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Dissertations / Theses on the topic 'Cultural performance'

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Published: 4 June 2021
Last updated: 24 January 2023

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1

Summerhayes, Catherine, and catherine summerhayes@anu edu au. "Film as Cultural Performance." The Australian National University. School of Art, 2002. http://thesis.anu.edu.au./public/adt-ANU20090210.095136.

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This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.
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2

Marra, Juliana Ribeiro. "Catira: performance e tradição na dança caipira." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/7293.

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned.
Essa pesquisa tem como objetivo propor uma ampliação da compreensão sobre a catira, dança tradicional da cultura popular brasileira. A dança se territorializa na região de cultura caipira e tem sua estrutura fundamentada no palmeado e sapateado dos dançadores no ritmo da moda de viola e do recortado. A viola é, pois, o instrumento essencial à dança. Assim, catira é dança, mas também música e poesia que se identificam com o mundo rural do centro-sul do Brasil. Embora a prática seja considerada contemporânea à colonização do país – e os grupos de catira sejam muitos –, são poucos os registros e estudos que versam sobre ela. Neste sentido, inicialmente se apresentou a dança, sua forma e elementos e buscou analisa-la tendo em vista sua inserção nos estudos acerca da cultura popular e do folclore no Brasil. Em seguida, delineia-se a abordagem teórica e metodológica da pesquisa, e a catira passa a ser o foco de uma análise construída na interdisciplinaridade dos saberes, no qual supõe-se métodos e categorias de análise das ciências sociais, mas também das artes. As performances culturais emergem como eixo interpretativo da pesquisa, desde que em relação com outros conceitos que também se estabelecem na perspectiva multidisciplinar – a saber: tradição, socialização, memória, corpo e dança. Tendo em vista esses conceitos, chega-se à análise dos dados obtidos a partir do trabalho de campo realizado na pesquisa. A narração analítica é construída a partir de entrevistas, observação e participação, relações teóricas e registros audiovisuais, sobretudo as fotografias produzidas em campo. Primeiramente, se analisa a dança da catira inserida no ritual da folia da Companhia de Reis da Bandeira Vermelha, na Cidade de Goiás/GO e, posteriormente, o foco se desloca para a cidade de Itaguari/GO e sua imensa Folia de Reis, onde se encontram os grupos Irmãos Oliveira e Orgulho Caipira. Finalmente, tendo ainda como referencial a experiência vivenciada com os grupos, o estudo é aprofundado focando as identidades, as relações de poder e negociações empreendidas pelos grupos de catira. Entende-se que as identidades buscadas e vividas se relacionam com os lugares e territórios nos quais são produzidos esse patrimônio performático da cultura caipira e que a resistência é característica desses corpos que se movimentam, harmonizados e em duplas, desde tempos imemoriais, nas conjunturas da atualidade e – se for permitido indicar um caminho de antemão – em um futuro a perder de vista.
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3

Costa, Grasielle Aires da. "Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5704.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.
Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.
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4

Lundborg, Jona, and Iman Nouri. "Cultural Distance and International Acquisition Performance." Thesis, Uppsala University, Department of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9429.

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Based on Hofstede's findings, this study breaks down Kogut and Singh's index of cultural distance, examining implications for acquisition performance of each individual dimension. Hypotheses are formulated, and based on deal data covering 488 acquisitions with American companies as acquirers, tested through linear regression. We find support for a positive relationship between cultural distance of power distance and performance, and an inverse relationship between cultural distance of masculinity and performance. Significant results are not obtained for the remaining dimensions.

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Oughton, Karen. "Drag performance, identity, and cultural perception." Thesis, University of Hull, 2009. http://hydra.hull.ac.uk/resources/hull:2573.

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This is the first holistic study of English cross-dressed performers. It will situate drag performers within their cultural context in order to establish how their concerns, motivations, employment, communities, friendships, self-perception and artistic ambitions impact on their performances. Furthermore, it utilises performance and ethnographic analysis of a number of artistes to demonstrate how modern drag politicises communities and forms an accessible critique of social roles. Furthermore, it aims to reunite Queer Theory with the realities of its effects on society. The first chapter establishes the study’s position within the overarching framework of Queer Theory. A troupe of drag performers are examined in light of Judith Butler’s theories of performativity to elucidate how the social aspects of gender can be developed. Then, Kate Bornstein’s work is used to illustrate how individuals can use these identities as a conscious method of self-development. Following this, the second chapter explores the social role drag performers have, sometimes inadvertently, chosen. Developing the theories of the interrelationship between belief, LGBTQ sexuality and otherness purported by Kate Bornstein, it asserts the educational and social role that can be taken by drag performers. The third chapter focuses on the messages that these LGTBQ shaman (a theory developed from Laurence Senelick’s work) convey to their community via performance. Case studies illustrate how the performers tailor their acts to politicise their often apathetic audiences. This work is extrapolated in the fourth chapter, which focuses on the community-wide Pride Parade performances. The Rabelaisian carnivalesque is used to argue that the carnivals encourage the audience to review their gender development, revitalising the culture. Finally, the fifth chapter demonstrates how these differing theoretical strands enable televised drag performance to challenge censure by questioning ‘otherness’ itself. This is achieved with reference to horror theory, camp and the performances of Danny La Rue, amongst others, and the cultural impact of the programme Little Britain (2003). The thesis demonstrates that drag is, in fact, a dialogue that can engage and politicise mainstream culture.
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Moyo, Unoda C. "Performance Appraisal in Organizational Cultural Context." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/1155.

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This study examined the relationship between an organization's culture and its performance appraisal (PA) system and process. The initial phase of this study involved examining an organization's culture and the properties of its performance appraisal system from organizational archival information. Information derived from this phase of the study was later utilized to formulate interview questions, guide the search for the organizational culture survey instrument, and to construct the performance appraisal perceptions measuring instrument. This latter instrument is a quantitative measure that was later employed in testing the primary hypothesis that stated the performance appraisal process had a positive effect on organizational culture. The results of the hypotheses testing revealed that the PA process, in terms of individual member perceptions thereof, had a significant positive effect on the selected organizational cultural elements. Further analysis of the data revealed that members of the organization that had been recently appraised had statistically stronger positive perceptions towards the PA process and, therefore, stronger inclination towards the espoused cultural values. These findings make a strong case for using the performance appraisal process for the purpose of not only evaluating individual performance for various administrative goals, but for other goals related to creating, maintaining, and perpetuating the desired organizational culture. This suggests that organizational leadership (through its management), when designing its PA system should pay attention to the value system, or the culture, it wants to prevail in its organization and include this information along with other relevant performance measures into the PA structure. Such a policy can lead to the existence of an appropriate culture for that organization if, as the results of this study show, the managers and supervisors at all levels timely perform such appraisals for all their subordinates. Performance appraisal, which itself is often considered a structural element designed for organizational control, has the potential to have as much impact on an organization's culture as any other mode of communication. In that regard, this study takes a step towards looking at PA as one more criteria to be examined during organizational cultural studies and organizational intervention
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Lerner, Vyacheslav Semenovich. "Cultural Backgrounds Influencing Virtual Team Performance." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1410.

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Virtual teams improve organizational performance and competitiveness because they reduce business travel and allow team members to work from anywhere, anytime, using the Internet to complete projects. Although researchers have identified benefits of using virtual teams, knowledge about how cultural backgrounds influence virtual team performance is limited. Illuminating this relationship may help leadership improve team performance. The purpose of this phenomenological study was to explore the lived experiences of team members with different cultural backgrounds to understand their effect on team performance. The research questions were based on the conceptual framework of organizational cultural theories developed by Schein and Trompenaars and Hampden-Turner. Interview questions were electronically distributed to a purposeful sample of 20 participants who worked on virtual teams and could describe their lived experiences. Data were collected, coded using open and axial techniques, and analyzed for themes and patterns. Key themes emerged such as cultural backgrounds, language barriers, communication, conflict, and use of information technology. Findings included techniques for improving communications, understanding different cultural backgrounds, and the satisfaction of team members. Implications for positive social change include an improved understanding among virtual team leaders regarding how different cultural backgrounds influence team performance. Results of this study may benefit organizations by helping them better manage the performance of multicultural virtual teams, thereby leading to improved product development and reduced costs associated with activities such as business travel and remote work.
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Weber, Todd Jack Dean James W. "Performance oriented cross-cultural management research examining the impact of national culture on the practice-performance relationship /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,239.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Kenan-Flagler School of Business Administration." Discipline: Business Administration; Department/School: Business School, Kenan-Flagler.
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Amaral, Ivoneides Maria Batista do. "A performance cultural na Dança dos Mascarados." Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/77.

