3,939 research outputs found

    'Exarcheia doesn't exist': Authenticity, Resistance and Archival Politics in Athens

    Get PDF
    My thesis investigates the ways people, materialities and urban spaces interact to form affective ecologies and produce historicity. It focuses on the neighbourhood of Exarcheia, Athens’ contested political topography par excellence, known for its production of radical politics of discontent and resistance to state oppression and eoliberal capitalism. Embracing Exarcheia’s controversial status within Greek vernacular, media and state discourses, this thesis aims to unpick the neighbourhoods’ socio-spatial assemblage imbued with affect and formed through the numerous (mis)understandings and (mis)interpretations rooted in its turbulent political history. Drawing on theory on urban spaces, affect, hauntology and archival politics, I argue for Exarcheia as an unwavering archival space composed of affective chronotopes – (in)tangible loci that defy space and temporality. I posit that the interwoven narratives and materialities emerging in my fieldwork are persistently – and perhaps obsessively – reiterating themselves and remaining imprinted on the neighbourhood’s landscape as an incessant reminder of violent histories that the state often seeks to erase and forget. Through this analysis, I contribute to understandings of place as a primary ethnographic ‘object’ and the ways in which place forms complex interactions and relationships with social actors, shapes their subjectivities, retains and bestows their memories and senses of historicity

    Conscience and Consciousness: British Theatre and Human Rights.

    Get PDF
    This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of ‘human rights theatre’ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience. This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fire’s testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmes’ work as director of Jericho House; Cardboard Citizens’ youth participation programme, ACT NOW; and Tony Cealy’s Black Men’s Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice. The thesis is interested in the experience of coming to ‘consciousness’ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the ‘æffect’ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry

    Songs without borders: complex interpretative song worlds and the audiences that inhabit them

    Get PDF
    The genre of music commonly referred to as art song often elicits emotionally charged responses in accounts of audience experiences. However, scholarship has largely neglected the object of inquiry where these responses and experiences materialise: the live art song event. The principal research task in this study is to investigate audience experience of live art song events in the UK. The audiences and events at the centre of this inquiry coalesce around the work of the art song promoter Oxford Lieder. Using a mixed method approach (questionnaire, diary methods and guided interviews), statistical and thematic analysis, and Interpretative Phenomenological Analysis, is applied to a dataset that utilises 82 individual participants’ experiences of live art song events, including regular attendees and those experiencing live art song for the first time. To frame the findings of this inquiry, this study establishes the concept of complex interpretative song worlds: defined as a collection of interactions that audience members draw upon to construct their experience of live art song events, through a dynamic and multi-faceted interplay with the system of possibilities afforded by live art song environments. In this study, complex interpretative song world theorising takes place across three levels of audiencing: (1) Interactions with the live art song domain (the norms, behaviours, and conventions of live art song environments) are gathered under three themes. Collecting activity sees a desire for participants to scrutinise song objects, embrace familiar artists and repertoire, and adopt a connoisseur-like approach to knowledge acquisition. Connecting activity reveals a prized sense of close psycho-social resonance, which takes place between songs, performers, spaces and everyday experiences. Venerating activity foregrounds a view of songs as inviolable objects, where perceived changes to songs are deemed heretical by some, examined through the (re)introduction of sung English translations into the live art song corpus. (2) Interactions with live art song objects (the lexical and musical features that make up songs) reveal the ways audience members process words and music, and prioritise either, or both features during live art song events. The presentation of these materials in ways that blur senses (sights and sounds), and time (before, during, and after performances), are shown to be as additive to audience member conceptualisations of the nature of lexical-musical relationships as they are disruptive. (3) Interactions with live art song actors (performers, producers, and audiences) reveal processes of role formation at work, where vocal acts, non-vocal acts, and fixed and non-fixed traits complicate the way audience members derive impressions of performers. Art song’s hybridity as a genre, which is not a dramatic form, yet ‘not not’ a dramatic form, reveals the imbricated way audience members construct identities of performers: as professional musicians; as human beings; and as inhabitants of roles defined textually through a song’s poetic content. This interdisciplinary study draws predominantly on three overlapping areas of scholarship, and makes new contributions to knowledge in all three. For musicology, this inquiry develops deeper understandings of live art song objects to complement the hegemony of hermeneutic, musico-analytical and historiographical research that typifies much of the existing art song literature. For audience studies, these findings provide new audiencing insights, by examining an art form not yet analysed by empirical audience research methods, and one that simultaneously combines both words and music as a mode of expression. For translation theory, this inquiry responds to calls within the existing literature for more research to understand the reception of translation in music. This study also generates dividends outside of the academy, providing new insights for performers and promoters of art song to inform approaches to programming, presentation, production, marketing and audience development

