Dissertations / Theses: 'Arts organisations'

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Chalon, Christopher. "Conflict and citizenship behaviour in Australian performing arts organisations." University of Western Australia. Faculty of Economics and Commerce, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0096.

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The managers of professional performing arts organisations are faced with a unique dilemma. They must support their artistic personnel, who are typically driven by the quest for new, challenging and experimental works, while achieving the economic success necessary for the continued viability of their organisations. Failing to effectively manage this artistic-economic dichotomy can result in a conflict between artists and managers that threatens the long-term survival of these organisations. There is a clear need, therefore, for arts managers to foster an organisational climate that minimises conflict, while promoting organisational citizenship behaviours (OCBs) such as sportsmanship (a willingness to tolerate less than ideal circumstances without complaining) and courtesy (a willingness to show sensitivity towards others and actively avoid creating problems for co-workers). The main aim of the present study was to examine the extent to which factors such as organisational structure, organisational culture and employees motivational orientation influence peoples perceptions of their job scope (as indicated by high levels of task variety, task identity, task significance, autonomy and feedback from the job), a construct which has been found to reduce organisational conflict and increase employees propensity to display OCBs. While these relationships have been suggested in previous research, they have not been tested in a performing arts industry context. The data analysed in the present study suggested an enjoyment motivational orientation, a challenge motivational orientation, an organic culture and formalisation positively influenced perceptions of job scope, which, in turn, positively influenced both OCBs (sportsmanship and courtesy). A challenge orientation also had a positive impact on sportsmanship, while sportsmanship positively and directly influenced courtesy. Centralisation was negatively related to perceived job scope and sportsmanship, although it had a positive impact on courtesy. Conflict was negatively influenced by formalisation and by an organic culture, but was positively influenced by a hierarchal culture.

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Bout, Jérôme, and Edouard Mortier. "Artistic Interventions : Arts, Leadership and Self-development in Organisations." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34599.

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Our society is changing, becoming a postmodern world with more attention paid to the emotional part of human beings. Organisations must develop new skills to enhance their members’ creativity and provide innovation in order to tackle new challenges. The transformation of our society provides also space for new thinking and new solutions; there is a need to be more open-minded. Organisational managers hence look into new directions to answer issues – one of them is the arts. One of arts’ manifestations in organisations is artistic interventions. Our study provides a presentation of this process, our understanding and reflection about this field and why we think it is relevant for the postmodern society in which we live. In this thesis we present our vision and theory of how a manager transforms themself into a leader through an artistic intervention and the impact on the organisational culture that the latter produces. We highlight the importance of the intervention’s follow-up and the way in which managers/leaders can lead this process to success. Our research is based on the existing literature in different fields that we have found relevant and that has enabled us to develop our own theory on the topic, with hope that it will interest other researchers to go further. In that sense, we give directions and reflections for future research.

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Pate, Maldwyn. "Measuring the immeasurable? : a critical response to the way arts funding bodies evaluate the work of arts organisations." Thesis, Brunel University, 2004. http://bura.brunel.ac.uk/handle/2438/5325.

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The arts impact on all our lives. They play an important role in our spiritual and cultural well-being, but the creative industries also contribute considerably to our economy, and a significant investment in this sector is made by state funding. The Arts Council of Wales and Arts Council England are charged with distributing state funding for the arts and this study examines the methods used by them to evaluate the arts organisations that they fund. Client evaluation is a key element in the relationship between funded and funder and a matter of considerable importance and sensitivity to both parties. Both artists and arts council officers were found to be dissatisfied with the current evaluation system, which has been in place for some twenty years. Among several important criticisms was the fundamental perception that it simply was not a suitable system for determining whether or not an organisation was doing a good job. The study comprises eight chapters, the first two of which describe the evolution of the arts funding system in Britain and the manner in which governmental attitudes towards arts funding has changed over recent years. The third chapter establishes the theoretical construct for the study. Firstly it examines the relationship between the funding body and the funded organisation within the context of Foucault's conception of Panoptic disciplinary power. It then proceeds to consider the development of evaluation practice in the sphere of education. Education is an appropriate domain to explore, partly because there are many similarities between the fields of art and education, but principally because pioneering work in this domain has informed the development of evaluation practice in other fields. The primary data gathered for this study, through observation and interview, is qualitative in character and is reported in Chapter 5. Finally, following analysis and discussion of the field and desk data in Chapters 6 and 7, an alternative approach to client appraisal is proposed in Chapter 8.

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Matysiak, Catherine Andrea. "Women in view, the evolution of local women's arts organisations in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61587.pdf.

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Knight, Helena. "Collaborative value creation : how arts and business organisations create value for society." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/83021/.

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Since its instigation by patrons supporting struggling artists centuries ago, the relationship between arts and business has been marked by dilemmas of who benefits from the value created. The perceived self-interested regard that blighted the magnanimous acts of the pioneers of arts philanthropy has transformed into outright scepticism with the move towards "selfish capitalism" in the 1970s. Despite the financial assistance, ubiquitous in society is the perception that business exploits the arts for window dressing purposes. The thesis studies value creation through transactional collaboration, focusing on the arts context. The contradictions in the phenomenon are examined to construct an understanding of how the organisations working together can lead to societal betterment . Utilising a multi method interpretive strategy, the thesis presents a conceptual framework of the principles, manifestations and functions of the business partner in societal value creation through transactional arts and business collaboration. The thesis argues that transactional collaboration can and does generate value that can contribute to societal betterment. The stipulations relate to transactional hybrids and collaboration portfolios at the organisational level, and a co-creative response to the process of value creation of beneficiaries. Transient value and cumulative value are two distinct value modes. Cumulative value can induce sustainable societal betterment when business assumes the role of a benefits provider. Human factor and organisational learning condition cumulative societal value creation in transactional collaboration. The Thesis contributes to the literature on cross-sector collaboration. The thesis contributes to the literature on cross-sector collaboration by highlighting the importance hybrid relationships and relationship portfolios in creating societal value in transactional collaboration. It also demonstrates the beneficiary-centric standpoint is a salient factor when developing a holistic understanding of how collaboration contributes to societal betterment. As such, contributions are made to the value creation literature by showing the salience of the co-creative response of the beneficiary to the process of value creation in relational contexts. Managerial and policy implications, and future research avenues are also proposed.

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Mishan, Marise Sheevah. "The dynamics of inter-organisational collaboration and their role in demand stimulation in the performing arts." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/23260.

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This study investigates the dynamics of inter-organisational collaboration and their role in demand stimulation in the performing arts. While the literature suggested methods and outcomes of collaboration and its role in demand stimulation, recent media reports indicated very few South African Performing Arts Organisations (PAOs) were involved in any form of collaboration. Therefore before the theories on could be tested the reasons behind the limited collaboration in South Africa had to be investigated.An exploratory investigation was conducted in two phases. The first phase focused on collecting the opinions on all aspects of collaboration from strategic decision makers in PAOs to form a set of guidelines for collaboration. In phase two these guidelines were validated by the same strategic makers through a self-administered questionnaire.From the results emerged a set of barriers to and enablers of collaboration. In addition, several contextual factors emerged that greatly impact collaboration and its effectiveness as a marketing tool. The political history of South Africa in particular has created a divide, not only in the performing arts industry but in the audience as well, that makes collaboration extremely difficult. PAOs need to be able to use collaboration to mobilise support from other economic sectors in order to bridge this divide.
Dissertation (MBA)--University of Pretoria, 2012.
Gordon Institute of Business Science (GIBS)
unrestricted

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Girard, Claire. "The internet table: how Canadian arts and culture organisations engage with telecommunication policy." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119753.

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This project examines the engagement of Canadian arts and culture organizations with telecommunication policy at two Canadian Radio-television and Telecommunications Commission (CRTC) hearings held in 2009. The thesis argues that during the Broadcasting in New Media hearing arts organizations added a new set of issues to their historically content-centric advocacy concerns and began engaging with policy that regulates carriage. At the second hearing, the Review of the Internet Traffic Management Practices of Internet Service Providers, these groups in their comments and presentations to the regulator directly address the design, implementation and technical functioning of telecommunication technologies. The thesis proposes a typology of Canadian arts and culture organizations and gives an account of their history of communication and cultural policy advocacy. Using a Science and Technology Studies and Actor-Network Theory oriented definition of technology the project shows that the participation by these groups in formal policy-making forums on internet governance issues is supplemented by other productive modes of engagement with information and communication technologies (ICTs). This thesis gives examples of these organizations integrating ICTs in their work and argues that such practices effectively produce and re-define the internet. Canadian arts and culture organizations would gain from adopting an understanding of ICTs that reflects their mutually constitutive and co-productive relationship. The thesis concludes that to become more empowered in both their practices and in policy decision-making arts and culture organizations should define telecommunication infrastructure as a material agent and participant.
Ce projet examine l'engagement d'organismes culturels Canadiens avec les politiques de télécommunication lors de deux audiences publiques au Conseil de la Radiodiffusion et des Télécommunications Canadiennes (CRTC) en 2009. Le mémoire argumente que durant l'audience sur La Radiodiffusion Canadienne par les Nouveaux Médias ces organismes ont ajouté de nouvelles problématiques aux intérêts, historiquement centrés sur le contenu, qu'ils défendent et ont commencé à plaidoyer les politiques qui gèrent le transport des données. Lors de la seconde audience, l'Examen des Pratiques de Gestion du Trafic Internet des Fournisseurs de Services Internet, ces organismes ont adressé directement le design, l'implémentation et le fonctionnement technique des technologies de la télécommunication dans leurs commentaires et présentations au Conseil. Le mémoire propose une typologie des organismes culturels Canadiens et résume leurs antécédents en défense des politiques culturelles et des communications. En utilisant une définition de la technologie orientée par les Études des Sciences et Technologies ainsi que de la théorie de l'acteur-réseau le projet démontre que la participation de ces groupes aux forums officiels d'élaboration des politiques de gouvernance internet est complétée par d'autres modes productifs d'interaction avec les technologies d'information et de communication (TIC). À l'aide d'exemples d'intégration des TIC par ces organismes dans leur travail le mémoire fait valoir que de telles pratiques produisent et contribuent à la redéfinition de l'internet. Les organismes culturels du Canada gagneraient à adopter une définition des TIC qui reflète leur relation mutuellement constitutive et co-productive. Le mémoire conclut que les infrastructures de télécommunication doivent être comprises comme étant des acteurs matériels et des participants afin de renforcer et responsabiliser les pratiques et la défense de politiques de ces organismes.

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Hoebarth, Juergen. "Art organisations in the age of social media : how Hong Kong's non-profit art organisations are dealing with the use of social media to address their audiences." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1492.

