Дисертації з теми "DIY culture"
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1
Quader, Shams Bin. "Like a sustainable version: Practising independence in the Central Sydney independent music scene." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23381.
Анотація:
Independent music is a complex concept. It has meant different things at different historical moments of popular music and within academic, music press and industry discourses. Even though what independent music refers to might not be substantive, it has tended to signify an oppositional ethos comprising practices related to maintaining distinction from commercialised popular music. This study is about exploring how contemporary independent musicians practice independence within the Central Sydney independent music scene. A socio-cultural formation of like-minded, largely middle-class musicians and enthusiasts involved with independent music currently exists within the geographical region of Central Sydney. Exploration of this local phenomenon necessitates inquiring about the contemporary state of this scene, including how and why it takes the form that it does, and how might independence take particular forms. To respond to such issues, semi-structured interviews with 15 individuals of the ages of 18 and above who are involved with the scene, supplemented with participant observation at live gigs and relevant textual research were conducted in between 2017 and 2019. Additionally, online social media profiles of influential artists and institutions integral to this scene were analysed. The study finds that accumulated economic resources, musical literacies, social networks, and experience associated with long-term and recurrent involvement with music-related work are crucial factors in the ways participants fashion cultural practices based around aesthetic independence. Members of this scene position themselves through particular configurations of resources, strategies and economic exchanges, which allow them to both construct their living and practice aesthetic independence through passion projects of creative experimentations within a sustainable milieu in ways that would be difficult while following imperatives of mainstream music markets.
2
Luvaas, Brent Adam. "Generation DIY youth, class, and the culture of indie production in digital-age Indonesia /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835632681&sid=3&Fmt=2&clientId=1564&RQT=309&VName=PQD.
3
Jessee, Nathan. "Alternative Literacies, Resistance, and Spatial Representations in The Do-It-Yourself (DIY) Culture of Zine Publication in New Orleans." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1223.
Анотація:
Zines are small circulation media that amateurs make and distribute. Inspired by both the lack of ethnographic research on the do-it-yourself (DIY) culture of zine-making in urban studies and the growing interest in ethnographically oriented research in literacy studies, rhetoric, and linguistics this research explores the people, places, and practices behind zine publication in New Orleans, Louisiana through participant observation at two specialized loci—the Iron Rail and punk shows—as well as semi-structured interviews with people who make, distribute, and consume zines. This research argues that zine-makers use zines to reinterpret urban space in search of an authentic relationship with the city. They then share these interpretations with others who participate in DIY punk culture. In doing so, zine-makers refuse conventional rules developed for classroom literacy and resist capitalism in their zines' content and in their methods of publishing by both building on local knowledge and opposing corporate media.
4
Benhaïm, Sarah. "Aux marges du bruit. Une étude de la musique noise et du Do it Yourself." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH140/document.
Анотація:
Objet d’un intérêt tardif dans la recherche universitaire, la musique noise représente pourtant une forme d’art emblématique de l’underground sonore. Elle porte et cristallise une approche radicale en faisant du bruit sa matière, en se jouant de la forme et du développement, en hybridant ses territoires stylistiques. Les pratiques de jeu ne signent plus la suprématie de l’instrument ni de la composition, mais se placent sous le régime d’une expérimentation ludique et bricoleuse. On n’évalue plus la qualité musicale selon le niveau de compétence technique de l’artiste, tandis que les modalités d’écoute sollicitent de manière spécifique le corps et l’environnement. Les pratiques de production, d’organisation et de diffusion de la musique, empruntes de l’éthos du Do it Yourself (DIY) placent l’autonomie, la polyvalence et l’amateurisme au cœur de ce monde de l’art. A partir d’une approche interdisciplinaire marquée par la musicologie, l’esthétique et les sciences sociales, cette thèse entend questionner, à partir d’analyses musicales, d’archives de presse, d’enquêtes, de cartographies et d’une ethnographie menée au sein de la scène parisienne, comment la musique noise et les pratiques sociales qui l’accompagnent nous interrogent sur nos manières conventionnelles d’appréhender ce qu’est la musique et même une « bonne » musique, la figure du musicien, les intermédiaires artistiques ou la scène du concert, au regard de ce qui semble sans doute constituer un nouveau paradigme contemporain de l’expérimentationAlthough noise music has only recently become an object of interest for academic research, it still represents a form of art emblematic of the underground music scene. It is characterized by a radical approach which implies using noise as work material, playing with form and development, and hybridizing its stylistic territories. This approach is reflected by playing practices in which the emphasis is no longer laid on the supremacy of instruments and composition, but rather on playful and makeshift experimentation. Musical quality is not assessed on the artist’s technical skills anymore, while the listening conditions call for a specific implication of both body and environment. The practices of production, organization, and diffusion of music, borrowing from the éthos of DIY, place autonomy, versatility, and amateurism at the heart of this art world. This PhD research, based on musical analyses, press archives, field surveys, topographies, and an ethnographic study of the Parisian scene, proposes an interdisciplinary approach marked by musicology, aesthetics, and social sciences. Its aim is to question the way noise music and its specific social practices challenge the manner in which we conventionally apprehend what we consider as music, and even “good” music, the image of the musician, the artistic intermediaries or the stage, in light of what seems to constitute a new contemporary paradigm of experimentation
5
Howe, Christopher David. "Analog synthesizers in the classroom: How creative play, musical composition, and project-based learning can enhance STEM standard literacy and self-efficacy." Thesis, Georgia Institute of Technology, 2015. http://hdl.handle.net/1853/53614.
Анотація:
The state of STEM education in America's high schools is currently in flux, with billions annually being poured into the NSF to increase national STEM literacy. Hands-on project-based learning interventions in the STEM classroom are ubiquitous but tend to focus on robotics or competition based curriculums. These curricula do not address musical creativity or cultural relevancy to reach under-represented or disinterested groups. By utilizing an analog synthesizer for STEM learning standards this research aims to engage students that may otherwise lack confidence in the field. By incorporating the Maker Movement, a STEAM architecture, and culturally relevant musical examples, this study’s goal to build both self-efficacy and literacy in STEM within under-represented groups through hands-on exercises with a Moog analog synthesizer, specifically the Moog Werkstatt.
A quasi-experimental one-group pre-test/post-test design was crafted to determine study validity, and has been implemented in three separate studies. Several age demographics were selected across a variety of classroom models and teaching style. The purpose of this wide net was to explore where a tool like the Werkstatt and its accompanying curriculum would have the biggest impact. Results show that this curriculum and technique are largely ineffective in an inverted Music elective classroom. However, in the STEM classroom, literacy and confidence were built across genders, with females showing greater increases in engineering confidence and music technology interest than their male counterparts.
6
Peters, Sean (Sean Louis). "Listening in the Living Room: The Pursuit of Authentic Spaces and Sounds in Dallas/Fort Worth (DFW) Do-It-Yourself (DIY) Punk Rock." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062889/.
Анотація:
In the Dallas/Fort Worth (DFW) do-it-yourself (DIY) punk scene, participants attempt to adhere to notions of authenticity that dictate whether a band, record label, performance venue, or individual are in compliance with punk philosophy. These guiding principles champion individual expression, contributions to one's community (scene), independence from the mainstream music industry and consumerism, and the celebration of amateurism and the idea that everyone should "do it yourself." While each city or scene has its own punk culture, participants draw on their perceptions of the historic legacy of punk and on experiences with contemporaries from around the world. For this thesis, I emphasize the significance of performance spaces and the sonic aesthetic of the music in enacting and reinforcing notions of punk authenticity. The live performance of music is perceived as the most authentic setting for punk music, and bands go to great lengths to recreate this soundscape in the recording studio. Bands achieve this sense of liveness by recording as a group, rather than individually for a polished studio sound mix, or by inviting friends and fans into the studio to help record a live show experience. House venues have been key to the development of the DFW scene with an emphasis on individual participation through hosting concerts in their homes. This creates a stronger sense of community in DIY punk performance. Through participation observation, interviews, analysis of source materials, as well as research in previous Punk scholarship, questions of authenticity, consumerism, and technology and sound studies, this thesis updates work on the experience of sound, listening, and the importance of space in DIY punk communities today.
7
Ligot, Damien. "Trans-musicalité « taike » : Distinction d’une nouvelle « taiwanité » au sein d'un underground local (1990-2010)." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30022/document.
Анотація:
Dans les années 1990 et 2000, la scène musicale underground taiwanaise a vu naître successivement le Taik – ou Rock Taike 台客搖滾 taike yaogun – puis le Taiwan Traditional Rap, ou 台灣味唸歌 Taiwan wei niange. Ces courants « trans-musicaux » se rejoignent sur de nombreux points tels que la revendication de « traditions » populaires locales, accompagnée cependant d'une forte complaisance au métissage culturel, et par-dessus tout d'un besoin de se définir – de s'identifier – en dehors des clichés aliénants du bon-goût, dictés de manière hégémonique par la culture « dominante » centrée depuis la fin des années 1940 sur le modèle de la République de Chine. Appuyée par un travail de terrain réalisé entre 2005 et 2010 selon les principes de l'observation participante, et pensée à la lumière des cultural studies et d'ouvrages d'auteurs tels que Dick Hebdige et Stuart Hall, cette thèse propose une approche « sensible » d'une sous-culture particulière, tempérée d'autre part par une critique des théories développées par Pierre Bourdieu dans La Distinction, Critique sociale du jugement. Elle tente ainsi – au travers du prisme trans-musical – de définir la place occupée par la sous-culture locale « Taike » dans l'histoire globale d'autres sous-cultures comparables, et s'impose alors en contexte tel un trait d'union entre Taiwan et le reste du mondeIn the 1990's and 2000's, the underground music scene in Taiwan successively gave birth to the Taik – also called Taike Rock 台客搖滾 taike yaogun – then to Taiwan Traditional Rap 台灣味唸歌 Taiwan wei niange. These "trans-musical" currents are similar in many issues such as the claim to local folk traditions, accompanied however by accomodating a strong cultural mix and by a need to define – to identify – themselves outside the alienating good taste, so dictated since the late 1940's by the hegemonic "dominant" culture focused along the lines of the Republic of China. This thesis proposes a ''sensitive'' approach to a particular subculture, furthermore tempered by a critique of theories developed by Pierre Bourdieu in Distinction: A Social Critique of the Judgment of Taste. It has been backed up by field studies conducted between 2005 and 2010 according to the principles of the participant-observer and trends of thought enlightened by cultural studies and works of authors such as Dick Hebdige and Stuart Hall. It attempts also – through the prism of trans-musicality – to define the place of the local "Taike" subculture in the global history of other comparable subcultures, as an essentiel link between Taiwan and the rest of the world
8
Andersson, Pär. "Digital Fabrication and Open Concepts : An emergent paradigm of consumer electronics production." Thesis, Umeå universitet, Institutionen för informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-104994.
Анотація:
Open Source och relaterade mjukvarukoncept och utvecklingsmodeller är vid det här laget allmänt bekanta och har varit föremål för många studier. Open Source Hardware är mindre spritt och studerat, och så även emergent teknologi som för in traditionellt industriella tekniker som 3D-printing, laserskärare, och CAD-baserade produktionsverktyg i mindre skala i hem- och hobbymiljöer. Dessa ämnen har främst studerats ur mer renodlat tekniska perspektiv, snarare än att sättas i samband i en vidare kontext. Denna kombinerar internet som infrastruktur och socialt medium för kunskaps- och resursdelning; open source-koncept; de möjligheter som tillgängligheten av mer och mer kapabel och överkomlig hårdvara byggd på öppen design bereder; och andra relaterade socio-tekniska fenomen vilka börjat framträda de senaste 5-10 åren. I denna uppsats undersöker jag denna större kontext. Uppsatsen har utförts i form av en litteraturstudie av existerande forskning inom ovanstående diskreta områden, och i den mån de finns även dess inbördes relationer. Denna kontext framträder som ett emergent paradigm kring produktion av hemelektronik, och även som exemplifierande trenden av teknologins fortsatta intåg som allestädes närvarande i våra liv och vår omgivning. Resultaten indikerar en gryende förändring i hur vi interagerar med teknik, vilka som gör det och varför, i vilka kontexter, och ett framträdande av en ny ekonomi. Jag visar på att ytterligare forskning behövs, och att perspektivet bör flyttas från att analyseras enbart i diskreta termer som teknik, open source-principer, DIY et cetera, utan även till vad som framstår som resultatet där dessa konvergerar, den naturliga konsekvensen av ett folkligt anammande av denna teknik och open source-koncept.