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O conceito de performance cultural, enquanto proposta dramatúrgica foi articulada através da junção dos estudos de Schechner e Turner, da concepção de que todo comportamento restaurado é uma performance, procurando revelar o caráter dinâmico, vivo e transformador próprio da comunidade (DAWSEY, 2013). A performance cultural ocorre em diferentes contextos sociais, em cada performance, criam-se novas configurações, novos espaços e espectadores. Neste trabalho, observamos a Dança dos Mascarados de Poconé composta por 28 homens que se vestem com máscaras e roupas coloridas para a realização do ritual coletivo, desempenhando uma conexão entre os dançantes e a comunidade. Pensando na Dança dos Mascarados como Performance cultural, é possível pensar na dança como uma ação extra cotidiana, uma arte da presença e uma ação coletiva. A dança interrompe as experiências rotineiras e se inscreve numa nova temporalidade.
The concept of the cultural performance, as dramaturgical proposal was articulated through Schechner and Turner’s studies, of conception that all restored behavior is a performance trying to reveal the dynamic character, living and community own transformer (DAWSEY, 2013). The cultural performance occurs in different social contexts, each performance, creates new configurations, new spaces and spectators. In this study, we observed the Dança dos Mascarados of Poconé, composed by 28 men who dress up with masks and colorful clothes, for the realization of collective ritual, playing a connection between the dancers and the community. Thinking in the Dança dos Mascarados as a cultural performance, it is possible to think in the dance as a daily extra action, an art of presence and a collective action. The dance interrupts the routine experiences and is part of a new temporality.
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Faria, Marcelo Fecunde de. "Zé Pereira: a performance carnavalesca em Itaberaí-GO." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5464.

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This dissertation deals with the carnival manifestation "Zé Pereira" in Itaberai- GO, analyzing it as a cultural performance adopting some concepts present in studies of cultural performances to understand how is the relationship and involvement that are coming and characteristic of performative action, linking the liminality concepts of Victor Turner, the theory of performance of Richard Schechner, Bakhtin and DaMata Carnival. The focus of the analysis are the events that take place 15-17 days before the national carnival, being a predecessor activity the carnival period, the performance is formed by a group of masked young people wearing horrifying masks, accompanied by a drumming group with several instruments percussion and prepared by a committee of support organization, all these characters are surrounded by an audience that accompanies the demonstration during ALL the days passing through different streets of the city gaining attention from citizens who are in their homes. This work aims to demonstrate that while performance “Zé Pereira” produces historical, social and cultural repercussions on people directly or indirectly involved. This context was accompanied by ethnographic experience and observation of the process of formation and constitution of the current “Zé Pereira” in Itaberaí.
Esta dissertação aborda a manifestação carnavalesca Zé Pereira no município de Itaberaí –GO, analisando-o enquanto performance cultural. Adotando alguns conceitos presentes nos estudos das performances culturais para compreender como se dá as relações e envolvimentos que são oriundos e característicos da ação performativa, interligando os conceitos de liminaridade de Victor Turner, da teoria da performance de Richard Schechner e do Carnaval de Baktin e DaMatta. O foco da analise são os eventos que acontecem de 15 a 17 dias que antecedem o carnaval nacional, sendo uma atividade antecessora ao período carnavalesco, a performance é formada por um grupo de jovens mascarados com máscaras horripilantes, acompanhada de uma batucada formada por vários instrumentos de percussão e preparada por uma comissão de organização de apoio, todos estes personagens estão envoltos de um público que acompanha a manifestação durante os dias de saída em que passa pelas diferenciadas ruas do município ganhando atenção dos moradores que estão em suas casas. Procura-se demonstrar que enquanto performance o Zé Pereira produz ressonâncias históricas, sociais e culturais nas pessoas envolvidas direta ou indiretamente. Este contexto foi acompanhado por meio da vivência etnográfica e observação do processo de formação e constituição do atual Zé Pereira em Itaberaí
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11

Nicolaidis, Christos S. "Cultural determinants of corporate excellence : the impact of national cultures on organisational performance." Thesis, University of Reading, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333433.

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12

Dorman, Andrew. "Cosmetic Japaneseness : cultural erasure and cultural performance in Japanese film exports (2000-2010)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6354.

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Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan's film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness'. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure' and ‘cultural performance' in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership' to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.
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13

Taghavi, Shiva. "When Your Culture Advocates You : the Effect of Cultural Work Values on Performance." Thesis, Jouy-en Josas, HEC, 2015. http://www.theses.fr/2015EHEC0004/document.

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Les valeurs culturelles et leur impact sur les attitudes et les comportements ont longtemps été un objet de débat. La mondialisation, la migration et l'expatriation ont contribué au conflit provoqué par l'interaction entre les multiples identités culturelles, en particulier lorsqu’il s’agit d'organisations constituées de personnel diversifié. La France est un cas singulier, offrant un contexte historique et culturel particulièrement intéressant pour l’étude de ce sujet. En effet, la culture dominante en France prône l'égalitarisme et la laïcité. Parallèlement, une grande partie de la population française a adopté des valeurs culturelles issues de ses croyances religieuses. De plus, les perceptions au sujet de «l'égalité des chances» offerte par la société varient considérablement selon les cultures. Cette question est particulièrement importante dans un environnement de travail où les individus ayant des croyances diverses et complexes participent à des activités collectives. L'objectif de cette thèse est de découvrir les mécanismes par lesquels les attributs culturels déterminent une éthique de travail - premièrement, à travers leur interaction avec les croyances religieuses; et deuxièmement, à travers les croyances implicites sur la structure de la société. Les résultats révèlent que les pensées religieuses influencent positivement l’éthique de travail et le niveau de l’effort quand une culture de la religiosité est proéminente et négativement lorsque la culture laïque est saillante. Par ailleurs, cette recherche éclaircit les différentes perceptions de l'égalité des chances dans la société. Les attitudes méritocratiques sont directement influencées par la façon dont les gens distinguent la structure sociale : selon qu’elle soit perçue comme rigide ou malléable. Sur trois essais, cette thèse soulève une problématique particulièrement importante à laquelle font face les employeurs et les décideurs politiques, en particulier en France. Elle fournit une explication quant à l'impact des valeurs culturelles et religieuses, des perceptions sur la malléabilité de la structure sociale, et des mentalités, sur la prévision de l’éthique de travail et la motivation
Cultural values and their impact on people’s attitudes and behavior have long been a place for debate. Globalization, migration and expatriation have contributed to the conflict caused by the interaction among multiple cultural identities, particularly when it comes to organizations with diverse workforce. Specifically, France is a unique case that provides a historically and culturally rich, yet very ambiguous context for studying this topic. The dominant culture in France emphasizes on egalitarianism and secularism. However, a great part of the population has adopted distinct cultural values with regard to their religious beliefs. Moreover, the perception about ‘equal opportunities’ provided by the society varies considerably across the cultures. The topic is specifically important at workplace, where individuals with diverse and sometimes divergent beliefs take part in collective activities. The objective of this dissertation is to discover the mechanisms by which cultural attributes predict work ethic and productivity- first, through their interaction with religious beliefs; and second through the implicit theories about the societal structure. The findings reveal that religious thoughts positively influence work ethic and level effort when a culture of religiosity is prominent and negatively when the laïc culture is salient. Furthermore, this research sheds light to the different perceptions about equal opportunities in the society. The meritocratic attitudes are directly influenced by the extent to which people perceive the social structure to be malleable vs. fixed. Across three essays, this dissertation addresses a particularly important issue as faced by employers and policy makers, specifically in France. It provides a compelling understanding about a number of antecedents of work ethic and work behavior; namely, the cultural and religious values, perceptions about malleability of the social structure, and mindsets
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14

Hazzard-Robinson, Monique Matleen. "Cultural Sensitivity in the Performance-Based Learning Environment." ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/4521.

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The Georgia Department of Education requires students to earn 4 course credits in the area of mathematics in order to graduate from high school. Academic success for mathematics students in a school district in southern Georgia has been encumbered because teachers lack cultural competency in mathematics instruction, which has hindered minority students from developing reasoning, critical analysis, and problem-solving skills needed to earn these required math credits. The purpose of this project study was to examine teachers' perceptions of using culturally relevant teaching strategies to influence the academic performance of minority students in the mathematics classroom. The conceptual framework was Dewey's progressive education theory. Six high school math teachers were purposefully selected for face-to-face interviews. Interview transcripts were coded using the Coding Analysis Toolkit and analyzed using thematic analysis. The findings showed that culturally competent mathematics instruction is important when teaching minority students; however, math teachers were not adequately prepared to teach minority students. Based on the findings, a professional development program was developed for secondary math teachers. Implications for positive social change include increasing math teachers' cultural awareness during instruction to help minority students increase academic proficiency in mathematics.
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Silva, André Carlos Conrado Inácio da. "Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016)." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6389.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense".
A palavra performance se popularizou e tornou-se recorrente no cotidiano do ser humano. No entanto, fazem uso da mesma sem entenderem a dimensão e força que ela tem. A saber que performance ocorre em todos os espaços de nossa vida, ela ocorre na cozinha no ato de cozinhar, no esporte, no trabalho, no andar, enfim, a performance é um termo carregado de sentidos e em síntese demonstra que a nossa vida está estruturada com modos de comportamentos e gestuais que expressam uma postura social que se evidencia no viver cotidiano. O trabalho dissertativo Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016) buscou demonstrar como se constitui no viver cotidiano da cidade de Goiânia a performance cultural dos goianienses que por ela circulam no seu dia a dia. Para tanto, fizemos uso da fotoetnografia em uma coleta de imagens realizada por meio de fotografias feitas em diversos pontos da cidade que, posteriormente, foram transformadas em l ambe -l ambes e levadas para recepção do público nos mesmos locais onde foram fotografados. Com o processo de recepção, buscamos identificar se o goianiense ou a goianiense reconheceria nas imagens a sua própria performance cultural ou não. Assim, no processo receptivo, realizamos entrevistas com o público receptor que foram posteriormente usadas para análise de dados no processual da pesquisa. Dessa feita, os resultados obtidos nos levaram a conhecer uma performance gestual do goianiense e da goianiense que foi construída desde a formação da cidade, e eles afirmaram nos depoimentos a existência de uma performance que constitui a identidade – performática do que viria a ser um goianiense ou uma goianiense. O presente trabalho é um convite à reflexão sobre o viver cotidiano do “goianiense”.
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16

Foy, Matthew M. "Performative Riffing: Theory, Praxis, and Politics in Movie Riffing and Embodied Audiencing Rituals." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/753.

