncanny' (unheimlich) and argue that in contemporary society, experiencing the 'uncanny' is common, while it is nearly impossible to obtain the feeling of 'being at home'. This phenomenon is, shown to be present in art, film and literature. My research asks how artists deliver a sense of the 'uncanny' within their artwork, and how they create feelings of unease in the viewer. I will examine work produced by contemporary artists, focusing especially those in Taiwan, such as Chen Chieh-jen and Wu Mah. I will argue that artists living in a post-colonial society such as Taiwan experience the feeling of 'not being at home' to a greater extent, due to their country's unique history and the ongoing contentious political situation. Re-reading Freud's concept of the 'uncanny' in relation to post-colonial theories and the attempt to construct personal identity, notions such as the 'return of the repressed', 'thedouble' and 'death drive' will be applied to explore identity confusions. I base my argument on issues of confusion about personal and cultural identity, which originate in contrasting ideals and beliefs about 'home' (ideas that are formed by the divergent return of repressed memories that evoke the 'uncanny' social experience). I also present a body of art-work that explores these issues. Intertwined with psychoanalytic theory, the work informs and contextualises the earlier arguments, and creates new insights into the theory of the 'uncanny' and its origins. While allowing me to draw new interpretations of my own art practice, it reinforces my earlier conclusions about the sensation of 'not being at home'.