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Sim, Nicola. "'Like oil and water'? : partnerships between visual art institutions and youth organisations." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49612/.

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This thesis interrogates partnership working between galleries and youth organisations involved in a four-year, Tate led programme called Circuit (2013-2017). This programme sought to build sustainable networks with youth organisations and services across England and Wales in order to ‘improve access and opportunities for harder to reach young people’ who may not otherwise engage with galleries and museums (Circuit, 2013a). Reflecting on the similarities and divergences that characterise practice in gallery education and youth work, this research untangles the historic barriers and tensions that have affected relationships between practitioners, organisations and the youth and visual art sectors. Mobilising Pierre Bourdieu’s theoretical framework, galleries and youth organisations are conceptualised as part of distinct ‘fields’, and their particular traditions, customs and internal contests are analysed. An exploration of the fields’ development under successive governments and changing policy priorities reveals that art organisations benefit from a greater affordance of agency and autonomy than youth organisations, which contributes to the uneven power dynamics that often exist in these cross-sector alliances. Reports from engagement with sector events also highlight how concepts of art and creativity frequently deviate between the fields. Through an ethnographic approach to the research context, participant observations and interviews produce data about Circuit’s programmatic decisions, and its efforts to shift problematic habitual practices. A series of in-depth site studies illustrate different ways for organisations to work together, as well as the challenges of collaboration in pressured political and economic circumstances. Cross-site analysis allows for further deliberation on the compatibility of Circuit’s wider peer-led programme agenda with the comparative agenda and practice of youth organisations. The ambition for young people to continue an independent relationship with the galleries’ programmes is shown to be hindered by a number of sometimes-misrecognised factors that unintentionally alienate certain communities of young people, particularly from working class backgrounds. The final stage of the analysis studies the identity, attitudes and positions of various youth sector agents working and participating within Circuit, and the specific ‘capital’ they bring to the temporary programmatic field. In discussing the implications for practice and research, this thesis asks whether (beyond programmes such as Circuit) it would be possible to establish a permanent collaborative or cooperative field between the youth and gallery sectors. I argue that this would only happen if a range of systemic changes were made, such as the development of national and regional structures to support integrated practice sharing; deeper engagement with the meaning and repercussions of partnership working; a determination to work collaboratively to address social urgencies facing young people, and a fundamental commitment to shift pervasive inequalities in the visual art sector.

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Laurent, Stéphanie. "Le travail identitaire des organisations intermittentes : le cas des associations du spectacle vivant." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3043.

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Comment évolue l’identité des organisations dont l’activité est discontinue ? Pour répondre à cette question, une étude de cas a été menée dans trois associations du spectacle vivant pendant trois ans. La recherche mobilise une approche ethnographique, basée sur plus de 500 heures d’observation participante et 31 entretiens, pour saisir les changements en temps réel dans leur contexte. Sur une période de plusieurs années, les trois associations évoluent très différemment : dans le premier cas l’identité d’origine est réaffirmée, dans le deuxième elle est renouvelée et dans le troisième elle est réinventée. Des termes musicaux sont employés pour nommer ces trois évolutions identitaires : le thème, la variation et l’improvisation. Dans les trois associations, un nouveau sens des croyances identitaires est formulé par les acteurs. Ce nouveau sens n’est cependant pas systématiquement adopté. Trois mécanismes permettant de réaffirmer le sens d’origine des croyances identitaires sont identifiés : la prise de distance, le désenchantement et le désaveu. L’activation de ces mécanismes répond à un besoin de protection de certains acteurs qui se trouvent mis en difficulté par le changement. En montrant comment l’organisation intermittente peut s’appuyer sur la discontinuité de son activité pour en faire une ressource du travail identitaire, ce travail doctoral offre aussi des éléments de compréhension pour les managers d’organisations de ce type
How does the identity of discontinuous organizations change? To answer this question, a three-year-long study was conducted in three non-profit performing arts organizations. This study builds on an ethnographic approach based on more than 500 hours of participant observation and 31 interviews to follow real-time interactions in their context. Over a period of several years, the three organizations evolve very differently: in the first case original identity is reasserted; in the second one identity is renewed; and in the third one it is reinvented. Given the centrality of music to the performing arts organizations studied, naming these three identity evolutions the theme; the variation; and the improvisation seemed apposite.In the three cases, identity beliefs’ new meanings are formulated by organizational members. These new meanings are not systematically adopted. The study identified three mechanisms allowing members to reassert the original meaning: distancing; disenchanting; and rejecting. The study argues that activation of these mechanisms answers a need for protection of some organisational members experiencing difficulties in the change process. By showing how discontinuous organizations can rely on discontinuity as a resource for identity work, this doctoral work also offers elements of comprehension for managers of such organizations

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Kay, Susan. "Organising, sensemaking, devising : understanding what cultural managers do in micro-scale theatre organisations." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15971.

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The purpose of this enquiry is to challenge and add a further dimension to cultural management, through an empirical exploration of what cultural managers do in a particular domain (theatre) and scale of organisation (micro-) within the (subsidised) cultural sector, in South West England. Working from a sensemaking perspective (Weick, 1979, 1995a, 2009), it focuses attention on what these practitioners do, rather than what they could, should or do not do. It draws on literature from cultural management, theatre and performance studies and organisation and management studies to help address the following questions: • What do cultural managers do in micro-scale theatre organisations (in South West England)? • Why do they do what they do? • How do they do what they do? • In what ways might an analysis of what they do inform talk in and about cultural management? • To what other theoretical conversations might such an analysis contribute? The subjects are three cultural managers running micro-scale contemporary theatre organisations in Bristol, Plymouth and Redruth. The study adopts a qualitative, ethnographic, multi-case study approach, with data collected through non-participant observation, informal interviews and documentary sources. Analysis is inductive, deductive and abductive. The thesis concludes with a conceptual and epistemological re-framing of cultural management as cultural managing, suggesting that what the cultural managers studied do is not only vocationally dedicated to the purpose, values and work of their organisation, but is also isomorphically inflected by them in the doing. Furthermore, it offers (a) an adjusted perspective on “high reliability organising” (Weick & Sutcliffe, 2007) orientated more towards making the best than mitigating the worst; (b) a focus on organising in theatre to colleagues pursuing the relationship between management and the arts; and (c) a challenge to traditional notions of divide between theatre managing and theatre making, particularly at the micro-scale. This is an interdisciplinary study with cross-disciplinary implications.

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Auvinen, Tuomas. "Unmanageable opera ? : the artistic-economic dichotomy and its manifestations in the organisational structures of five opera organisations /." Thesis, Boston Spa : British thesis service, 2000. http://catalogue.bnf.fr/ark:/12148/cb39143436f.

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Bilbao, Yarto Ana E. "Swimming upstream : Small Visual Art Organisations (SVAOs) in the midst of the ethical turn, 1990-2016." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/19859/.

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This project is the first historical account of the emergence and development of Small Visual Arts Organisations (SVAOs) in various parts of the world from the 1990s to the present. I define SVAOs as structurally small, non-profit spaces that are dedicated both to the production and to the dissemination of contemporary art. They are characterised by their interest in the local community in which they are located, as well as in diverse urban issues ranging from new technologies to the social art practices in their cities. In spite of the potential practical and ideological similarities with artist-run spaces, community arts organisations, and New Institutions, I argue that SVAOs are a curatorial phenomenon in their own right and, as such, represent a missing piece in the recent history of exhibition making. Despite the diverse conditions of their emergence and the particular nature of the local situation to which they were responding, SVAOs have increasingly adopted curatorial strategies and methods of engagement with their publics that have been gaining popularity at a global scale since the 1990s, especially in larger arts institutions and mega-exhibitions. This project thus deals with both the global proliferation of this relatively homogenous curatorial language and with its internalisation by SVAOs, together with the problems inherent in this issue. Specifically, it is my intention to demonstrate how these spaces can give us new perspectives and insights in relation to contemporary exhibition making. I show how, in virtue of the distinctive relationships that some of them have built with their publics and their artists, these spaces have fostered a unique disposition toward contemporary art. SVAOs offer something different yet complementary to what museums and commercial galleries have to offer, making them a vital component of the arts ecology of our time.

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Södergren, Charlotte. "Organisations: A Battle for Life, in the Name of Globalisation." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22941.

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The aim of this study is to look at how organisations’ discourse is tailored to reach and persuade the donors, how it is constructed in terms of representation and power, and if there has been a change on representation of aid over the last decade. The study is conducted from texts and visuals from the Anglo-Saxon Save the Children Organization and the French Apprentis d’Auteuil Catholic Foundation to evaluate cultural points in relation to discourse constructions; most of the selected Material has been extracted from respective website at the same period of time (2003, 2013, and 2014) to make the comparison fair. The theoretical framework includes communication for development, post-colonialism, social theology, representation, discourse and power; the methodology is related to discourse analysis and visual analysis. The deconstruction of the texts has revealed that the traditional way of representing the disadvantaged as the voiceless ‘Others’ and the hegemonic approach, in the name of globalisation, are still strongly present as it seems to be a trigger for the act of donation. Nevertheless, according to studies, a new wind of social responsibility instead of Christian duty is emerging. A gap between the traditional representation of aid and actual modern actions implemented by organisations has been noticed mostly on the French national level. The recommendation to the organisations would be to compose a new discourse in their communication, placing the helper and the helped on a balanced representation, giving a common ‘human’ voice, promoting participation and insuring sustainable social change, towards a real changing of mentalities of the audience. This communication should also be homogenised between ‘old’ and ‘new’ media as well as speeches held by the organisations’ staff.

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Qian, Fenggen. "The transformation of central design organisations in modern Britain, France and China." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/c8e47386-3026-4e1f-8edb-72f2fb734f80.

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This thesis proposes that a conceptual structure of ‘modernity’ and ‘national identity’,interrogated through an analytical model of ‘modernism’ and ‘modernisation’ contributes substantially to decoding the institutionalisation of design as reflected in the transformation of central design organisations.

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Hammar, Jenny, and Erik Lagerborg. "Performance measurement and evaluation for cultural non-profit organisations : A model developed for Swedish museums." Thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, Företagsekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-35859.

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This study highlights the difficulty for non-profit cultural organisations to measure and evaluate the performance of their operations. The goal was to suggest and test a model for performance evaluation that can be used by museums, more specifically it was developed for Swedish Museums. The theoretical framing of the study is Operations Management. With this being a practical and problem-solving research discipline, the pragmatic approach with Design Science research was chosen as the methodological foundation. Based on this strategy several research methods were used in the process of solving the problem and designing the model. Based on previous models for performance evaluation, with the adaptation to the setting of Swedish Museums a model was presented, tested and evaluated in the study. The study was delimited to the design phase and implementation was not part of the report. After having tested the model, a follow-up interview was conducted. In the interview, the test results were presented to a museum manager in order to validate that the model can be used as a tool for decision support and as a way to report non-financial results to stakeholders such as politicians or their representatives.