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Audience agency, text-reading practices, and the roles mediated cultural texts play in the lives of readers have long been at the center of enduring debates among Critical, Cultural, Performance, and Rhetorical Studies scholars. One salient ongoing dialogue among scholars and critics questions the degree to which audiences actively participate in the process of making sense of mediated texts. How capable are media consumers of comprehending and responding to texts containing oppressive discourses? If pop culture is vital in shaping what it means to belong to a culture, can politically minded consumption of cultural texts be a tool by which we can resist or subvert dominant ideologies? This study enters into this dialogue through critical engagement with the emergent embodied audiencing practice of movie riffing, which is characterized by performers talking back to a film, or any matter of mediated text, as it is screened, through a series of humorous and/or critical speech acts. Embracing performative riffing as both a text-reading ethic for negotiating ideologically loaded pop culture texts and a space-based return of embodied performance in a social setting typically characterized by stillness and silence, this study explores the present state of riffing and looks to riffing's future by theorizing a movie-riffing ethic that constitutes explicitly political performance. This study is divided into eight chapters. Chapters 1 and 2 consider contemporary and historical anecdotes on audiencing practices to situate riffing within a rich legacy of embodied audiencing, text appropriation, meta-commentary, and ritual performance. Chapter 3 discusses the theoretical implications of riffing by situating riffing in scholarly discussions concerning audience agency in making sense of ideologically loaded pop culture texts; I argue riffing explicates the possibilities and constraints of audience agency, all of which should be recognized if riffing is to become a valuable performance tactic by which consumers of U.S. popular culture might enter into struggle over ideologically loaded cultural texts and reclaim a space for embodied audiencing in the cultural marketplace. Chapters 4 through 6 are dedicated to site- and text-specific inquiries into the current state of performative riffing and embodied audiencing. Chapter 4 chronicles my initial foray into ritual embodied audiencing with an ethnographic account of the 24-hour participatory "bad" movie festival B-Fest. Recounting my experiences of a B-Fest spent riffing alongside a group of enthusiastic B-Fest aficionados, I consider both the shortcomings and potential power of B-Fest riffing as a participatory, embodied audiencing ethic. Chapter 5 continues my exploration into site-specific audiencing rituals and weaves elements of text-specific inquiry, as I examine the popular audiencing ritual of the 2003 film The Room through a lens of Victor Turner's social drama model. I argue The Room's audiencing ritual and its related performances constitute part of a discursive struggle between the film's fanbase and the film's director, Tommy Wiseau, to claim the film's enduring success as a midnight movie phenomenon. In describing ways in which audience members interact with the film and each other during screenings of the film, I explore the implications of tactical in-theater performance in reading pop culture texts. Chapter 6 moves out of the realm of physical theaters and into the world of popular media as I explore today's most famous and influential riffing showcase, Mystery Science Theater 3000, and consider the tactical strengths and weaknesses of its model of movie riffing as a vessel for cultural criticism. I undertake a close textual reading of MST3K's characteristic movie riffing and identify themes that politically minded riffers might utilize to aid their efforts to read and potentially challenge ideologically loaded texts. Yet, recognizing that the discourse of the show at times showcases problematic attitudes that can be read as destructive or offensive in ways that suggest ridiculing a text is not necessarily the same as subverting it, I also consider ways in which MST3K's model of riffing falls short or presents challenges--and, therefore, avenues for innovation and growth--to politically minded riffers. Chapters 7 and 8 reflect on the lessons gleaned in previous chapters to articulate theoretical contributions and future directions for riffing and embodied audiencing practices. Chapter 7 reflects upon the observations and ideas gathered in Chapters 4 through 6 and localizes them in three related contexts--amateur riffing and online communities, mediated activist art, and the political use of humor--which I offer as further illuminating possibilities, challenges, and new directions and paradigms for riffing. Finally, Chapter 8 draws from my observations in Chapters 4 through 7 and discusses future directions that performative riffing and embodied audiencing performances provide as text-based discursive tools for interpreting and critiquing mediated cultural texts and the ideologies and interpretations of reality they convey. I glimpse into the future of riffing and in-theater performance and discuss the possibilities of riffing as a method of political performance by which media consumers can talk back to mediated texts and those texts' ideologies and interpretations of reality.
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17

Singh, Brahma Prakash. "The performance of cultural labour: a conceptual framework for understanding Indian folk performance." Thesis, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603539.

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Performance has emerged as an important concept in the field of art, culture, media, communication and socio-anthropological studies. This thesis examines the ' Indian folk performance' from a performance studies perspective, examining performance as that which arises out of the labouring bodies and lived experiences in Indian society. Such performances are embedded in 'everyday lives, struggles, and labour of different classes, castes, and gender' (Rege 2002). These performances can be considered as performances of cultural labour. Performances of cultural labour are recognized by the centrality of performance, the materiality of labouring bodies, and the integration of various al1 forms. Drawing on an understanding derived from the cultural performances of the Indian labouring lower-caste communities, the thesis attempts to provide a conceptual framework for understanding Indian folk culture and performances. For theoretical approaches, I have drawn from Dwight Conquergood's idea of performance studies as a radical intervention (2002) and Ngugi wa Thiong'o's concept of performance (2007) as well as interdisciplinary and integrated approaches to art and culture with a critical ethnography. Performance studies approach with a critical ethnography shows a great potential in such research because if performance stands for identity, then it also stands for the embodiment of oppressed identities, genres and struggles. While performance here functions as an cpistemic as well as an analytical tool, critical ethnography provides an 'ethical responsibility' to address processes of hidden injustices (Madison 2005)
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18

Aguilar, Barrientos Sara. "Cultural intelligence and individual performance in global virtual teams." Doctoral thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/12875.

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The purpose of this research was to find the relationship that exists between cultural intelligence and contextual performance, when moderated by cultural diversity in global virtual teams. A sample of 215 employees from a multinational services company was used. Data analysis was performed using a multi-group invariance structural equation model (x2/df% = 1.22, p > .01; RMSEA = .05; CFI = .97; SRMR = .08). There was a positive and significant correlation between cultural intelligence and contextual performance, which led to accept hypothesis 1 (Group 1: H1, Y11=.52, p<.01; Y12=.74, p<..01. Group 2: Y1'=.28, p<.01; Y12=.39, p<.01). Categorical moderation revealed that a high cultural diversity, increases the relationship between the independent and dependent constructs, therefore hypothesis 2 was also accepted (H2, Y11=.52, Y12=.74 > Y11=.28, Y12=.39). This allowed concluding that having cultural intelligence impacts positively individual contextual performance in global virtual teams, and that the more culturally diverse people are in the work unit, the higher is this link.
Tesis
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19

McGarry, Theresa, and M. Martin. "Cultural Content of a Language Task: Perception and Performance." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/6163.

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20

Noble, Jonathan Scott. "Cultural Performance in China: beyond resistance in the 1990s." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1047438964.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains x, 253 p. Includes bibliographical references (p. 235-253). Available online via OhioLINK's ETD Center
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21

Phaneuf, Victoria M. "National and Minority Cultures in 21st Century France: North African and Pied-Noir Cultural Associations." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/265371.

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Social conflict is common in many nations around the world. Tensions often arise from cultural misunderstandings and disagreements over national and group membership in multicultural populations. France offers a particularly clear example of such unrest. As a contemporary multi-ethnic, multicultural nation, France advocates both the belief in universal human rights as well as assimilationist policies designed to create a singular majority culture. North African immigrants and Pied-Noir repatriates are two groups at the center of recent debate in France. Both have historical ties to colonial French North Africa, but now reside within the modern French state. Each offers a unique case study of alternative strategies related to cultural negotiation and social tension as both groups currently demand recognition as French citizens and minorities. This dissertation analyses how North African and Pied-Noir minority communities in France engage discourses of history, culture, and identity to create a hospitable place for themselves in the French nation by redefining themselves both as minorities and as active citizens. One primary mechanism through which these groups achieve these goals is cultural associations, or social clubs. Cultural associations were legalized in 1901 and have not yet found a well-established role in France. Minorities use this institutional fluidity to develop concurrently their national and minority identities. Within such associations, they develop performances for both minority and outside audiences, engage contemporary French understandings of "culture," and acquire attention and resources needed to enact social change. One of the recurring tropes in such performances is the display of minority history and the role minorities play in French history. Through analysis of such activities this dissertation argues that these groups create new conceptions of national membership through their assertion of their right to be members in the French nation while retaining their cultural difference.
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Pinho, Maria Inês Ribeiro Basílio de. "O empreendedorismo estratégico como fator de melhoria de desempenho de organizações culturais: Estudo de caso - a Casa da Música." Doctoral thesis, Universidade Portucalense, 2014. http://hdl.handle.net/11328/1239.

