Dissertations / Theses on the topic 'Backstage'
To see the other types of publications on this topic, follow the link: Backstage.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Backstage.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
LACOMBE, RENATA BARRETO. "BACKSTAGE CHILDHOOD AND THE BACKSTAGE OF CHILDHOOD: AN EXPERIENCE WITH CHILDREN WORKING ON TELEVISION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5381@1.
Full textAbstract:
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORAnálise e levantamento de questões relativas à infância contemporânea brasileira e sua relação com a mídia (mais especificamente a televisão), a partir de experiência como psicóloga com crianças que trabalham na TV.
Analysis and study of questions related to Brazilian contemporary childhood and its relation to the media (more specifically to television), based on experience as a psychologist with children who work on television.
2
Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1415.
Full textAbstract:
This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
3
Filmer, Andrew Robert. "Backstage Space: The Place of the Performer." Arts, 2006. http://hdl.handle.net/2123/1415.
Full textAbstract:
Doctor of PhilosophyThis thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]
4
Thompson, Joanna. "Röhsska Backstage : är publika arbetsmetoder nästa steg framåt?" Thesis, Högskolan på Gotland, Institutionen för kultur, energi och miljö, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-965.
Full textAbstract:
The Röhsska museum in Gothenburg has recently launched a new work method, Backstage, that is studied and paralleled to the museums permanent exhibition on Japanese design. In Backstage the museums routine work is executed in full view of the museums visitors in an exhibition area. The study has focused on the museums intentions and the visitors’ interpretations in Backstage and Japanese design, as well as the staff’s experience of the work method’s public aspects. The study’s empirical material has been collected through interviews with the museum staff as well as observations and interviews with visitors in both Backstage and Japanese design. The study’s objective has been to attain information that is useful to the museum and the future development of the project. The results indicate that the conservator acts as a medium in Backstage and was given precedence over both artifacts and text as the preferred way of gaining information. The public aspects of the work method did not have a pronounced influence on the museum staff, although some apprehensiveness was noticeable. A similar hesitation has been noticed in the visitors and was observed as a threshold to entering the exhibition area.
5
Reis, Sergio Luiz Puggina. "O backstage da televisao no Rio Grande do Sul." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/2207.
Full textAbstract:
Made available in DSpace on 2013-08-07T18:46:56Z (GMT). No. of bitstreams: 1
000443413-Texto+Completo-0.pdf: 5851044 bytes, checksum: d12872e66bd23c3aae949be32dfe6cb1 (MD5)
Previous issue date: 2012Being one of the best television Brazilian in the world, maintaining a constant improvement in its over 60 years, this study presents a deeper historical perspective, examining it with a macro view. Recovered sequentially facts, establishing a chronology that facilitates the understanding of the history of television in the Rio Grande do Sul. Thus, this paper shows the main events and also a rescue from the memory of what was done and by whom it was made, highlighting the changing practices of its leaders who have gone through different phases during the 50 years of the television in the state Rio Grande. The approach took place within a qualitative view where we attempted to check how was the relationship between the evolution of television technology ante development and behavioral changes in society affected by it. With the exploratory and qualitative, as we approach the literature, interviews and personal testimonies, besides the exercise of memory. Based on the research problem shows that the specific technical advances of television in Rio Grande do Sul were compatible with the networks of broadcasters heads, kept the proportions of quantitative amount of equipment, for attending to the need of local programming. It shows also the impossibility of a local station financially survive in competition with commercial broadcasters affiliated.
Por ser a televisão brasileira uma das melhores do mundo, mantendo um constante aprimoramento em seus mais de 60 anos de vida, este estudo apresenta um aprofundamento da sua perspectiva histórica. Recuperaram-se sequencialmente os fatos, estabelecendo uma cronologia que facilita o entendimento da história da televisão no Rio Grande do Sul. Assim, este trabalho mostra os principais acontecimentos e, também, um resgate da memória do que foi feito e por quem foi feito, destacando as mudanças de práticas dos seus responsáveis que passaram por diferentes fases, durante os 50 anos de existência da televisão no estado rio-grandense. A abordagem realizou-se dentro de uma visão qualitativa onde buscou-se verificar como se deu a relação entre a evolução da tecnologia televisiva ante o desenvolvimento e as mudanças comportamentais na sociedade por ela atingida. Com o caráter exploratório e qualitativo, temos como metodologia a pesquisa bibliográfica, entrevistas e depoimentos pessoais, além do próprio exercício da memória. Baseado no problema da pesquisa mostra-se que os avanços técnicos específicos da televisão sul-rio-grandense foram compatíveis com os das emissoras cabeças de redes, guardadas as proporções quantitativas de número de equipamentos, pois atendia-se a necessidade da programação local. Mostra-se, também, a impossibilidade de uma emissora local sobreviver financeiramente na competição comercial com as emissoras filiadas.
6
Farrell, Kathleen P. "Backstage politics Social change and the "Gay TV" industry /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2008. http://wwwlib.umi.com/cr/syr/main.
Full text
7
Houts, Leslie A. "Backstage, frontstage interactions everyday racial events and white college students /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004359.
Full text
8
Poehls, Kerstin. "Europa backstage : Expertenwissen, Habitus und kulturelle Codes im Machtfeld der EU /." Bielefeld : Transcript, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3190337&prov=M&dok_var=1&dok_ext=htm.
Full text
9
Karlsson, Jamie. "She's always backstage when band gets done : - en studie om groupies." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-25344.
Full textAbstract:
Detta är en undersökning med syftet att ta reda på vad en groupie är, vad det är som driver unga kvinnor att bli groupies samt hur det har sett ut från 1960-talet fram till idag. Detta då groupies fått dåligt rykte som några som enbart är ute efter att ha sex med rockstjärnor.Jag har utifrån intervjuer och litteraturstudier av biografier samlat in empiri från Lexa Vonn, Nikki McWatters och Pamela des Barres till undersökningen. Detta material har jag sen kopplat ihop med teorier om fans och fanskap för att komma fram till en slutsats. Resultatet visar att groupies drivs av kärlek till musiken och rockkulturen samt att de känner en samhörighet med musikerna de beundrar. Deras egen definition av vad en groupie är stämmer väldigt bra överrens med Sandvoss definition av fans. Även om samhället har förändrats mycket sedan 1960-talet så ser informanternas tankar och synsätten rätt lika ut under de olika tidsperioderna. De skrikande beatlemaniafansens beteende lever vidare i de groupies som kom på 1960-talet och fortsätter i generationer framåt.
10
Poehls, Kerstin. "Europa backstage Expertenwissen, Habitus und kulturelle Codes im Machtfeld der EU." Bielefeld Transcript, 2007. http://d-nb.info/991632583/04.
Full text
11
Richard, Elizabeth Marie. "An ethnographic exploration of novice nursing students' clinical learning experiences, backstage realities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24900.pdf.
Full text
12
BORGES, ELISA ANDREA VILAS BOAS. "DOING, BEING ACADEMIC SUPERVISION?: EXPLORING THE BACKSTAGE OF A COMMUNITY OF PRACTICE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10725@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta pesquisa tem por objetivo buscar entendimentos sobre a interação dentro do contexto profissional no qual estou inserida: a equipe de supervisoras acadêmicas de uma instituição de ensino de inglês como língua estrangeira. À luz dos princípios da Prática Exploratória (Allwright, 2001), monitorei atividades nas quais nos engajamos nos bastidores de nossa prática diária, assumindo o papel de pesquisadora praticante inserida no contexto de pesquisa. Os dados foram gerados a partir de CIPEs - Conversas Informais com Potencial Exploratório (Azevedo, 2005), notas de campo e gravações em áudio de reuniões planejadas, conversas informais e da interação diária entre as supervisoras dentro dos cubículos do Departamento Acadêmico. A análise dos dados, com base em conceitos advindos da Sociolingüística Interacional, permitiu-me identificar no curso desses diferentes momentos de interação do grupo como se dão: construção de conhecimento e credibilidade profissional, tomadas de decisões e resoluções de problemas, e a construção da identidade do grupo. Ao promover o envolvimento do grupo nessa busca por entendimentos, este estudo acrescentou uma nova dimensão ao nosso fazer supervisão no dia-a-dia: um olhar exploratório sobre nossas experiências de participação e não-participação em diferentes comunidades de prática (Wenger,1998) dentro da instituição.
