This thesis employs a discursive methodology to analyse the policy problem of cultural non-participation. In so doing it seeks to answer the questions of what the problem is, why a problem exists, and what the existence of the problem does ‘in the real’ (Bacchi, 2009). The study draws on primary data generated in the form of policy texts, speeches and 42 in-depth qualitative interviews with individuals working in or for publicly funded cultural organisations in Scotland. Employing the methodological approach of problematisation (Foucault, 2003a [1981]), the study offers a close analysis of the discursive logics upon which the construction of the problem relies. In so doing it is asserted that the problem construction functions as an articulatory practice (Laclau & Mouffe, 1985) that not only constitutes and organizes social relations but also supports asymmetric relations of power and allows inequality in society to be represented as both inevitable and sensible (Rancière, 2004). Beginning with a discussion of how cultural participation has been constructed as an object of enquiry, the thesis moves on to consider how cultural non-participation is constructed as a problem across the discursive planes of politics and professional practice. Having made visible the discursive logics of the problem construction, the discussion then examines the contingent historical conditions under which the existence of certain subjects, objects, and the intelligible relations between them became possible. Arguing that the Arts should be understood as a discursive institution, it is proposed that the subject identity of the non-participant is not only a necessary part of the discursive logic of this institution, but also provided the ideal boundary object (Star and Griesemer, 1989) around which the legitimacy of the relationship between the Arts and the state could, in part, be based. Drawing on the work of Jacques Rancière (1991; 2004; 2004), it is argued that the manner in which those labelled as non-participants are subjectified obscures their agency and in so doing suppresses their capacity to speak within the field of cultural policy. As such, the field of cultural policy remains characterized by asymmetric relations of power and dominated by those who lay claim to the discursive identity of cultural professionals. The result is state subsidised practices that while doing little to influence individual patterns of behavior, through performing inclusion and equality contribute to the maintenance of a status-quo in which state support will only be provided to individuals who accept the values of those who exercise the most power in the field.

I offer a critical exploration of tensions experienced by disabled people in the construction of positive identities in everyday contexts in which self-understanding is shaped both by social structural relations of inequality and unique individual experience. The empirical evidence I use to develop and support my thesis involves data I have generated using a variety of data collection tools, through a series of interviews, conversations and observations carried out with sixteen disabled people across Scotland and England. I argue that while certain barriers to participation in ordinary community life may be being removed, perceptions of impairment as something ‘wrong’ with the bodies of disabled people remain embedded in dominant disability discourse. There is a structural purpose underlying the continued representation of impairment as misfortune, involving the ascription of a negative role – the disabled role – to those whose bodily configurations pose a challenge to requirements of conformity. Drawing on insights generated in my research, and building on an idea originally proposed by John Swain and Sally French in 2000, I have developed a clarified affirmative model of disability. This I intend as a tool to be used by people with impairments in making sense of the disabling social relations they encounter in everyday contexts, to be used alongside the social model in gaining knowledge to unsettle mainstream assumptions which can only recognise impairment as personal tragedy.

This thesis investigates the background, emergence, use and significance of a community based information network, the Craigmillar Community Information Service (CCIS), in Edinburgh, Scotland, to assess its relationship with community development and note also the local network's relationship over time with the community, the city and society. Desk research, i.e. reviews of literature and examination of various documents combined with information gained in the field helped to weave contextual, conceptual and theoretical frameworks to assist in analysis. Data was gathered in the field by means of qualitative interviews with City of Edinburgh (CEC) officials, system developers and CCIS users. Additional data was collected and checks were subsequently made as a result of routine observations of CCIS operating within their base in Craigmillar; and also via virtual observations of on-line structure and content over time. Local media reports and an assessment of regeneration delivery services in Craigmillar, commissioned by CEC also provided insights in the analysis. The main objective was to collect data that would accurately reflect the true nature and significance of the CCIS system. A qualitative methodology was employed in this study. Desk research began in mid 1995, and on-line and real-time observations in 1996. Interviews were carried out in the field during 1997 and early 1998. In the final chapter of this thesis, conclusions emerging from analysis of the data are offered as a means of developing deeper understanding of CCIS and community development in cyberspace. Overall, it is hoped to extend general knowledge of community networks, and broaden understanding of the developing field of social informatics. In light of conclusions drawn, theoretical frameworks are reviewed in the final chapter and potential is outlined for further research into the evolving roles of community-based initiatives situated elsewhere, their socio-technical relations and their significance in different societal settings.