9
Kaewpanukrangsi, Nuanphan. "Creative-Up-Cycling." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21543.
Анотація:
The project elaborates design opportunities for a future practice that could promotealternative sustainable lifestyles on waste handling through up-cycling activities. It doesthis on a small scale through engagement in the local communities of the Hildaneighborhood and Segepark students’ accommodations in Sweden. To thesecommunities, creative-up-cycling is explored which it introduced here as an approachwhere neighbors can participate in making new things from leftover materials. Throughthis work creative-up-cycling is a proposed recommendation for a possible service systemon how to share the leftover materials in the local resident’s communities, as well as, howto remake the items no longer needed.The empirical studies explore maker culture lifestyles and include how to find leftovermaterials, tools, space, and skills in order to guide people in creative-up-cyclingalternatives. These creative activities also build social relationship via the integration ofmultidisciplinary citizens who are living in the same community and explorations weredone on how could we elicit the skill sets from those people? What is a useful skill set inthis area today? Values like mutual physical experience, reciprocity, and ownership couldalso be found along the empirical workshops in this project. Additionally, this reportshows some interesting findings pointing towards the design process and the suggestionsof design elements; ‘Co-storage’, ‘Mix and Match furniture shop’, and ‘Renovation andup-cycling’ concept elements.Participatory design (designing with people) has been the core approach in this project.Additionally, I have been influenced by user-centered design, as well as service designapproaches in order to comprehend the services, system and activities of recycling andup-cycling in cities like: SYSAV, STPLN, Cykelköket, Återskapa, Toolpool. The findingpresented here are examples of practices that could make up the composition of recyclingand up-cycling activities in future local communities.
10
Messey, Orlane. ""C’est du sport, tu t’attendais à quoi ?". D'un entre-soi permissif à un sport inclusif : le cas du roller derby français." Electronic Thesis or Diss., Bourgogne Franche-Comté, 2024. http://www.theses.fr/2024UBFCC001.
Анотація:
Le roller derby est une discipline sportive américaine, apparue en France en 2009. Sa diffusion en Europe est notamment liée au film Bliss qui contribue à la popularisation de cet ancien sport, recréé en 2001 aux abords des milieux musicaux alternatifs du Texas. Le roller derby s’implante en France à partir d’un modèle de pratique carnavalesque, à travers lequel les équipes se plaisent à détourner les codes du sport mainstream. De plus, celles-ci tendent à s’organiser initialement autour de la logique punk do it yourself (DIY), qui consistent à refuser les logiques capitalistes en privilégiant l’autogestion. Dix ans après l’apparition de cette pratique en France, ce travail de thèse en sciences du sport entend comprendre la structuration du roller derby face au modèle sportif « traditionnel », mainstream. À partir d’une approche sociologique et ethnographique, il s’agit d’interroger la manière dont le roller derby français parvient à se structurer en dehors des cadres dominants. Le constat d’une euphémisation évidente des marqueurs subversifs et l’adoption des codes du milieu sportif fédéral suggèrent l’inscription dans la pratique dans un processus de sportivisation. Pourtant, celle-ci n’est pas ici synonyme d’une récupération par les instances sportives. Cette normalisation de la pratique prend place, au contraire, au sein même des équipes. En mobilisant les cadres de l’interactionnisme symbolique, cette recherche met en lumière le rôle joué par les actrices de la pratique au cours de cette sportivisation et les manières dont celle-ci négocient un cadre de pratique articulé entre détournement et appropriation du modèle sportif dominant. L’enjeu principal est ainsi de montrer le passage d’une pratique dite « permissive » à un sport « inclusif ». Si les joueuses défendent aujourd’hui leur place sur les terrains du sport mainstream, l’affichage d’une inclusion des minorités de genre s’est progressivement substitué aux marqueurs – carnavalesques – de subversion des codes sportifs. À mesure que les équipes quittent les « marges » du sport pour investir ses institutions, la subversion laisse place à l’inclusion, comme un ultime insigne de distance vis-à-vis du centre du milieu sportif. Néanmoins, des équipes continuent de résister au poids du modèle compétitif. À celles qui s’emparent de nouveau du DIY comme d’un moyen d’organiser autrement la pratique sportive (sans hiérarchie, de manière horizontale), d’autres choisissent de privilégier le folklore comme mode de résistance à l’homogénéisation de la pratiqueRoller derby is an American sports discipline that emerged in France in 2009. Its spread in Europe is notably linked to the film Bliss, which contributes to the popularization of this ancient sport, recreated in 2001 in the alternative music scenes of Texas. Roller derby establishes itself in France based on a carnival and permissive practice model through which the teams hijacked the mainstream sport. Furthermore, teams initially organized around the punk do-it-yourself (DIY) logic, which involved rejecting capitalist logic and favoring self-management. Ten years after the emergence of this practice in France, this sports science thesis aims to understand the structuring of roller derby in relation to the "traditional," mainstream sports model. Using a sociological and ethnographic approach, the aim is to examine how French roller derby managed to structure itself outside dominant frameworks. The observation of an obvious euphemization of subversive markers and the adoption of codes from the federal sports environment suggest the incorporation of the practice into a sportification process. However, this is not synonymous with a takeover by sports authorities here. On the contrary, this normalization of practice takes place within the teams themselves. By mobilizing symbolic interactionism frameworks, this research highlights the role played by the female practitioners during this sportsification and how they negotiate a practice framework articulated between the diversion and appropriation of the dominant sports model. The main challenge is to show the transition from a so-called "permissive" practice to an "inclusive" sport. While female players now defend their place on mainstream sports fields, the display of inclusion of gender minorities has gradually replaced the carnivalesque markers of subversion of sports codes. As teams are leaving the margins of the sport to enter its institutions, subversion gives way to inclusion, as a final marker of distance from the core of the sports environment. Nevertheless, some teams continue to resist the pressure of the competitive model. Some embrace DIY as a means of organizing sports practice differently (without hierarchy, but horizontally), while others choose to prioritize folklore as a mode of resistance to the homogenization of practice
11
Strauss, Donald Parker. "Ridazz, Wrenches, and Wonks: A Revolution on Two Wheels Rolls Into Los Angeles." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1426626665.
12
Silva, Alex Gomes da. "Cultura luso-brasileira em perspectiva: Portugal, Brasil e o projeto cultural da revista Atlântico (1941-1945)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29012013-104158/.
Анотація:
A revista Atlântico foi parte integrante de um projeto maior açambarcado por Portugal e Brasil no começo da década de 1940. Para sermos mais precisos, 1941 é o ano da assinatura do acordo cultural luso-brasileiro que resultou, dentre outros elementos, na idealização de um projeto cujo cerne assenta-se na criação de uma revista de cultura e arte. Desse processo, surge Atlântico, revista que deve seu nome ao intento de encontrar uma palavra suficientemente elástica, ondulante, para sintetizar o vago e o concreto das nossas aspirações, o sonho e a realidade do nosso ideal, segundo as palavras de um dos seus diretores, António Ferro. Fundada em 1942, a revista Atlântico tem como propugnadores o diretor do Secretariado da Propaganda Nacional (SPN) de Portugal, António Ferro, e o diretor do Departamento de Imprensa e Propaganda (DIP), Lourival Fontes. A presente pesquisa, que abrange o período de 1941 (ano da assinatura do Acordo Cultural luso-brasileiro) a 1945 (que marca tanto o fim da vigência do DIP quanto o término da primeira fase de Atlântico), pretende discutir a idéia defendida por seus articulistas de que a natureza da revista Atlântico, isto é, por ser um periódico de cultura, de literatura e de arte, abstêm-se de tratar dos problemas sociais, políticos ou econômicos do mundo moderno, até quando dizem respeito à vida do Brasil ou de Portugal. Ademais, pelo fato de congregar um feixe de intelectuais bastante diversificado, a análise sistemática da revista Atlântico objetiva avaliar e compreender a maneira pela qual autores e obras aparecem no corpo da publicação.The Atlântico magazine was part of a larger project encompassed by Portugal and Brazil in the early 1940s. More precisely, in 1941 is signed the Luso-Brazilian culture agreement that resulted, among other elements, in the idealization of a project based on creating a magazine of culture and art. From this process arises Atlântico magazine, which owes its name to the attempt of finding a word sufficiently elastic, undulating to synthesize the vague and concrete of our aspirations, dreams and the reality of our vision, in the words of one of its directors António Ferro. Founded in 1942, the Atlântico magazine has had as proponents, António Ferro, the director of Secretariado da Propaganda Nacional (SPN) (Director of the Bureau of Propaganda Nacional) of Portugal and the director of the brazilian Departamento de Imprensa e Propaganda (DIP) (Department of Press and Propaganda), Lourival Fontes. This article, which covers the period from 1941 (year of the signing of the Cultural Luso-Brazilian) to 1945 (which marks both the end of the term of the DIP and the end of the first phase of the Atlântico), aims to discuss the idea defended by its writers that the nature of the Atlântico magazine is to be a journal of culture, literature and art, avoiding dealing with social problems, political or economic in the modern world, even when they concern to life in Brazil or Portugal. Moreover, the fact of bringing a bundle of intellectual rather diverse, systematic analysis of the Atlântico magazine aims to evaluate and understand the way in which authors and works appearing in the body of the publication.
13
Holtzhausen, Natasja. "Die rol van die openbare bestuurder in die ontwikkeling van 'n organisasiekultuur : 'n normatiewe beskouing (Afrikaans)." Diss., University of Pretoria, 2000. http://hdl.handle.net/2263/26956.