This study aims at searching for understandings of the interaction in the professional context I belong to: the team of academic supervisors in an EFL school. Following the principles of Exploratory Practice (Allwright, 2001), I monitored activities in which we engaged in the backstage of our daily practice, adopting the role of a practitioner researcher. Data was generated through potentially exploitable informal conversations (Azevedo, 2005), field notes, and audio recordings of scheduled meetings, informal meetings and the daily interaction inside the supervisors´ room. Data analysis, based on concepts of Interactional Sociolinguistics, allowed me to identify, in the supervisors´ discourse, how we construct professional knowledge and credibility, make decisions and resolve problems and construct our group identity. By involving the group in this search for understanding, this study has added a new dimension to our daily practice in supervision: an exploratory look at our experiences of participation and non-participation in different communities of practice (Wenger,1998) inside the school.
13
Little, Tiffany Olivia. "Behind the Scenes at William and Mary: Front Stage History and Backstage Archaeology." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626754.
Full text
14
Tolley, Rebecca. "Review of Fashion's Front Line: Fashion Show Photography from the Runway to Backstage." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5622.
Full text
15
REIS, LORENA MOCHEL. "PLEASURES, CHASTITY AND POWERS: THE INVENTION OF EROTICISM IN THE BACKSTAGE OF A SEX SHOP." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27288@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho teve como principal objetivo compreender os discursos veiculados pelo mercado de produtos eróticos na construção de novas convenções morais. O enfoque analítico em seus processos de comercialização foi organizado através de observações exploratórias em duas edições das principais feiras eróticas brasileiras, bem como pela experiência etnográfica em um sex shop localizado no Complexo do Alemão, Zona Norte da cidade do Rio de Janeiro. Dentre as reflexões propostas, algumas questões foram levantadas: Como o mercado erótico produz e transforma hierarquias de gênero e sexualidade? De que forma suas verdades são agenciadas nas práticas eróticas contemporâneas? Aliado ao reflexo das recentes mudanças políticas e econômicas observadas na favela em questão, os limites e trânsitos entre norma e transgressão apontaram para narrativas nas quais as classificações do erotismo se estabelecem em constante diálogo com o processo civilizador.
This work intended to understand the speeches of erotic products market in the construction of new moral conventions that circulate in this context. The analytical approach in their marketing processes were organized through exploratory observations in two Brazilian editions of erotic fairs, as well as the ethnographic experience on a sex shop located in Complexo do Alemão, one of the biggest favelas located in North Zone of Rio de Janeiro. Among the reflections proposed, some issues were raised: How the erotic market produces and transforms hierarchies of gender and sexuality? How their truths transforms contemporary erotic practices? Associated with the reflection of the recent political and economic changes observed in this especially urban space, limits and movement between norm and transgression points to narratives in which the ratings of eroticism is settled in constant dialogue with the civilizing process.
16
Börjesson, Andréa. "”Det känns som en barnavdelning, det är ingen ungdomsdel liksom” : Ungdomar och det egna biblioteksrummet." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17048.
Full textAbstract:
The aim of this bachelor thesis is to find out how young adults experience the library and the space that they have access to. I used semi-structured interviews to find out about this and interviewed eight youths between the ages of 15 and 18 in a medium sized city in the province of Västra Götaland in Sweden. I then analyzed the material with the help of Goffman’s theory about front stage and back stage. I also did a small comparison with results from previous studies.The result showed that the youths generally liked the library and the staff but they had opinions on some issues. Several of the youths missed comfortable furniture in the adult section and enjoyed the furniture in the children and youth section. However, several of the young adults experienced that the volume of sound was disturbing in that section. All of them wanted there to be some form of youth room or youth section in the library. My analysis with Goffman’s theory showed that the youths overall saw the library as a front stage area and therefor tended to use it in that way, however, they tended to use the children and youth section more as a back stage area. The way the youths described how a youth room could be like made me realize that they wanted a place with both front and backstage qualities after their own needs. The results also had several things in common with previous studies.Program: Bibliotekarie
17
Oliveira, Alexandre Suárez de. "As festas e os bastidores das intervenções ao ar livre." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-16062010-162619/.
Full textAbstract:
Nas cidades, historicamente, são realizados eventos de diversos portes em praças públicas ou locais alternativos, como vazios urbanos, estacionamentos de automóveis, descampados, campos de futebol, faixas de areia das praias, entre outros. Tais festas são categorizadas genericamente como eventos ao ar livre e muitas vezes atraem uma grande concentração de público, o que gera a necessidade de aporte de uma logística com aparatos de suporte para garantir sua boa realização. Outro suporte importante é o staff, ou seja, a equipe de realização do evento. Esta pesquisa tem por objetivo entender como se dá a relação entre o sítio de realização, a qualidade do evento e os profissionais envolvidos.Historically, cities have held events of different sizes in squares or alternative places such as vacant terrains parking lots, open fields, sports fields, beaches etc. Those events are generically categorized as open air, and often find a high concentration of public, which creates the need of a logistic apparatus to support the event and ensure its proper execution. Another important aspect is the support staff. This research tries to understand how the professionals involved, location and quality relates to each other in such events.
18
Bradford, Levi. "Lighting the Stage: The Lighting Design Process and Production of Will Eno's Middletown." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/604.
Full textAbstract:
The world of theatre focuses on presentation and showmanship, but what audience never sees is often the most vital parts of the show. Behind the curtains, in the backstage of the theatre is where the real magic happens. This paper focuses on shedding some light on one aspect of the backstage. Without light, nothing would be seen. Follow along as the process of being chosen, creating, research, and production are revealed and explained to make the backstage more appreciated.
19
Al, Balushi Mohammed M. D. M. "The Role of Dramaturgy in Change Management in Shell Oman Marketing Company." Thesis, University of Bradford, 2018. http://hdl.handle.net/10454/17357.
Full textAbstract:
Inspired by my personal interest in the topic of dramaturgy, coupled with the continuous change programmes that Shell Oman Marketing Company (SOMC) adopts in many areas, this research attempts to explore the role of dramaturgy (Goffman 1956) in change management in SOMC. The primary question that this thesis addresses is: What is the role, impact and potential of dramaturgy in change management in SOMC? The objective is to examine the ability of dramaturgy to offer an effective method for managing change, and one that will eventually be used as an integral part of effective change management programmes in SOMC.
The research consists of a case study of installing Closed Circuit Television (CCTV) system cameras in the offices of SOMC. The research was a qualitative study, conducting 22 semi-structured interviews along with unstructured observations of meetings and engagements. The research concludes that front stage performances and backstage performances are witnessed extensively in SOMC, and concludes that the boundary between front and backstage is blurred, that stories, metaphors and body language play an important role in performances, and that the audience perception of the authenticity, sincerity and genuineness of the performers is a key factor in their acceptance of the message.
This research identifies a number of themes that can be added to the existing literature. The study highlighted the importance of ‘Alignment’ as a way of explaining the work that goes on in backstage and front stage performances, much part of living organisations. The term found extensively in organisational life at SOMC and many other organisations. Backstage meeting often has the goal of aligning participants to the message that has to be conveyed – the coordinated front stage performance. Therefore, alignment is a key element of the rehearsals and practices for the frontstage performances, and in bringing together the supporting team and loyalists. Another contribution of this research that is not available in other studies is that the importance of context and culture. That although metaphors and storytelling are used in many organisations across the world, they resonate particularly with Omanis because they are part of their history and culture. Hence using storytelling and metaphors in performances in SOMC can have a huge help connecting the audience with the performance.
20
Leyland, Christopher Patrick. "The English 'native speaker' teacher as a language resource : conversation analytic examinations of backstage interactions in Japanese high schools." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2423.