    Knowledge Transfer for and through the Replication of Organisational Routines in Franchise Systems

    Get PDF
    Routines are dispositions to behave according to established sets of rules that are also repositories of the organisational memory about “how things get done”. Franchise systems are organisational forms which expand through the replication of routines by new units owned by franchisees. Drawing on insights from the literatures on organisational learning, organisational evolution (under generalised Darwinism), and cognitive psychology, this thesis identifies the building blocks for a conceptual explanation of routine replication in franchise systems. It then proposes an original case study of Yázigi, a large Brazilian franchise system of language schools, which is used to develop a novel process model that captures how knowledge is transferred for and through the replication of routines within an expanding franchise system. Four principal lessons are derived. First, when direct knowledge transfer is not available, artefacts, most notably template representations of routines, are essential. Second, intermediaries, as agents of routine compilation who direct participants to template representations, are crucial to the process of routine replication. Third, just as routines are analogues of habits, routine compilation seems to reproduce habit compilation. Finally, existing learning-related habits of thought may work in favour of or against the adoption of new habits in the replication process. This thesis outlines the prescriptive implications of these lessons for franchise practitioners and details opportunities for future research

    Collected Papers (on various scientific topics), Volume XIII

    Get PDF
    This thirteenth volume of Collected Papers is an eclectic tome of 88 papers in various fields of sciences, such as astronomy, biology, calculus, economics, education and administration, game theory, geometry, graph theory, information fusion, decision making, instantaneous physics, quantum physics, neutrosophic logic and set, non-Euclidean geometry, number theory, paradoxes, philosophy of science, scientific research methods, statistics, and others, structured in 17 chapters (Neutrosophic Theory and Applications; Neutrosophic Algebra; Fuzzy Soft Sets; Neutrosophic Sets; Hypersoft Sets; Neutrosophic Semigroups; Neutrosophic Graphs; Superhypergraphs; Plithogeny; Information Fusion; Statistics; Decision Making; Extenics; Instantaneous Physics; Paradoxism; Mathematica; Miscellanea), comprising 965 pages, published between 2005-2022 in different scientific journals, by the author alone or in collaboration with the following 110 co-authors (alphabetically ordered) from 26 countries: Abduallah Gamal, Sania Afzal, Firoz Ahmad, Muhammad Akram, Sheriful Alam, Ali Hamza, Ali H. M. Al-Obaidi, Madeleine Al-Tahan, Assia Bakali, Atiqe Ur Rahman, Sukanto Bhattacharya, Bilal Hadjadji, Robert N. Boyd, Willem K.M. Brauers, Umit Cali, Youcef Chibani, Victor Christianto, Chunxin Bo, Shyamal Dalapati, Mario Dalcín, Arup Kumar Das, Elham Davneshvar, Bijan Davvaz, Irfan Deli, Muhammet Deveci, Mamouni Dhar, R. Dhavaseelan, Balasubramanian Elavarasan, Sara Farooq, Haipeng Wang, Ugur Halden, Le Hoang Son, Hongnian Yu, Qays Hatem Imran, Mayas Ismail, Saeid Jafari, Jun Ye, Ilanthenral Kandasamy, W.B. Vasantha Kandasamy, Darjan Karabašević, Abdullah Kargın, Vasilios N. Katsikis, Nour Eldeen M. Khalifa, Madad Khan, M. Khoshnevisan, Tapan Kumar Roy, Pinaki Majumdar, Sreepurna Malakar, Masoud Ghods, Minghao Hu, Mingming Chen, Mohamed