Анотація:
AFRIKAANS: Die Suid-Afrikaanse owerheid het 'n verantwoordelikheid in die lewering van dienste ter bevrediging van bepaalde behoeftes van die samelewing. Openbare bestuurders in die Suid-Afrikaanse staatsdiens behoort oor besondere vermoëns en kwaliteite te beskik om die staatsdiens doeltreffend in 'n vinnig veranderde omgewing te bestuur ten einde gemeenskapsbehoeftes te bevredig. Dit is die verantwoordelikheid van elke open bare bestuurder om die toegekende organisasie-eenhede doeltreffend te bestuur. Die openbare bestuurder kan nie na willekeur die administratiewe en openbare bestuursaktiwiteite uitoefen nie. Die normatiewe rigsnoere van eerbiediging van die oppergesag, openbare aanspreeklikheid en verantwoordelikheid, openbare doeltreffendheid, die toepassing van die administratiefreg, eerbiediging van samelewingswaardes, hoe etiese norme en standaarde, asook sosiale gelykstelling en geregtigheid moet deurentyd deur die openbare bestuurder gehandhaaf word. Die doel met hierdie verhandeling is om die rol van die openbare bestuurder in die ontwikkeling van 'n organisasiekultuur te bepaal. Die woorde "organisasie", "organisasie-ontwikkeling" en "organisasiekultuur" het 'n direkte invloed op die verhandeling en daarom is genoemde woorde duidelik omskryf en betekenisse daaraan gekoppel. Die openbare sektor is dinamies en die departemente word aan voortdurende veranderinge blootgestel wat tot herorganisering lei wat weer 'n invloed op die organisasiekultuur uitoefen. Organisasies kan nie op dieselfde wyse hervorm word nie en daarom verskil kulture van organisasie tot organisasie. In die organisasie vorm daar soms subgroepe wat oor sterk subkulture beskik en openbare bestuurders behoort hierdie subgroepe tot voordeel van die organisasie aan te wend deur byvoorbeeld gesonde kompetisie tussen die onderskeie subgroepe aan te moedig. Daar bestaan geen “beste” tegniek vir die bestuur van kultuurverandering nie. Elke openbare bestuurder behoort dus die tegniek te kies of tegnieke te kombineer wat die beste by sy of haar spesifieke omstandighede sal inpas. Openbare bestuurders behoort 'n positiewe ingesteldheid rakende die organisasiekultuur aan die res van die organisasielede oor te dra. Die openbare bestuurder in die Suid-Afrikaanse konteks funksioneer in 'n milieu wat verskeie eise stel. Omgewingsfaktore in die staatsdiens bly nooit konstant nie en veranderinge, in byvoorbeeld, die politieke, sosiale, ekonomiese en tegnologiese omgewing het teweeg gebring dat die kultuur van die organisasie beïnvloed word en moet op so 'n wyse bestuur word dat dit tot voordeel van die organisasie en die samelewing is. Die veranderde omgewing waarbinne die openbare bestuurder optree, vereis die bestuur van die organisasiekultuur. Openbare bestuurders behoort 'n bewuswording in die organisasie rakende die organisasiekultuur te skep en tot die besef kom dat die organisatoriese, kulturele en strategiese veranderingsprosesse bestuur moet word ten einde gestelde doelwitte te bereik. ENGLISH: The South African government has a responsibility in the rendering of essential services to satisfy certain needs of the community. Public managers employed by the South African civil service ought to possess specific abilities and qualities to manage the civil service effectively in a rapidly changing environment. It is the responsibility of each public manager to manage the allocated organizational unit under his authority. Public managers may not conduct the administrative and public management activities in a random way. The normative guidelines of honouring the political supremacy, public accountability and responsibility, application of the administrative law, honouring community values, upholding high ethical norms, as well as social equality and justice should continuously be maintained by the public manager. The objective of this paper is to determine the role of the public manager in developing an organizational culture. The meaning of the word “organization”, “organizational development” and “organizational culture” has a direct influence on the objective of this paper and therefore these words have been clearly defined and explained. The civil service is dynamic and the departments are subjedt to change. This leads to re-organization, which in turn will influence the organizational culture. Organizations can not be reformed in a similar manner, and therefore, cultures vary among different organizations. Groups with strong subcultures may develop within the existing organizational culture and the public manager should utilize these subcultures to the advantage of the organization by establishing, for example, healthy competition among these groups. A “best” technique to manage an organizational culture does not exist, and each public manager should select a technique or combination of techniques appropriate to the specific situation. Public managers should convey a positive attitude towards the organizational culture and towards his/her subordinates. The public manager in the South African civil service functions in a milieu that holds many challenges. Environmental factors in the civil service constantly change, and changes in the political, social, economic and technological environments influence the organizational culture and has to be managed in such a way that it is advantageous to the organization and society. The changing environment, in which the South African Public Service operates, demands the management of an organizational culture. Public managers should develop a cultural awareness and realize that organizational, cultural and strategic change processes should be managed in order to reach the set objectives.Dissertation (MA (Public Administration))--University of Pretoria, 2006.
School of Public Management and Administration (SPMA)
Unrestricted
14
de, Gioia Kathryn. "Beyond cultural diversity : exploring micro and macro culture in the early childhood setting /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20060511.142734/index.html.
Анотація:
Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis submitted to the School of Applied Social and Human Sciences, University of Western Sydney in fulfilment of the Doctor of Philosophy". Includes bibliography : leaves 248 - 270.
15
Borchi, Alice. "Culture and economic crisis : cultural value in Italy from 2008 to the present day." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/108584/.
Анотація:
This doctoral work is based on analysis of the discourse on cultural value in contemporary Italy, what are the 'grand narratives' that characterize this discourse and what is the relationship between them. In particular, great relevance is given to the concepts of “neoliberalism” and “commons”. The application of these two economical terms to the field of culture is particularly relevant in the Italian discourse: in 2011, Italy saw the rise of protest groups made of professionals from the arts sector who opposed practices influenced by the theories on the commons to the implementation of neoliberal-inspired policies. In fact, since the beginning of the economic crisis in 2008, the discontent of the Italian population with the implementation of austerity policies and the lack of political and economic stability caused an uprising involvement in political activism. The cultural sector, in particular, was facing a lack of state funding; in addition, many young professionals had been struggling to find a paid job, especially in the theatre sector. The dissatisfaction of the emergent creative class led to a series of demonstrations and campaigns that asked for the recognition of the rights of arts workers. Many abandoned buildings, especially former theatres, were occupied and became spaces dedicated to artistic and political experimentation. Two of these organisations are discussed in the case studies: Teatro Valle Occupato, in Rome, and Rebeldía, in Pisa. The idea of cultural value promoted by these organisations is analysed in relation to the one reflected by Italian cultural policy after 2008. This thesis shows not only how cultural value is shaped by economic factors such as austerity, but also how it represents a battleground where different ways of understanding politics and policy clash, mingle and sometimes overlap. Furthermore, it shows that activist forms of arts management can develop their own pathways to innovation, filling a vacuum left by cultural policy.
16
Cunha, Sonia Regina Soares da. "A m?dia dos outros somos n?s: a experi?ncia audiovisual do Ponto de Cultura Cinema para Todos." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16406.
Анотація:
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Previous issue date: 2012-02-27This research aims to identify the process of appropriation of audio visual (in digital video) for collective symbolic production (participatory video practice that expresses popular culture) in a socio-cultural context where the minorities are. Therefore, we based this study on the students‟ experience of the film and video workshops held by Cinema para Todos (Culture Point Cine for All), in Natal, RN. Culture Point is the basis of the project Programa Nacional de Cultura, Educa??o e Cidadania Cultura Viva (National Program of Culture, Education and Citizenship - Living Culture) of the Brazilian Ministry of Culture. In 2010, the Cine for All developed three film and video workshops in the state of Rio Grande do Norte (Northeastern of Brazil), in the municipalities of A?u, Lajes and S?o Gon?alo do Amarante, within a public policy project of socio-cultural inclusion. These three workshops are the focus of this empirical investigation. To support the analysis of this research we consider that the spaces of workshops are sites of the social practices origin, assuming they show the development of the changes of actions that generate new practices. In this socio-cultural context the students as interlocutors process the communicative culture mediation, where come from the logics of action (using digital video) to become a mediatic practice (video auto ethnographic). With the overall goal set and the field of investigative action delimited we considered the methodology of case study suitable for the observation of the object, because it is a phenomenon of modernity, occurring in a context of real life and with little or no control over events. Participant observation and interviews was also applied to this case study. The analytical theoretical support comes from the notion of mediation by Jes?s Mart?n-Barbero and the concept of habitus by Pierre Bourdieu. The research found that a new way of communicating has been developing by this social group, and this reflects the technological change experienced by them. The auto ethnographic videos, short movies, reveal an allegorical trial of the mainstream media, because while they use the mainstream format, they rework the aesthetic, but without revising the history, in fact they proposing to retell the history of themselves full of colorful details and with richness of their forgotten popular culture.
Esta pesquisa tem como objetivo identificar o processo de apropria??o do recurso audiovisual (v?deo digital) para a produ??o coletiva simb?lica (pr?tica videogr?fica participativa que expressa a cultura popular) num contexto sociocultural onde est?o as minorias. Para tanto, baseamos este estudo na experi?ncia dos integrantes das oficinas de forma??o em cinema e v?deo ministradas pelo Ponto de Cultura Cinema para Todos, localizado em Natal, RN. Ponto de Cultura (PC) ? o projeto estruturante do Programa Nacional de Cultura, Educa??o e Cidadania Cultura Viva do Minist?rio da (MinC). Em 2010, o PC Cinema para Todos desenvolveu tr?s oficinas cinema v?deo nos munic?pios norte-rio-grandenses A?u, Lajes e S?o Gon?alo do Amarante, dentro de um projeto de pol?tica p?blica de inclus?o sociocultural. Estas tr?s oficinas comp?em o recorte emp?rico desta investiga??o. Para fundamentar a an?lise deste estudo investigativo consideramos que os espa?os das oficinas s?o locais de pr?ticas sociais embrion?rias, pressupondo-se que sejam reveladores do desenvolvimento das modifica??es das a??es que geram novas pr?ticas. Nesse contexto sociocultural, os agentes comunit?rios assumem o papel de interlocutores e processam as media??es comunicativas da cultura onde as l?gicas de produ??o passam da a??o (uso do v?deo digital) para a pr?tica cultural midi?tica (v?deo auto etnogr?fico). A estrat?gia metodol?gica de estudo de caso foi considerada adequada para a observa??o do objeto, por se tratar de um fen?meno da contemporaneidade, estar inserido em um contexto da vida real e proporcionar pouco ou nenhum controle sobre os eventos. A observa??o participante e a entrevista tamb?m se aliaram ao estudo de caso. Contribu?ram para o suporte te?rico anal?tico desta investiga??o a no??o de media??o formulada por Jes?s Mart?n-Barbero e o conceito de habitus de Pierre Bourdieu. Foi poss?vel identificar que a nova forma de comunicar reflete a mudan?a tecnol?gica cultural vivenciada pelo grupo social. Os v?deos auto etnogr?ficos revelam uma experimenta??o aleg?rica da m?dia hegem?nica, pois ao mesmo tempo em que se apropriam da linguagem, reelaboram a est?tica, sem revisar a hist?ria, mas se propondo a recont?-la com detalhes pitorescos e esquecidos da cultura popular.
17
Seleni, Martina. "Le nuove frontiere per il fund raising per la cultura. Il distretto culturale evolutivo. Esempi tecnici di progettazione culturale sul territorio." Doctoral thesis, Università degli studi di Trieste, 2011. http://hdl.handle.net/10077/4497.