Full textAbstract:
Faced with fewer employment opportunities at home, more British and American university graduates are moving abroad to teach English as ‘native speakers’. In 2013 Japan’s JET Programme employed over 4000 ‘native speaker’ ‘Assistant Language Teachers’ (ALTs)1. While ALT’s primary professional responsibility is widely considered to be teaching English to elementary, junior high and high school students, this study reveals they frequently provide their Japanese co-workers with English language help. After collecting around 80 hours of audio-recordings from two Japanese high school staffrooms, this study underwent a Conversation Analytic examination of English language learning encounters between ALTs and their Japanese co-worker English teachers. There is a considerable body of Conversation Analytic research examining Second Language Acquisition processes in formal educational environments. However, with second language users engaged in formal learning constituting but a small fraction of the global L2-user community, “[w]hy, then, are the doors of classrooms still locked?” (Wagner, 2004: 615). This study considers English language learning processes occurring outside the classroom - in Japanese high school staffrooms. Analysis reveals these language learning encounters invariably consist of three distinct actions: the English L2 user requests help, the English L1 user provides help and the sequence is closed. Within this basic structure, however, various phenomena occur. Rather than considering learning in the teachers’ “frontstage” setting of a classroom, this study examines learning occurring in the “backstage” (Sarangi & Roberts, 1999) setting of school staffrooms. Staffrooms are considered an important site for identity construction (Richards, 2007). Indeed, this analysis of language learning processes reveals complex identity negotiations. ALTs and their co-workers show themselves to be particularly resourceful communicators - utilizing different multilingual competencies, and dealing with various interactional ‘troubles’ and ‘hesitancies’. This study adds to the body of SLA research using a ‘social’ approach - thus contributing to a redressing of an imbalance in the field (Firth & Wagner, 1997), and examines language learning in an under-researched site. Furthermore, the findings indicate that language learning is interwoven with identity work related to knowledge. This utilizes and informs Heritage’s recent influential work on ‘epistemics’ (2012a, 2012b), applying it to L2 interaction.
21
Pohl, Alexander Verfasser], and François [Akademischer Betreuer] [Bry. "Fostering awareness and collaboration in large-class lectures : principles and evaluation of the Backchannel Backstage / Alexander Pohl. Betreuer: François Bry." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2015. http://d-nb.info/1081628839/34.
Full text
22
León, Góngora Rodrigo. "Las ‘Tomamefotos’ y las Tensiones detrás de Cámara. Reflexiones desde el backstage de una performance para el turista en Cusco." Master's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9272.
Full textAbstract:
En Cusco, Perú la actividad de “hacerse tomar fotografías” es realizada por mujeres
campesinas de todas las edades que con la finalidad de contribuir en la economía
familiar, visten sus trajes típicos y bajan caminando con sus llamas a la Plaza de Armas y sus alrededores para captar la atención de los turistas que también llegan a esta ciudad esperando verlas y retratarlas. El siguiente informe de trabajo es resultado de un proceso de investigación que involucró la realización de un video documental entorno a la actividad que realizan estas mujeres desde finales de los ochenta; pero sobre todo, entorno a las tensiones que reproducen los discursos de algunos personajes que podremos mirar en video y que resultan ser representativos de los tres grupos de actores sociales que intervienen en la actividad. La metodología que se siguió para la realización del documental, encaja en lo que autores como Elisenda Ardévol y Bill Nichols definirían como Documental Participativo, pues en ellos el espectador observa como se construyen los discursos, se confrontan las ideas y la voz del realizador o su presencia se evidencia al igual que su complicidad
en la producción de la realidad que se presenta al espectador. La cámara y el
realizador son uno mismo y la interacción con los actores se expone para mostrar los
acuerdos, desacuerdos y el vínculo que se logra con la finalidad de guiar, cuestionar y hasta provocar algunas situaciones, algo que ocurre de manera más explícita en el
cinema vérité de Jean Rouch. Dentro de los objetivos que esta investigación estarían principalmente comprender las tensiones producto de la actividad, exponer las opiniones y situaciones encontradas durante el proceso de investigación del autor, que indaga entorno a la actividad de hacerse tomar fotografías por el turista, misma que al interseccionarse con temas políticos, sociales y culturales revela los discursos y dispositivos que contribuyen a la reproducción de las estructuras de poder y la colonialidad en la que estas se inscriben.Tesis
23
Laughlin, Kathleen Anne. "Backstage activism: The policy initiatives of the Women's Bureau of the U.S. Department of Labor in the postwar era, 1945-1970 /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1334763728.
Full text
24
Birkholz, Julia [Verfasser], Doris [Akademischer Betreuer] Elster, Doris [Gutachter] Elster, and Jörg [Gutachter] Großschedl. "Untersuchung zur Wirksamkeit von Gruppenreflexionen auf das Wissenschaftsverständnis im Schülerlabor Backstage Science / Julia Birkholz ; Gutachter: Doris Elster, Jörg Großschedl ; Betreuer: Doris Elster." Bremen : Staats- und Universitätsbibliothek Bremen, 2019. http://d-nb.info/1189808285/34.
Full text
25
Marin, Eva, and Josefin Karlsson. "Förskollärare i offentlighetens ljus." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35230.
Full textAbstract:
Syftet med denna studie är att undersöka förskollärares gränsdragning mellan det professionella och det privata i mötet med vårdnadshavarna och hur denna gräns kan komma att påverkas vid användandet av sociala medier. Detta görs utifrån följande tre frågeställningar; Var drar förskollärare gränsen mellan sin roll som professionsutövare och sin roll som privatperson? Hur drar förskollärare gränsen mellan det professionella och det privata i mötet med vårdnadshavare? och Hur förhåller sig förskollärare till den nya formen av offentlighet som sociala medier utgör? I genomförandet av studien används kvalitativ metod i form av semistrukturerade intervjuer med fem legitimerade förskollärare. Det empiriska materialet analyseras utifrån Erving Goffmans dramaturgiska perspektiv. Där mänsklig social samvaro jämförs med teaterföreställningar där skådespelare uppträder för en publik och där skådespelaren antingen befinner sig i ett för publiken synligt frontstage eller i ett dolt backstage. I analysen används även David Carrs sammanställning av olika synsätt gällande lärares moraliska ansvar. Resultaten av studien visar att det professionella och det privata är nära sammanlänkade och att en tydlig gränsdragning är omöjlig att göra. Användandet av sociala medier ställer därför krav på omdöme och digital professionalism i såväl det professionella som det privata.
26
Berisha, Diana. "Anpassningsbara och mångdimensionella universitetsstudenter : En sociologisk kvalitativ studie om upplevelsen av tillhörighet hos universitetsstudenter av andra generationens invandrare." Thesis, Karlstads universitet, Institutionen för sociala och psykologiska studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-82756.
Full textAbstract:
Den här studien handlar om universitetsstudenters av andra generationens invandrare och deras upplevelser av tillhörighet. Det övergripande syftet är att beskriva upplevelser av tillhörighet hos universitetsstudenter av andra generationens invandrare med ursprung från Mellanöstern och Somalia, detta görs genom beskrivning av studenters upplevelser av olika relationer och emotioner i interaktionen med olika grupper på universitetet. För att besvara syftet kommer jag ta hjälp av följande frågeställningar: Hur upplever studenterna interaktionen tillsammans med kurskamrater i olika sammanhang/situationer, hur upplever studenterna sitt emotionella agerande i relationerna till de studenter med utländsk bakgrund och till de etnisk svenska studenterna. Metoden som används är en kvalitativ metod i form av intervjuer med fem universitetsstudenter av andra generationens invandrare som läser ett program på Karlstad Universitet. Informanternas utsagor och berättelser har sedan analyserats med hjälp av den teoretiska referensramen jag använt mig av. Jag har utgått från emotionssociologi och det dramaturgiska perspektivet. Resultatet visar att informanterna upplever tillhörighet genom sina sociala roller och emotioner i relationerna och interaktionerna tillsammans med etniskt svenska studenter och studenter med utländsk bakgrund. Studenterna intar olika roller i interaktionerna beroende på vilken etnicitet kurskamraterna har och beroende på vilken plats de befinner sig. Studenterna använde sig även av specifika emotionella agerande i relationerna gentemot respektive grupp, där det lärt sig vilka emotioner som är acceptabla. Studenterna både visar, håller tillbaka, dämpar och kontrollerar sina känslor. Rollerna och emotionerna blir en del av tillhörigheten.