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Tese de Doutoramento em Gestão.
As organizações culturais vivem um período de mudança fruto da recente crise financeira, o que as leva a equacionar o seu desempenho organizacional. Com efeito, a diminuição do financiamento público fá-las pugnar pela definição de uma Estratégia, que se traduz, por um lado, em Gestão Cultural, e por outro, em Empreendedorismo Cultural. Ao mesmo tempo, as performances intraempreendedoras dos colaboradores têm também um papel muito relevante na melhoria do desempenho da organização. Neste contexto, é oportuno propor um modelo de gestão de equipamentos culturais que conjugue Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural com vista à melhoria do desempenho organizacional e, consequentemente, à criação de valor. Assim, este modelo visa identificar a forma como as variáveis Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural concorrem para a promoção do Empreendedorismo Estratégico nas organizações culturais e como o Empreendedorismo Estratégico (concetualizado nessas três variáveis) se constitui um fator para melhorar o seu desempenho organizacional e criar valor. Deste modo, são cinco as questões de investigação a que se pretendeu dar resposta: - De que forma a Gestão Cultural, o Empreendedorismo Cultural e o Intraempreendedorismo Cultural contribuem para a promoção do Empreendedorismo Estratégico nas organizações culturais? - De que forma a Gestão Cultural contribui para melhorar o desempenho organizacional? - De que forma o Empreendedorismo Cultural contribui para melhorar o desempenho organizacional? - De que forma é que o Intraempreendedorismo Cultural contribui para melhorar o desempenho organizacional? - De que forma a melhoria do desempenho organizacional contribui para a criação de valor? No sentido de se confirmar este modelo, procedeu-se a um estudo empírico com recurso ao método de estudo de caso suportado por uma metodologia mista (isto é, simultaneamente qualitativa e quantitativa). O caso escolhido foi a Casa da Música. A metodologia qualitativa baseou-se na elaboração de entrevistas em profundidade junto dos diretores e gestores de topo e dos fundadores e mecenas e na realização de grupos focais com públicos com e sem experiência em gestão de organizações culturais. A metodologia quantitativa partiu da aplicação de um inquérito aos colaboradores e chefias intermédias deste equipamento cultural. As respostas às questões de investigação permitiram concluir que, especialmente em períodos de mudança, as organizações culturais que pretendam sobreviver deverão, sistematicamente, articular práticas de Gestão Cultural e de Empreendedorismo Cultural. Simultaneamente, deverão criar condições de trabalho para que os seus colaboradores sejam intraempreendedores culturais, isto é, sejam estimulados a agir de forma proativa na implementação de inovações no ambiente organizacional. Adicionalmente, a quase inexistência de estudos sobre desempenho de organizações culturais em Portugal, bem como de instrumentos quantitativos sobre Intraempreendedorismo Cultural que avaliem esse desempenho, tornam o presente trabalho de investigação inovador. Assim sendo, apresenta-se uma proposta de reestruturação do conceito de Empreendedorismo Estratégico que inclui uma articulação entre as variáveis de Gestão Cultural, Empreendedorismo Cultural e Intraempreendedorismo Cultural, uma análise simultânea do ambiente externo e interno, a introdução da melhoria do desempenho organizacional como consequência da implementação de Empreendedorismo Estratégico em organizações culturais e, por fim, a apresentação da criação de valor como consequência do desempenho organizacional. Deste modo, o próprio conceito de Gestão é repensado, propondo-se a Gestão Cultural e o Empreendedorismo Cultural como práticas quotidianas na administração de equipamentos culturais e a Cidadania Organizacional como elemento chave da Estratégia.
Cultural organizations are experiencing a period of change resulting from the recent financial crisis, which leads them to reconsider its organizational performance. In fact, the decrease of public funding makes them work for the definition of a strategy, which is reflected, on the one hand, in Cultural Management, and on the other in Cultural Entrepreneurship. At the same time, the employees’ intrapreneurial performances also have a very important role in improving the organization’s performance. In this context, it is appropriate to propose a management model for cultural facilities that combines Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship with a view to the improvement of organizational performance and, consequently, to value creation. This model aims to identify how the variables Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship contribute to the promotion of Strategic Entrepreneurship in cultural organizations and how Strategic Entrepreneurship (conceptualized in these three variables) constitutes a factor for improving organizational performance. There are thus five research questions that we intended to answer: - How do Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship contribute to the promotion of Strategic Entrepreneurship in Cultural Organizations? - How does Cultural Management help to improve organizational performance? - How does Cultural Entrepreneurship contribute to improve organizational performance? - How does Cultural Intrapreneurship help to improve organizational performance? - How does organizational performance improvement contribute to value creation? In order to confirm this model, we proceeded to an empirical study using the case study method supported by a mixed methodology (i.e., both qualitative and quantitative). The case study chosen was Casa da Música. Qualitative methodology was based on the development of in-depth interviews with the directors and senior managers and founders and patrons and conducting focus groups with public with and without experience in cultural organizations management. The quantitative methodology was based on the application of a survey to employees and middle management of this cultural facility. The answers to the research questions showed that specially, in periods of change, cultural organizations wishing to survive must systematically articulate practices of Cultural Management and Cultural Entrepreneurship. At the same time, they must create working conditions for their employees to be cultural intrapreneurs, meaning, they should be encouraged to act in a proactive way when implementing work environment organizational innovations. Additionally, the fact that there are hardly any studies on performance of cultural organizations in Portugal, as well as quantitative tools on Cultural Intrapreneurship to assess this performance, makes this research project innovative. Therefore, we present a restructuring proposal of the concept of Strategic Entrepreneurship which includes a link between the variables of Cultural Management, Cultural Entrepreneurship and Cultural Intrapreneurship, a simultaneous analysis of the external and internal environment; the introduction of organizational performance improvement as a result of implementation of Strategic Entrepreneurship in cultural organizations, and finally the presentation of value creation as a result of organizational performance. The concept of management itself is thus rethought, as we propose Cultural Management and Cultural Entrepreneurship as everyday practice in the management of cultural facilities and Organizational Citizenship as a key element of the Strategy.
Orientação: Prof. Doutora Cláudia Carvalho.
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23

Yan, Mo. "Performance management in scientific and cultural organisations : from an institutional perspective." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20469.

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This thesis deepens our understanding of the institutional and organisational changes, which are taking place in the scientific and cultural public sector organisations, regarding their efforts to adopt performance management practices in the broader climate of increasing external demands of accountability and transparency. Using institutional theory as the main theoretical lens and an inductive approach, data is collected and analysed from an in-depth case study spanning four years in one scientific and cultural organisation and from a survey of the field such organisations are embedded in. At the field level, scientific and cultural organisations are embedded in multiple institutional logics (e.g. professional, governance/performance, managerial). Findings reveal the micro processes and dynamics of management accounting and institutional changes and how the power shift both results from and propel such changes. Apart from the emphasis on institutional multiplicity as key to understanding the change process, attention is paid to how institutional entrepreneurs use visual framing with accounting inscriptions to promote changes, how emotional factors and the role of specialist work groups contribute to institutional change. Thus, the thesis, as a whole, provides practical insights into this special type of organisations and their performance management practices. Theoretical contributions are made towards the micro foundations of institutional theory and interpretive accounting research with visual and emotional elements. Implications for practitioner and policy making are also explored.
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Gama, Alessandra Regina. "Canjerê: uma performance cartográfica em patrimônio cultural, educação e africanidades." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8336.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
This study aimed present the máster’s dissertation named Canjerê: uma performance cartográfica em patrimônio cultural, educação e africanidades, held in the Postgraduate Program in Education of the Federal University of São Carlos (UFSCar). This research is proposed to follow the process of an experience lived by individuals and black cultural practices, which resulted in creation of Instituto Baobá de Cultura e Arte – o Ibaô – in Campinas (SP). The movement of this research reveals an experience as possible against what is hegemonic tax as only true culture, from the practice of Capoeira and other black cultural expressivity. Based on the invisibility of issue of black people, this process offers clues to the construction of aternatives that break the dominant models, weaving reflections on the social hostilities that affect the uniqueness and identity construction centered africanities and as the prospect of knowledge of ecology can contribute to the construction of new existential territories.
Este trabalhado tem por objetivo apresentar a dissertação de mestrado Canjerê: uma performance cartográfica em patrimônio cultural, educação e africanidades, realizada no Programa de Pós-Graduação em Educação da Universidade Federal de São Carlos (UFSCar). Essa investigação se propôs acompanhar o processo de uma experiência vivenciada por sujeitos e práticas culturais negras, que resultaram na criação do Instituto Baobá de Cultura e Arte – o Ibaô – em Campinas (SP). O movimento desta pesquisa revela uma experiência como possibilidade contrária ao que está hegemonicamente imposto como cultura de verdade única, a partir da prática da Capoeira e de outras expressividades culturais negras. Com base na problemática de invisibilização das pessoas negras, este processo apresenta pistas para a construção de alternativas que rompem com os modelos dominantes, tecendo reflexões sobre as hostilidades sociais que afetam a singularidade e a construção identitária centrada nas africanidades e como a perspectiva da ecologia de saberes pode contribuir para a construção de novos territórios existenciais.
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25

Heller, Deanna M. (Deanna Marcell). "Cultural Diversity and Team Performance: Testing for Social Loafing Effects." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278980/.