Анотація:
2009/2010Questo lavoro, che ha preso avvio dall’idea di approfondire il tema del fundraising, successivamente è confluito in un ambito di studio più vasto: quello della produzione di cultura che testimonia l’interesse della società nel suo complesso a costruire un assetto di rapporti che assicuri e diffonda un benessere generale. Ci si è resi conto che il valore economico è sempre più sottoposto ad un giudizio da parte della società civile, la quale ormai pretende che le produzioni accrescano la qualità dell’esistenza e la coesione sociale. Tutto ciò esalta il ruolo della cultura prodotta direttamente o indirettamente, e mostra come questa – sviluppata in tutte le sue forme – alimenti il valore economico e l’utilità presente nella polis di cui siamo parte. Si tratta di una problematica generale che però assume speciale rilevanza per i soggetti che producono professionalmente cultura e cioè per le cosiddette industrie culturali. Di certo il decremento della spesa pubblica per la cultura perpetratosi negli ultimi vent’anni ha spinto chi opera nel settore a ricorrere a nuove modalità di finanziamento per sostenere le proprie attività istituzionali. Ecco, quindi, il fiorire di tutta una serie di innovative strategie di raccolta fondi per la cultura. Alcune di queste, vengono mutuate direttamente dalle tecniche di fundraising tradizionalmente utilizzate dalle organizzazioni non profit per il sostegno delle più svariate cause sociali. Altre, invece, affondano le loro radici nelle politiche si sviluppo territoriali e vanno di pari passo con percorsi di partnership pubblico-privato (PPP) avviati allo scopo di rendere più competitivi determinati territori. Nel primo capitolo di questo lavoro abbiamo classificato i beni artistici e culturali ed abbiamo elencato i tradizionali finanziatori del settore in Italia. Abbiamo descritto, in particolar modo, il ruolo dei privati, delle imprese e delle Fondazioni di origine bancaria nel sostegno alla cultura. Si è poi analizzato il quadro normativo entro cui si inseriscono le sponsorizzazioni e le erogazioni liberali, ponendo particolare attenzione agli incentivi fiscali all’investimento privato in cultura. Nel secondo capitolo abbiamo invece descritto le principali tecniche del “fundraising”, la “scienza della sostenibilità finanziaria di una causa sociale”. Il fundraising non coincide solo con il momento della raccolta di fondi, ma va inteso anche come processo di sviluppo dei fondi. Abbiamo cercato quindi di fornire dei criteri per la stima del tasso di rendimento del fundraising, tramite il calcolo dell’indice FACE (Fundraising, Administration Cost and total Expenditure) e del tasso di rendimento sugli investimenti (ROI), e per l’applicazione di metodologie di valutazione della convenienza di un investimento di fundraising. Nel terzo capitolo abbiamo ampliato la definizione di “fundraising” al nuovo concetto di “fundraising territoriale per la cultura”. Le tecniche di raccolta fondi che caratterizzano il fundraising, vengono, infatti, tradizionalmente adottate dalle aziende non profit per garantire sostenibilità economica a progetti con finalità sociali, inseriti nell’ambito di attività di cooperazione allo sviluppo. Ma le stesse tecniche possono essere vantaggiosamente utilizzate anche dai sistemi territoriali interessati a sostenere determinati progetti culturali in loco. Da qui, siamo passati alla definizione dei concetti di “distretto culturale” e “distretto culturale evoluto”. Si tratta di sistemi, territorialmente delimitati, di relazioni che integrano il processo di valorizzazione delle dotazioni culturali, con le infrastrutture e con gli altri settori produttivi che a quel processo sono connesse. La chiave del successo dell’attività di fundraising in un distretto culturale sta nella collaborazione tra le imprese, i privati cittadini e gli Enti Pubblici che lo compongono. In questo modo, si creano rapporti che non si esauriscono nella mera raccolta di danaro, ma che sfociano in una vera e propria partecipazione alle attività ed ai progetti culturali. Una forma di collaborazione efficace, tipica delle politiche dei sistemi territoriali come il Distretto Culturale Evoluto, è la Partnership Pubblico Privata (PPP), dove Enti Pubblici, imprese, privati cittadini ed organizzazioni non profit uniscono le loro forze al fine di valorizzare le caratteristiche strategiche del territorio, tra cui naturalmente le sue eccellenze culturali. Nel quarto capitolo siamo andati a descrivere il valore in senso generale derivante da un investimento in cultura. Tale valore presenta sia un aspetto quantitativo che un aspetto qualitativo: se per il primo si può tentare una valutazione con l’utilizzo delle tecniche proprie della finanza, il secondo si fonda su strumentazioni concettuali assai stilizzate di matrice scientifica più recente. Abbiamo spiegato come l’investimento in cultura sia un’importante componente della corporate social responsability delle imprese che lo sostengono, e come determini un impatto positivo sulla loro performance d’investimento, generando un valore misurabile attraverso i flussi di cassa incrementali derivanti dal progetto: le vendite possono aumentare sia per effetto del miglioramento dell’immagine aziendale, che si traduce in una crescita del giro di affari, sia per effetto della nascita di nuovi punti vendita o della creazione di nuovi mercati, come conseguenza dell’attivazione del progetto. L’attività culturale, inoltre, non si limita a generare flussi incrementali di progetto, ma comporta un vero e proprio aumento del valore di mercato dell’impresa. Il valore di un’impresa che segue detta logica aggiungerà al valore di mercato ottenuto attualizzando il proprio Free Cash Flow secondo i criteri della teoria classica del valore, una componente +/-ΔU che rappresenterà la produzione di utilità sociale. I fatti dimostrano che i valori dell’integrazione cultura/economia possiedono un’utilità sociale per l’impresa, le altre imprese ed il territorio, in quanto sostengono l’occupazione, la legalità, la fiducia, generano l’aiuto verso le realtà sociali svantaggiate o bisognose, ed il mondo dei giovani. In conclusione la cultura genera flussi di ricchezza, crea valore economico ed aggiunge a tutto ciò un’utilità sociale fondata su un’intesa tra i soggetti che appartengono alla polis. Detto questo, abbiamo applicato l’analisi teorica esposta ad alcuni casi pratici. Nel quinto capitolo, si sono analizzate le politiche di fundraising del FAI, il Fondo Ambiente Italiano. Si è descritto l’indice FACE della Fondazione e si è poi passati all’analisi del ROI delle principali modalità di raccolta fondi utilizzate. Proprio sulla base di tale analisi, siamo arrivati ad una interessante conclusione: le modalità di raccolta fondi che, come le corporate membership, non prevedono una vera e profonda partecipazione, emotiva ma anche imprenditoriale, alla causa culturale, possono rivelarsi instabili, insicure, specialmente in periodi di crisi. Tecniche di raccolta fondi che invece prevedono la partecipazione delle imprese nel capitale dell’organizzazione (vedi ad esempio “I 200 del FAI”) o il loro coinvolgimento nella gestione dell’attività culturale, saranno destinate a generare ottimi risultati. Le nuove frontiere del fundraising per la cultura, insomma, consistono nella partecipazione attiva di chi finanzia un determinato progetto artistico al capitale della realtà che lo promuove o alla sua gestione e sviluppo. Nell’ultimo capitolo abbiamo trattato l’esperienza del Distretto Culturale della Valle Camonica, che ha intrapreso un investimento in cultura concepito come volano di sviluppo del territorio. Si è ipotizzata, infine, la creazione di un Distretto Culturale in provincia di Trieste, ed abbiamo motivato l’opportunità di realizzare al suo interno un Polo della Musica. Si tratta della proposta ideata dallo studio ARTEMA per il riutilizzo di alcuni magazzini del Porto Vecchio di Trieste a favore di iniziative culturali particolarmente significative e aventi peraltro un’intrinseca capacità di stimolo nei confronti di ulteriori attività, potendo con ciò contribuire all’auspicato processo di rivitalizzazione della realtà locale. Tale studio è stato avviato su incarico di un’aggregazione di dieci soggetti - tra istituzioni, fondazioni e associazioni - operanti a Trieste nel settore musicale (tra di loro spiccano il Conservatorio Giuseppe Tartini ed il teatro lirico Giuseppe Verdi), tutti qualificati da un notevole impegno e dall’alta riconoscibilità nel settore artistico e della formazione. Per l’avvio di questo progetto, abbiamo ideato una proposta di fundraising che coinvolge sì gli Enti pubblici e le Fondazioni bancarie presenti sul territorio, ma si rivolge anche e soprattutto alle imprese ed ai privati cittadini, nell’ottica di un coinvolgimento diretto ed attivo al progetto.
XXIII Ciclo
1979
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Clifford, Zachary Lee. "Anthem." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574675376205461.
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Campagna, Desirée. "The Impacts of Participatory Governance on Cultural Development: Evidence from European Capitals of Culture." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3422217.
Анотація:
Participatory approaches to cultural decision-making are increasingly supported in the international and European discourses as means to foster cultural development, promoting capacity building, legitimacy, and social capital. However, their beneficial effects are both empirically contradictory and theoretically under-investigated.
With the aim of providing an evidence-based account of the function of participatory decision-making in culture, this thesis analyses how, why, and under which circumstances participatory governance impacted on cultural development in four projects promoted in the two European Capitals of Culture of 2013 - Marseille-Provence (France) and Košice (Slovakia) –under the umbrella of the “City and Citizens” criterion.
The thesis combines the theoretical assumptions of the “expansive” theories of democracy (Warren, 1992) with the “pragmatic conception” proposed by Fung (2007) and adopts the methodological tools offered by the theory-testing variant of process tracing. Hence, it advances an analytical framework of causal mechanisms able to explain how and why the impacts of participatory governance of culture can change within different contextual conditions.
This work defines cultural development as a long-term process that includes cultural production and reception and is sustained by a network of cultural relations. In addition, it conceptualizes participatory governance as a three-dimensional institutional space (including representation, communication, and power delegation) that can trigger developmental dynamics thanks to consensus-oriented face-to-face dialogue among a variety of cultural stakeholders.
Referring to the empirical evidence collected in the four case studies, the thesis argues that the impacts of participatory governance on cultural development depend on the intensity of trust that is reached among the actors involved in the process.
In presence of fully-fledged trust, as showed in the project PARCeque (Marseille) and in the Exchanger Obrody (Košice), participatory governance can lead to cultural development, activating a reinforcing chain of capacities, legitimacy, and social capital that nurture cultural relations in the long-term. On the contrary, in absence of fully-fledged trust (i.e. mistrust and “calculus-based” trust), as proved by the project Jardins Possibles (Marseille) and the Exchanger Važecká (Košice), participatory governance of culture can exacerbate feelings of manipulation or group dynamics, fostering contestation movements or isolated cultural production.
20
Kear, Warrick N. "Music in Latter-day Saint culture." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339613.
21
Reimers, Frank. "Security culture in times of war how did the Balkan War affect the security cultures in Germany and the United States?" Thesis, Monterey, Calif. : Naval Postgraduate School, 2007. http://bosun.nps.edu/uhtbin/hyperion-image.exe/07Jun%5FReimers.pdf.
Анотація:
Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, June 2007.Thesis Advisor(s): Biermann, Rafael ; Abenheim, Donald. "June 2007." Description based on title screen as viewed on August 14, 2007. Includes bibliographical references (p. 119-130). Also available in print.
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Almeida, Sullivan Bernardo de. "Cartas de amor à Divina: uma leitura imagético-verbal sobre a produção oficiosa de Di Cavalcanti." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2065.
Анотація:
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Previous issue date: 2012-12-12Instituto Presbiteriano Mackenzie
Di Cavalcanti's official production is the subject of studies in many disciplines, each of which takes its own particular approach. This official production is understood to be all of the verbal-imagery work produced by the artist throughout his career in order to meet the demands of the art market. However, the book Cartas de Amor à Divina, a compendium containing letters, cards, drawings and reproductions of portraits of Ivette Bahia Rocha, the "Divina", is understood as unofficial production. Published in 1987, the book records the fifteen-year loving relationship of Di Cavalcanti and Ivette. The set reveals the drama of an older man, 62 at the time, who cannot control a 23-year-old woman. Ivette met the painter in 1959 on a visit to his studio in Copacabana, Rio de Janeiro, and became an assiduous studio guest, occupying, little by little, all spaces of the artist's life: she was his secretary, financial administrator, muse and wife. The relationship ended in 1974, during the middle of a political and cultural transformation in Brazil. Structured from the concepts that guide the study of History of Culture, this study is dedicated to analyzing the verbal imagery content contained in Di Cavalcanti's epistolary, which was transformed into a book in 1987. The goal is to identify the reasons for which the relationship's dynamic was conflicted and how such subversions interfered or not in the painter s artistic production.
A produção oficial de Di Cavalcanti é objeto de estudos em diferentes disciplinas e, abordada de forma diversa em cada uma delas. Entende-se como produção oficial toda obra imagético-verbal produzida pelo pintor ao longo de sua carreira artística e, com objetivo de atender as demandas do mercado de arte. Porém, entende-se como produção oficiosa o livro Cartas de Amor à Divina, um compêndio contendo, cartas, cartas-desenhos e reproduções dos retratos de Ivette Bahia Rocha, a destinatária. Publicado em 1987, o livro é um registro dos quinze anos de relacionamento afetivo vivido por Di Cavalcanti e Ivette, a Divina. O conjunto revela o drama de um homem que não consegue controlar uma jovem de 23 anos, tendo ele à época 62 anos de idade. Ivette conheceu o pintor em 1959 em visita ao seu atelier, em Copacabana, no Rio de Janeiro. Tornou-se uma das convivas assíduas do atelier, ocupando, pouco a pouco, todos os espaços na vida do artista. Foi secretária, administradora financeira, musa e mulher. O relacionamento terminou em 1974 em meio à transformação político e cultural pela qual passava o Brasil. Estruturada a partir dos conceitos que orientam os estudos da História Cultural, esta pesquisa dedica-se a análise do conteúdo imagético-verbal contido no epistolário de Di Cavalcanti transformado em livro em 1987. O objetivo é identificar os motivos pelos quais se instalavam os conflitos naquela dinâmica relacional e, de que maneira aquelas subversões interferiam ou não na produção artística do pintor.