27
Thorell, August. "Teaterpjäsen fotboll : En studie om identitetsskapande och maskulinitet inom Hammarby fotbolls Supporterkultur." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339494.
Full textAbstract:
To be a football supporter can today mean very different things depending om who you ask. It can mean anything from being a dedicated follower of a football team or maybe a troublemaker who enjoys fighting. It can archive great things and cause tremendous problems. This thesis will try to clear up what it means to be a supporter and how one become one. What being on an arena or on a supporter bus does to the individual in terms of acting and how the individual goes into a roll of being a supporter. I also bring up how media affect the supporter culture and how it, through its way of reporting about matches, create an exclusion of women in supporter culture. I have conducted an observation where I followed along on a supporter bus on its way to an away game. With this I have also done 5 interviews with supporters from the same team as the observation. With this empirical data that I have collected, I have used Erving Goffmans theory on frontstage and backstage in terms of getting an understanding on how the individual goes into a roll. The result shows how the scenery around the football game have an impact on how the individuals transform into the role of the supporter. How media affects this role and how it, though its way of reporting about football matches and supporters, create an exclusion of women.
28
Cosford, Brian D. "Front stage, backstage and off stage : the socialisation of first year physical education and primary education students on an initial teacher education programme at a Scottish university." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/29072.
Full textAbstract:
This is a study of two cultures in a School of Education where, since 1998, PE students and primary students have taken a generic Education course that comprises one third of their study programme. PE students have been perceived to be a problem for the people responsible for running the Education course because their behaviour and attitudes have not matched the expectations of the staff. Drawing on Goffman's metaphor of theatre, and on Becker's analysis of the collectively held perspectives of medical students, this study examines the hidden curriculum of the academic front stage and students' activities back stage and off stage. The study uses an ethnographic approach using multiple methods and direct and prolonged observation of front stage, back stage and off stage settings. Three aspects of the hidden curriculum are identified, tensions between the Education courses and the ITE programmes, assessment and timetabling. The hidden curriculum supports and defines students' beliefs and defines the two student cultures. For PE students the effect was to marginalise the Education courses and promote 'mainstream' PE courses. For primary students this effect was absent. The front stage supports the development of two separate cultures and on the back stage there is an influential PE culture supported by a 'family system' that links the four year groups. Backstage is an arena for the acquisition of social capital and the deliberate construction of sociability through bonding activities and it is here that PE students are socialised into the norms and values of the group. Primary students did not appear to have an identifiable group culture, either on campus or off campus. Despite the different socialisation experiences, both groups of first year students successfully accomplished placement and had relatively similar perspectives on teachers and teaching.
29
Frammin, Cornelia, and Sofia Paasila. "Från virtuell till verklig trygghet : En undersökning om hur människor själva skapar trygghet när online-dating blir offline-dating." Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-31761.
Full textAbstract:
The purpose of the paper is to give a detailed description to provide a better understanding of what strategies women use when online dating and in real life. The purpose of the paper is to identify how women create a sense of security for themselves, to make the leap from online communication to meeting an unknown male in the real world. For those two unknown people to take the step to meet each other face to face, there should be a kind of trust between them, how it is created, and what factors it is that determines that a meeting in real life will take place. In this essay, it has applied a qualitative method along with six thematically open interviews in which the informants have been women aged 20-30 years. In order to analyze the empirical approach, Sztompkas and Giddens's theory of trust and security have been used together along side Goffmans concept of front and backstage and other concepts are included as well. An analysis of the empirical material was found, the results showing that women often use fairly common strategies to create security in itself. These were as such, selecting a meeting place that is public and collecting information about the person they are meeting in advance using other channels of social media such as Facebook,Tinder, etc. This indicates that there is a general underlying concern about who the person really is on the other side of the computer screen/mobile screen. It also shows that the women are consciously or subconsciously using strategies to build up a sense of security among themselves before meeting with an unknown male. Keywords: Back stage, front stage, online dating, offline, online, role, security, social interaction, Tinder och trust.Syftet med undersökningen är att bidra med en ökad förståelse för vilka strategier unga kvinnor använder sig av vid nätdejting, online kontra offline. Syftet med uppsatsen ligger i att identifiera hur kvinnor skapar en trygghet för sig själva för att ta steget från online till att träffa en okänd man i verkligheten. För att två okända människor ska våga träffa varandra ansikte mot ansikte bör det finnas en slags trygghet mellan dem, hur skapas den och vilka faktorer är det som avgör att ett möte i verkligheten sker? I den här uppsatsen har det tillämpats en kvalitativ metod tillsammans med sex tematiskt öppna intervjuer där informanterna har varit kvinnor i åldrarna 20-30 år. För att kunna analysera empirin har Piotr Sztompkas och Anthony Giddens teorier om trygghet och tillit använts i kombination med Erving Goffmans begrepp om frontstage och backstage samt andra som inbegrips i dessa. Genom en analys av det empiriska materialet påträffades resultat som visar på att kvinnor ofta använder sig av någorlunda gemensamma strategier för att skapa trygghet för sig själva, dessa var exempelvis: att välja en mötesplats som är offentlig, samla information i förväg om personen, användningen av andra kommunikationskanaler utöver Tinder etc. Detta pekar på att det överlag finns en underliggande oro för vem personen är på andra sidan datorskärmen/mobilskärmen, samt att personer omedvetet eller medvetet använder strategier för att bygga upp en trygghet hos sig själv innan mötet med en okänd människa. Nyckelord: Backstage, fasad, frontstage, inramning, nätdejting, offline, online, roll, social interaktion, tillit, Tinder och trygghet.
30
Hylén, Isabella, and Bojana Blaz. "Hur emotionellt krävande är egentligen arbetet inom kriminalvården? : En kvalitativ studie om det emotionella arbetet inom kriminalvården." Thesis, Högskolan i Halmstad, Akademin för hälsa och välfärd, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-42692.
Full textAbstract:
The purpose of this study was to analyse how emotions affect prison officers in their daily work. The study seeks to understand how prison officers manage their emotions in the social interactions with clients, and how exercise of authority affects their handling of emotions at work. Formulation of questions that has been answered is how prison officers handle their emotions at work, how they handle their emotions in the social interactions with clients and how they are affected by exercise of authority. Theories that have been applied to this study is Arlie Russell Hochschild and her theory about emotional labor, Michael Foucualt theory about power and Erving Goffman theory about dramaturgy. To answer the purpose of the study, a qualitative research has been used, and six prison officers have been interviewed. The conclusion of the study shows that prison officers handle their emotions through talking with colleagues and manager. It also shows that prison officers are positively affected by exercise of authority. They explained that these policies are made for prison officers and clients safety.
31
Aspling, Fredrik. "The private and the public in online presentations of the self: A critical development of Goffman’s dramaturgical perspective." Thesis, Stockholms universitet, Sociologiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-59867.
Full textAbstract:
Erving Goffman is an important sociologist whose dramaturgical perspective on social interaction and presentation of the self is a classic within sociology. However, social interaction and presentations of the self occurs increasingly more online. Goffman’s perspective is, unfortunately, limited to face-to-face interaction. The aim of this study is to discuss how far Goffman’s dramaturgical perspective can take us in a discussion on the private and the public in online presentations of the self in Facebook and personal blogs. The aim is specified with the following research questions: What are the possible constrains and possibilities? What happens to the central concepts in the model? How can the model be critically developed to online presentations of the self? The discussion connects to the distinction between the private and the public, as it implicitly is presented in Goffman’s model. The discussion draws on empirical material consisting of reflections of ten individuals on their social practices on Facebook and personal blogs. As all respondents use both applications, it opens up for a comparison between how they present themselves in each forum. All respondents presented themselves differently on Facebook compared to their personal blogs. Goffman’s model works better on self-presentations on Facebook than on personal blogs, which are contradictive to the model. Facebook is about staging a successful character. Conversely, the idea with the personal blog was to stage the front stage as a backstage. Performances on the personal blog constitute an inverted model where the intimate is sublimated and ritualized. Additionally, impression management follows an altered logic of selective opening of the backstage. However, the performances are just as, if not even more, theatrical and dramaturgical as performances in Goffman’s model. Moreover, social situations on Facebook and personal blogs are dissimilar to face-to-face situations. Both settings can be seen as an abstract sociability rather than a concrete sociability. There is no immediate co-presence between the interactants which has the consequence of creating an uncertainty of in front of whom the performance actually is held, which in addition makes the social situation diffuse, scattered and harder to define.