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The concept of social loafing is important with regard to organizational effectiveness particularly as organizations are relying on teams as a means to drive productivity. The composition of those teams is likely to reflect the current movement of racial and ethnic minorities in the work place. The primary purpose of this research was to determine the role cultural diversity plays in enhancing performance and thereby eliminating social loafing. The research study is significant because 1) it is among the first to use culturally diverse work groups while examining the social loafing phenomenon, and 2) the groups were intact project teams, rather than ad-hoc groups commonly found in social loafing experiments. It was anticipated that the members of culturally homogeneous groups would engage in social loafing when their individual efforts were "buried." However, subjects in both culturally diverse and culturally homogeneous groups resisted social loafing behaviors. Additional statistical analysis revealed that as group orientation increased, performance levels increased as well. Group orientation, then, appears to be a more powerful determinant of performance than group composition. It is expected that the time these groups had together and the performance feedback opportunities provided them, prior to the experiment, contributed significantly to these results. Future research suggestions were made that could help establish a causal relationship.
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26

Marston, Erin. "TEACHER CULTURAL COMPETENCY AND THE EFFECT ON SLAVIC STUDENT PERFORMANCE." Scholarly Commons, 2021. https://scholarlycommons.pacific.edu/uop_etds/3758.

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Student demographic data in today’s elementary and secondary schools have shown an increase in the numbers of diverse students in classrooms across the United States. This change in classroom demographics has established the need for changes to both the classroom educational environment and the preparation of our teachers. Research supports a few documented ways teachers can support both their student experiences and academic performance. Culturally competent teachers, cultural humility, and culturally relevant pedagogy are a few of the ways educators can adapt to the change in student demographics. Linking the literature to these findings will help provide an overview of several factors associated with teacher cultural competency and student academic performance. Included in the research are classroom demographics, cultural bias, teacher education and experience, relational capacity, and culturally relevant pedagogy. The research suggests that the more teachers are aware of their own bias through culturally competent teacher education, the more successful teachers are at reaching diverse students in the classroom. The goal is to provide information on the importance of teacher cultural competency and how it relates to student success. This action research, case study analyzed the relationship between teachers’ cultural competency and their students’ academic performance through a post-positive research study. Data were collected from various resources: classroom observations; teacher, parent, and student focus groups; academic data; and observations of classroom instruction. This study was a 9-week, two-intervention cycle of action research. The purpose of this action research, case study was to gain insight into teacher, student, and parent experiences and perceptions of classrooms where teachers were of Slavic descent and classrooms where teachers were of non-Slavic descent. This action research, case study aimed to answer multiple research questions to investigate why there were discrepancies between classrooms led by Slavic and non-Slavic teachers with regard to the classroom pedagogy and the academic success of Slavic students. Past research has supported a wide array of culturally responsive teaching techniques for a variety of ethnic and linguistic subgroups. The past research did not specifically look at, or study, the Slavic cultural needs in the classroom. This action research, case study specifically looked at the Slavic cultural needs at one particular school. This is the first study to provide information on the importance of culturally responsive teaching for the Slavic community and how teacher cultural humility with Slavic students can potentially improve perceptions, experiences, and academic success. This study can help fill the gap and potentially lead to further inquiry into Slavic cultural humility.
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27

Han, Keunah Lee. "Academic Performance and Cultural Adaptation of South Korean Parachute Kids." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/168570.

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Urban Education
Ph.D.
This study investigates how Korean Parachute Kids perform academically in their schools and what social factors contribute to Korean Parachute Kids' academic performance. Korean children who came to the U.S. for educational purposes without their parental supervision are called `Korean Parachute Kids'. They have several characteristics: most of them come from high SES families, their parents have high expectations of their children and force them to go to the U.S., Korean Parachute Kids are pressured to attend Ivy League colleges, and their parents tend to compensate for their absence with money or presents. Korean Parachute Kids who come to the United States without their parents encounter many problems, both academically and socially. Many Korean Parachute Kids struggle to adjust and face academic failure due to language barriers, cultural differences, and the different curricula in the U.S. This failure occurs even though acquiring an education is the reason for Korean Parachute Kids' stay in the U.S. and is what their parents have invested exorbitant amounts of money. In light of the absence of their parents, many Korean Parachute Kids' behaviors go unchecked, which may, in turn, cause these children to be maladjusted in many aspects of their school lives. Korean parents' high expectation for their children's academic success is regarded as one of the factors that cause their children to misbehave. Research is needed in order to inform Korean parents and Korean and U.S. society about the academic and social implications of early study abroad for Korean children. Guidelines should also be provided in order for Korean parents to discern what the good and bad aspects of early study abroad in the U.S. are for their children. This research will also be beneficial to educators in America in that they will be aware of Korean Parachute Kids' academic and social difficulties in school since the number of Korean Parachute kids who study in the U.S. continues to increase.
Temple University--Theses
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28

Mast, Jason L. "Politics and performance the cultural pragmatics of the Clinton presidency /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835265231&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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29

Luiza, De Menezes Delgado Ana. "Só Precisa Rebolar? Performance e dinâmica cultural no cacuriá maranhense." Universidade Federal de Pernambuco, 2005. https://repositorio.ufpe.br/handle/123456789/647.

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Criada no início da década de 70 na cidade de São Luís, a dança do cacuriá é conhecida hoje em vários Estados do Brasil como manifestação tradicional maranhense. Em São Luís, os grupos são numerosos, e a dança está difundida em praticamente todos os bairros populares. Este trabalho esquadrinha a invenção e a difusão do cacuriá, sua trajetória do mundo rural ao mundo urbano, onde se difunde e se transforma largamente. Considerada uma dança cheia de simbolismos , as transformações sofridas pela manifestação, enquanto texto cultural, apontam no sentido de uma erotização crescente, constantemente discutida por aqueles que participam de seu universo. A emergência urbana dessa manifestação popular e a preocupação com a corporeidade e a visualidade enquanto fenômenos enfatizados pela cultura contemporânea são algumas questões investigadas. A análise busca contemplar um universo heterogêneo, constituído por diferentes grupos, assim como a historicidade inerente ao surgimento dessa tradição
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30

Gapps, Stephen. "Performing the past : a cultural history of historical reenactments." Online version, 2002. http://hdl.handle.net/2100/625.

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University of Technology, Sydney.
The reenactment of the past itself has a history. This thesis analyses self-styled 'historical reenactors' in the West and traces the history of the broader phenomenon of historical reenactment in the Australian context from the late nineteenth century to the present. The historical section focuses on several events significant in Australian cultural memory that have been reenacted over time. Historical parades, pageants and reenactments dramatically narrate culturally specific historical sensibilities and demonstrate inter and cross cultural exchanges of historical consciousness. I contend such performances have had a significant position in the formation of popular history since the late nineteenth century and that there is a continuity of conventions in performing the past. I have addressed the position of reenactments as part of a constant interest in the status and power of history in, and for, popular culture. I have shown how a form of history that operated for the public was transformed into a form of history operated by the public in a struggle for authority over the form and content of history. Historical reenactments have been useful avenues for elites to create didactic spectacular history that have also offered the opportunity for marginalised groups to make social and political gains through their participation in the making of public history. Considering the significance of reenactments in the formation of a distinctly Australian public history, they have received little attention from historians. As ephemera, reenactments sit awkwardly in the explanatory frameworks regularly used by historians. Using methodologies from a range of academic disciplines such as performance studies, anthropology and cultural studies, this thesis documents and interrogates the specific form of historical reenactment. In the sections of this thesis that analyse contemporary historical reenactments, I use my own experience as an historical reenactor of more than ten years in an ethnographic approach that reflects on the pleasures, promises and problems 'dressing up as if from the past' offers. In this history I draw continuities between past reenactments and present practices that assist in understanding historical reenactment as a specific cultural form. This thesis contends that reenactments over time have been characterised by three main elements: a collapsing of past and present, an avenue for a 'connectedness' with the past through a sensual experience, and an essential relationship with I authenticity.'
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31

Fairbanks, Julie. "A matter of artistry Adyg identity, performance and historical memory /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3297095.

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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2007.
Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0649. Adviser: Anya Peterson Royce.
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32