23
de, la Viña Dionisio. "Ideology, language and culture in religion: A single domain ethnographic study of language maintenance." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187453.
Анотація:
Language maintenance investigations have, for the most part, been limited to the study of the effect that socio-cultural factors have on language preservation. Unfortunately, language maintenance has been studied in tandem with language shift. Language shift has generated more interested from scholars than has language maintenance. This dissertation is an attempt to open up new ways to look at the study of language maintenance by presenting a theoretical framework whereby the domain of language use is the principal focus of study. I studied the domain of religion, subdivided into several dimensions. One dimension, that of ideology, is at the center of my study. The main objective of the dissertation was to identify ideological themes within the doctrinal body of the church selected for the study. Twenty-five such themes were identified and analyzed to determine the ways in which the themes influence language maintenance among the church members. The case study approach and the use of several ethnographic data collection methods were employed to assist us in having a better understanding of the phenomenon of language maintenance and to pave the way for future language maintenance studies.
24
Stoltz, Christelle. "Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleiding." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51720.
Анотація:
Thesis (MDram)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production.
AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.
25
Vesterlund, Mattias. ""Det gäller dig och din familj!" : Svenskt civilförsvar och vardagslivets militarisering under kalla kriget 1945-1975." Thesis, Uppsala universitet, Historiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-343198.
Анотація:
The Swedish civil defense during the Cold War Era was a well-developed and well-planned organization in comparison to many other countries. This caused civil defense ideas to come closer to individual citizens’ everyday lives and influence how they should adapt to the threat of nuclear war, thus creating a culture of civil defense. The purpose of this thesis is to elucidate what this militarization of everyday life looked like in Sweden during the Cold War and how it affected people’s everyday life. This is done through studying a civil defense journal between 1945-1975. The articles in the journal are analyzed by how they are portraying the day-to-day life in the context of civil defense. Partly through articles about propaganda and various civil defense courses and exercises, and partly through articles portraying the physical militarization of society, primarily fallout shelters and bunkers. Of particular interest is the contrast between the dark Cold War narrative and the narrative concerning the security and comfort provided by the welfare state. Finally, the thesis argues that the journal and its work can be seen in the context of militarization of everyday life. It tried to spread its militarizing vision in society, and did – incomparison to other countries – succeed in that pursuit. Militarization played a vital role in reaching out to the public, and in disseminating the idea of a welfare state that takes good care of its citizens, even during the hardest of times.
26
Burden, Matilda. "Die herkoms en ontwikkeling van die Afrikaanse volksdans." Thesis, Stellenbosch : Stellenbosch University, 1985. http://hdl.handle.net/10019.1/64932.
27
Hill, Reinhold R. "Rooted ethnography : writing culture from the inside out /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3025624.
28
Favaloro, Frine Beba. "La didactique de la culture chinoise dans le cadre de construction disciplinaire de l’enseignement de Lingua e cultura cinese." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0003.
Анотація:
Notre thèse s’inscrit dans le domaine de la didactique des langues étrangères et a pour objet la construction de la discipline scolaire de Lingua e cultura cinese et le développement de la didactique de la culture chinoise dans l’enseignement secondaire du deuxième cycle italien. S’appuyant sur les notions de construction disciplinaire et de transposition didactique, elle se développe avec l’observation du parcours analogue de disciplinarisation de l’enseignement de la langue et de la culture chinoises en France. L’objectif de l’enquête est d’exposer la constitution particulière de la discipline scolaire italienne par rapport aux autres langues et au contexte français, en montrant l’écart entre le processus de transposition didactique des objets à enseigner-enseignables relatifs à la langue, largement développés, et ceux concernant la culture, pour lesquels les objets à enseigner ont été identifiés mais où la réflexion sur la méthode pour les rendre enseignables est encore à un stade initial. La représentation de distance culturelle associée à la culture chinoise renforce ce processus, rendant plus complexe l’intégration des composantes de la didactique. Cette intégration concerne notamment les thèmes culturels, proposés de manière compartimentée, et la didactique de la langue et de la culture, encore insuffisamment mises en communication. Enfin, tout cela montre que l’intégration des champs de référence et de réflexion de la discipline dans son ensemble est encore en cours d’élaborationOur thesis places itself in the domain of foreign language teaching. Its object is the construction of the scholastic discipline of Lingua e cultura cinese and the development of the teaching of Chinese culture in Italian upper secondary school. Based on the concepts of discipline construction and didactic transposition, the thesis develops from the observation of disciplinarisation process of Chinese language and culture teaching completed in France. The goal of the research is twofold. First, we want to show how the Italian discipline took unique shape compared to other languages and to the French context, and secondly, to show how there is a divide between the process of didactic transposition of objects to teach-teachable related to Chinese language and the corresponding one related to Chinese culture. While the former is widely developed, the objects to be taught have been identified for the latter but a reflection on how to make them teachable is still at an early stage. This process is influenced by the representation of cultural distance associated with Chinese culture, which makes the integration of the teaching components more complex. Specifically, this integration concerns cultural themes, proposed in a compartmentalized way, and the teaching of language and culture, which are not yet sufficiently connected. Finally, this shows how the integration of reference components and conceptual issues of the discipline as a whole are yet being defined
La nostra tesi si iscrive nel dominio della didattica delle lingue straniere e ha per oggetto la costruzione della disciplina scolastica di Lingua e cultura cinese e lo sviluppo della didattica della cultura nella scuola secondaria di secondo grado italiana. Basandosi sulle nozioni di costruzione disciplinare e trasposizione didattica, essa si sviluppa a partire dall’osservazione del percorso di disciplinarizzazione dell’insegnamento della lingua e della cultura cinese compiuto in Francia. Obiettivo dell’indagine è mostrare come la disciplina scolastica italiana si sia costituita secondo una forma peculiare rispetto alle altre lingue e al contesto francese, e mostrare come esista un divario tra il processo di trasposizione didattica degli oggetti da insegnare-insegnabili relativi alla lingua, ampiamente sviluppati, e quelli relativi alla cultura, rispetto a cui sono stati individuati gli oggetti da insegnare ma la riflessione su come renderli insegnabili è ancora agli inizi. Influisce su questo processo la rappresentazione di distanza culturale associata alla cultura cinese, che rende più complesso integrare le componenti della didattica. Nello specifico, tale integrazione riguarda i temi culturali, che sono proposti in modo compartimentalizzato, e la didattica della lingua e della cultura, che non sono sufficientemente poste in comunicazione. Tutto questo, infine, mostra come l’integrazione dei campi di riferimento e di riflessione della disciplina nel suo complesso sia ancora in corso di definizione
29
Anderson, Michael. "Childhood, culture, and identity a comparative study of the." Boston Spa, United Kindom : British Library Document Supply Centre, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363230.
30
Hosaka, Guilherme Kenichi. "Estabelecimento de protocolo de cultura de tecidos de Sorghum bicolor." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/11/11144/tde-11112014-155455/.
Анотація:
O sorgo é uma planta monocotiledônea diplóide com ciclo de vida de aproximadamente quatro meses. Apresenta grande relevância na agricultura pela sua utilização tanto para a alimentação humana e de animais quanto para a produção de biocombustíveis. Recentemente, o sorgo também surge como um forte candidato como planta modelo em estudos genômicos e fisiológicos relacionados com parede celular de gramíneas C4. Porém, para a análise da função de genes nesta espécie é essencial o estabelecimento da tecnologia de transformação genética que por sua vez depende de um eficiente método de regeneração de plantas. Nesse contexto, este trabalho teve como objetivo estabelecer um protocolo de cultura de tecidos utilizando discos de folhas e embriões imaturos como explantes, de modo a avaliar a redução do nível de oxidação na cultura in vitro pelo uso de antioxidantes e determinar as concentrações de reguladores vegetais para indução de embriogênese somática e regeneração de plantas. Em discos de folhas, os antioxidantes, PVP, ácido ascórbico e ác. cítrico foram testados na manipulação dos explantes até a inoculação em meio de cultura, porém não houve redução no nível de oxidação. Foram testados diferentes concentrações de 2,4-D para indução de calos e o uso de 1 mg L-1 e 2 mg L-1 apresentaram melhores respostas em embriogênese somática. Diferentes meios de cultura foram testados para obtenção de regeneração de plantas, mas a eficiência chegou somente a 1% de plantas a partir de discos de folhas. Em embriões imaturos, além dos antioxidantes PVP e ácido ascórbico, foram testados também os aminoácidos asparagina e prolina em meio de indução de calos. O uso de 2 g L-1 de asparagina e 3 g L-1 de prolina no meio de indução de calos e 3 mg L-1 de TDZ no meio de regeneração de plantas aumentou a eficiência de obtenção de plantas para até 15%. Assim, o uso de embriões imaturos foi considerado o explante mais promissor para a cultura de tecidos de sorgo. Devido aos altos níveis de oxidação e a baixa eficiência de regeneração de plantas em cultura de tecidos, foi testado o método de transformação genética via Agrobacterium tumefaciens conhecido como \"Floral dip\". Esta técnica não necessita da etapa de regeneração de plantas in vitro. Inicialmente, resultados promissores foram obtidos, porém há a necessidade do aprimoramento da metodologia.Sorghum is a diploid monocot plant with a short life cycle of about 4 months. This crop is important in agriculture because it can be used for animal and human feed, and as well as source of raw material for biofuel production. Recently, sorghum also emerges as a strong candidate being a model plant on genomic and physiological studies related to cell wall in C4 grasses. Nevertheless, an efficient plant regeneration method is required for the establishment of genetic transformation technique to conduct the characterization of functional genes. In this context, the objective of this work was to establish a tissue culture protocol to evaluate the oxidation level of in vitro culture using leaf discs and immature embryos as explants, and testing different antioxidants and hormones concentrations for somatic embryogenesis and plant regeneration. In leaf discs, PVP, ascorbic acid and citric acid antioxidants were tested when manipulating the explants until their inoculation in culture media, but these factors failed to show any reduction in oxidation. In order to obtain somatic embryogenesis different concentrations of 2,4-D were tested for callus induction, 1,0 and 2,0 mg L-1 showed the best results. Several plant regeneration medium were tested however, only up to 1% of regeneration was achieved using leaf discs. In immature embryos, besides PVP and ascorbic acid antioxidants also asparagine and proline amino acids were tested in the callus induction media. The use of 2 g L-1 asparagine and 3 g L-1 proline in callus induction media and 3 mg L-1 TDZ in the regeneration media improved shoot regeneration efficiency up to 15%. Thus, the use of immature embryos was considered as a better option as explant for tissue culture of sorghum. Due to high production of oxidation and low frequency of plant regeneration in tissue culture, the genetic transformation via Agrobacterium tumefaciens known as \"Floral Dip\" method was tested. This technique does not require in vitro plant regeneration. Preliminary results were obtained, but the methodology needs to be improved.
31
Botes, Mariana. "'n Genealogiese studie van die Petrus Johannes-tak van die Botes-stam met besondere verwysing na die Weltevrede-plase in die distrik Prins Albert." Thesis, Stellenbosch : Stellenbosch University, 1988. http://hdl.handle.net/10019.1/66402.
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Eren, Ebru. "De la culture éducative à la culture métalinguistique. Les contextualisations de la description du français dans les discours grammaticaux en Turquie." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA112.