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Caie, Linda Jayne Nelson. "When all roads lead to Rome: expatriate adjustment in a United Nations Organisation : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Organisational Psychology at Massey University, Auckland, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1065.

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Studies of expatriate adjustment have traditionally focused on corporate expatriate assignments where foreign employees are often the only expatriate, or one of a handful in a host organisation. Multicultural not-for-profit organisations such as United Nations organisations have largely been ignored. It was hypothesised that classic predictors of expatriate adjustment – Spousal Adjustment, Culture Novelty and Acculturation Style, and novel variables of Economic Adjustment and Stage in Assignment would predict Expatriate Adjustment and subsequent Cognitions to Withdraw prematurely from the assignment. 181 expatriates representing 38 countries from all economic levels completed an online survey investigating their experiences on assignment to a United Nations Organisation in Rome, Italy. Black & Stephens (1989) classic scales of Expatriate Adjustment, Spousal Adjustment, Culture Novelty and Cognitions to Withdraw were employed along with Acculturation Style, Economic Adjustment and Stage in Assignment measures designed for this study. Qualitative data was also collected around expatriates’ cognitions to withdraw from their assignment and reasons to stay in order to gain a richer understanding of the expatriate experience. The best predictors of Expatriate Adjustment and subsequent Cognitions to Withdraw for United Nations expatriate employees in Rome were classic predictor Culture Novelty and novel predictors Economic Adjustment and Stage in Assignment. Structural Equation Modelling indicated the best fitting model of Expatriate Adjustment and subsequent Cognitions to Withdraw demonstrated moderate fit (!2 = 1045.19, df = 486, p =.000, TLI = .80, CFI = .82, RMSEA = .08) with Culture Novelty predicting General and Interaction Adjustment; Economic Adjustment predicting General Adjustment; and Adjustment Stage predicting General, Interaction and Work Adjustment. General Adjustment was the only significant predictor of Cognitions to Withdraw. Qualitative analysis suggested that the classic adjustment measures used did not adequately capture the experiences of these expatriates and that caution should be taken in generalising the literature to not-for-profit populations. Furthermore the outcomes of this study suggest that the inclusion of novel variables of Economic Adjustment and Stage in Assignment as predictors of expatriate adjustment could be warranted for future research. Sample size and adequacy of measures both limited the extent to which analysis could be conducted and results generalised. More research into the expatriate experience in the not-for-profit sector is desperately needed.

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Turbide, Johanne. "Management accounting systems and the exercise of interpersonal power in organizations : observations from an 'accounting free' zone : the case of not-for-profit performing arts organisations." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/36335/.

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This thesis has two main concerns. First it attempts to shed new light on the ways in which alternative "critical" approaches have developed within management accounting research, over the past two decades, to challenge approaches which depict accounting in organizations as a rational, objective and value-free device. My literature review analyses the range of issues covered by the new approaches, and their boundaries, and suggests that, to date, the more significant contributions have taken place at the theoretical level, although an increasing amount of empirical research is coming through. My second and major objective is to contribute to the critical project in two ways: empirically, by undertaking a field study in an area where management accounting systems (hereafter MAS) are not necessarily accepted in a taken-for-granted way, the not-for-profit performing arts sector, and theoretically, by developing and validating, via this field study, a conceptual framework adapted from organization theory, which may help shed light on a theoretical issue which seems to have been somewhat overlooked, the reciprocal way in which individuals interact with MAS, as a problem .of power relations. The play of relations which I wish to scrutinize is best expressed in the following two questions: How do the actions of individuals affect the power of MAS? How does the power of MAS affect the actions of individuals? Methodologically, the conceptual framework is designed to enable me to analyse action in terms of the interactions between "individuals", "concrete systems of action" and the social, economic and cultural "environment". I aim to identify the relative influence on power relations of MAS, when compared with other "concrete systems of action", bearing in mind three types of constraint: those arising in the "immediate" environment, and others deriving from the "politicaleconomic" and "cultural-aesthetic" environments. My objective is to examine the extent to which MAS are appropriated as a resource by individuals in search of, or in the exercise of, power within not-for-profit based theatres. I have undertaken comparative field research in two countries, in order to see what regularities and differences there may be within and between countries. Data were gathered through direct observation and interviews, plus written documentation from two theatres in Montreal, Canada, and two in the English Midlands. Given the qualitative nature of my research, and in order to maintain a formal separation of observations and interpretation, I first present the detail of my findings using a simple narrative format, before presenting the interpretation based on my conceptual framework. My findings suggest that, even though many organizational actors still perceive an incompatibility between MAS and artistic objectives, artistic activity is heavily shaped by accounting-related activities, across all departments, in all theatres. Accounting discourse in general, and the MAS in particular, does affect actions and represents an indispensable resource in negotiations with outside actors, e.g. sponsors, funding bodies, formal Boards. At the same time, my comparative data suggest that an MAS which is structured to allow individuals to participate actively and positively in day-to-day accounting work will be more positively perceived by managers, even in a not-for-profit, performing arts contexts, as a helpful and constructive means of reconciling the aesthetic and economic objectives which are required for their organization's survival and success.

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Anberrée, Alice. "Transformations du rapport offre-demande dans les organisations publiques et parapubliques de diffusion culturelle : le rôle de la participation des publics." Nantes, 2015. http://www.theses.fr/2015NANT4018.

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Ce travail porte sur les liens entre participation des publics et rapport offre-demande dans les organisations publiques et parapubliques de diffusion culturelle. Sur le plan théorique il s'appuie sur l'étude des doctrines de politiques culturelles, de la réception des biens symboliques, de la participation des citoyens à l'action publique et de celle des consommateurs aux organisations. Sur le plan empirique, trois cas sont analysés selon des grilles spécifiques pour caractériser 1) le rapport offre-demande à partir des enjeux politiques et de l'acception prépondérante de la culture ; 2) la participation des publics en fonction de ses formes et de sa place dans les activités organisationnelles. Cinq types de participation sont identifiés : 1) la création cadrée, utilisée comme médiation, qui ne modifie pas le rapport-offre-demande prépondérant ; 2) la création guidée, qui construit une offre amateur en parallèle de l'offre organisationnelle, avec un rapport d'offre et demande inter-reliées ; 3) la création libre qui correspond à une fusion offre-demande ; 4) la participation à la gouvernance amont ou 5) avale, qui construisent une interrelation. À partir de là, des recommandations managériales sont formulées, notamment : 1) construire une connaissance des publics tenant compte de leurs profils participatifs ; 2) adapter en conséquence les systèmes d'information ; 3) questionner le rôle des praticiens depuis une posture d'expertise vers une posture de traduction. La thèse portée par ces propos est que la participation des publics est un enjeu de gestion qui alimente l'adéquation offre-demande au sein des organisations publiques et parapubliques de diffusion culturelle.

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Adoumbou, Caroline. "L'installation d'une fonction managériale dans les Très Petites Organisations de Spectacle Vivant : cas de deux recherches-interventions." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3008.

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En France, dans un contexte de création et de diffusion artistique où les moyens financiers, humains et de temps mis à disposition des structures sont contraints, nous avons observé sur le terrain une prise en charge partielle voire inexistante de la fonction managériale dans les très petites organisations de spectacle vivant. Ce phénomène mène à un gaspillage des ressources (financières, humaines, de temps) à disposition des structures. Cela contribue à mettre en péril la pérennité de leurs activités. À partir de deux recherches-interventions, nous nous efforçons de montrer que dans les Très Petites Organisations de Spectacle Vivant, la structuration et l'organisation ne sont pas antagonistes du développement du projet artistique, mais qu'elles peuvent au contraire le favoriser. Nous montrons que l’installation d’une fonction managériale adaptée aux particularités des Très Petites Organisations de Spectacle Vivant et basée sur une approche socio-économique, contribue à une augmentation de leur performance globale (économique, sociale et artistique)
In France, in a context where organizations dealing with artistic creation and diffusion are given less and less resources, we have observed in some of them, a lack of proximity management regarding the steering of performance. This leads to a waste of resources threatening the development and the sustainability of the activity. The aim of this thesis based on two intervention-researches is to identify which are the management’s tasks that are not performed and to study the factors that can explain this phenomenon. We show that the installation of an accurate management based on the socio-economic approach improves the global performance (economic, social and artistic) of these organizations

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Dessinges, Catherine. "La communication des O. N. G. : l'exemple de Handicap International à la télévision : une approche interactionniste du discours." Lyon 3, 2002. http://www.theses.fr/2002LYO33025.

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La perspective de ce travail est d'appréhender la communication des Organisations Non Gouvernementales à partir d'un point de vue particulier qui se fonde sur l'articulation entre la théorie des actes de langage chère à Austin, et une sociologie d'ordre goffmanienne. Notre étude, qui s'appuiera exclusivement sur l'exemple d'une organisation à caractère humanitaire, (Handicap International), s'intéressera essentiellement au discours télévisuel. Il s'agira de montrer en quoi il est possible d'évaluer le type d'interactions qui se jouent entre une institution, vue comme une entreprise, et un téléspectateur, à partir de l'analyse des actes de discours. Notre démarche vise donc à étudier le langage dans son aspect communicationnel, c'est-à-dire dans l'aspect interactionniste qu'il manifeste. Elle implique de considérer l'interaction dans un sens qui dépasse le simple moment de rencontre entre le message télévisé et le téléspectateur. L'analyse des actes de discours sera alors l'occasion d'aboutir à la reconnaissance des logiques de production et de réception particulières à ce genre de communication. Les premières seront alors confrontées aux secondes à partir d'une analyse de la réception qui nous donnera des résultats pertinents pour saisir les conditions sociales de l'efficacité des discours à caractère humanitaire.

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Montgomery, Grace. "A study of the extent to which Non-Governmental Organisations (NGOs) work cooperatively with religious institutions to promote social and economic development in postcolonial countries." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-418079.

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This thesis discusses the extent to which non-governmental organisations (NGOs) operating in postcolonial countries work with religious institutions to promote social and economic development. Through postcolonial theory, and by using a qualitative approach combined with a critical methodology, this thesis will examine the relationship between particular NGOs and religion in the countries in which they operate. More precisely, this thesis will consider whether it is helpful, or a hindrance to development if NGOs work cooperatively with religious leaders and institutions.

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Mair, Christopher, and Charlotta Nordström. "Det ligger nåt i vad vi säger : Om kommunikation och lärande i två små (kultur)organisationer." Thesis, Södertörn University College, School of Business Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-736.