Chiamulera, Márcia. "IDENTIDADE EM PERFORMANCE: UM ESTUDO ETNOGRÁFICO SOBRE AS FESTAS DE CAPELA NO BERÇO DA QUARTA COLÔNIA DE IMIGRAÇÃO ITALIANA/RS." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/6196.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis addresses the composition of the indentities through the performances produced in the celebrations of chapel in the town of Silveira Martins, located into the Fourth Colony of Italian Imigration in the Rio Grande do Sul. Celebration of chapel is an expression that denote into the own group events that happen in communities from the rural zone, place that have just a space like a little church and a hall, these events happen to honor the patron saint from this comunity. Spaces like these became privilege for the research becouse of limitation of his territory made by italians immigrants during the XIX century, combined to the growth of the memories to rebuild a colonial past and based in a mythical origin. The quest of this work is to map the celebrations of chapel and then take for the analysis five of them, also other two festive events, with the intention to make a local festive table contemplating the daily dimension. Is understood that a festive moment, that symbolize and enlarge the elements of the daily, become a product of it. The fundamentations for this research is based on the discussions about the identity, using mainly concepts about the ethnic and cultural identity contemplating studies about the identity quest front the globalization process. The analysis table is compost for the ethnographic method, as well as, analysis of the performances, mainly corporal, understood as expressive and communicative acts. Although records were used audiovisual bolstered the descriptions and analysis of aspects observed in the field. Thus, it is found that the festivals of Chapel have a multitude of related identity, such as customs, traditions, beliefs, values, habits, modes of knowledge and practices that make up the sense of identity among the group and allow to identify it as belonging to an ethnic identity. These related identity could be observed in the performances of individuals who produce the festival and among its participants. It s possible to say that te celebrations of chapel trigger strategically and resignify belonging to the italian ethnic indentity, highlighting the festival itself as a cultural performance. However, this membership iss seen as contrastive.
Esta dissertação aborda a composição de identidades através das performances produzidas nas Festas de Capela no município de Silveira Martins, pertencente à Quarta Colônia de Imigração Italiana do Rio Grande do Sul. Festa de Capela é uma expressão que indica entre o próprio grupo manifestações festivas que ocorrem nas comunidades da zona rural, espaço que agrega as edificações de uma pequena igreja e de um salão, sendo que, esta festa presta homenagem ao santo padroeiro daquela capela. Estes espaços se tornam privilegiados para a pesquisa pela compreensão de sua delimitação territorial em vias da colonização por imigrantes italianos no século XIX, juntamente com a emergência de memórias que reconstroem um passado colonial e fundamentam-se numa origem mítica. Este estudo buscou mapear as Festas de Capela elegendo para análise cinco delas, além de outras duas manifestações festivas diversas, a fim de compor um quadro festivo local e contemplar a dimensão do cotidiano. Entende-se que o momento festivo, por simbolizar e exaltar elementos do cotidiano, se torna uma produção deste. A fundamentação para esta pesquisa ancora-se nas discussões sobre identidade, recorrendo principalmente às noções de identidade étnica e cultural e contemplando discussões que abrangem a questão identitária frente aos processos de globalização. O quadro de análise é composto pelo método etnográfico, bem como, pela análise de performances, principalmente corporais, entendidas como atos expressivos e comunicativos. Ainda foram utilizados registros audiovisuais que ampararam as descrições e análises de aspectos observados em campo. Assim, pôde-se verificar que as Festas de Capela apresentam uma multiplicidade de referentes identitários como costumes, tradições, crenças, valores, práticas alimentares, modos de saberes e fazeres que compõem o sentido de identidade entre o grupo permitindo identificá-lo como pertencente à identidade étnica italiana. Estes referentes identitários puderam ser observados nas performances dos indivíduos que produzem as festas e entre seus participantes. É possível afirmar que as Festas de Capela acionam de forma estratégica e ressignificam a pertença à identidade étnica italiana, evidenciando a própria festa como uma performance cultural. Entretanto, este pertencimento é visto de forma contrastiva, operando-se negociações entre identificações. Revela-se, assim, a Festa de Capela como um espaço privilegiado para o encontro entre indivíduos e confrontações identitárias, com predominância de elementos e significados vinculados à italianidade.
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33

Meng, Nan. "Chinese Culture themes and Cultural Development: from a Family Pedagogy to a Performance-based Pedagogy of a Foreign Language and Culture." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345312833.

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34

Lima, Maria do Socorro Pereira. "Arpilleras: o bordado como performance cultural chilena, em favor do drama social." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8440.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country.
A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.
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35

Martindale, Sarah. "An investigation of the status of 'Shakespeare', and the ways in which this is manifested in audience responses, with specific reference to three late-1990s Shakespearean films." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/24105360-4ba3-4b40-9dc0-43756756bc00.

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The status of ‘Shakespeare’ is an incredibly intricate cultural construct, which is influenced by circumstantially contingent hierarchies of value, academic discourses, institutional processes, educational curricula, and media techniques. Having explored the context in which Shakespeare currently stands as an icon through the review of existing scholarship, this thesis employs a combined methodology to facilitate an investigation of some of the ways in which the playwright and his works are significant in contemporary culture, by specifically examining three late-1990s Shakespearean films and some particular types of audience responses. The case studies – Romeo + Juliet, Shakespeare in Love and 10 Things I Hate About You – are each analysed, according to their individual content and context, as cinematic products, which are understood in relation to Shakespeare and also many other cultural frameworks. It is acknowledged that Shakespeare has a particularly potent and established iconicity within academia and the education system, and it is argued that this position informs, but is also modified and challenged by, the filmic conceptualisations. These observations are enriched and developed by the findings of empirical audience research. Questionnaires were used to elicit a mixture of quantitative and qualitative information from secondary school teachers of Shakespeare, and from first year English and/or media undergraduates, about their experiences and opinions of Shakespeare in contemporary culture, especially Shakespearean films. Patterns identifiable in the data generated confirm that cinematic interpretations can transform the cultural currency of Shakespeare, reducing the distance between young people and the text by using familiar modes of address, but also point to tensions stemming from a disjunction of conventional evaluative criteria and the diverse ways in which Shakespeare now functions in mass culture. This work therefore contributes to debates about Shakespeare’s cultural status by examining the complex processes of negotiation of meaning that are discernable in these instances.
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36

Leiba, Sharon Nancy. "The effect of cross-cultural training on cross-cultural skills, adjustment, and performance in a transcultural nursing context." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0008/NQ27990.pdf.

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37

Carfagno, Piera Lynn. "Latino Cultural Implications for Art Therapy: The Influence of Cultural Risk Factors and Academic Performance in High School." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/57.

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Through art therapy, this research examines the influence of the main components of Latino culture as risk and/or protective factors for internalizing and externalizing behaviors and disorders in Latino adolescents. The goal of this research is to also identify how these factors impact academic performance for Latino high school students. First, a literature review examines preexisting research evaluating the presence and influence of particular cultural factors like family expectations and roles, gender, religion, language, and parental involvement in education. Non-cultural factors include peer influence and socioeconomic influences. The literature further examines the impact these factors have been found to influence internalizing and externalizing behaviors. No literature regarding the presentation of these cultural factors within art therapy was found. Second, data was collected from a case study conducted by the researcher with a Latino high school adolescent participating in school-based counseling within the art therapy modality and demonstrated internalizing and externalizing behaviors. Themes and symbols from the art created were analyzed and coded for the risk and/or protective qualities of each factor. Lastly, a discussion of findings guided by the literature review expands the meaning of the case study data and addresses five main areas: the protective or risk qualities of cultural themes and symbols within the art and art process, how the themes and symbols presented by the client can inform and guide treatment in relation to cultural factors, whether to examine these factors individually within treatment or in an integrated manner, and how this process played out within a crosscultural therapeutic relationships.
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38

Liao, Hao-Hsiang. "“Face” as Cultural Performance in Chinese: Cases of Requesting and Declining." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1356732556.

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39

Lea, Rachel Vanessa. "The performance of control and the control of performance : towards a social anthropology of defecation." Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/6376.

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Defecation has remained overlooked within anthropology and sociology, despite recent focus on the body. The thesis suggests that this is related to its construction as something hidden in the last few hundred years of modern Western society. It is physically and mentally dismissed as personal and biological rather than social or cultural. The few references that exist enable one to argue that it always has significance as a repetitive daily activity needing careful social management and which is crucial to the definition of personhood. Its praxis reveals much about social values concerning differentiation by age, sex, gender and generation. Freud, Elias, Bakhtin and Douglas have influenced its image but do not adequately explain it. Phenomenological theories of embodiment and ideas of cultural performance are shown to be more useful in demonstrating that defecation is a lived cultural experience. The focus is on contemporary Britain, studied through participant observation and day-to-day participation, using material from conversations, anecdotes, observations, experiences, media reports, novels, and films encountered during the period of research. The main themes that emerge are privacy, hiddenness, embarrassment and concern but also that it is welcomed as physical release, and as offering valued periods of time-out and solitude. It is also a symbol of both all that is low and all that is deep. These contradictions are analysed through the two axes of control/loss of control and release/containment. It is argued against recent medical anthropological and sociological studies of incontinence that it cannot be assumed that the opposite of incontinence is continence and containment. The issue of control is paramount, rather than the issue of containment in itself.
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40

Sahin, Esra Gokce. "Rakugo Humor: The Performance of Memory, Mime & Mockery in Urban Tokyo." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718767.