32
Karlsson, Christina, and Solvig Holmer. "Coachande studievägledare - Vägledande coacher." Thesis, Umeå universitet, Institutionen för tillämpad utbildningsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-113468.
Full textAbstract:
Hur upplever coacher och studie- och yrkesvägledare sina yrkesroller? Vad är centralt i rollerna och hur beskriver coacher och studie- och yrkesvägledare vad de gör och framförallt hur definierar de sin yrkesroll. Finns där några likheter i yrkesrollerna och vilka är skillnaderna? Med många olika frågeställningar i bagaget har vi med hjälp av ett rollteoretiskt perspektiv studerat dessa båda yrkesroller. Vi har genomfört åtta semistrukturerade intervjuer med lika många coacher som studie- och yrkesvägledare där vi försökte förstå intervjupersonerna ur olika perspektiv. De perspektiv vi särskilt tittat på är den egna uppfattningen om yrkesrollen, vilken kompetens de olika rollerna uppfattar sig ha och hur de tolkar olika begrepp. Utöver det har vi observerat deras yrkesmiljö, det vill säga hur scenen där de spelar sin yrkesroll ser ut. Bakgrunden till att vi intresserat oss för att jämföra de båda yrkesrollerna är att vi som snart färdiga studie- och yrkesvägledare vill granska en kommande arbetsmarknad – en marknad där efterfrågan på coacher är tio gånger så stor som efterfrågan på studie- och yrkesvägledare. De slutsatser vi drar från vår studie är att det professionella samtalet är centralt i utövandet av båda yrkesrollerna. Båda yrkesrollerna tar grund i samma typ av samtalsmetodik och båda grupperna fokuserar på att vidga klienternas perspektiv. Den andra delen av yrkesrollerna skiljer sig åt; studie- och yrkesvägledare förväntas ha kompetens om utbildningssystemet och coacherna förväntas ha ett bra kontaktnät på arbetsmarknaden. Vår undersökning talar för att studie- och yrkesvägledare kan coacha som vägledare och som coach. Skillnaden ligger främst i utbildningsbakgrunden och kanske i ett mer medvetet användande av samtalsmetodik. Coacher kan också vägleda och kan ha en gedigen utbildningsbakgrund men kan också vara verksamma utan någon speciell utbildning.
33
Salimen, Paola Guimaraens. "A atividade pedagógica de encenar em grupos de sala de aula de língua estrangeira : pedidos de ajuda, ofertas de ajuda e aprendizagem." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17218.
Full textAbstract:
O presente trabalho, fundamentado a partir da Análise da Conversa Etnometodológica (LODER; JUNG, 2008), tem como objetivos 1) descrever os momentos de ensaio, apresentação e fechamento da atividade pedagógica de encenar em grupos, segundo a concepção da abordagem de ensino por tarefas (conforme NUNAN, 1999), e 2) descrever momentos em que os participantes estejam se orientando para a construção de aprendizagem (ABELEDO, 2008) por meio da análise de seqüências de pedidos e ofertas de ajuda (BULLA, 2007). Os dados consistem em uma hora de registros audiovisuais de uma aula de inglês como língua estrangeira em uma escola de línguas. Foram registradas 6 ocorrências de pedidos de ajuda e 3 ocorrências de ofertas de ajuda. A análise de tais ocorrências permitiu observar que, para realizarem a atividade pedagógica de encenar em grupos, os participantes precisaram trabalhar interacionalmente a fim de instaurar a realidade ficcional e mantê-la. Assim, participantes demonstraram não estar simplesmente treinando para que um dia fizessem uma discussão familiar, mas sim estar construindo tal discussão aqui-e-agora. Foi possível descrever a atividade pedagógica de encenar em grupos como constituída em um momento de instruções (em que uma participante dividia os demais em grupos e distribuía os papéis a serem encenados por cada um), dois momentos de prática distintos (o de ensaio, em que os participantes produzem pedidos de ajuda como ações preferidas e ofertas de ajuda como ações despreferidas, e o de apresentação, em que os participantes produzem pedidos e ofertas de ajuda como ações despreferidas e produzem exibições de competência lingüística) e um momento de fechamento (em que os participantes discutem as ações construídas no momento da apresentação da encenação, além de produzirem exibições de competências e avaliações a respeito do desempenho no momento das apresentações). Assim, realizar a atividade pedagógica de encenar em grupos propicia a construção e a manutenção de diversas realidades dentro da sala de aula e a categorização (SCHGLOFF, 2007) dos participantes em categorias além das de aprendiz/professor.This research is grounded on Ethnomethodological Conversation Analysis (LODER; JUNG, 2008) and is aimed at 1) describing the rehearsal, presentation and accountability (NUNAN, 1999) of the pedagogical activity of role-playing, and 2) describing moments in which participants orient to the construction of learning (ABELEDO, 2008). These objectives are achieved through the analysis of sequences of offers and requests for help (BULLA, 2007). The data consists of about one hour of video recorded interactions in one English class in a language center. I collected 6 sequences of requests for help and 3 sequences of offers of help. The analysis of such sequences enables the observation that, while performing the roleplaying pedagogical activity, participants produce interactional work to establish and maintain a fictional reality. Participants demonstrate that they are not only practicing the use of language for a further use in a different context; they are indeed using language in order to build and maintain a context here-and-now. We can describe the pedagogical activity of roleplaying as organized in a moment of instructions (in which one participant divided the others in groups and distributed the roles to be played), two different moments of practice (the rehearsal, in which participants produce requests for help as preferred actions and offers of help as dispreferred actions, and the presentation, in which participants produce offers and requests for help as dispreferred actions and produce exhibitions of linguistic competence) and an accountability (in which participants discuss the actions built during the presentation of the play, besides producing exhibitions of competence and assessments of the performance of the participants who produced the presentation of the plays). So, the pedagogical activity of role-playing is an opportunity for learners to build and maintain different realities in classroom and produce different actions and activate categories (SCHGLOFF, 2007) beyond learner/teachers.
34
Högberg, Christer. "Med Samhällskunskap i fokus : En kvalitativ studie om hur gymnasielärare hanterar sina roller i samhällskunskapsundervisningen." Thesis, Uppsala universitet, Sociologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-425968.
Full textAbstract:
I denna uppsats studerar jag hur olika samhällskunskapslärare agerar i rollen de har i den samhällsviktiga institution som är skolan. Jag har som utgångspunkt använt mig av sociologiska teorier som behandlar ämnet social kontroll. Jag har valt att lägga fokus på hur läraren behandlar sin roll i egenskap av lärare gentemot skolan som institution. Vidare har jag utgått ifrån det som Arlie Russel Hochschild beskriver som ”surface acting” och ”deep acting” i kombination med Ervin Goffmans ”frontstage” och ”backstage”. Dessa teoretiker menar att människor hela tiden tvingas balansera och handskas med olika roller i olika situationer. Därför har jag valt att studera hur dessa lärare går in i sina roller och hur de anpassar sig till de olika situationerna som uppstår i klassrummet, och hur det i så fall formar skolan som institution. Efter intervjuerna med de olika lärarna har jag kommit fram till att deras personliga erfarenheter och egenskaper lyser igenom i vissa delar av undervisningen då läraren blir tvungen att balansera mellan olika masker och även till viss grad anpassa dessa ut efter institutionens vanemönster och normer. Vidare finner jag att det förekommer variationer i undervisningen gällande vad de olika lärarna väljer att ta upp eller fokusera på. Därefter har jag valt att titta på hur de olika rollerna i kombination med den varierande undervisningen kan komma att skapa olika varianter av skolan som institution. Till min hjälp har jag tittat på Peter L Berger och Thomas Luckmanns teori om hur etablerade regler och normer i olika sammanhang formar olika institutioner. Trots sina olika variationer, och växlande mellan roller kunde jag se att lärarna på ett skickligt sätt anpassar lektionen för att nå målet med skolans läroplan som innebär att de ska fostra eleverna till att bli upplysta och demokratiska medborgare.