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Denna uppsats behandlar ämnet lärande i organisationer med avseende på små organisationer.

Vårt syfte är: att bidra med en ökad förståelse för hur lärandet påverkas av den interna kommunikationen i små organisationer. Den här förståelsen hoppas vi kan inspirera såväl praktiker som forskare, till att uppmärksamma den interna kommunikationens betydelse för lärandet inom små organisationer.

Studien består av två fallstudier av kulturorganisationerna Iaspis (samtidskonst) och Raw

Fusion Recordings (musik). Urvalet av fallorganisationer motiveras främst av deras storlek, samt att de båda verkar inom konst- och kultursektorn. Vi studerar för att verka inom denna sektor. Ansatsen är deduktiv och utgår från ett ramverk som baseras på forskning inom lärande i organisationer. Vi har genomfört sju kvalitativa intervjuer med medlemmarna i organisationerna, frågorna har vi tagit fram genom att operationalisera indikatorer som vi identifierat i det teoretiska referensverket. Den teoretiska grunden har vi hämtat hos Chris

Argyris, Donald Schön, Peter Senge och Karl Weick, bland andra. I likhet med Weick ser vi verkligheten som socialt konstruerad, varför kommunikation spelar en central roll för lärandet.

Några av resultaten som vi nått är att den interna kommunikationen påverkar lärandet på följande sätt:

-Lärandet som uppstår blir främst av single-loop-karaktär.

-Den interna kommunikationen bidrar delvis till att skapa hinder mot lärande i små organisationer.

-Innehållet i den interna kommunikationen präglas i hög grad av händelser i intressentnätverket. (Fallorganisationerna har ett starkt beroende av andra aktörer.)

-I dagsläget används inte den interna kommunikationen aktivt på sätt som skulle kunna göra organisationerna medvetet lärande.

-Den interna kommunikationen erbjuder små organisationer som Raw Fusion Recordings och Iaspis goda förutsättningar för att bli medvetet lärande organisationer.

In this bachelors thesis we hope to contribute to an increased understanding of learning in small organisations and how learning is affected by internal communication.

We have conducted two case studies: Isapis, International Artists’ Studio Program in Sweden, and Raw Fusion Recordings, an independent record label. The case selection is primarily based on organisational size, but also on the fact that both organisations operate within the arts and culture sector. We, the authors, are arts and cultural management students. We have combined the work of several scholars in the field of learning in organisations, and have created a theoretical framework from which indicators have been identified; from these we have deduced questions. These questions have then been asked to the organisational members in seven qualitative interviews. Our framework is based on the work of Chris Argyris, Donald Schön, Peter Senge and Karl Weick, among others. As does Weick we see reality as socially constructed, which amplifies the importance of communication in the learning processes. Some of the results on how internal communication affects the learning processes are:

-The learning that the internal communication leads to is primarily single-loop.

-The internal communication partly contributes to limit learning in small organisations.

-The content of that which is communicated within the organisations is very much based on occurrences in the stakeholder networks (The case organisations have a strong dependence on their stakeholders.

-Presently, the internal communication is not used in a way that could make the organisations aware of and active in the learning processes.

-The internal communication offers organisations such as Raw Fusion Recordings and Iaspis a means through which they might become active in the processes that lead to learning.

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Le, Roux Neil. "A case of emergence : autonomy and self-organisation in conceptual art practice." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86383.

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Thesis (MA(VA))--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis entails a practice-led theoretical discussion on generative art production within an ecological framework. It is based on my work in Eyemvelo Kosbos (2010- ), an interdisciplinary collaborative project geared toward food production within ecologically sound parameters. Acting in my capacity as live-in curator of this agroecological space, I have subsequently formulated a series of biological generative artworks known as Ecological Concept Objects (2011- ), which serve as the main practical component of this research. By establishing philosophical realism as the main theoretical premise, I formulate an understanding of my art practice as a collaboration with the world. Core philosophical sources such as Graham Harman, Bruno Latour and Manuel DeLanda are cited to elucidate the theoretical underpinnings of my work. A case is made for aesthetics to be understood in its classical sense – as a discourse of sense perception, as opposed to visual taste or beauty. By discussing relevant examples from contemporary generative art, along with the theoretical insights of many practicing artists, key concepts such as emergence and self-organisation are identified as pivotal to generative practice. A definitive understanding of generative art is fomented whereby the artist willingly relinquishes creative agency and decision-making to impersonal forces. An historical context is provided which shows a precedent for similar art practices. The world is accordingly posited to be a vast interdependent network of real autonomous entities coming into relations with other real autonomous entities. This conception furthermore challenges a mutually-exclusive dichotomy of ‘Nature’ and culture, by suggesting that these two supposed binaries are so entangled that any separation thereof is a blatant form of idealism, if indeed ‘Nature’ can even be said to exist at all. An integrated ecological practice is nonetheless encouraged throughout as a central theme or primary conceptual parameter for both this dissertation and its accompanying practical body of work. Permaculture, a systems-based design science geared towards sustainability, is identified and adopted as a working example of an ecological practice which consolidates ‘human care’ with ‘earth care’, as the latter naturally encompasses the former. The goal of this research is then to investigate a practice where the artist, despite being restricted to linear action in the world, works in such a way as to allow the non-linear dynamics of emergent potential to reveal itself on its own terms. Such a methodology stands in stark contrast to an anthropocentric mastery of predictable matter, where little provision is made for anomalies, accidents or emergent forms. Generative art, on the other hand, is shown to make such provisions as it affords self-organisation to its medium, as entities are given time and space to express themselves in unique assemblages.
AFRIKAANSE OPSOMMING: Hierdie tesis behels 'n praktyk-geleide teoretiese bespreking oor generatiewe kunsproduksie binne 'n wyer ekologiese raamwerk. Dit is gebaseer op my werk in Eyemvelo Kosbos (2010 - ), 'n interdissiplinêre gesamentlike projek wat daarop gemik is om voedsel binne ekologies verantwoordelike perke te produseer. In my hoedanigheid as inwonende kurator van hierdie agri-ekologiese projek, het ek 'n reeks biologiese generatiewe kunswerke geformuleer wat bekend staan as Ecological Concept Objects (2011- ), wat dien as die primêre praktiese komponent van hierdie navorsing. Met die vestiging van filosofiese realisme as die kern teoretiese uitgangspunt, formuleer ek 'n begrip van my kunspraktyk as 'n ‘samewerking met die wêreld.’ Die teoretiese fondasies van my werk word uitgelig deur verwysing te maak na kern filosofiese bronne soos Graham Harman, Bruno Latour en Manuel DeLanda, onder andere. 'n Argument word geformuleer waarvolgens die term estetika in sy klassieke sin verstaan moet word - as 'n diskoers oor sintuiglike persepsie, in teenstelling tot ‘n bespreking oor visuele smaak of skoonheid. Sleutelkonsepte soos opkoms (emergence) en self-organisasie word geïdentifiseer as deurslaggewend vir ‘n sinvolle bespreking van generatiewe praktyke. By die bespreking van relevante voorbeelde van kontemporêre generatiewe kuns, saam met die teoretiese insigte van verskeie praktiserende kunstenaars, word 'n werkende begrip van generatiewe kuns ontwikkel waarvolgens die kunstenaar kreatiewe agentskap en besluitneming vrywillig afstaan aan onpersoonlike kragte. 'n Historiese konteks word verder verskaf wat 'n presedent aandui vir soortgelyke kunspraktyke. Die wêreld word dan daarvolgens geposisioneer as 'n groot netwerk van werklike outonome entiteite wat verhoudings met ander werklike outonome entiteite aanknoop. Hierdie opvatting daag verder 'n wedersyds-eksklusiewe dualisme van 'Natuur' en kultuur uit, deur voor te stel dat hierdie twee veronderstelde binêre teenstrydighede sό verstrengel is dat enige skeiding daarvan inderdaad voorkom as 'n blatante vorm van idealisme. 'n Geïntegreerde ekologiese praktyk word egter aangemoedig om deurgaans as 'n sentrale tema of primêre konseptuele riglyn vir beide hierdie tesis en die gepaardgaande praktiese werk te dien. Permaculture, 'n stelsels-georiënteerde ontwerpwetenskap gerig op volhoubaarheid, word geïdentifiseer en aanvaar as 'n werkende voorbeeld van 'n ekologiese praktyk wat ‘sorg van mense’ met 'sorg van die planeet" vereenselwig, aangesien laasgenoemde daarvolgens die eersgenoemde insluit . Derhalwe, is die doel van hierdie navorsing om ondersoek in te stel tot 'n praktyk waar die kunstenaar, ten spyte daarvan dat sy beperk is tot lineêre aksie, in so 'n manier te werk gaan dat die nie-lineêre dinamika van ontluikende potensiaal geopenbaar kan word. So 'n metode staan in kontras met 'n eenrigting antroposentriese bemeestering van voorspelbare materie - waar daar min voorsiening vir ongerymdhede, ongelukke of ontluikende vorms gemaak word. Daar word egter bevind dat generatiewe kunspraktyk wel hierdie voorsienings maak, aangesien dit self-organisasie aan die medium toe staan, sodat entiteite tyd en ruimte verskaf kan word om hulself uit te druk in unieke samestellings.

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Hämäläinen-Karlström, Paula. "Leda och bli ledd : En essä om moralens tvetydighet och det goda ledarskapet i idéburna organisationer." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33880.