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This dissertation is based on the analysis of humor in rakugo, a traditional genre of comedic storytelling in Japan. This project tackles the question: How does highly structured rakugo humor contribute and shape the Japanese society’s perceptions of the city of Tokyo in an age where the major social trends are dominated with a highly mediated and digitized lifestyle. In analyzing humor in rakugo, I argue that the farcical encounters, by refracting certain domains of human experience that cannot be articulated otherwise, provide a spectacle through which to view the deeper nuances in the sociocultural panorama of city life in Tokyo on the scale of individual interactions, institutions and neighborhoods. Rakugo and its mode of oral storytelling plays on the intricate discursive dynamics, by means of which tradition and modernity are imagined, represented, and the relationship between them negotiated. Additionally, the performance of rakugo, which has a long history that goes back to Early Modern Japan, triggers an affective imagination of the neighborhood life of the city’s past, where such imagination influences the Japanese society’s perception of the present. Rakugo’s popularity in the twenty first century is, in part, a result of the ideology of the Japanese state, on the other hand, it is mostly due to the power of the humorous folk narratives and mindfulness of the performers that the genre maintains a sense of coherence and agility, and urges the audience to embrace the patterns and lifestyle of the past, while remaining tuned with the prevailing trends of ambiguity and conspiracy in the aftermath of the recent triple disaster. My dissertation consists of eight chapters: After providing introductory statements and questions regarding the importance of humor in generating an analytical view of the Japanese society, in the first chapter, I map out the layers of memory and imagination transmitted through the story-telling voice and embodiment in a rakugo performance. The oral storytelling of rakugo activates an auditory perception of the neighborhood life of Tokyo that is characterized by simple, informal conversations and playful interactions, where such ease of direct interactions leads to a construction of the ancient neighborhoods as a sanctuary from the hyper mediated matrix-like lifestyle of contemporary Tokyo. Rakugo’s parodic tone gives the impression that, although times might change, human situations do not. Hence the humorous content of rakugo helps maintaining a sense of continuity within the rapidly changing trends of urban life. On March 11 2011, my fieldwork was interrupted with a big earthquake, which was followed with a tsunami hitting the Fukushima Nuclear Power Plant. Therefore, the second chapter questions the limits and possibility of humor and the rakugo performers’ reactions in a time of ambiguity and conspiracy in the aftermath of Japan’s recent triple disaster. While exploring the contemporary interpretations of ghost stories (kaidan banashi) and gallows humor, this chapter focuses on the binary tensions between the causes of fear and its humorous modification, and gets tied-up to the contemporary society’s fear and anxiety toward technology and the humorous interpretation of such fear in rakugo. The third chapter focuses on the changing notions of fame and stardom by comparing the generation of the legendary performers with contemporary ones in the light of the changing rhythms of urban life, which has an impact on the production of humor on the contemporary rakugo stage. The fourth chapter has an analytical perspective on the rakugo audience as fans and patrons, while engaging in the discussion of connoisseurship in relation to iki and tsū, (indicating stylishness and expertise, respectively). The fifth chapter focuses on the portrayals of foolishness while providing an analysis of mockery of the scholastic knowledge of modernity in rakugo stories. This chapter provides an analysis of Japanese modernity through the humorous perspective and mockery of the Edo commoners, their masterful use of the nonsensical logic, and the way such perspective is interpreted by the contemporary rakugo performers. The sixth and final chapter tackles the importance of voice projection in the performance of rakugo. While problematizing the so-called incompetence of female voice, as an accepted norm by the majority of the community of rakugo performers, this chapter also problematizes the issue of voicing culture and tradition.
Anthropology
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41

Henriksson, Tommy. "Physiological- and Socio-Cultural Conditions for Performance in Women's Ice Hockey." Doctoral thesis, Umeå universitet, Idrottsmedicin, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-142866.

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Background: The ice hockey community is founded on masculine norms and values, and the hockey rink is often described as “the home of men’s ice hockey”. Despite a growing popularity, women’s ice hockey has low priority in comparison to the men’s game. On top of that, the women’s game does not allow body checking, which makes it deviant from what some see as “the real game of ice hockey”. The checking prohibition causes physiological requirements to differ from the men’s game, and since women are underrepresented in ice hockey research, not much is known regarding the physiological- and socio-cultural conditions of women’s ice hockey. The overall aim of this doctoral thesis is to investigate physiological- and socio-cultural conditions important for performance in women’s ice hockey. Methods: This thesis is unique in terms of the interdisciplinary approach between physiology and gender science, and the inclusion of studies based on both qualitative and quantitative research methods. Qualitative thematic interviews with ice hockey coaches from Sweden, Canada, and the United States were used to explore socio-cultural conditions in relation to performance and sport development (Paper I). Relative age effect (RAE) in relation to maturity status was examined through anthropometric measurements and a player questionnaire (Paper II). Physiological field- and laboratory assessments were used to investigate physiological conditions and performance in female competitive ice hockey players from Sweden (Paper III-IV), and players from Canada (Paper IV). Results: The findings from Paper I suggest that coaches need to maintain a holistic approach to coaching to be able to coordinate and optimize the effects based on available conditions. Socio-cultural conditions, such as structural and financial support, are mentioned as important to support opportunities in women’s ice hockey. Furthermore, the results (Paper I) show that female players in Canada and the United States have superior opportunities compared to female players in Sweden. These advantages are mainly attributed to the support provided by the North American education systems. The findings from Paper II suggest that the relative age effect (RAEs) in women’s hockey are also influenced by socio-cultural conditions. Significant RAE (p<.05) was found for Swedish players born in the third quartile (Q3) and for Canadian player born in the second quartile (Q2). Players born in the fourth quartile (Q4) are significantly (p<.05) underrepresentated in both countries. Players tend to be average or late maturers, but no differences can be found by country or position. The findings from Paper III show that field-based assessments are comparable to laboratory assessments with the purpose of predicting skating performance. The Prediction models accounted for 13.6 % to 42 % (laboratory-based models) and 24.4 to 66.3 % (field-based models) of the variance in skating time. Regardless of assessment method, uni-lateral assessments are superior to bi-lateral assessments. The results support the use of field-based assessments in Paper IV. The findings from Paper IV show various physiological profiles for female Swedish and Canadian players. Swedish players had less body fat (p=.007), more lean mass (p=.005), and greater aerobic fitness measured with the20-meter shuttle run beep test (p=<.001). Canadian players had greater maximal isometric leg strength (p=.026), exhibit a greater running acceleration (p=<.001), performed better in single leg standing long jumps (right leg p=.002, left leg p=.030), and showed better anaerobic endurance (p=.029) on- ice. No significant differences can be found between forwards and defenders. Conclusion: The findings of this study show that physiological- and socio-cultural conditions should both be considered in relation to performance in women’s ice hockey. For example, the various physiological profiles are probably an effect of the different socio-cultural conditions in Sweden and Canada. The Canadian profile may be better adapted to performance in ice hockey, but further research is needed to establish a relationship. Since women’s ice hockey often has somewhat limited resources, this knowledge may help optimize the effect of the available resources, and thus improve performance. Improved performance may have a positive long-term effect on the symbolic view of women’s ice hockey. Women can probably further optimize their physical performance in relation to their current conditions. But for permanent changes to occur, power structures in sport must also change. Women themselves have limited opportunities to affect the dominating gender norms and values in ice hockey.
Bakgrund: Ishockeysamhället är grundat på maskulina normer och värderingar, och hockeyrinken beskrivs ofta som "herrishockeyns hem ". Trots en växande popularitet är damishockey lågt prioriterad i jämförelse med herrishockey. Tacklingar är inte tillåtna i damishockey, vilket gör att den skiljer sig från herrishockey som ofta benämns som "riktig ishockey". Tacklingsförbudet innebär att de fysiologiska kraven förändras gentemot om tacklingar skulle vara tillåtna, och det medför att studier gjorda på herrishockey inte är generaliserbara till damishockey. Eftersom kvinnor är underrepresenterade i ishockeyforskning så saknas det kunskap om de fysiologiska såväl som sociokulturella förutsättningarna inom damishockey. Det övergripande syftet med denna doktorsavhandling är att undersöka fysiologiska och sociokulturella förhållanden som är viktiga för prestation i damishockey. Metod: Denna avhandling är unik när det gäller det tvärvetenskapliga tillvägagångssättet mellan fysiologi och genus, samt att den inkluderar studier gjorda med både kvalitativa och kvantitativa metoder. Kvalitativa tematiska intervjuer med ishockeytränare från Sverige, Kanada och USA användes för att utforska sociokulturella förhållanden i förhållande till prestation och idrottsutveckling (Studie I). Relativ ålderseffekt (RAE) i förhållande till mognadsstatus undersöktes genom antropometriska mätningar och en spelarenkät (Studie II). Fysiologiska fält- och laboratorietester användes för att undersöka fysiologiska förhållanden och prestation hos kvinnliga ishockeyspelare från Sverige (Studie III-IV) samt Kanada (Studie IV). Resultat: Resultaten från Studie I visar att tränare måste försöka ha ett helhetsperspektiv för att kunna samordna resurser och optimera effekterna av dessa utifrån sina förutsättningar. Sociokulturella förhållanden, såsom strukturellt och ekonomiskt stöd, nämns som viktiga faktorer för att skapa utvecklingsmöjligheter inom damishockey. Dessutom visar resultaten (Studie I) att kvinnliga ishockeyspelare i Kanada och USA har överlägsna förutsättningar jämfört med kvinnliga ishockeyspelare i Sverige. Dessa fördelar uppkommer främst på grund av det ekonomiska och strukturella stöd som de nordamerikanska utbildningssystemen bidrar med. Resultaten från Studie II föreslår att även relativ ålderseffekt (RAE) i damishockey påverkas av sociokulturella förhållanden. Signifikant RAE (p <.05) hittades för svenska spelare födda i tredje kvartilen (Q3) och för kanadensiska spelare födda i andra kvartilen (Q2). Spelare födda i fjärde kvartilen (Q4) är signifikant (p <0,05) underrepresenterade i båda länderna. Mognadsstatusen på spelarna uppmättes till medel eller sen utifrån tid för första menstruation, men inga skillnader hittades mellan länderna eller mellan positioner. Resultaten från Studie III visar att fälttester är jämförbara med laboratorietester när syftet är att prediktera skridskoåkningsförmåga. Prediktionsmodellerna förklarade 13.6 % to 42 % (laboratoriebaserade modeller) och 24.4 % to 66.3 % (fältbaserade modeller) av variansen i åktid. Oavsett bedömningsmetod visar sig unilaterala tester överlägsna bilaterala tester att prediktera skridskoåkningsförmåga. Resultaten stöder valet av fälttester i Studie IV. Resultaten från Studie IV visar att de svenska och kanadensiska spelarna hade olika fysiologiska profiler. De svenska spelare hade mindre kroppsfett (p = .007), mer fettfri massa (p = .005) och högre aerob kapacitet mätt genom beeptest (p = <.001). De kanadensiska spelare hade högre maximal isometrisk benstyrka (p = .026), bättre löpacceleration (p = <. 001), bättre hoppkapacitet i stående längdhopp på ett ben (höger ben p = .002, vänster ben p = .030) och högre anaerob uthållighet (p = 0,29) på MRSS. Inga signifikanta skillnader hittades mellan forwards och backar. Slutsats: Resultaten från denna avhandling visar att såväl fysiologiska som sociokulturella förhållanden bör beaktas i förhållande till prestation i damishockey. Till exempel är de olika fysiologiska profilerna troligen en effekt av de olika sociokulturella förhållandena i Sverige och Kanada. Den kanadensiska profilen kan vara bättre anpassad till prestation i ishockey men ytterligare forskning behövs för att fastställa om det finns ett verkligt samband. Eftersom damishockeyn ofta har begränsade resurser kan den här kunskapen bidra till att damlag kan nyttja sina resurser på ett mer effektivt sätt och därmed förbättra sin prestation. En förbättrad prestation skulle kunna ha en positiv effekt på damishockeyns symboliska värde, men för att permanenta förändringar ska uppstå måste maktstrukturerna i sporten också förändras. Kvinnorna själva har begränsade möjligheter att påverka den dominerande könsnormen i ishockey.
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42