35
Booth, Judith, and edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. "A critique of "cultural fit" in relation to the recruitment of Indian Information Technologists for the Y2K project in Australia." Deakin University. School of Communication & Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.142627.
Full textAbstract:
In this study of intercultural communication, I investigate the multi-faceted meaning of the expression " cultural fit " in the sense that it is used by recruiters when shortlisting Indian information technologists to fill skills shortages for the Y2K project in Australia. The data is in the form of ten videotaped interviews in Bangalore and the recruiter commentary on those tapes in Melbourne. A crucial decision to be made by recruiters in any shortlisting process is " How will the candidate fit into the workplace?" This question becomes more problematical when applied to overseas-trained professionals. I take a critical approach, drawing principally on the research traditions of linguistics where studies of intercultural communication and workplace interaction intersect, employing chiefly the tools of Critical Discourse Analysis and Interactional Sociolinguistics and the more abstract notions of Bourdieu. A bridge between these different discourse approaches is provided by Sarangi & Roberts < 1999 < who show the connection between the larger institutional order and interactional routines, through an elaboration of frontstage talk and backstage talk following Goffman < 1959 < .
An analysis of the interviews < frontstage talk < reveals "cultural fit" to involve a knowledge of institutional talk, in particular, directness. The recruiter commentary < backstage talk < draws attention to issues of intelligibility, body language, technical expertise and workplace values. the study shows that Indian Information Technologists have "partial fit" in that they possess technical fit but do not demonstrate, or lack the opportunity to demonstrate in the interview, Australian workplace values such as small talk, humour and informality. The recruiter judgments were fleeting and apart from checking for intelligibility, were made on the basis of candidates' body language thus highlighting its importance and its relative absence from the discourse approaches mentioned above. This study shows clearly that there is room for more communicative flexibility on the part of all the stakeholders.
36
Cavazzana, Francesca Angelica. "Yoga and the Wardrobe: Centre Stage." Thesis, Stockholms universitet, Modevetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194633.
Full textAbstract:
This thesis focuses specifically on yoga clothing to explore the wardrobes of individuals who practice yoga within Northern Europe. This study explores yoga as an embodied practice connected to dress, uncovering the relationship between clothing and the body based on online ethnographic research. Wardrobe studies were carried out remotely during the COVID-19 pandemic producing a new approach to the field through remote wardrobe studies. The theoretical perspective of Erving Goffman analyses the participants and their wardrobes through the lens of dramaturgy. This perspective allows for the investigation into the behaviour of individuals practising online and in- person yoga classes compared to yoga at home. Viewing social life as a theatre performance to explore individual’s wardrobes and yoga clothing is a vital component of the study. The research demonstrates how individuals in a society constantly perform and how a wardrobe is an object that also performs. The findings suggest that yoga clothing, the body, and the wardrobe are intrinsically connected, providing rich information contributing to fashion studies.
37
Ljungqvist, Jonna, and Karin Filhm. "Att möta fördomar : En kvalitativ studie om några finska och utomnordiska romers upplevelser på bostads- och arbetsmarknaden." Thesis, Stockholms universitet, Institutionen för socialt arbete - Socialhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77634.
Full textAbstract:
The aim of this study has been to examine how a few members of the Finnish and non- Scandinavian Romani subgroups experience their own, and their groups, situation on the Housing- and Labour Market. We´ve studied our respondents’ experiences of discrimination, which difficulties they think there are, what strategies can be used to deal with these difficulties and also their own ideas on how to improve the situation for the Romani people in the Swedish society. This has been done by six individual structured interviews which have been analyzed with concepts from Symbolic Interactionism, including Goffman’s Dramaturgical Role Theory, definition of Stigma and Kelly’s theory of Personal Constructions. Our results show that the respondents either have been victims of discrimination themselves, or have family/friends that have, which has led to adjustments to the expectations of how an employee or a houseguest should be. Our respondents believe that difficulties getting/keeping a job/house are a result of prejudice towards the Romani people and the main strategy that can be used is hiding their ethnic identity on these arenas. Ideas for improvement include members of the majority population and Romanies working together long term to develop knowledge about the Romani people.
38
Fahed, Nour. "The Dilemmal Socialization on Social Media Platforms : A Qualitative Study on the Experience of Online Socialization and the Infrastructure of Social Media Platforms." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-46523.
Full textAbstract:
Social media effects may affect self-perception and the way media users live their offline lives. The purpose of this essay was to examine the phenomenon of social media saturation in order to understand the possible risks to the development of human identity during the adolescent period. Hence, these risks may be generated by being exposed to social comparison, cyberbullying, self-validation, and self-perception in a sensitive age when self-image is still fragile and being formed. The purpose of this essay is to examine the psychological tendencies of human beings while interacting with their peers on social media platforms. Hence, this will give us a clearer view of what would be achieved by conducting interviews. Moreover, a selection of theories will be applied to those interviews in order to associate those theories with what has been said by respondents. Hence, Meyrowitz’s theory will be used in relation to understanding the identity adaptation to online connection and linked to Goffman’s discussions of “onstage” and “backstage” (Meyrowitz, 1985: 5). After this, the essay will investigate how users’ self-perception and social comparison are enacted while socializing on social media platforms. Furthermore, this essay sheds the light on how identity is constructed online in the sense of belonging to a community on a social media platform as well as of gratification coming from peer validation in a virtual community. To be able to explain this, the “Social Identity Theory” will, therefore, be discussed (Teo, Matti, et al, 2017: 23). This will be discussed by mentioning theories like “Mediatization” (Couldry & Hepp, 2013). And lastly, the sociological concept of Habitus, minted by Pierre Bourdieu will demonstrate the process of adaptation towards unspoken social codes existing in virtual communities (Markham, 2017: 55). As found in the four qualitative semi-structured interviews with social media users, respondents are surrounding themselves with like-minded social groups which provide them with confidence about their own system of beliefs. Nevertheless, their perspectives are often marked by notable social pessimism and a lack of incentive to engage in conflictual interactions with others on social media. The results pointed out the perception among the interviewees that the impact of social media on identity formation is largely confined to adolescent users. Many users self-report significant daily screen time and are aware of the risks of social bubbles. Most of the respondents denied being subjected to cyberbullying, while they were surfing on social media, so the respondents’ physical lives were not affected by cyberbullying even for those who mentioned their exposure to cyberbullying. All the respondents expressed a sense of jealousy to some extent, even though some of them showed awareness of the thought that people post their lives from a perfect angle while hiding the flaws and not showing the imperfections of their lives on social media. Lastly, social comparison was an incentive feeling affected most of the respondents, and in their own experience, social media affected their character development and self-perception since they were exposed to social media at an adolescent age.
39
Favas, Luis Manuel Romão 1988. "Backstage." Master's thesis, 2013. http://hdl.handle.net/10451/8214.
Full textAbstract:
Tese de mestrado, Arte Multimédia, Universidade de Lisboa, Faculdade de Belas Artes, 2013Acompanhada por 1 DVD com video, catalogado separadamente, apenas visível na Biblioteca da FBAUL
The dissertation is theoretical and practical. Discusses the effect of mediation that the camera produces in a singular moment, showing several examples of the way that it affects both the behavior both in the behavior of people who that are at the front and at the rear of the lens. This Fact makes the photographic act make certain events to be prolonged, interrupted or even repeated. Are also presented several cases which concern the relationship of photography as a substitute for the original, such as the labeled tourist’s photography assumed as a substitute for the repetition of the travel and the photography as a replica of a work of art. At the beginning of the dissertation is described the social and cultural framework of the advent of photography and the particularities attached to the various stages of its history. The installation Backstage, is the artistic part and practical component of the dissertation, which questions the photography as the best way to remember a particular moment. To achieve this goal, the viewer can see the piece but at the same time is denied by the artist the possibility to photograph it, being the photography occulted whenever a visitor demonstrates the intention of photograph it. It is wanted to make conscious the use of the camera and multiple consequences of choosing to use entails
40
Tom, Synthia. "The two faces of anorexia : front stage and backstage." Thesis, 2002. http://spectrum.library.concordia.ca/2438/1/MQ68508.pdf.