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Abstract In this study I explore everyday leadership in a philosophical and existential perspective, based on a field study with three deep interviews with leaders for non-profit organisations that offers alternative social, school and care activities as a complement to the welfare that society provides. A fourth voice that is contributing to the study material and running throughout the text in reflections, discussions and analyses is mine, and thus my professional experiences are also part of the research material. Existentialism and the book of Simone de Beauvoir For the moral of ambiguity, together with Aristotle's thoughts of virtue and practical knowledge, are the basis in my philosophical approach to the field study in which I attempt to explore everyday leadership in the welfare sector. Factual evidence is taken from scientific reports, as well as from scientific literature. These are used for comparisons regarding the actuality of the study and the definition of concepts such as leadership. With the interview questions I seek to encourage conversations and reflections on how it is to be a leader in the encounter between one’s own inner conviction and the external circumstances in which the leader is located. The intention is to seek better understanding of leadership in a social organisation, and how the professional role interacts with the person who takes this role. Through conversations and reflections I investigate in what way the moral approach of leadership and how the interviewee relates to the context in which he or she is active. The leaders' experience, thoughts and reflections on their professional role constitute the basis for discussion and analysis. The conversation reflects the moral values and approaches of the interviewed leaders in the profession and, conversely, the impact of the professional role in the personal sphere.
Sammanfattning I denna essä som bygger på en fältstudie bestående av tre djupintervjuer med ledare för social och idéburen verksamhet inom vård, skola och omsorg utforskas vardagens ledarskap i ett filosofiskt och existentiellt perspektiv. Begreppet idéburna organisationer syftar till enskilda organisationer, vilka bedriver icke vinstdrivande verksamhet i syfte att komplettera samhällets insatser inom välfärdssektorn. En fjärde röst i essän som bidrar till studiematerialet och löper genom texten i reflexion, diskussion och analys är min egen, och mina yrkeserfarenheter utgör också en del av empirin. Existentialismen och filosofen Simone de Beauvoirs bok För en tvetydighetens moral är, tillsammans med Aristoteles’ tankar gällande dygd och praktisk kunskap, filosofiska ansatser i analysen och diskussionen av fältstudien om vardagligt ledarskap. Faktaunderlag hämtat från forskningsrapporter tillika med vetenskaplig litteratur utgör bollplank för jämförelser gällande studiens aktualitet till dagens situation och bestämning av begrepp som till exempel vad ledarskap innebär. Intervjufrågorna söker bjuda in till samtal och reflektioner om hur det är att vara ledare i mötet mellan en egen inre övertygelse och yttre omständigheter. Intentionen är att söka utforska hur det är att vara och arbeta som ledare för en social verksamhet, och hur den professionella rollen samverkar med människan som intar denna roll. I samtal och reflektioner undersöks hur ledarskapet och den intervjuades moraliska förhållningssätt relaterar till det sammanhang ledaren är verksam i. Ledarnas erfarenheter, tankar och reflektioner om sin yrkesroll är utgångspunkt för diskussion och analys. Samtalen speglar de intervjuade ledarnas moraliska värderingar och förhållningssätt i yrkesutövandet, och omvänt, vilken inverkan yrkesrollen har i den personliga sfären.

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Melville, Ruth. "The logic of evaluation in the arts : exploring artists' responses to measurement within a publicly funded arts organisation." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/22408/.

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Measurement and evaluation in the publicly funded arts sector is a contested area. On the one hand measurement is constantly demanded by funders to justify the value of art projects, on the other hand, there is a lack of consensus on how it should be done and whether effective evaluation is even possible in the arts. In this context, there is widespread resistance to practices of evaluation within the sector. Previous Cultural Policy research has focussed on what cultural value is, and whether it is desirable, or even possible, to measure value at all in the arts. In contrast, there is relatively little research into the experience of those at the heart of the measurement: the arts practitioners working in settings where evaluation is required and how evaluation regimes affect their practices. There is a similar lack of research into the role of the organisation as an intermediary within the interpretation of value and measurement. Using a longitudinal, ethnographic case study research, the thesis examines how artists and other workers in a cultural organization, respond to expectations of evaluation and shape their practices as a result of those expectations. The thesis adapts the institutional logics perspective frame, creating a sector specific frame to explore how logics of the family, state, corporation, community, religion, profession and market all operate within evaluation. Seen through this lens, the artists’ responses to evaluation are shown to be a response to intersecting and clashing logics. This approach gives a richer understanding of artists’ responses, and also offers a new frame for considering other challenges within the sector. Using this understanding, I develop an alternative approach to arts evaluation, based on evaluation as a practice, not an output, and taking into account the multiple logics in action and arising from artists’ own valuation practices.

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Sidorcenco, Dalia. "La réforme des écoles d'art françaises : une approche théorique à la frontière de la sociologie des organisations et la socio-économie de la culture." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCB193.

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En 2011, suite à un mouvement de réformation accélérée menant à l'appropriation par les écoles d'art françaises du dispositif LMD, celles-ci rejoignent l'espace européen de l'enseignement supérieur et quittent le ''régime de singularité'' qui les distinguait du système universitaire. Cette adhésion signe l'aboutissement d'une série de mesures dont l'implémentation visait à agir sur deux dimensions constitutives (différentes mais complémentaires) de la réalité des écoles d'art : la dimension académique, dont la mise aux normes des cursus et la restructuration de l'organisation pédagogique permettaient à ces établissements de délivrer des diplômes reconnus au grade de master ; le volet administratif qui, à travers la transformation des écoles d'art en établissements publics de coopération culturelle (EPCC), amorce un processus d'autonomisation vis-à-vis des structures tutélaires locales. C'est par une double opération d'interrogation des déterminants qui sont au fondement de la ''remise à niveau'' de la condition des écoles d'art, et d'examen des outils de gouvernance rendant effectif le déploiement de l'autonomie décrétée, que cette recherche se propose de saisir les nouveaux enjeux dont les écoles d'art font l'objet
In 2011, following an accelerated reformation movement led by the network of French art schools, they joined the European area of higher education, getting out of the ''regime of singularity '', which distinguished them from the university system. This adherence note the accomplishment of a series of measures, whose implementation was intended to affect two distinct dimensions, constituting the reality of art schools: -the academic dimension, including the ''upgrading'' of curricula and restructuring the pedagogical organization, which allowed to accredit the awarded degree with a recognized diploma; -the administrative dimension, which through the transformation of municipal art schools into Public Cultural Cooperation Establishment (EPCC) aimed to start the empowerment process of local authorities. The aim of this research was to perceive the new issues regarding the art schools, one of them being the factors that stimulated the ''upgrading'' of the art schools condition. The other issue examined the governance tools that made possible and effective the deployment of autonomy decreed

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Naous, Benoît. "De l'art martial au management stratégique des organisations : énoncé de principes de management stratégique selon le Gorin-no-Sho et étude de leurs applicabilités par les dirigeants d'organisations au Liban." Thesis, Le Havre, 2013. http://www.theses.fr/2013LEHA0019/document.

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Au Japon, au cours du XVIIe siècle, un fameux samouraï du nom de Miyamoto Musashi rédige un manuscrit plus connu sous le nom de Gorin-no-sho ou traité des cinq roues. Le traité est divisé en cinq grands chapitres distincts: le rouleau de la Terre, de l’Eau, du Feu, du Vent et du Vide (ou du Ciel). À l’âge de 60 ans, Musashi condense tout son savoir sur la stratégie martiale ou art de combat dans ce traité, puisqu’il affirme qu’il n’a « …de maître dans aucun domaine ». Il faut savoir que Musashi n’a perdu aucun duel jusqu’à sa mort. Nous pouvons dire que le manuscrit a pour but de donner des indications que Musashi nomme principes afin de « …gagner en combat contre un ou plusieurs adversaires ». En effet, un des objectifs fondamentaux de la stratégie martiale ou militaire, si ce n’est l’unique objectif, c’est de faire en sorte de prendre l’avantage sur l’adversaire dans n’importe quelle situation. Par conséquent, notre principal axe de recherche est de savoir si les principes de management stratégique tels que définis dans le Gorin-no-sho élaborés initialement pour le combat peuvent s’appliquer à l’art de management stratégique des organisations. Puisque les deux types de stratégies ont un même objectif qui est de prendre l’avantage sur l’adversaire ou bien sur le concurrent. C’est dans ce contexte que nous avons énoncé des hypothèses de principes de management stratégique afin d’étudier leurs applicabilités par les dirigeants d’organisations au Liban
In Japan, during the XVII century, a famous Samuraï named Miyamoto Musashi wrote a manuscript known as the Gorin-no-sho or the book of five rings. The book is divided into five main chapters: the book or roll of Earth, Water, Fire, Wind and Void (or Sky). At the age of 60, Musashi condenses all his knowledge on the martial strategy or martial art in this book, since he claims that he didn t ...have a master in any field . As we know, Musashi has never lost a duel till his death. We can say that the book aims to provide guidance that Musashi called principle in order to ...win in conflict against one or more opponents . Indeed, one of the fundamental objectives if not the only one of the martial or military strategy is to ensure to take the advantage on the adversary in any situation. Therefore, our main research is to know whether the principles of strategic management as defined in the Gorin-no-sho initially developed to fight can be applied to the art of organizations strategic management ? Since both types of strategies have the same goal which is to take advantage on the opponent or competitor. It is in this context that we stated assumptions of strategic management principles in order to study their applicabilities by organizations leaders in Lebanon

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Dominika, Andrejczuk Ewa. "Arti cial intelligence methods to support people management in organisations." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/565893.

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Las organizaciones han pasado del trabajo focalizado en individuos a estructuras de trabajo basadas en equipos. Una nueva generación de soluciones para las organizaciones debe proporcionar la gestión de equipos, fomentando la eficacia del equipo mediante la automatización. En esta tesis abordamos varios problemas centrales para la gestión de equipos en organizaciones. En particular, proponemos una solución que aborda los problemas relacionados con la composición del equipo, así como los problemas de evaluación de los empleados y la evaluación del rendimiento de las tareas. En primer lugar, revisamos la literatura sobre la composición y formación de equipos, tanto desde la perspectiva de la psicología organizacional como de las ciencias de la computación. Exploramos la conexión entre los atributos de los individuos y el rendimiento del equipo, así como las oportunidades de intercambio de ideas entre estos dos campos. En segundo lugar, revisamos las herramientas más destacadas para medir los atributos de los individuos, ya que estas medidas son necesarias para los procesos de composición de equipos. En particular, describimos los enfoques dominantes en Psicología Organizacional, Psicología Industrial y Recursos Humanos, resumiendo los principales hallazgos para medir la personalidad y las competencias de los individuos. En tercer lugar, utilizamos nuestros observaciones para proponer un modelo que predice el rendimiento de un equipo dada una tarea y en función de los atributos de los individuos (competencias, personalidad y género). Definimos el Synergistic Team Composition Problem (STCP) como el problema de encontrar una partición de equipos restringida por tamaño para que cada equipo, y toda la partición de empleados en equipos, sea equilibrada en términos de competencias individuales, personalidad y género. Proponemos dos algoritmos diferentes para resolver este problema: un algoritmo óptimo llamado STCPSolver que es efectivo para pequeñas instancias del problema, y un algoritmo aproximado llamado SynTeam, que proporciona soluciones de alta calidad, pero no necesariamente óptimas. A continuación, presentamos los resultados empíricos que obtuvimos al analizar el rendimiento de nuestros algoritmos en un ámbito educativo. Nuestros resultados muestran los beneficios de una composición de equipos más informada utilizando las competencias, las personalidades y el género de las personas. En cuarto lugar, diseñamos un algoritmo llamado Collaborative Judgment (CJ) para evaluar de un modo justo los resultados de los individuos y el rendimiento de los equipos que han realizado las tareas. En particular, el objetivo del algoritmo es disminuir la importancia de los sesgos en el proceso de evaluación a través de la evaluación entre los propios evaluadores. Nuestros resultados empíricos muestran los beneficios de un método de agregación de evaluaciones más informado.
Organisations have shifted from work arranged around individual jobs to team-based work structures. A new generation of solutions for organisations must give support to team management by encouraging team effectiveness and introducing automation. In this dissertation, we tackle several different problems that are connected to team management in organisations. In particular, we contribute by proposing a people management workflow that addresses the problems connected to team composition as well as problems of accurate employee evaluation and task performance evaluation. First, we review the literature on team composition and formation from both the organisational psychology and computer science perspectives and we explore the connection between individuals’ attributes and team performance as well as the cross fertilization opportunities between those fields. Second, we review the most prominent tools to measure individuals' attributes, as these measures are necessary inputs for team composition processes. In particular, we describe the dominant approaches in Organisational Psychology, Industrial Psychology and Human Resources and summarise they main findings to measure individual personality and competences. Third, we use our findings to propose a model to predict team performance given a task and based on individuals' attributes (i.e. competences, personality and gender). We define the Synergistic Team Composition Problem (STCP) as the problem of finding a team partition constrained by size so that each team, and the whole partition of employees into teams, is balanced in terms of individuals' competences, personality and gender. We propose two different algorithms to solve this problem: an optimal algorithm called STCPSolver that is effective for small instances of the problem, and an approximate algorithm called SynTeam that provides high-quality, but not necessarily optimal solutions. We present empirical results that we obtained when analysing student performance. Our results show the benefits of a more informed team composition that exploits individuals' competences, personalities and gender. Fourth, we devise an algorithm called Collaborative Judgment (CJ) to fairly evaluate individuals' and teams' outcomes once tasks are performed. In particular, we want to diminish the importance of biases in the evaluation process by allowing evaluators to assess their peers, namely other evalutors. Our empirical results show the benefits of more informed assessment aggregation method.