Анотація:
Après avoir analysé l'influence de la culture éducative turque sur l'enseignement du français en Turquie (2012, J.-C. Beacco), nous en avons conclu que les pratiques éducatives y sont fondées davantage sur la grammaire, ce qui peut s’expliquer par le rattachement à la culture éducative turque. Nous poursuivons nos recherches sur les contextualisations de la description du français dans des grammaires pédagogiques qui sont élaborées par et pour des turcophones (Grammaire et contextualisations- GRAC). Ces grammaires présentant des « contextualisations », s’écartent de celles dites de référence du français pour s’adapter aux cultures éducatives et métalinguistiques des apprenants turcophones. Il est intéressant d’étudier le discours grammatical à partir de plusieurs entrées : les articles avec les changements terminologiques dont ils sont l’objet, le genre avec la création d’une catégorie inexistante en turc et les cas grammaticaux avec la production de règles d’équivalence. Une démarche complémentaire par une cyber-enquête est engagée pour identifier les contextualisations des erreurs de français les plus fréquentes en milieu scolaire et universitaire turcophone. Les données obtenues ont permis de montrer que les discours sont modelés par les cultures éducatives et métalinguistiques. Il serait opportun de faire contribuer ces grammaires « extérieures » du français à une grammaire plus « centrale » du françaisAfter having studied the impact of educational culture on French teaching (2012, J.-C. Beacco), we concluded that teaching methods applied in Turkey are mostly based on grammar. This tendency reflects the educational culture of this country. The present research focuses on the contextualization of French grammar in reference books which were written by and for Turkish-speaking people (Project of GRAC).French reference books written in Turkey contain a number of “contextualization”, resulting from educational and metalinguistic culture of Turkish students learning French. Therefore, they differed from the French edition of French grammar. For this purpose, the French grammatical discourse was analyzed in many aspects: the articles which cause the change of terms; the gender of nouns which does not exist in Turkish introduces a new grammatical classification and the grammatical cases which result in the creation of equivalent rules. A cyber-survey was prepared to find out the contextualization of the frequent errors in French in high school and university area in Turkey. All the research, showed that these discourses were modulated by the educational and metalinguistic culture. Moreover, we demonstrated that the “off-center” Turkish edition of French grammar books need to be standardized to the “central norm” of the French edition
Türk eğitim anlayışının Fransızca öğretimine etkisi incelenmiş olup (2012, J.-C. Beacco), Türkiye’de daha çok dil bilgisine dayalı bir öğretim şekli uygulandığı ve bunun da geleneksel eğitim anlayışına bağlı kalmanın bir sonucu olduğu belirlenmiştir. Fransızca dil bilgisinin Türkiye bağlamına uyarlanmış ve Türk yazarlar tarafından Türk okuyucular için kaleme alınan kaynak kitaplar üzerine çalışılmıştır (GRAC Projesi).Türkiye’de yayımlanan Fransızca kaynak kitapları bu “bağlama göre uyarlanmakta”, dolayısıyla bir Fransız yayını Fransızca dil bilgisinden uzaklaşmaktadır: bu kitaplar, Türk öğrencilerin eğitim anlayışları gereği ve dil ötesi nedenlerle farklı algıladıkları “o yabancı dile” uygun olabilmesi için uyarlanmıştır. Bu varsayımdan yola çıkarak, Fransızca dilbilgisel söylem birçok açıdan ele alınmıştır: terim değişikliğine neden olan « article », Türkçede karşılığı olmadığı için yeni bir sınıflandırmaya yol açan isimlerde cinsiyet ve iki dil arası kural denkliğine neden olan ismin halleri. İnternet ortamında yayımlanan bir anket ile Türkiye’de lise ve üniversite düzeyinde sıklıkla yapılan Fransızca yanlışların bu bağlama uyarlanması araştırılmıştır. Tüm bu veriler, bu söylemlerin Türklerin eğitim anlayışı ve dil ötesi algıları ile şekillendiğini göstermiştir. Elde edilen sonuçlar doğrultusunda ise, “merkez dışı” bu kaynak kitapların daha “merkezi” bir Fransız yayın ölçütüne kazandırılması gerekmektedir
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Naulu, Sosaia Hakaumotu. "Incidental Effects of Church Activity on Development, Landscapes and Culture: An Example from Tonga." Diss., CLICK HERE for online access, 1990. http://patriot.lib.byu.edu/u?/MTNZ,2353.
34
Weaver, Caroline Louise. "Colonialism, culture and visual education in British India, 1854-1891." Thesis, Online version, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.267749.
35
Inglis, Anthony Ian. "'Burning matches, lifting latches' : sociology, popular culture and the Beatles." Thesis, Online version, 2003. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.490588.
36
Uomini, Steve. "Cultures historiques dans la France du XVIIe siècle /." Paris : l'Harmattan, 1998. http://catalogue.bnf.fr/ark:/12148/cb37031560f.
Анотація:
Texte remanié de: Th. univ.--Hist.--Paris 4, 1997. Titre de soutenance : Histoire cachée : polygraphie historique et comportements intellectuels dans la France du XVIIe siècle.En appendice, choix de documents. Bibliogr. p. 602-609. Index.
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Amaral, Patr?cia Daliany Ara?jo do. "A din?mica territorial da cultura e do turismo em Mossor?/RN : uma an?lise geogr?fica." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/18855.
Анотація:
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Previous issue date: 2008-07-11The city of Mossor? has been, currently, divulged and known in all Rio Grande do Norte as the cultural capital of the State, in function of the excellent carried through investments, each year, in the cultural sector. The present work is considered to construct an understanding to of the dynamics of the culture and tourism in the city of Mossor?. This work searches also , to verify how this territorial dynamics of the city is processed, by the recent years, in function of the local activities as Mossor? Cidade Junina , Auto da liberdade e Festa de Santa Luzia. An analysis of the occured territorial transformations in Mossor? has been done, decurrent of the activities in study, and the impacts proceeding from the public and private investments, that provoke a new dynamics in the city. Moreover, the perception of the community, the private initiative and the public power in relation to these practical is verified as processes of Mossor?. For this, documentary and bibliographical research has been used. It was accomplished, field research, through the comment not-participant and from the accomplishment of interviews with the municipal public power, main idealizer of the parties and with the private initiative, as sponsor. The local community also participated through the application of questionnaires. It has been concluded that the parties as Mossor? Cidade Junina, Auto da Liberdade and Santa Luzia, have demonstrated a capacity to create and to keep a tourism flow, being Mossor? projection as a tourist destination. The city has through it parties, great part of itself moving in direction to guarantee its accomplishment, what it makes with that its territorial dynamics comes being modified for and for the tourism
A cidade de Mossor? tem sido, atualmente, divulgada e conhecida em todo o Rio Grande do Norte como a capital cultural do Estado, em fun??o dos relevantes investimentos realizados, a cada ano, no setor cultural. O presente trabalho prop?e-se a construir uma compreens?o de como ocorre a din?mica da cultura e do turismo na cidade de Mossor?. Busca, ainda, verificar de que maneira processa-se essa din?mica territorial da cidade, nos ?ltimos anos, em fun??o das atividades do Mossor? Cidade Junina, do Auto da Liberdade e da Festa de Santa Luzia. Faz-se uma an?lise das transforma??es territoriais ocorridas em Mossor?, decorrentes das atividades em estudo, e dos impactos provenientes dos investimentos p?blicos e privados, que provocam uma nova din?mica na cidade. Al?m disso, ? verificada a percep??o da comunidade, da iniciativa privada e do poder p?blico em rela??o a essas pr?ticas como processos dinamizadores de Mossor?. Para isso, realizou-se pesquisa documental e bibliogr?fica. Efetivou-se, ainda, pesquisa de campo, atrav?s da observa??o n?o-participante e da realiza??o de entrevistas com o poder p?blico municipal, principal idealizador das festas e com a iniciativa privada, enquanto patrocinador. A comunidade local tamb?m participou atrav?s da aplica??o de question?rios. Conclui-se que as festas do Mossor? Cidade Junina, do Auto da Liberdade e de Santa Luzia, t?m demonstrado uma capacidade de criar e manter um fluxo de turismo, fazendo com que Mossor? ganhe proje??o como um destino tur?stico. A cidade tem, na efetiva??o de suas festas, grande parte da cidade movimentando-se no sentido de garantir a sua realiza??o, o que faz com que sua din?mica territorial venha sendo modificada pelo e para o turismo
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Prado, Luciana Ferreira Serenini. "O que diz o varejo nas redes sociais: visões sobre as linguagens no mundo do consumo virtual." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3748.
Анотація:
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Não consta resumo em outro idioma.
Este trabalho tem por objetivo procurar compreender as relações entre a produção de linguagens e mensagens publicitárias divulgadas por empresas do segmento de varejo de eletroeletrônicos e móveis, no processo de procura por capital social frente aos consumidores/fãs/seguidores, inseridos na rede social Facebook. Tendo como base uma pesquisa empírica que em um primeiro momento utilizou-se do monitoramento dos dados e tráfegos de interações entre empresas e consumidores analisados quantitativamente, com o respaldo da ferramenta Scup. Posteriormente iniciou-se o recorte do objeto, selecionando a categoria de mensagens mais compartilhadas pelos seguidores das páginas entre três de junho a primeiro de julho de 2013 como marco para a identificação entre empresa e indivíduo; buscando a partir destas postagens as marcas de um possível discurso publicitário assentado no campo da razão ou da emoção, considerando investigar a hipótese de que as mensagens de maior repercussão e compartilhamento poderiam refletir uma tendência à apropriação de uma fala emocional e humorística, típica das construções das relações entre amigos virtuais e não somente consumidores, como forma de persuasão e representação das marcas de varejo funcionando também como formadoras da cultura do consumo na contemporaneidade. As conclusões apresentam um cenário de ambivalência, de novas propostas de interações que se modulam tanto pela postura de posicionamento das empresas, quanto pela expectativa demonstrada pelos compartilhamentos dos consumidores em obtenção tanto de informação, quanto de entretenimento, perspectivas que o canal de comunicação virtual abre como campo de novas formas de interação e convivência.
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CICALA, Federica. "NUOVI SISTEMI DI GESTIONE E STRATEGIE DI SVILUPPO PER IL PAESAGGIO CULTURALE DELL'AREA MEDITERRANEA." Doctoral thesis, Università degli Studi di Palermo, 2022. https://hdl.handle.net/10447/564180.
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Weil, Talana. "Die inskakeling van die Jode by die Afrikaanssprekende gemeenskap op die platteland van 1880 tot 1950." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51707.
Анотація:
Thesis (MA)--Stellenbosch University, 2000.ENGLISH ABSTRACT: After 1880 more and more Jews (mostly of East European descent) moved into the rural areas of South Africa. Initially they travelled across the country as hawkers but later settled permanently in many of the smaller towns. In most cases they opened shops or started businesses of another kind. Due to the nature of their work the Jews mostly came into contact with the Afrikaans speaking community. Although these two groups differed considerably in many ways, especially as regards language and religion, the Jews adapted and integrated fairly quickly. They became involved with the Afrikaans speaking community in various ways and made a substantial contribution. Although their involvement in and contribution to the economy can be considered as the most important, they also played a considerable role in other areas such as politics, education, language, sport and recreation. The presence of the Jews in rural South Africa was important not only because of their integration with the Afrikaans speaking community and the contribution they made as a group, but also because of the extent to which the two groups influenced each other. Both groups were culturally enriched and the South African country town developed a unique character due to the presence or the Jews and their involvement in the life and activities of the townspeople. Although the Jews were influenced by the Afrikaans speaking community and thus acquired new cultural assets, they still to a large extent retained their Jewish identity. On the whole there was a very good relationship between the Afrikaans speaking rural population and the Jews. After 1950 an increasingly large number of Jews moved to the cities. The depopulation of the rural areas, as regards to Jews, took place to such an extent that today only a few Jewish families remain in rural areas.