This thesis focuses upon a distinctive form of ‘feminine-gendered’ fiction, that of the British female ensemble drama, that has proliferated across televisual schedules since the late 1970s and which has received little academic attention. Although not a discrete genre, the female ensemble drama is nevertheless identifiable as a distinctive form of ‘feminine-gendered’ fiction that is largely written and/or produced by women, which diegetically focuses on particular communities of female characters and which is predominantly aimed at female audiences. The purpose of this text-based analysis of the female ensemble drama is to engage with a central concern of feminist television criticism, that of the gendered identity of this particular media form and the constructions of gender within it given its association with women at these three sites of production, text and audience. While I provide a historical overview of the development of this form of drama in relation to its textual precedents I isolate a particular moment in the history of this form of drama, that of the late 1990s, for closer analysis. Firstly I isolate the late 1990s to provide knowledge and understanding of the way in which the ‘feminine’ identity of this form of drama has contributed to its academic neglect within this socio-cultural period. Secondly I provide a close textual analysis of the constructions of ‘women’ within three female ensemble dramas in order to engage with and explore the textual negotiations they embody surrounding discourses of feminism and post feminism, de- and re-traditionalization in this particular period. While these themes have begun to be addressed in feminist television criticism they have largely been explored in relation to constructions of femininity in American dramas. This analysis then, allows for an exploration of these discourses in relation to a regional form of British drama. It is through investigating the academic neglect of this form of drama; providing a historical, thematic and aesthetic overview of the female ensemble drama as well as a detailed analysis of three of the female ensemble dramas of the 1990s that I contribute knowledge and understanding of this particular regional form of ‘feminine-gendered’ fiction to the field of Feminist Television Studies.

Childhood ADHD is a contested yet rising public health phenomenon, due to greateruse of inclusive American diagnostic classification. In the UK ADHD is considered to be ‘incompletely medicalised’ with rising incidences predicted. A critical approach was adopted in this thesis, based on a number of social constructionist assumptions in order to examine the emergence and increased use of the construct and to contribute to broader critical debate in the field. Parents and teachers are key adults in childhood ADHD as they may identify and care for diagnosed children yet they have been relatively neglected in the literature. How such adults account for children’s difficulties was the focus of an empirical analysis. A ‘critical discursive psychology’ approach was adopted using Edley’s (2001) framework in order to examine culturally available talk by parents and teachers about ADHD, from semistructured interviews in Scotland. Analysis highlighted how parents deployed contradictory interpretive repertoires in talk using a Biological repertoire as a genetic explanation and an Environmental repertoire in relation to various parenting issues. Such talk was organised to attend to the ideological dilemma of parental moral adequacy and accountability and which sought to accomplish the ‘good parent’. Further analysis considered how parents accounted for competing versions of the difficulties and their positioning in relation to controversial medication talk. Teacher accounts of children’s difficulties deployed an ADHD repertoire as a medical condition and a Not ADHD repertoire as due to temporal difficulties. Through the ‘cases I know’ device, teachers managed their own experiential knowledge and thereby negotiated agency and control for childhood behaviours. Analysis considered accounts of (mis)diagnosis and (mis)treatment as alternative explanations for ADHD. This innovative focus on how health policy for children’s difficulties as ADHD were socially produced by lay parent and teachers accounts, highlighted the limitations for agency in ADHD diagnoses and implicated further critical debate about this topic. Parental talk which drew on current biopsychosocial models for ADHD was largely reductionistic and fragmentary. The reliance on discursive efforts about the ‘good parent’ identity meant that this was a temporal accomplishment in talk rather than achieved by a diagnosis. Analysis of teacher accounts originating from a Scottish context highlighted how they differed from a North American context and provided greater understanding of how teachers succeeded in offering robust alternative explanations to ADHD. The implications for health and education policy of ADHD efforts aimed at the ‘education’ of teachers may be limited in the face of the teacher talk. Finally, within methodological debate in discourse analysis, this work contributes to further arguments for an eclectic discourse analysis as applied to the field of ADHD.

The thesis examines the animated sitcom, from 1960 until present, and attempts to locate its development within the genre of situation comedy. Television animation has long been regarded among film, television and animation theorists as a 'lower cultural form' than its theatrical, or 'live action' counterparts. This thesis seeks to establish a pattern of generic development, in a form which has been critically and theoretically neglected over that time. A lack of a consistent definition within critics and theorists has subsequently led to a lack of a coherent canon of theory. It is for this reason that animation is approached from several areas including film theory and cultural studies. Through original empirical research, the thesis examines the animated series in terms of its generic status, and contributes to the debates surrounding definitions of animation and the question of genre in animation. The thesis charts the development of the series, and presents the term 'anicom' to convey the unique nature of the form, its contribution to the sitcom genre and the larger form of animation as a whole.