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Jaramillo-Vazquez, Alejandra. "Reshaping policy : creativity and everyday practice in an arts organisation in Mexico City." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12401/.

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This research is concerned with how policy becomes practice. It examines the ways by which a policy is reshaped through its encounter with people, architecture and facilities, documents and specific realisations in art projects. In particular, it is concerned with how a left-wing arts education policy, one that aimed to emancipate disadvantaged people, worked in practice – including how it sometimes ended up running counter to its stated aims. The policies that are followed here were first devised by the Leftist government in Mexico City between 1997 and 2000, and then expanded through various revisions and new policies in the following years. As part of the initial policy, an arts organisation, Faro de Oriente – Lighthouse of the Orient – was constructed in a deprived area in the East of Mexico City to give ‘access’ to ‘arts’ and opportunities for ‘creativity’ for the local population. This thesis provides an in-depth study of how this specific arts policy was experienced on the ground between 2011-12 by the various participants in FARO –permanent staff, temporary teaching staff and also students who participated in arts workshops. Based on extensive ethnographic fieldwork, including participant observation, interviews, archival research, and photographic documentation, the thesis charts the ways in which particular aspects of the policy were mobilised and to what ends, and how these were reshaped through practice. This thesis highlights the significance not only of intentional actions by people but also of implements of work, such as the architecture of the FARO main building and its physical condition, the role of teaching staff and artistic projects. Inspired by actor-network and assemblage theory which emphasise the interactions of human with non-human actors and processes that shape entities, the thesis maintains that a policy concerning arts education and creativity refers to the processes, practices and meanings of creativity that participants produce at FARO through everyday practice. A policy is an unfinished social process shaped by technical concepts, materialities, implements and reshaped through the practices of participants. Empirically, this research provides understanding of the everyday dynamics inside FARO, highlighting contradictions and ambiguities for the experience of students. This thesis contributes to debates suttounding policy and creativity through the processes of the everyday life in an arts organisation.

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Rovan-Stajduhar, Josefina, and Paul Hasselgren. "Motivation i en organisation i förändring Medarbetares motivation på en kontorsavdelning i en idéburen organisation." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23414.

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Flynn, Emma. "Building careers, managing capitals." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9393.

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I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.

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Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.

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Caillat, Isabelle. "Développement d'outils de management et actes de langage dans les entreprises de spectacle vivant." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30052/document.

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Les entreprises de spectacle vivant évoluent dans un contexte de diminution de ressources externes et de modification des modalités d’attribution des subventions par l’application de la LOLF (Loi Organique relative aux Lois de Finances). Leur problématique repose sur les moyens à mettre en œuvre pour faire face à ces contraintes. Nous nous attachons à démontrer que leur développement dépend de l’amélioration de la logique de coopération entre les acteurs à partir du projet artistique et de l’appropriation des contraintes d’évaluation de la LOLF, pour révéler les performances cachées et développer des ressources internes. Cette recherche se construit à partir de l’hypothèse que l’amélioration de la performance globale des organisations dépend d’une action transformative qui opère selon trois axes interdépendants : l’intervention, les outils de management, le langage–acteur. A partir d’une recherche-Intervention dans un théâtre et d’un diagnostic qualitatif dans un autre, nous accompagnons les acteurs dans une conduite de changement et étudions les conditions de développement managérial dans ce type d’organisation. Nous analysons comment l’utilisation du langage dans le cadre de l’Intervention Socio-Economique modifie les représentations et contribue à l’élaboration d’un nouveau dispositif managérial. Nous proposons d’associer les outils de management socio-Économiques, utilisés comme des matrices de lecture de l’organisation, aux critères d’évaluation et de subvention des pouvoirs publics pour en faire des outils de réflexion sur le processus de réalisation et de diffusion de spectacle et construire une représentation partagée entre les différents acteurs
Performing arts companies operate in a context of declining resources and changes in the rules governing the allocation of grants, in accordance with the LOLF (Organic Law relative to the Laws of Finance). Their challenge lies in finding ways to address these constraints. We aim to demonstrate that their development depends on improving the manner in which all parties cooperate, based on the artistic project and taking into account the constraints resulting from the evaluation used by the LOLF, to reveal hidden costs and to develop internal resources. This research is based on the hypothesis that improving the overall performance of organizations depends on a transformative action that operates in three interdependent areas: intervention, management tools, and the speech-Actor. Based on intervention-Research in one theatre and on a qualitative study in another, we have assisted actors in the process of change management and examined the conditions in which managerial development takes place in this type of organization. We analyse how language use in the context of Socio-Economic Intervention modifies the representations and contributes to the elaboration of a new managerial instrument. We propose the use of socio-Economic management tools, serving as a framework for analyzing the organisation, combined with the criteria of evaluation and allocation of public funding as a basis of reflexion on the process of creation and dissemination of shows, as well as a means of building a shared representation between the different actors

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Renou, Gildas. "Dynamogénie de l'action collective contestataire : logiques d'institution et arts de composition dans une organisation syndicale contemporaine." Rennes 1, 2012. http://www.theses.fr/2012REN1G016.

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L'objet de cette recherche est de contribuer à la formulation d'une alternative institutionnaliste face à l'hégémonie des approches micro-économiques dans le domaine de l'action collective constestataire. Pour esquisser ce modèle, l'étude tire les conséquences de récents développements en sociologie de l'action particulièrement pertinents pour ce domaine d'étude, tout en revivifiant l'héritage durkheimien ici présent par le concept de dynamogénie, qui souligne la dimension fiduciaire dans l'action collective. Cette recherche est avant tout fondée sur une enquête de terrain de type ethnographique, qui a été réalisée dans différentes structures de la Fédération syndicale SUD-PTT, organisation apparue en 1988. Au travers de l'étude de la genèse, du rapide développement et de la consolidation de ce mouvement syndical au-delà de son domaine professionnel d'origine, nous retravaillons la catégorie sociologique d'institution. Nous suggérons de considérer l'institution comme un outil, un artifice constitutant un équipement de la vie sociale, dépassant l'alternative entre la critique radicale et l'idéalisation sans retenue de l'institution. En articulant l'étude des processus de représentation politique dans cette organisation syndicale avec les pratiques variées des artifices institutionnels, cette recherche explore dans un second temps les dimensions non institutionnelles des pratiques de mobilisation. Nommées "arts de composition avec la situation", elles rassemblent les arts de la tactique en situation incertaine, et les "arts de faire groupe" qui prêtent attention à l'entretien et à l'harmonisation des diverses communautés impliquées dans un mouvement constestataire
The aim of this doctoral essay is to contribute to an institutional alternative to the micro-economic hegemony in the domain of contentious collective action analysis. We especially attempt to formulate the implications of recent developments in sociological theory of action on this research area, and refresh durkheimian legacy in sociological institutionalism by using the concept of "dynamogeny", originally used in sociology of religion. This essay is based on a in-depth ethnographic fieldwork realized among the structures of the French alternative trade-union called SUD-PTT, that appeared in 1988. Through the study of the genesis , initial development and strengthening of this social movement organization, we articulate some proposals to conceive institution neither as pure fiction, nor as perfect totalizer, but as a human artefact equipping social life. Linking the study of political representation processes in the trade-union with the various practices of institutional artefacts, the essay finally explores the non-institutional dimensions of mobilization practices. We named them the "arts of composition with the situation"

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Lavoie, Marie. "Le rêve de vouloir changer les choses : pour une organisation sensible entre l'être humain, l'objet et l'environnement /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.

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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1996.
Cette communication a été réalisée à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques offert à l'Université du Québec à Chicoutimi en vertu du protocole d'entente avec l'Université du Québec à Montréal. CaQCU Document électronique également accessible en format PDF. CaQCU

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Marty, Olivier [Verfasser]. "Enseignements à distance : Des arts savants, le génie d’un métier, l’instruction en valeurs : anthropologies d’une organisation éducative / Olivier Marty." Brussels : P.I.E-Peter Lang S.A., Éditions Scientifiques Internationales, 2019. http://d-nb.info/1204346836/34.

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Shaw, Charles David. "How managers in functional structures can improve project outcomes through organisation design: Three case studies from arts coucil England." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488761.