AFRIKAANSE OPSOMMING: Na 1880 is Jode (hoofsaaklik van Oos-Europese afkoms) toenemend op die Suid- Afrikaanse platteland aangetref. Aanvanklik het hulle as smouse die landelike gebiede deurkruis. Later het hulle hulle egter permanent op die plattelandse dorpe gevestig - in die meeste gevalle het hulle 'n winkel of ander soort besigheid begin. Die Jode het uit die aard van hulle werk oorwegend met die Afrikaanssprekende gemeenskap in aanraking gekom. Alhoewel daar definitiewe verskille tussen dié twee groepe was, veral ten opsigte van godsdiens en taal, het die Jode redelik gou aangepas en ingeskakel. Hulle het op verskillende terreine by die Afrikaanssprekende gemeenskap betrokke geraak en 'n substansiële bydrae gelewer. Hoewel hulle betrokkenheid en bydrae tot die ekonomiese terrein as die belangrikste beskou kan word, het hulle ook op baie ander gebiede soos byvoorbeeld politiek, opvoeding, taal, sport en ontspanning belangrike bydraes gelewer. Die Jode se teenwoordigheid op die Suid-Afrikaanse platteland was nie slegs belangrik as gevolg van hulle inskakeling by die Afrikaanssprekende gemeenskap of die bydrae wat hulle as groep gelewer het nie, maar ook as gevolg van die mate waarin albei groepe mekaar beïnvloed het. Die Jode se aanwesigheid en hulle betrokkenheid by die dorp se bedrywighede en mense het meegebring dat albei groepe kultureel verryk is en dat die Suid-Afrikaanse platteland 'n unieke karakter verkry het. Hoewel die Jode deur die Afrikaanssprekende gemeenskap beïnvloed is en hulle as groep nuwe kultuurgoedere bygekry het, het hulle steeds in 'n groot mate hulle Joodse identiteit behou. Daar was oor die algemeen 'n baie goeie verhouding tussen die Afrikaanssprekende plattelanders en die Jode. Na ongeveer 1950 het daar geleidelik 'n toenemende getal Jode na die stede verhuis. Die ontvolking van die platteland met betrekking tot die Jode het in so 'n mate plaasgevind dat daar vandag slegs enkele Joodse gesinne op die meeste plattelandse dorpe oor is.
41
Birukou, Aliaksandr. "Implicit Culture Framework for behavior transfer. Definition, implementation and applications." Doctoral thesis, Università degli studi di Trento, 2009. https://hdl.handle.net/11572/367814.
Анотація:
People belong to different communities: business communities, Web 2.0 communities, religious communities, scientific communities, just to name a few. Everyone can belong to and acquire experience in more than one community. This experience is related to the community activity and comes in the form of best practices, behavior, implicit (tacit) knowledge, ways of using artifacts, etc. All these accumulates and evolves over time and slowly becomes a part of the culture of the community. If community activity is very specific, it can be reflected also in the specificity of the community culture. Newcomers
in such community might suffer from what is called “culture shock†, i.e. a feeling of confusion when not able to grasp what is common for old-timers. This occurs because part of the community culture is not explicit, i.e. not readily available, and it is very hard to extract valuable information from it. Such information can be used for increasing economic and social benefits of the community members (e.g., for performing recurring tasks, easier integration of newcomers, better quality of life). Moreover, the awareness of the community culture could help the community to handle the turnover of members and structural changes, while preserving the culture. All these introduce the need for transfer of culture between or within communities.
Currently, there is no domain-independent approach for discovering, representing, transferring, and preserving community culture. Moreover, taking into account the amount of information accumulated by communities, computer aided tools for such representation and transfer are of utmost importance. A key property of such tools should be their non-intrusiveness, i.e. they must be as much integrated in the community practices as possible.
Research challenges in solving these problems include, but are not limited to: 1) providing a generic approach for dealing with community culture; 2) designing a framework and
computer aided supporting tools for transferring culture; 3) implementing the framework, applying and evaluating it in different domains.
This thesis addresses the problem of culture transfer. First, we formalize the notion of culture, which includes behavior, knowledge, artifacts, best practices, etc., and provide a classification of problems that involve culture. Second, using this formalism, we propose the Implicit Culture Framework, which is an agent-based framework for transferring behavior among community members or among communities. Then we describe three applications developed using the IC-Service in the domain of recommendation systems: a system for web search, a system for software pattern selection, and a system for web service discovery. Finally, we present the results of the evaluation of the applications with real users and with ad-hoc user models.
42
Downes, Julia. "DIY queer feminist (sub)cultural resistance in the UK." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/2383/.
Анотація:
This thesis examines the role of music, power and DIY (sub)culture involved in resistance to hegemonic discourses of gender, sexuality and feminism (re)circulated within dominant society and culture. In particular, attention is focused upon young peoples' experiences within riot gml and contemporary queer feminist music (sub )cultures situated within the fabric of social change and protest cultures of contemporary Britain. A critical interdisciplinary approach and set of qualitative methodologies were employed to understand music as collective social action that incorporated (i) oral histories of British riot gml, (ii) an auto/ethnography of DIY queer feminist (sub)culturallife, and (iii) case studies of queer and feminist amateur music-makers. I argue that music provides participants with a set of vital spatial, emotional and sonic resources to provoke radical political imaginaries, identities, communities and life-courses into being. In the context of a neo-liberal post-feminist consumer society, the creation of DIY queer feminist music (sub )culture attempts to resist the disarticulation of feminism and the dominant regulation of gender and sexual diversities. These social practices offer critical insights into the continuities of the (sub)cultural resistance of girls, young women and queers throughout modem history and demands the recognition of (sub)cultural resistance as crucial to British feminism within the wider transformations of protest and activism in contemporary society.
43
Barnes, Duncan Martin. "Selling the modern day tribe: The commodification of rave culture." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2107.
Анотація:
This thesis examines youth and rave culture from the late 1980s to the present. It considers the history as well as the global and local impact of rave. I provide a visual ethnographic study from 1999-2014, based on my work as a commercial photographer of the Perth, Western Australian scene. While critically reflecting on existing subcultural research this thesis adds another dimension – the effect that global corporations have had in reshaping subcultural practices, specifically the commodification of rave culture in the form of the contemporary electronic dance festival.
The research incorporates both qualitative and quantitative data to interrogate media coverage on rave culture as well as interviews and first hand experience within the rave scene. I analyse mainstream print and electronic media reporting of rave as a deviant youth subcultural practice linked to the use of the drug ecstasy. I consider the effect this had on rave and it’s rebranding to become known in contemporary times as EDM (electronic dance music). As a result I examine how rave has shifted from a youth subcultural activity to being not only mainstream and commercial, but also owned and controlled by global corporations. My discussion of the conventions of festival/music scenes will demonstrate how rave, which once operated outside ‘acceptable’ boundaries, has become a part of the conventional norm.
A unique aspect of this thesis is the inclusion and analysis of my photographs taken over a 15 year period that document the changes that occurred as rave transitioned from a subversive underground scene to corporate run multimillion dollar events. The photographs are also compiled into an accompanying monograph. The monograph allows for an immersive visual experience of non-staged event images and predetermined studio and location photographs. The book offers what words alone cannot fully engage with – a representation of what was and remains a highly visual scene, based on fashion, performance and settings.
44
Richter, Lisa-Marie. "#YOLOCAUST?: Über die virtuelle Inszenierung des Besuchs von Holocaust-Erinnerungsorten auf Instagram." Technische Universität Dresden, 2017. https://tud.qucosa.de/id/qucosa%3A31386.
Анотація:
Seit einigen Jahren kursiert im Internet der Begriff Yolocaust als Bezeichnung für ein vorwiegend jugendbildkulturelles Phänomen, welches das als unangemessen empfundene Erstellen von Fotografien im Stile der jugendlichen Selfiekultur in Holocaust-Gedenkstätten und das anschließende Teilen dieser Bilder in den sozialen Netzwerken meint und welches oft als Symptom einer gestörten Erinnerungskultur gedeutet wird. Dieser Beitrag erschließt anhand der Plattform Instagram zunächst die graduellen Ausprägungen dieser Bildkultur und sucht anschließend über die Analyse der Programmatik und der allgemeinen Bildkultur des Netzwerkes nach Erklärungsansätzen in der medialen Eigenlogik. Abschließend wird nach pädagogischen Konsequenzen für die Vorbereitung des Gedenkstättenbesuchs gefragt, ohne eine pauschale Verurteilung der Bildkultur anzustreben.
45
Macedo, Jo?o Luiz de. "Lideran?a: um estudo de caso sobre o papel dos gerentes na dif?cil tarefa de influenciar os recursos humanos de uma Organiza??o." Universidade Federal Rural do Rio de Janeiro, 2006. https://tede.ufrrj.br/jspui/handle/tede/929.
Анотація:
Made available in DSpace on 2016-04-28T20:19:07Z (GMT). No. of bitstreams: 1
2006-Joao Luiz de Macedo.pdf: 447755 bytes, checksum: 609ba2d76dfbdccc13f27b181ecc6606 (MD5)
Previous issue date: 2006-01-24The present work approaches the most important topic discussed by people who deal daily with human resources: the leadership. Leadership is necessary in all kinds of human organization, either in companies or in each of their departments. It is essential in all administration functions: the manager needs to know the human nature as well how to deal with people, that is, to lead. The purpose is to investigate how leadership is carried out in the organizations, identify the leadership styles used, verify if these styles are adequate for the organizations and analyse employee s reaction according to the leadership styles of their superiors. The methodology follow Yin s(2004) proposal as case study, and Fleury (1996) for investigation and comparison of organizational cultures:, analysing the history of organizations, the socialization of new members, the communication process the work process. The variables proposed for the social research try to find out about the human relationship politics, the reward politics, the recognition for good services, the chief s power of decision, the satisfaction of the subordinate in the accomplishment of tasks, the motivation subordinate, the level of mutual confidence and the orientation the subordinates. For this purpose, a qualitative research was realized in a military organization of the Army Force and in a private company. It was detected that each organization has a leadership style, in the exercise of leadership the personal ability is more important than the technical ones and that the successful managers build confidence relations with their subordinates.
O presente trabalho aborda o assunto mais discutido por pessoas que lidam diariamente com recursos humanos; a lideran?a. A lideran?a ? necess?ria em todos os tipos de organiza??o humana, seja nas empresas, seja em cada um de seus departamentos. Ela ? essencial em todas as fun??es da administra??o: o administrador precisa conhecer a natureza humana e saber conduzir as pessoas, isto ?, liderar. O objetivo que se prop?e ? investigar como ? exercida a lideran?a nas organiza??es, identificar os estilos de lideran?a empregados, verificar se os estilos de lideran?a s?o adequados ?s organiza??es e analisar as rea??es dos funcion?rios diante os estilos de lideran?a de seus superiores. A metodologia utilizada segue o proposto por Yin (2004), como estudo de caso e Fleury (1996), como investiga??o e compara??o das culturas organizacionais, analisando-se a hist?ria das organiza??es, a socializa??o de novos membros, o processo de comunica??es, e o processo de trabalho. As vari?veis propostas para a pesquisa social realizada, procuram averiguar sobre a pol?tica de relacionamento humano das institui??es, a pol?tica de recompensas, o reconhecimento pelos bons servi?os prestados, o poder de decis?o dos chefes, a satisfa??o do subordinado na condu??o das tarefas, a motiva??o dos subordinados, o grau de confian?a m?tua e as orienta??es aos subordinados. Para tal, realizou-se uma pesquisa qualitativa em uma organiza??o militar das For?as Armadas e em uma empresa da iniciativa privada. Constatou-se que cada organiza??o possui um estilo de lideran?a, no exerc?cio da lideran?a as habilidades pessoais s?o mais importantes que as habilidades t?cnicas e que os administradores de sucesso constroem rela??es de confian?a com seus subordinados.
46
Conklin, David P. "The traditional and the modern : the history of Japanese food culture in Oregon and how it did and did not integrate with American food culture." PDXScholar, 2009. https://pdxscholar.library.pdx.edu/open_access_etds/3786.