This study seeks to understand what kink is, exploring this question using narratives and experiences of gay and bisexual men who engage in kink in the UK. In doing so, contemporary understandings of the gay kinky subcultures in the UK are provided. It discusses the role of the internet for these subcultures, highlighting the use of socio-sexual networking sites. It also recognises the existence of kink dabblers who engage in kink activities, but do not immerse themselves in kink communities. A qualitative analysis is used consisting of semi-structured in-depth interviews with 15 individuals who identify as part of a kink subculture and 15 individuals who do not. Participants were recruited through a mixture of kinky and non-kinky socio-sexual networking sites across the UK. Complimenting this, the author attended kink events throughout the UK and conducted participant observations. The study draws on subcultural theory, the leisure perspective and social constructionism to conceptualise how kink is practiced and understood by the participants. It is one of the first to address the gap in the knowledge of individuals who practice kink activities but who do so as a form of casual leisure, akin to other hobbies, as well as giving due attention to the increasing presence and importance of socio-sexual networking sites and the Internet more broadly for kink subcultures. Community and non-community members were shown to possess similarities as well as distinct differences. The Internet was shown to play a significant role in all participants’ kink narratives. The research calls for further explorations of different aspects of the UK kink subculture which recognises the important role of the Internet for kink practitioners in shaping both the offline and online kink communities. The study also calls for research related to kink practitioners who are not embedded within subcultural kink communities.

Denna studie syftar till att undersöka tv-serierna Sex and the City och Girls ur ett feministiskt perspektiv. Genom en kvalitativ undersökning i form av en diskursanalys samt filmanalys besvarades studiens frågeställningar. Seriernas alla säsonger har granskats och ett visst antal scener har analyserats för att få en överblick över hur den feministiska representationen ser ut i tv-serierna. Detta utifrån teorier kring den manliga blicken, kvinnokroppen och intertextualitet samt tidigare forskning av de båda serierna. Vidare har serierna jämförts för att se vilka likheter respektive skillnader som finns dem emellan. Kommentarer om de både serierna i medier har även studerats. Undersökningen visade att både Sex and the City och Girls skildrar feminism och ickefeminism utifrån den samtid de utspelar sig i samt att kommentarerna i medier omfattar blandad kritik om serierna. / <p>Per Vesterlund är examinator för hela kursen men då han var handledare för denna uppsats gick Cecilia Mörner in och examinerade själva uppsatsen - därav att Cecilia Mörner står i metadata som examinator medan Per Vesterlund står som examinator på uppsatsen.</p>

Educational technologies occupy a significant and high profile position within higher education with some technologies widely used across the sector. However, although the use of new technologies is often encouraged through institutional policy, training and funding, there is significant variation in actual practices - especially with regards to teaching and learning. Research on teacher thinking suggests that this variation is related to university teachers‟ beliefs and knowledge about technology and learning. A mixed-methods approach was used to investigate university teachers‟ thinking about their use of technology. The first stage of data collection was a quantitative survey of 795 higher education teachers from a sample of 27 UK universities. This identified institutional and subject-related differences in teachers‟ perceptions of impact and use of particular technologies in their teaching. The second stage of data collection was a qualitative multi-site case study of eleven university teachers from three universities that identified their perceptions and beliefs about technology and the contexts in which they act. It investigated how these individuals formed and reinterpreted their beliefs about technology and how they made decisions about when and how to use (or not use) technology. The thesis shows how university teachers‟ thinking about technology is situated in the culture and contexts in which they live and work. It explores the relationships between pedagogic beliefs, beliefs about technology and teachers‟ perceptions of „control‟ over how they use technology. It identifies how some teachers used technology to communicate their personality and build relationships with students but, also, how some used technologies despite believing that these did not have a positive effect on student learning. It shows how, in making sense of their use of technology, academics draw on multiple sources including understandings of the impact of technology on culture and society, perceptions of higher education and their institution, their subject disciplinary background and their identity as teachers and academics.

Operators called 'logical connectives' convey in a precise way the logical relationships between truth functional propositions and hence determine what can be inferred from them. Mathematical reasoning therefore relies heavily on their use. Whilst the operators are free of ambiguity, this is not so for the linguistic items (called 'linguistic connectives') by which they are codified. In English, at least, there is a widely reported mismatch between the logical concepts and the 'meanings' of the linguistic connectives with which they are frequently identified. This study compares the provision for expressing logical concepts in Japanese, Arabic and English and seeks to ascertain to what extent the problems reported for English are generalisable to the other two languages. It also aims to establish whether the concepts underlying certain logical connectives are 'more readily available' or 'better established' in the speakers of one or other of these languages and, if so, whether this can be attributed to differing provision in the lexicon. Two experiments were carried out using as subjects adults who were native speakers of either English, Japanese or Arabic. One was designed to determine to what extent the appropriate linguistic connectives in each of the three languages convey the associated logical concepts. The second compared performance on five concept identification tasks where the concepts tested were conjunction, inclusive and exclusive disjunction, the conditional and biconditional. The results indicated no significant differences between language groups in the understanding of the linguistic expressions of logical connectives. However, the Japanese language group consistently outperformed the other two groups in all five concept identification tasks and also offered descriptions of these concepts which were more succinct and less variable. Possible explanations for the superior performance of the Japanese group are suggested and some implications for the teaching and learning of mathematics proposed.