Diaconescu, Andy. "Evolution of performance imagery among elite team-sport professionals from former communist Romania." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6820.

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In-depth interviews were conducted with eight European life-long sport professionals who were former elite athletes and then successful coaches in team sports. The purpose of the interview was to explore the role and the evolution of imagery from athlete to coach and to also determine whether mental imagery was used in any way by these professional coaches for enhancing team unity. Analysis showed that all these exceptional performers had excellent imagery skills and they used imagery training to achieve their sport related goals. Practical implications for enhancing team unity through imagery are also presented.
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43

Dubazane, Mlondiwethu. "Touching on the Untouchable: contesting contemporary Black south african masculinity and cultural identity through performance." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33721.

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As a moment of slipping in, turning away and recovering from; the thinking for this project is focused on understanding through and from within culture. With this the paper begins to weave itself through a guided journey of my own personal accounts and the theorists that align and/or challenge such accounts. It moves between investigating my relationship with my father, to interrogating the ways in which men have spoken specific violence's into existence. This thesis does not look to be the reason of, nor the answer to, the way in which men ‘act'; but it does employ a keen eye into understanding the way in which meanings are produced. The paper then embeds itself in interrogating each of these instances through four different performances that were created by Mlondi Dubazane. These performances should be understood as thinking through and with/in representation and the different mediums that representing takes shape. It is vital to understand that even in its attempt at the poetics, the paper expresses itself through, within, around and beside language. This is but the first attempt of finding a language in speaking about my own maleness, a maleness that is not universal, a maleness that is moving forward in advance of nowhere, a maleness that seeks to dare touch on the untouchable. This, then serves as a written explication of research that seeks to engage the meanings and limitations of contemporary Black south african cultural identity (and in particular, the gendered dimensions of this experience) through the careful and nuanced crafting of public performances that draw on both public and intimate experiences.
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44

Slater, Lori. "National Culture's Relationship to Project Team Performance." Thesis, Capella University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10288883.

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The topic of the study was the relationship between national culture and software development project team performance. Relationships were examined through the lenses of Hofstede’s cultural dimension model and the human performance technology model. Research indicated that software development project teams continue to face challenges completing projects within planned scope, on schedule, and within budget despite improved project management methods. The identified gap in the research was that most studies were qualitative and non-productivity related, a gap addressed by this quantitative, productivity-focused study. Four research questions were posed to determine the relationship between national culture and project team performance. Each question inquired as to the relationship between a team-level cultural measure and the number of user stories completed by the team during a sprint. The power distance (PDI) measures were the project team’s average PDI and the PDI variance within the project team. The uncertainty avoidance (UAI) measures were the project team’s average UAI and the UAI variance within the project team. A quantitative method was applied using a sample from the population of software development project teams that used the Agile management method. The data were extracted from archived productivity project data from 73 sprints conducted by teams from one firm. Archived email data identifying each team member’s country of origin was used for each member’s national culture. Spearman’s rho was applied to the dataset. Results indicated there was a statistically significant relationship between PDI variance and team productivity, and between UAI variance and team productivity. The relationship between a team’s average PDI and team productivity, and between the team’s average UAI and team productivity, tended toward significance. Avenues for future research include duplicating the study using additional cultures and analyzing the relationship using additional Hofstede cultural dimensions.

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45

Nogueira, Madalena Maltês de Almeida. "The relationship between cultural dimensions and goal orientation." reponame:Repositório Institucional do FGV, 2018. http://hdl.handle.net/10438/24531.

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The purpose of this study consists on understanding the relationship between cultural dimensions and goal orientation. Specifically, the research seeks to explore if some cultural dimensions of GLOBE Project are related to goal orientation, specifically Learning and Performance Goal Orientation. A quantitative research method was used in the study to collect responses from individuals through an online survey previously elaborated. The relationship between five cultural dimensions and Learning and Performance Goal Orientation were tested through multiple linear regressions to understand if there were significant relationships between them and to test if those were positive or negative. The results supported two out of five hypotheses proposed. Performance Orientation was positively related to Learning Goal Orientation, as well as Institutional Collectivism was negatively related to Performance Goal Orientation. Although the opposite relationship was proposed in the hypothesis, the relationship between High Power Distance and Performance Goal Orientation was significant. Remaining relationships tested did not yield significant findings. Finally, the results obtained could provide important information about specific cultural behaviors needed to engage with to incur and follow a particular goal orientation, as well as, significant information to future research in this area.
O objetivo principal do presente estudo é compreender a relação existente entre dimensões culturais e orientação de resultados. Para além disso, a pesquisa pretende explorar se algumas dimensões culturais propostas pelo GLOBE Study exercem influência na orientação de resultados, especificamente orientação por aprendizagem e performance. O método de pesquisa utilizado no estudo foi um método quantitativo na forma de um inquérito online previamente elaborado, para recolher as respostas dos participantes. As relações existentes entre cinco dimensões culturais e Orientação de Resultados por Aprendizagem e Performance foram testadas através de regressões lineares múltiplas com o objetivo de perceber se alguma delas era significativa e ao mesmo tempo testar se eram positivas ou negativas. Duas das cinco hipóteses foram suportadas pelos resultados apresentados. A Orientação por Performance tem uma relação positiva com a Orientação de Resultados por Aprendizagem, assim como o Coletivismo Institucional estabelece uma relação negativa com a Orientação de Resultados por Performance. Apesar de apresentar uma relação oposta àquela prevista na hipótese, a relação que existe entre altos níveis de Distância de Poder e Orientação de Resultados por Performance é significativa. As restantes relações que foram testadas não apresentaram qualquer relevância para o estudo. Finalmente, os resultados obtidos podem fornecer informações relevantes sobre comportamentos humanos importantes a adaptar para incorrer numa especifica orientação de resultados, assim como disponibilizar informação significante de base para futura pesquisa nesta área.
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46

Petrie, Katherine. "Transformation and persistence in the performance of the Ikh Bayar Naadam ceremony of Mongolia." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3238506.

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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2006.
"Title from dissertation home page (viewed July 12, 2007)." Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3875. Adviser: Nazif Shahrani.
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47

Bueschges, Kerstin Leni. "On hair, fishtails and voices : resisting femininity in contemporary performance practice." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521045.

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48

Joshua-Gojer, Ashwini. "The cross-cultural adjustment of self-initiated expatriates and individual work performance." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849667/.

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Globalization in the past few decades has been marked by increased mobility of highly skilled workers from one country to another. Even though self-initiated expatriation is a widespread phenomenon, it is a relatively under-researched phenomenon in the academic literature, especially in an organizational context. Existing literature shows that not all individuals are equally suited to embark on a new life in another country, and self-initiated expatriates (SIEs) could be particularly susceptible to failure since they have no support from a home organization. This study was designed to investigate the experiences of self-initiated professional expatriates and the effect it had on their work performance. The purpose was to understand how their organizational and social experience affected their cross-cultural adjustment process and in turn affected their individual work performance. The researcher used a qualitative method using semi-structured interviews, observations, and documents with ten self-initiated expatriates. This study contributed to the expanding literature on the experiences of self-initiated expatriates, specifically how different support systems affected cross-cultural adjustment and individual work performance.
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49

Tull, Annalee. "Telling Tales as Oral Performance: A Cross-Cultural Comparison of Storytelling in Ireland, Scotland and Southern Appalachia." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2357.

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I sought to link, through this paper, cultural performances of identity through storytelling in Ireland, Scotland, and southern Appalachia. I evaluated storytelling practices, whether it was a public or private performance, using symbolic interactionism, dramatist theory, narrative paradigm, and performance theory. The author studied abroad in Ireland and Scotland through the East Tennessee State University Appalachian, Scottish, and Irish Studies Program and experienced an array of stories. She then evaluated her own experiences with storytelling from growing up in southern Appalachia and visited the International Storytelling Festival in Jonesborough, TN. The research is rooted in grounded theory from ethnographies, with themes emerging from the field notes. The themes reinforced the theories evaluated tied the cultures together through history.
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50

Lachance, Lindsay. "Cultural Renewal in Aboriginal Theatre Aesthetics." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23425.

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The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.
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