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In this thesis I examine how managers in organisations whose main business involves continuous, routine work, and which are organised in traditional, functional hierarchies (such as are common in Government bodies), can improve project outcomes through organisation design. This is an important problem as bodies whose main business does not involve project-based work increasingly use project management methods to tackle significant tasks. My research method has involved case study research into three projects that Arts Council England was undertaking during 200612007. The Arts Council was undergoing a major organisational restructuring during this period. These projects provided a distinct opportunity for comparative, longitudinal rese~rch into projects with contrasting characteristics in a common organisational setting, and where the influence of organisation design on project outcomes would be highly visible. I show that separation of projects from their parent organisations is helpful in resolving the conflicts between routine and project-based work where the primary concern is with timely completion of project tasks, but that engagement with the parent organisation is important in enabling the results of the projects to be adopted in practice. I show also that influence from Central Government on projects undertaken by its "arm's length" bodies may inhibit formation of motivated project teams if managers interpret that influence in ways that unduly constrain those teams' ability to have a voice in the formulation of their project objectives and to determine for themselves the means for pursuing them. Overlaying project-based organising across a traditional functional hierarchy increases the demands on senior management to set clear corporate objectives and to resolve conflicts. Adoption of project-based organising therefore increases transaction costs, and I show that these must be borne if the best project outcomes are to be achieved. Because of the existence of these costs, however, managers should avoid initiating projects when the tasks involved could be undertaken effectively within the normal, functional structure. Major projects often involve change in the parent organisation in order to achieve their objectives. Inertia or resistance to the project objectives from the parent organisation's prevailing culture may present a major barrier to project success in these circumstances. I show that management action to bring about change in the organisational context in which the results of those projects will be taken forward can be important in increasing the prospects for successful project outcomes.

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Brown, Tom. "English vernacular performing arts in the late twentieth century : aspects of trends, influences and management style in organisation and performance." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367323.

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Stjärndahl, Rickard, and Tobias Aronsson. "Problemanalys vid Aros Quality Group Enclosure Systems AB." Thesis, Jönköping University, JTH, Industrial Engineering and Management, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-501.

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The aim of this report is to increase the knowledge and understanding of the problems within the production at AQ Enclosure systems, and thereby achieve a more stable flow throughout the whole process, a better working environment and better competition advantages. The internal flow along with the external cooperation is very important for the company, because it views flexibility and short leadtime as it is the most important competitive means. The part of AQ production that’s been investigated is the manufacturing of ATM-machines, where the costumer is Banqit. This company is a rater small company with about 4 % of the world market of ATM-machines.

In order to achieve the aim of the report extensive interviews have been carried out with employees at AQ. Employees in both the administrative part as well as the manufacturing part has been interviewed. The interviews have been conducted in a way were the respondents have had the opportunity to study the questions in advance.

The survey has given a result which indicates problem over a wide scale. A lot of the company problems do not lie in a particular department; they rather include the whole company. The picture of their problems became more complex whereas different respondents look at the same problems in different ways. One big difference in views was clearly identified between office staff and the producing staff. The problems that emerged were not related to lack of machine capability, the problems were rather linked to the managing of production and organization. One example of this problem is the producing personnel’s lack of knowledge and commitment to the company philosophy. The problems concerning management also reflect in a rather strong feeling that divides the company in two, us and them. This feeling affects the whole production line. The producing personnel feels that the office lack understanding of their everyday work and don’t encourage suggestions concerning process evolvement. One other big problem concerning AQ’s production is that some of their key suppliers are either single source or locked from their costumer Banqit.

The conclusions of the report shows several areas in which AQ can improve. One measure that the company can implement is introducing a more foreseeable and visual handling of their pallets within the factory. The company management ought to find ways to better mediate the production philosophy throughout the entire organization. Furthermore, the company management should increase the will to see potential ways of improving and increase the inclination of expressing those suggestions. The suggestions should not only concern the personnel’s own workplace but rather span over the entire process. The report also identifies possible areas of improvement concerning the internal and external team cooperation. The different teams ought to see each other as costumers and produce an equally good result regardless of if the item is produced for an internal department or an external costumer.

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Trainor, Kay. "Exploring the meaning for clients of the arts-related organisational consultancy offered by ABS : what are we doing here?" Thesis, University of East London, 2012. http://roar.uel.ac.uk/3993/.

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The purpose of this study is to explore the relational territory between the arts-related consultancy organisation ABS (not its actual name) and sixteen clients, during a period of six years. The company set out, at the start of this period, to explore the potential of bringing together the practice of consultants who used a Tavistock, or system psychodynamic approach, to organisational consultancy with the practice of artists whose aim was to promote or facilitate creativity. The motivation for the study was the frustration felt by the researcher (the co-founder and CEO of the company) and her colleagues that clients didn’t seem to take the work seriously and wanted to book ABS to do something other than the combination of consultancy and creativity being offered. An approach based on Grounded Theory was developed and adapted to fit the specific kind of data used in the study – mainly the researcher’s own process notes, email communications with clients, and accounts of various sorts of meetings. The study discovered a series of unconscious roles to which consultant, artist and client were assigned in this context – ultimately exploring a dynamic of three in which the consultant was excluded from a pair consisting of client and the artist in-the-mind of the client. The study explores the possibility that the partnership was set up unequally at ABS and this may have pre disposed the pair, of consultant and artist, to splitting - and played a part in attracting a particular set of clients, at a particular time, pre disposed to make use of such an unequal pairing. The potential for developing the dual technology originally imagined is re-examined in the light of these findings. Accounts of consultancy in other contexts are reviewed. The researcher suggests that her whole context approach to assessing the work of her company is unusual and adds to the field a particular sort of account which differs from the more usual case study or review of themes in client organisations.

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Armstrong, Leah. "Designing a profession : the structure, organisation and identity of the design profession in Britain, 1930-2010." Thesis, University of Brighton, 2014. https://research.brighton.ac.uk/en/studentTheses/0e7f4dee-3976-4bac-a4a0-6c95b8dc9412.

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Since the establishment of the Society of Industrial Artists (SIA) in 1930, the professional identity of the designer has been a subject of critical debate. This thesis uncovers the histories of this debate, paying particular attention to the structures, organisations and social practices that have governed, represented and given meaning to the identity of the designer in Britain, 1930-2010. Principally informed by close scrutiny of the archive of the Chartered Society of Designers, (CSD), the thesis argues that the design profession is constructed through reflexive social practices, in which the designer has been, and remains, an active agent. It contends that the structure, organisation and identity of the design profession is not fixed or immutable, but fluid, responsive and contingent upon shifting dynamics, internal and external to the profession.

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Roubaud-Quashie, Guillaume. "Les jeunes communistes en France (1944 - fin des années 1970) : les mutations d'une expérience politique en milieux juvéniles et populaires." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H048.

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Dans une perspective d’histoire sociale du politique, la thèse interroge une rencontre rare : celle entre de substantielles fractions de la jeunesse des milieux populaires, d’une part, et, de l’autre, des structures politiques, en l’espèce les organisations communistes juvéniles françaises, de la Libération jusqu’aux années 1970. En amont, elle explore les matrices et les voies de politisation de ces jeunes que l’âge, l’ancrage social et, pour les filles, le sexe, n’ont pas maintenu à l’écart de l’engagement politique organisé. En aval, elle met au jour deux modèles distincts avec leurs configurations propres et leur écho respectif, en précisant les conditions de mutation du premier – lié au mouvement de jeunesse, avec une forte présence ouvrière – vers le second – dominé par une jeunesse scolarisée, porteuse d’autres horizons et pratiques
As an essay of social history of politics, this work deals about a rare encounter: that one between significant fractions of working class youth, on the one hand, and, on the other, political structures, French juvenile communist organizations, from the Liberation to the 1970s. Upstream, it explores the matrices and ways of politicization of these young. Downstream, it uncovers two distinct models with their own configurations and their respective echoes. It specifies the conditions of mutation of the first one – linked to the youth movement, with a major working class presence – towards the second one – dominated by educated youth with its own horizons and practices

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Swan, Peter Joseph. "Exploring the tensions between organisational ethos and stakeholder demand : a case study of a community 'arts and health' social enterprise." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/10580/.

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This thesis explores the tensions between the ethos and values of third sector organisations and the environment within which they operate. Many third sector organisations have an innovative, flexible, and person-centred way of working, which often results in them being better placed than the state to provide informal services in the field of health and social care. However, a drive towards greater efficiency has compelled organisations to adopt business principles, with the concept of the ‘social enterprise’ being promoted. Organisations are also increasingly subject to regulatory requirements, and are often required to provide compelling evidence that they tangibly benefit the communities that they serve. Critics have argued that this increased statutory influence has prevented third sector organisations from engaging with their communities in an innovative and effective manner. Arts and health projects face particular challenges when responding to statutory pressures. Many projects focus on ‘softer’ outcomes such as improvements to self esteem and confidence, which can be at odds with the kind of evidence demanded by the state. In addition, third sector organisations, including the majority of social enterprises, are largely reliant upon statutory sources of income. They are therefore susceptible to ‘institutional isomorphism’, whereby their structures and procedures are influenced in the direction of dominant stakeholders. While the adoption of social enterprise activity can allow organisations to diversify their sources of income, thereby minimising the possibility of dependency on particular stakeholders, this can create tensions and challenges of its own. Organisations may focus on maximising their surplus, or earned income, to the detriment of their social goals. Drawing on data obtained from an ethnographic case study of a small community-focussed ‘arts and health’ organisation that self-identified as a social enterprise, this thesis explores how the ethos of third sector organisations manifests itself through their day to day workings, discussing the mechanisms by which ethos can be threatened, prioritised, or altered. Important examples of organisational tension that emerged during the period of fieldwork were explored in depth. This thesis utilises a number of concepts and theories, including Foucauldian governmentality, institutional theory, organisational legitimacy, and impression management, to explain the nature of the tensions organisations may face, why these tensions can threaten the third sector ethos, and the ways by which organisations can manage these tensions strategically. This research argues that rather than acquiesce to dominant institutional pressures, organisations often have the means to resist, rework, or negotiate any external demands, thereby maximising the opportunities available to them.

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Haxhiraj, Suela. "'Lege artis' : exploring the strategizing craft of consultants through the examination of (analytic) strategy tools in use." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a0ed32fb-aeb1-4248-80a6-c1b3587f3912.

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Strategy tools are an important part of strategy work. However, there is considerable debate in the management literature about their actual role, deployment, and conceptualization. Scholars claim that there is a lack of fine-grained analyses to explain strategizers’ activities with regard to their interactions with strategy, their supporting knowledge base, and associated artefacts or tools, despite growing contributions towards the understanding of strategy work dynamics. This study aims to contribute to this gap by discussing research undertaken through ethnographic methods on the day to day work of in-house strategy consultants. By interacting with in-house consultants through active participation and observation, this study observes and analyses the enactment of strategy tools in action. The study focuses on the use of strategy tools, the process they are placed in, and the ultimate purposes they serve. A “strategy-as-practice” lens is adopted, theoretically accessing the use of strategy tools through “reflection in action” and sensemaking. By working with and for consultants, this dissertation obtains insights related to both frontstage and backstage aspects of strategy work, obtaining results that contribute to the skewed existing evaluations on the use of strategy tools. This study proposes a reflexive account on the roles of strategy tools in everyday work by laying out a variety of data items and rhetorical devices. Analysing data, obtained from observations, interviews, written material, and focus groups, takes the findings into first and second order analysis. Based on hundreds of pages of observations, 47 interviews, two focus groups, numerous data files, and other follow up talks, the continuous engagement with data is conveyed to the reader through data outputs, including narratives, vignettes, and visual representations, which give space to a vivid display of what was encountered in the field through this ethnographic study. The findings show that strategy tools are used more than we think, especially in the backstage work of strategy teams. In addition, the use of strategy tools tends to be sequential (some strategy tools are used more in specific phases of strategy projects). In addition, their presence in strategy projects is not always evident at first sight – tools tend to be disassembled and reassembled by their users to create new tools, which are thereafter addressed explicitly or implicitly by strategizers and their audiences. Hence, the thesis proposes an “invisible presence of strategy tools”, especially as observed in the work of experienced strategy workers. By embarking on a journey of Cheshire cats and continuous reconfigurations of sensemaking cues, the reader is invited into what makes the adventurous work of strategy practitioners, and the lege artis their work encompasses.