Full textAbstract:
This research paper explores the use of drama therapy, integrated with concepts from Goffman's dramaturgical model, in the treatment of clients with anorexia. The goal of this study is to illustrate the way in which drama therapy is effective in drawing out the true self/backstage of clients with anorexia. Goffman's dramaturgical model, which is a self-representation model, describes self-representation in terms of a front stage and a backstage and that a person will act according to the situation while there are other things taking place backstage, yet are not revealed (as cited in Moghaddam, 1998). Hence, these concepts of a front stage and backstage also parallel the true self and false self of the client with anorexia and the aim of drama therapy in this study is to draw the true self out onto the front stage. Thus, the core section of this paper lies in the third chapter which focuses on the use of drama therapy interventions (with narrative therapy psychodramatic and cognitive behavioral therapy influences), as a therapeutic method in bringing a true self forwards. In accepting the anorexia as a negative force and problem to be dealt with then, I am working with the client towards a re-nurturing and re-feeding of her true self in terms of thinking, feeling and being.
41
CHEN, CHUEHLIEN, and 陳鵲蓮. "Business Plan~The Backstage Management System for Social commerce." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7e7suf.
Full textAbstract:
碩士國立臺灣大學
創業創新管理碩士在職專班
107
According to the data of Ministry of Economic Affairs, the revenue of Retail Trade not in Stores or Stalls grows up 11 consecutive years, and online shopping is about 70% (169.5 billion NTD in 2017). And online shopping through community websites like Facebook, Line or Instagram is more potential than traditional ways. The “private community” on FB, Line or Instagram is a new business model, the members can shop here instead of B2C websites, the operators of these communities usually start up with less money and part time working hours, but the members trust them so they can grow up in a short time, many of the communities have hundreds even thousands members, the revenue reaches to hundreds of thousand NTD per month, so the operators need an efficient system to manage the communities. In this business plan, a “Backstage Management System for Social Commerce” will be designed to reduce labor costs and improve the efficiency, when member who wants to buy some product and leaves a comment such as “+1” under the post of the product, it will automatically links to the backstage and counts, thus the correct rate will be much better than manual. And further more, the system also has the functions as follows: 1.Bank reconciliation 2.Monthly earnings report 3.A platform of Inventory Closeout The expected investment is 5million NTD in the first two years, to develop the system and marketing, the expected income is the annual fee and the processing fee of the platform of Inventory Closeout, and expected to turn a round in the forth year. Keyeord：Bank reconciliation、FB、online shopping、private community、Social Commerce、earnings report、Inventory Closeout
42
邱奕祁. "Niutree’s Backstage: Hakka boy’s Personal Experience In A Taiwanese Opera Troupe." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/536768.
Full textAbstract:
碩士國立高雄師範大學
客家文化研究所
102
The treatise is based on the writer’s personal experience in a Taiwanese opera troupe, and written in the type of reflexive ethnography through a non-self- role "Niutree." The ethnography will veraciously present the interaction between the people, the stories, the years, the places, and things of that time, furthermore investigate the treatment of a Hakka-boy in a Taiwanese opera troupe, or even the treatment of Hakka in present-day society of superior Taiwanese culture. Perhaps the role Niutree is a reflection of the relation between Hakka and the society. The main purpose of the article is to observe the encounter, conflict and adaption of a Hakka boy who lives in a strong Taiwanese culture, through the role, Niutree. Nowadays Taiwanese culture is stronger than Hakka culture, the article is going to expatiate what Hakka people may encounter in Taiwanese culture, and how they handle it. The most different viewpoint with other articles is the personal experience of the writer. He is thinking outside the box himself. On account of being a member of that Taiwanese opera troupe, the writer understands what situation Hakka might encounter and feel while living in Taiwanese culture. As a result, he can realize the progress of mental reactions of Niutree, and write honestly by the style of ethnography. The references are the full field notes of participating in investigation and interviewing with local elders during Jun. 2009 to Sep. 2012 in a Taiwanese opera troupe. The article is a narrative writing and based on real stories. According to these stories, the writer raises theories to prove it with stage and backstage repeatedly and obtains the ultimate conclusion.
43
Passos, Tiago. "Banco BPI SA financial institutions: international operations to take the backstage." Master's thesis, 2016. http://hdl.handle.net/10362/16744.
Full text
44
Cheng, Ruo-Shiun, and 鄭若珣. "“The Backstage of Fairytales: Charlotte”: A Study on An Illustrative Book." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/t54u96.
Full textAbstract:
碩士國立臺東大學
兒文所
105
This study focuses on my illustrative book: “ the backstage of fairytales: Charlotte”. The content is organized aligned to feminism and female consciousness while unfolds five concepts, which are respectively “awareness”, ”writing”, ”socialness”, “gender” and “ spirituality”. Five traditional fairytales are to be re-written accordingly to above five concepts. They are sleeping beauty, Peter the Rabbit, Peter Pan, the Little Mermaid and the Charlotte’s web. The author rewrites classic fairytales and makes use of them as sources to create new narratives. It is because these fairytales mold children’s scheme of thinking including ideologies and ethical values through their reading experience. Classic fairytales consolidate traditional values constantly and reinforce the status quo in society. I “rewriting” aims to re-construct values and perspectives. It challenges reader’s mind and expects to stimulate more responses. This book expected to re-call reader’s early memories and established schemes by familiar characters and stories in order to amplify reader’s responses. It becomes a hyper-textual experiment based on the feminism and female consciousness. The study on this creation is in four parts: firstly the motivations and background, secondly the theories and previous studies, the thirdly the author’s self-statement with unfolding of the ideas and the fourthly some remarks on the production of the book.
45
Cunliffe, Ann L., and da Silveira F. Alcadipani. "The politics of access in fieldwork: Immersion, backstage dramas and deception." 2016. http://hdl.handle.net/10454/8064.
Full textAbstract:
YesGaining access in fieldwork is crucial to the success of research, and may often be problematic because it involves working in complex social situations. This paper examines the intricacies of access, conceptualizing it as a fluid, temporal and political process that requires sensitivity to social issues and to potential ethical choices faced by both researchers and organization members. Our contribution lies in offering ways in which researchers can reflexively negotiate the challenges of access by: 1. Underscoring the complex and relational nature of access by conceptualizing three relational perspectives – instrumental, transactional and relational – proposing the latter as a strategy for developing a diplomatic sensitivity to the politics of access; 2. Explicating the political, ethical and emergent nature of access by framing it as an ongoing process of immersion, backstage dramas, and deception; and 3. Offering a number of relational micropractices to help researchers negotiate the complexities of access. We illustrate the challenges of gaining and maintaining access through examples from the literature and from Rafael’s attempts to gain access to carry out fieldwork in a Police Force.
46
Wu, Su-Mei, and 吳素梅. "The Developmental Characteristics of Taiwanese Opera's Backstage Music-Based on South Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/31926811017593070607.