Abdel-Basset, Mohamed Talea, Mohammad Hamidi, Mohamed Loey, Mihnea Alexandru Moisescu, Muhammad Ihsan, Muhammad Saeed, Muhammad Shabir, Mumtaz Ali, Muzzamal Sitara, Nassim Abbas, Munazza Naz, Giorgio Nordo, Mani Parimala, Ion Pătrașcu, Gabrijela Popović, K. Porselvi, Surapati Pramanik, D. Preethi, Qiang Guo, Riad K. Al-Hamido, Zahra Rostami, Said Broumi, Saima Anis, Muzafer Saračević, Ganeshsree Selvachandran, Selvaraj Ganesan, Shammya Shananda Saha, Marayanagaraj Shanmugapriya, Songtao Shao, Sori Tjandrah Simbolon, Florentin Smarandache, Predrag S. Stanimirović, Dragiša Stanujkić, Raman Sundareswaran, Mehmet Șahin, Ovidiu-Ilie Șandru, Abdulkadir Șengür, Mohamed Talea, Ferhat Taș, Selçuk Topal, Alptekin Ulutaș, Ramalingam Udhayakumar, Yunita Umniyati, J. Vimala, Luige Vlădăreanu, Ştefan Vlăduţescu, Yaman Akbulut, Yanhui Guo, Yong Deng, You He, Young Bae Jun, Wangtao Yuan, Rong Xia, Xiaohong Zhang, Edmundas Kazimieras Zavadskas, Zayen Azzouz Omar, Xiaohong Zhang, Zhirou Ma.‬‬‬‬‬‬‬

    Cooperatives in the social and solidarity economy: Sustainable development and decent work in Africa’s informal economy

    Get PDF
    How can the contribution of cooperatives and the wider social and solidarity economy (SSE) to global development frameworks (the Sustainable Development Goals (SDGs) and the Decent Work Agenda (DWA) be made more effective, impactful and visible, in particular with regard the informal economy in sub-Saharan Africa? This thesis seeks to provide an answer to this question through the journey of my professional practice, bridging the gap to academic theory. The thesis critically analyses and builds upon the contributions to knowledge of my portfolio of seven ‘professional practice’ papers published between 1993 and 2020. The papers were written upon request or invitation by the International Labour Organization (ILO), the UN Department for Economic and Social Affairs, the Plunkett Foundation, and the Friedrich-Ebert Foundation. The thesis starts with a contextual overview of the state of the field from both practice and theory. This is followed by a literature review which examines academic theory in relation to, and interaction between, the five focus areas of my thesis (cooperatives, SSE, DWA, SDGs, informal economy) within the context of neoliberal policies in Africa. I then critically reflect on the methodological, theoretical and political aspects of my seven publications. Finally, I pin-point directions for future research. I conclude that the SSE’s potential to contribute to sustainable development and decent work in Africa is far from being fully harnessed, for the reason that most policy-makers, researchers and practitioners lack cognizance of the existence and agency of member-based organizations that constitute the SSE. Through the journey of writing the theses I have developed a conceptual model and an accompanying tool to systematically identify and evaluate the synergies and complementarities between the four dimensions of sustainable development (economic, social, environmental and institutional), the four pillars of decent work (jobs, protection, dialogue, rights), and the four functions of the SSE (economic opportunities, social security, societal empowerment, environmental protection). This then helps to identify SSE-pertinent SDG targets, and to determine which types of organizations in the SSE are best suited to contribute to specific SDG targets. I consider this conceptual model and its accompanying tool as an original contribution to knowledge of theoretical and practical applicability
    corecore