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Ericson, Maria. "Chefen hos Matisse : konst för organisationer och ledarskap." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-990.

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My analysis consists of an in-depth study of the experience of a group of development programme participants who were exposed to the use of art and artistic work in organisation and leadership development, resulting in positive effects. My starting point is creativity as a concept according to paediatrician and psychoanalyst DW Winnicott who stresses how important playing and creativity is for us, even as an adult, for us to utilise our full potential. He believes that we have a psychological space – a crossover area – where the outer, objective reality and the inner, subjective reality meet. Playing, creative development and experiences occur in this space. The purpose of my paper is to investigate art and artistic creation to determine if it can be used in the work environment as a means to provide individuals access to the crossover space, thereby developing creativity and the creative power.

Risks have also been addressed within my paper. Art and culture can be brought down to a level where its use is only justifiable in those instances where value and economic benefits can be shown. In my opinion, this risk must be taken seriously. This does not mean, however, that one should not work across borders. This is about letting art and culture provide value in the leadership and organisation development by concurrently complementing logical and rationale methods, plans, and decision-making with the goal of striving to maintain the integrity and autonomy of the artistic endeavours.

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47

McWalter, Melissa Gayle. "Exploring the role of a music therapy intervention in an Employee Wellness Organisation." Diss., University of Pretoria, 2018. http://hdl.handle.net/2263/65019.

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There are a number of organisations offering Employee Wellness Programs (EWPs) to South African companies, while other businesses have established their own in-house EWPs. Broadly speaking, EWPs are designed to promote employee wellbeing in order to increase productivity. The purpose of this qualitative research study was to determine whether a music therapy intervention could address employee wellness needs. A single music therapy workshop was conducted with five participants who were employees at a South African Employee Wellness Organisation. The workshop comprised active and receptive music therapy techniques. Participants were interviewed in a focus group after the workshop. Data were prepared by means of thick description and transcription and were analysed using thematic analysis. The following themes were identified: ‘making and feeling connections’, ‘navigating boundaries, ambiguity and change’, ‘quality of group music-making’, ‘the workshop experience’, ‘personal development’ and ‘team building’. Findings indicate that the music therapy intervention addressed wellness needs associated with personal development and team building. Reflection was shown to have a significant relationship with both personal development and team building. Other notable relationships within these categories included stress-relief, acknowledging diversity and increased trust in the group. A model was proposed illustrating the embedded and interconnected conditions present during the workshop that addressed the employee wellness needs of team building and personal development.
Dissertation (MMus)--University of Pretoria, 2018.
Music
MMus
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48

Hannesson, Haukur F. "Symphony orchestras in Scandinavia and Britain : a comparative study of funding, cultural models and chief executive self-perception of policy and organisation." Thesis, City University London, 1998. http://openaccess.city.ac.uk/7571/.

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The subject of this study is arts policy in six different countries; Denmark,Finland, Iceland, Norway, Sweden and the United Kingdom and in particular how such policies affect both the operations and self-perceptions of professional symphony orchestras (and their chief executives) operating in the countries studied. Professional symphony orchestras in different countries have essentially very similar artistic approaches to their subject i.e. the performance of music, and are almost identically constructed with regards to number of players, which instruments are used as well as the role of artistic leadership (i.e. the conductor) in a performance situation. As such they represent a very uniform kind of arts organisation and art practice across the countries concerned, against which other, more variable factors such as legal structure and funding may be compared from country to country. One key objective of this research was to test the view that as the environment of the orchestras can differ, this could possibly affect the orchestras artistically and/or financially in significant ways. The management teams of the orchestras are faced with multiple tasks which can be affected by national or local government arts policy, organisational structure or levels of funding. The relationship between the management teams of professional symphony orchestras and arts policy makers at local and/or national government level is therefore a Complex one, despite the apparent homogeneity of the orchestral form, and often influenced by history and informal channels of influence as well as formal government arts policy. The study examines earlier research on the subject of orchestras within several disciplines. The cultural policies and orchestral development in the six countries are analysed as well as the results of a survey amongst Chief Executives of 83 symphony orchestras (32 in Scandinavia and 51 in the United Kingdom). The results of the survey indicate that there is little difference between the attitudes of Chief Executives in the six countries to a number of internal and external factors that influence their particular orchestra. The funding of a large number of the symphony orchestras of the sample is analysed, indicating that the major difference between the Scandinavian orchestras and the British ones is the level of government subsidy. Thedifference between the labour market between Britain and Scandinavia is examined, indicating that British orchestras have a much much flexible arrangement when it comes to hiring musicians, since there are three forms of employment, i.e. contract, freelance and self owning orchestras, in operation at the same time whereas in Scandinavia all the orchestras studied have contracted players only. The study discusses different models of cultural policy and government involvement (with a starting point in Harry Hiliman Chartrand's theories) and how this affects orchestras that operate under different models. The study concludes that the high level of government funding in Scandinavia is necessary to maintain the same level of symphony orchestra activity as the five countries have today. The reasons for this are historical as well as social and political factors in these countries. It is also a conclusion that different models of funding do not significantly influence the internal organisational structure of the orchestras studied and that a general model of good practice for running a symphony orchestra cannot be drawn up without taking into account socio-economic and historical factors in a particular country.

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49

Lannrup, Signäs ALexander, Erik Forsström, and JOel Strand. "Elefanten i biblioteksrummet En studie av Biblioteken i Malmö med inköpsstrukturens inverkan på organisationen i fokus." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22936.

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50

Matthews, Geoffrey Mark. "Museum, design, organisation : an exploration of spatialities and a project in modelling museum design activity." Thesis, University of Hull, 1996. http://hydra.hull.ac.uk/resources/hull:4596.

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There were three stages in the process of narrowing and focussing the project. Initially the aim was nothing less than a 'paradigm shift' - to reframe the Praxis of Science as 'Design' using the museum as a microcosmic context in which the complexity of the condition of modernity/postmodernity was amply reflected. This over-ambitious scheme narrowed at first to one of exploring the interdisciplinary problem of the multidimensionality of design. In this, incommensurability and theories of space have to be accommodated in a workable model, and the forms and transformations of the model have then to be 'proved' in a praxiological exposition. Finally, it has become clear that much of the detailed creative work implied in the previous formulation of the project is, to be realistic, of a postdoctoral nature. Therefore, the Ph.D. problem has been focussed even further. The focus is on the development of a multidimensional expression of museum design in the form of a theoretical model and an appraisal of its implications for general theory in organization and design. This involves (1) Background theory - a survey of concepts and theories in modelling, (2) Focal theory - a critique of existing notions of organization and Praxis in museums and in Design, (3) Model theory - the development and presentation of a more adequate scheme, and (4) Contribution - the evaluation of its potential as a generalization. Background Theory: In the first part of the programme it has been necessary to ask a specific question about Philosophy - does any specific paradigm offer an adequate conceptual scheme and 'language' in which to work? And if not, what do so-called post-Philosophical approaches - radical pragmatism, ironism - have to offer in terms of a workable strategy, perhaps one that is recognizably 'designerly' in approach. In addition the definition and clarification of a wide range of incommensurable notions of 'space' has had to be undertaken to be clear that the complexity with which design, in the generic sense, engages has a particular character which is quite distinct from that of disciplines such as Science, History, and Politics which are traditionally inclined towards epochal paradigmatic solidarity and towards contingent epistemological coherence. The designer is, arguably, more of a chameleon than is the scientist or the historian or the politician, more so even than are the novelist and the ethnographer whom Rorty cites as latterly more crucial figures. This 'quixotic' aspect of the designer's position is crucial to any argument about personal integrity and social value: this enigmatic journeyman and traveller follows a lonely path guided by emotional (instinctual) as much as by intellectual and practical imperatives. Focal Theory: The second part of the programme has involved two operations: (1) a critical investigation, in some detail, of the discourses of organization, design and museography/museology; and (2) an opening up of the intervals between them, that is, an exploration their three interfaces - organization-design; design-museum; and museum-organization. Model Theory: By proposing a visible constellation of spatial concepts and exposing the tensions which characterize their performativity, the second part of the programme is drawn towards the final part of the programme. In this the adequacy of the proposed model is evaluated in terms of the specific context of the museum as an organizational type - a creative-administrative nexus - and in terms of its potential value as a generalization. This latter point has involved consideration of the possible 'museal' quality of organization in general and a reappraisal of the values of design above and beyond the institutionalized, professionally delineated and administered discipline of Design practice. Contribution: The conclusions emphasize the difficulty of boundary crossing enterprizes such as this project. A considerable effort has gone into deferring the synthetic instinct that all theory tends, sooner or later, to exemplify. However, not just for the sake of form, I make clear some specific and critical points in relation to the 'new' space established by this investigation of museum-design-organization. The museum design discipline has good reason to expound a communication-led collaborative philosophy and to have the strength to develop its discourse in more sophisticated intellectual circles. In general there is a central message that emerges from the museum-design-organization complex which in one sense bolsters the ironist/new pragmatist stance in engaged theory but also reminds us that to be engaged one must develop skills and capacities that are independent of the logics of language, that are irrational and yet invaluable. And in future the interdisciplinary (as distinct from the multidisciplinary) platform must speak its name and be generous. If one is met with incomprehension, resistance, threat response, or out and out hostility one has failed to understand the nature of design. One does not wait to be invited in, neither does one go straight for the jugular. One makes a home, a communal place, a common ground. One finds the hearth and kindles in it a new flame, a new light. One arranges a meeting of minds prepared to enchant with and to be enchanted by new visions and new stories. And one helps each soul along its journey with no more than a gentle nudge in a promising direction in the certain knowledge that the whole process will need to be repeated tomorrow and that this will remain the case for each tomorrow.

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Dissertations / Theses on the topic 'Arts organisations'

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