Full textAbstract:
碩士國立臺南藝術大學
民族音樂學研究所
98
Over the past hundred years, Taiwanese Opera’s performance forms have been changed gradually, in order to keep up with the times and the society changes. Its backstage music has also different development characteristics caused by the performance forms. Nowadays, except few drama troupes in Ilan which maintain the traditional performance form, all the other troupes are divided into two types according to the performance forms, contents, properties, arenas and financial resources: “civil dramas” and “cultural shows”. This study is based on the country surveys in South Taiwan, by way of actual observations, participation of performances, interviews and analyses of music scores, to analyze the contemporary development and the backstage music of Taiwanese Opera, including both “civil dramas” and “cultural shows”. In terms of “cultural shows”, because of the aid and advocacy of the government and civil institutions, and the cooperation of play wrights, directors and music designers, the performance form of “cultural shows” is more and more meticulous and multiple. As for “civil dramas”, they still maintain the unique “live show” form of the traditional Taiwanese Opera. This study focuses on the using of the backstage music, the troupe band organization, the multiple performance ability and background of the musicians , the concepts of the composers, the using ability of digitalized music, to present the direction of development and transform of the backstage music. The final part of the study will comprehensively inquire into the distinctive features of the extemporaneous live shows, the educative background of the musicians, the combination of different instruments, the styles of music design. We expect to take a panoramic view and an introduction in diverse aspects of the backstage music of Taiwanese Opera in South Taiwan and arouse more resonances.
47
Wu, Yu-Pei, and 吳榆珮. "Tungnan Girl\'s Basketball Team Backstage Driving Force - There is \"Inclination\" Together." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/v4ykm2.
Full textAbstract:
碩士臺北市立大學
體育學系碩士在職專班
107
In the field of basketball coaching, many excellent become a coach after retiring from the player’s career. It requires a lot of experience and expertise to be an extraordinary basketball coach. Coach Zhang, Yu-Zhi loves sport since her childhood, she was an energetic kid and had passions for all kind sport. She has reached this significant achievement along her career both as a basketball player and a coach after all these struggles in family issue, financial problems, and physical inures on her left knee. With the strong will and devotion for basketball, she successfully solves many difficulties and overcoming adversities. 〞Never give up, stick to the goal no matter what〞is the motto she has kept in her life. This master’s thesis is about the coach Zhang, Yu-Zhi’s career through the interesting and profound interviews with her mentor, classmates and teammates. Through all these interviews and widely collected information, we are able to know more stories about her coaching career and to know the key qualities that distinguish her from a good coach to a great coach. After all these research and analysis, there are three conclusions of this master’s thesis. First：Put yourself on the other’s shoe; and be compassionate and supportive to the team. Second: Lead the teams with the expertise and righteousness. Third：Character and integrity are the most important of all. In her philosophy of coaching, appropriate courtesy, good manner and sportsmanship are the most important of all. Also, this kind of instructive philosophy is the role model for the basketball’s coaching in Taiwan nowadays. Coach Zhang, Yu-Zhi’s successful and extraordinary coaching career can be a great inspiration for all yang athletes in Taiwan. This great coaching inspires and empowers her team to develop the full potential and achieve the greater accomplishment. As a basketball coach, she will instruct the player with her previous experience as a player. Her insatiable thirst for professional knowledge in graduate school also helps in career. She will try to build and grow the team through the process of consulting with the peer coach and utilizing the advanced expertise from the graduate school. In the process of training, she will face the problems with courageous and adopt the method of the training according to the player individually to make the training move efficient and effective.
48
Moon, Jang Ho. "Behind-the-scenes of a brand : the impact of perceived backstage on consumer responses." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4450.
Full textAbstract:
Consumers watch what a brand does, listen to what a brand says, and expect to make a meaningful connection with a brand via social media. Thus, creating effective and persuasive content on behalf of a brand to attract consumers becomes an important task for today’s marketers in social media.
In this dissertation, brand information disclosure is defined as any communication of a brand’s relevant information, thoughts, and feelings, which are generated and deliberately disclosed by marketers. Further, disclosing perceived backstage of a brand by showing various behind-the-scenes information is proposed as a unique type of brand information disclosure, which is interpreted as a higher degree of brand information disclosure.
Motivated by the integral role of self-disclosure in interpersonal relationships, the purpose of this dissertation study is to investigate the influence of a brand’s disclosure of perceived backstage information through social media. Specifically, this study explored how the degree and the scarcity of information disclosure would influence on consumer’s intimacy, liking, and trust toward a brand as well as consumer-brand relationship quality. Further, the study attempts to investigate the moderating role of consumer’s advertising skepticism on consumer responses.
The findings from this dissertation study illustrate that degree of brand information disclosure is a significant influence on consumers’ brand evaluations and consumer-brand relationship quality in a social media environment. In addition, findings highlighted the influential role of the scarcity of information disclosure, depending upon the degree of information disclosure. Moreover, the findings evidenced how the consumer’s general advertising skepticism can play a significant role when consumers are exposed to information from the brand via social media.text
49
Hsieh, Ming-Pei, and 謝銘珮. "A research on the relationship between visualized service backstage and consumer’s perceived value in service encounter." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/97020612811603970019.
Full textAbstract:
碩士國立中山大學
企業管理學系研究所
94
Grove and Fisk （1983） had used the noun and idea of drama performance in the theater to compare the offering of service, such attendants as known as performer, customers as known as audience, and separate the front and back stage of service encounter clearly. At the same time, they offer the structure to easily understand the process of the wholly service contact and to help estimate the influence of each important link of service contact. So, this research focused on “perceived value” of customer experiences through which, the “visualized service backstage” in the service contact promotes the interaction of consumers and suppliers. Moreover, this study used the involvement of the back stage information and attention of attendants’ appearance to moderate consumer experiences. The results showed that “visualized service backstage” has positive influence on “perceived value” with different levels, and customers have more consciousness on “experience value”. Actually the service with “visualized service backstage” can really improve customers’ perceived value. It not only can strengthen consumers’ experience value, but also promote other different values of consumers. In fact, if service providers can use this advantage to create more perfect service performance by which the front stage and the back stage fully support. And it could bring to people more different service value than others. In addition, through the analysis of this study and real practices, it can help the service providers understand which value is the key factor to be attention for offering visualized service backstage.
50
Hammond, Leanne. "Access all areas: a backstage look at women’s experiences in the West Coast rock music scene." Thesis, 1995. http://hdl.handle.net/2429/3700.
Full textAbstract:
This study attempts to address a gap in existing
subcultural research. While there has been extensive work
done on the experiences of men in subcultural groupings, the
examination of women's experiences is sadly lacking. Using
a combination of participant observation and ethnographic
interviewing, this study looks at the role women play in the
local rock music scene. Some interesting themes emerge that
challenge existing notions that women are either marginal or
absent from subcultural activity.
Women in the scene occupy a richly contradictory social
position. While they exercise an impressive degree of
sexual and financial autonomy, as illustrated by their
initiation of relationships and breadwinner roles in
partnerships with male musicians, they also adopt many goals
and behaviors typically associated with mainstream
constructions of proper femininty. Women in the rock scene
are seldom performers, instead they are concentrated i n the
role of the "nurturent caretaker" (Cole 1993: 89/90)
allowing the male musicians to retain recognition, prestige
and power in the scene. This construction of the male role
as central reflects the acceptance of patriarchal ideology
in the scene and obscures the contribution of women to the
material maintenance of the subculture.
Women's roles in the scene can be characterized as a
simultaneous acceptance and rejection of mainstream
prescriptions for feminine behavior. While women in the
rock scene are undeniably the focus of much sexual
objectification and exploitation, they cannot be viewed as
either passive or dependent. Women are described by scene
members as sexually powerful decision makers, and although
women's power is cast in disappointingly sexual terms, it is
the active nature of this sexuality that leads me to
describe women not as "passive" sexual objects, but rather
as "active" sexual objects.
Women's experiences in the rock scene are inextricably
linked to heterosexual relations with male musicians. While
rock women focus on the same goals of marriage and
motherhood as mainstream women, their relationships are
characterized by complications imposed by the rock
lifestyle. According female participants, the overt
sexuality of the scene, lack of financial stability , and the
consuming nature of the music business combine to challenge
the maintenance of a healthy relationship with a musician.
However, while women's willingness to deal with such
obstacles is puzzling, it can be seen as determination to
transcend traditional limitations on masculine and feminine
roles. The rock scene, despite its disproportionate
consequences for women, offers both women and men
alternatives to mainstream constructions of masculinity and
femininity. The scene is identified by both female and male
participants as offering excitement, spontaneity and passion
absent in mainstream society.