Анотація:
The study of food and foodways is a field that has until quite recently mostly been neglected as a field of history despite the importance that food plays in culture and as a necessity for life. The study of immigrant foodways and the mixing of and hybridization of foods and foodways that result has been studied even less, although one person has done extensive research on Western influences on the foodways of Japan since 1853. This paper is an attempt to study the how and in what forms the foodways of America-and in particular of Oregon-changed with the arrival of Japanese immigrants beginning in the late-nineteenth century, and how the foodways of the first generation immigrant Japanese-the Issei-did and did not change after their arrival. In a broad sense, this is a study of globalization during an era when globalization was still a slow and uneven process and there were still significant differences between the foodways of America and Japan.
47
Griffin, Naomi. "Understanding DIY punk as activism : realising DIY ethics through cultural production, community and everyday negotiations." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/30251/.
Анотація:
This thesis explores the production of DIY punk alternative cultures, communities and identities as activism. Based on an ethnographic study of DIY punk in North East England, it combines and integrates the disciplinary approaches of sociology, cultural studies and geography. Using an interpretivist epistemology, the research focuses on DIY punk participants’ subjective realities and experiences, through participant observation, of punk events and shows, and interviews. Carried out by a researcher who was both embedded in the scene, as a punk participant, and outside it, as an academic PhD student, it enhances methodological and epistemological debates about the ‘insider/outsider’ research stance and subjectivities. This thesis promotes DIY punk as a relevant and rich area for scholarship. It theorises DIY punk participation as cultural production (Moore, 2007), existing within a framework of activism, as participants attempt to bring into being ‘hoped-for futures’ (Chatterton & Pickerill, 2010) using a multitude of tactics. Identifying multi-layered and multi-scalar acts of resistance, the narrowness of the concept of activism in the literature is critiqued. A more inclusive conceptualisation of activism, as more than oppositional, is proposed. A DIY ethic is theorised as anti-capitalist and interconnected with other complexly interwoven ideologies and politics. The everyday challenges that participants face, in negotiating a DIY punk ethic, and the interface between DIY punk culture and ‘mainstream’ society, are examined. Participants narratively construct DIY punk through ongoing negotiations, which affect how participants produce and interact with and in DIY punk spaces. The research contributes to scholarship on punk and community by arguing that DIY punk cultural production is strengthened by notions of community. It has wider relevance by exploring the meaning of community in a unique cultural context. It offers a definition of community that recognises DIY punk communities as imagined (Anderson, 1991) but sensitive to the significance of place.
48
Jones, Ellis Nathaniel. "Platform DIY : examining the impact of social media on cultural resistance in contemporary DIY music." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/21036/.
Анотація:
DIY (“do-it-yourself”) music is a cultural form which, following in the footsteps of punk, has historically emphasised the autonomous production and distribution of music as a meaningful, “resistant” alternative to the consumption of “mainstream” popular culture. However, the new forms of value-creation within the digital economy capitalise on autonomous production in new ways: platforms like YouTube and SoundCloud thrive on “user-generated content” and “sharing”, and the literature suggests that digital labour involves a blurring of the traditional divisions between production and consumption, and between work and leisure. “DIY” activity is increasingly the norm for aspiring cultural workers and others engaged in utilising new technologies and platforms to create and share their own work. Drawing upon fieldwork with DIY music practitioners in Leeds undertaken August 2015 – December 2016, as well as upon my own long-term engagement in this field, this thesis addresses the question: what happens to DIY’s capacity to offer cultural resistance when it is increasingly normalised by, and captured within, “platform capitalism”? I adapt Nancy Fraser’s approach to social justice (which focusses on maldistribution and misrecognition) to consider cultural resistance in terms of both inequality and issues of identity, including self-recognition. I argue that social media usage in this context has a number of pernicious effects: encouraging individualist measures of success, fostering unproductively antagonistic relationships with other scenes, promoting an unhealthily aspirational logic of optimisation, and increasing maldistribution by “deskilling” DIY practitioners. However, practitioners also resist social media norms in important ways, through imbuing platform metrics with ambiguous social meanings, maintaining a reluctance to engage fully with marketing, and through their offline activities. I argue that affordances are an important (but often mis-applied) means of understanding how the conflicting aims of platforms and users result in social media acting as a contested space of political and cultural tension. Whilst this is an examination of a musical culture, my original contributions to knowledge also relate to critical social media studies, and demonstrate that key debates and concerns (self-branding, the quantified self, hope labour) might be advanced through close attention to the ways in which platforms’ affordances and ideologies are interpreted and engaged with by specific user- groups.
49
Birukou, Aliaksandr. "Implicit Culture Framework for behavior transfer. Definition, implementation and applications." Doctoral thesis, University of Trento, 2009. http://eprints-phd.biblio.unitn.it/123/1/Birukou-PhDThesis.pdf.
Анотація:
People belong to different communities: business communities, Web 2.0 communities, religious communities, scientific communities, just to name a few. Everyone can belong to and acquire experience in more than one community. This experience is related to the community activity and comes in the form of best practices, behavior, implicit (tacit) knowledge, ways of using artifacts, etc. All these accumulates and evolves over time and slowly becomes a part of the culture of the community. If community activity is very specific, it can be reflected also in the specificity of the community culture. Newcomers
in such community might suffer from what is called “culture shock”, i.e. a feeling of confusion when not able to grasp what is common for old-timers. This occurs because part of the community culture is not explicit, i.e. not readily available, and it is very hard to extract valuable information from it. Such information can be used for increasing economic and social benefits of the community members (e.g., for performing recurring tasks, easier integration of newcomers, better quality of life). Moreover, the awareness of the community culture could help the community to handle the turnover of members and structural changes, while preserving the culture. All these introduce the need for transfer of culture between or within communities.
Currently, there is no domain-independent approach for discovering, representing, transferring, and preserving community culture. Moreover, taking into account the amount of information accumulated by communities, computer aided tools for such representation and transfer are of utmost importance. A key property of such tools should be their non-intrusiveness, i.e. they must be as much integrated in the community practices as possible.
Research challenges in solving these problems include, but are not limited to: 1) providing a generic approach for dealing with community culture; 2) designing a framework and
computer aided supporting tools for transferring culture; 3) implementing the framework, applying and evaluating it in different domains.
This thesis addresses the problem of culture transfer. First, we formalize the notion of culture, which includes behavior, knowledge, artifacts, best practices, etc., and provide a classification of problems that involve culture. Second, using this formalism, we propose the Implicit Culture Framework, which is an agent-based framework for transferring behavior among community members or among communities. Then we describe three applications developed using the IC-Service in the domain of recommendation systems: a system for web search, a system for software pattern selection, and a system for web service discovery. Finally, we present the results of the evaluation of the applications with real users and with ad-hoc user models.
50
Burden, Matilda. "Die Afrikaanse volkslied onder die bruinmense." Thesis, Stellenbosch : Stellenbosch University, 1991. http://hdl.handle.net/10019.1/69145.
Анотація:
Thesis (PhD)--Stellenbosch University, 1991.ENGLISH ABSTRACT: A song has to be accepted by the community, must form part of the oral tradition and be handed over from one generation to the next, before it can be called a folk song. In the process of oral tradition, variants usually develop. A folk song is therefore never complete the moment it is created, but is formed gradually through a process of changes. The Afrikaans folk song sung by the coloured people has the same characteristics as the folk song in general. The fact that oral tradition is the major way of spreading songs, is evident from the many variants that occur and from the examples of transformation of words and melody ("Umsingen"and "Zersingen"). Simplicity, the use of the major key and the avoidance of modulation are prominent characteristics. Suggestiveness and coarse language are fairly common. Melismata are very rare and usually occur in songs which probably have their origin in old Afrikaans records. Most of the songs collected amongst coloured children are used to accompany games. The children seldom sing without playing or play without singing. Most variants are found amongst children's songs. Dancing songs are without a doubt the most popular amongst the songs of adults. The form of the stanzas is very simple and usually the songs consist of many stanzas. A small percentage of the songs collected, more or less 5%, presumably originate from old Afrikaans grammophone records. Most of these songs have been transformed by popular usage and even amongst them variants have been found. The main themes of this group of songs are love, parting, grief and death. Picnic songs, work songs, war songs and drinking songs have been found. Humoristic and mocking songs contribute to the entertainment value of the folk song and are also found amongst the coloured people. Because there is so much interaction between sacred songs and secular songs, especially where the melodies are concerned, the two groups cannot always be separated from each other. The sacred songs of the coloured people are mostly of the "refrain"-type. When a group of coloured people perform the sacred songs, they usually harmonise spontaneously and most beautifully. The fact that so much has been said and written on the subject of the folk song, and that even in recent years substantial research projects have been carried out, is proof enough that the folk song has not yet died out. The Afrikaans folk song features strongly amongst coloured people, though noticeably influenced by the English language, modern technology and urbanisation.
AFRIKAANSE OPSOMMING: 'n Volkslied is 'n lied wat deur die gemeenskap aanvaar is, mondelings versprei word en op dieselfde wyse van geslag tot geslag oorgelewer word en waarvan daar in die prosesse variante ontstaan. 'n Volkslied is dus nie voltooi die oomblik dat die eerste vorm geskep is nie, maar word deur 'n langsame proses geleidelik gevorm en omvorm. Die Afrikaanse volkslied wat deur die bruinmense gesing word, toon dieselfde kenmerke as die volkslied in die algemeen. Daar is tekens van mondelinge oorlewering wat veral weerspieel word deur die baie variante wat aangetref word, sowel as talle voorbeelde van verbrokkeling en ver~ vorming ("Umsingen" en "Zerzingen"). Eenvoud in woord en melodie is opvallend. Die majeurtoonaard, met vermyding van modulasie, kom feitlik deurgaans voor. Suggestiwiteit en growwe taal is redelik algemeen. Melismes kom selde voor en dan meestal by liedere wat waarskynlik van ou Afrikaanse plate kom. By die opnames onder bruin kinders is gevind dat die oorgrote meerderheid liedere wat hulle sing, een of ander vorm van spel begelei. Hulle sing selde sonder om te speel, en hulle speel selde sonder om te sing. Die meeste variante van liedere word ook by die kinders aangetref. By die liedere van volwassenes is die danslied ongetwyfeld die gewildste. Die meeste daarvan bestaan uit kort, eenvoudige strofes met baie strofes in een lied. 'n Klein persentasie van die liedere wat versamel is, ongeveer 5%, is vermoedelik van ou Afrikaanse grammofoonplate afkomstig. Die meeste daarvan het baie vervorm in die volksmond en selfs daarvan is variante aangetref. Die temas van hierdie groep liedere handel hoofsaaklik oor die liefde, afskeid, hartseer en die dood. Voorbeelde van piekniek-, arbeids- en oorlogsliedere, sowel as enkele drinkliedere en doprympies is aangetref. Die humoristiese lied en spotlied dra by tot die vermaaklikhiedsfunksie van die volkslied en kom ook by die bruinmense voor. Die gewyde of geestelike lied kan nie altyd streng van die wereldlike lied geskei word nie. Daar is te veel wisselwerking tussen die twee groepe, veral wat wysies betref. Die gewyde liedere wat by die bruinmense,aangetref is, is meestal van die sogenaamde "koortjie"-tipe. 'n Kenmerk van hulle gewyde sang is dat wanneer dit deur 'n groep gesing word, dit altyd meerstemmig is met pragtige harmoniee wat op natuurlike wyse gedoen word. Die feit dat daar al so baie oor die volkslied geskryf is en selfs onlangs nog omvatteride studies daaroor die lig gesien het, is bewys dat die volklied nog nie uitgesterf het nie. Daar is bewys dat die Afrikaanse volkslied onder die bruinmense baie sterk staan, hoewel Engelse invloed duidelik merkbaar is en tekens van moderne ontwikkeling en verstedeliking onmiskenbaar waargeneem kanword.