The analysis of political will and its role in leadership: a study of portuguese mayors

This thesis analyses the concept of Political Will, suggests its operationalization and establishes a typological theory that provides the necessary support for the diverse strategies of action of a leader. It claims that political leadership styles articulate a choice of action that results from the Political Will of a leader, which is determined by his intention and his discerned possibilities to act. One main research question guided our research: How does a political leader select and change his leadership style? The most illustrative literature on political leadership is reviewed and the characteristics of democratic governance are analyzed. This is followed by an overview of the most noteworthy theories on the theme and a claim for the need of concept coherence, given the multiplicity of the existent standpoints. After that, we concentrate on leadership styles, with a focus on the local governance context. Human action and intentionality are addressed with particular attention, as well as the motivational drivers for action, in order to advance a conceptualization of Political Will through two dimensions: intention and possibility. This analysis led to a number of relevant propositions: (1) Political Will ‘exists’ when the agent has the intent and the possibility to act; (2) these two dimensions ‘translate’ simultaneously what the agent believes he must do and can do; (3) Intention and possibility reflect diverse but limited worldviews; (4) political leadership styles result from the agent’s Political Will; (5) different combinations of the expected and actual worldviews result in different leadership styles; and (6) political leadership styles can change accordingly to several strategies which allow conformity or reflect reaction to worldviews. We suggested the operationalization of the two dimensions of Political Will through the analytical tool of Grid-group Theory, which provided the identification of the heuristic devices that allowed further comprehension on the subjectivity of the agent’s choice. Four standard property spaces – representing four types of leadership styles – result from a preliminary approach to this process. Afterwards, and because these dimensions operate simultaneously, we advance on the analysis and suggest some plausible heuristical conflicts to happen and describe which consequences, strategies and type migrations are conceivable. An inclusive and more complete set of resulting property spaces renders fourteen different types of leadership styles and sixty different predictable causal paths that result from the expected migration strategies. Case-studies were conducted as plausibility probes designed to provide improvements to our theoretical claims and addressed the cases we selected for research purposes: Portuguese Mayors. The findings from five case studies are discussed and the probable impact and congruence of each with the theoretical claims are assessed. The communalities of the causal mechanisms related to the function of intention and possibility as the dimensions of Political Will and their role in explaining different leadership styles are, finally, addressed. To conclude, we advance some repercussions, mainly in the public policies field of research, and suggest a number of different and necessary paths for further work.

Sources, signification and genre stability in American Film Noir

O conceito film noir é manifestamente complexo de ser definido. Atendendo a que não existe um estudo verdadeiramente completo sobre a estilística do film noir, esta tese, inserida no âmbito dos Estudos Cinematográficos, pretende ser uma tentativa de exploração do conceito film noir e do género cinematográfico sob vários aspectos. Trata-se, no fundo, de uma forma de restabelecer este conceito descritivo americano, desde o início dos anos quarenta até finais dos cinquenta, através de um processo de análise iconográfica. Este projecto focaliza-se na seguinte questão de investigação: pode o film noir americano ser considerado um género cinematográfico enquanto tal? Numa primeira fase, analisam-se os contextos cinematográfico e social preexistentes no cinema noir de modo a compreender este fenómeno cinematográfico, enquanto uma extensão do movimento hard-boiled, uma cosmovisão subversiva que descaradamente se opõe aos mitos americanos da auto-promoção americana, que marcaram muitos filmes de Hollywood durante a época da Depressão. Depois, descrevem-se os movimentos culturais específicos, bem como os acontecimentos sociopolíticos da época, a psicanálise, o estruturalismo e a teoria de autor, que ajudaram a contextualizar os padrões do film noir e a forma como o conceito acabou por gradualmente penetrar na cultura americana. As películas a analisar concentrar-se-ão sobre símbolos visuais específicos e elementos cinematográficos (tais como os das técnicas de iluminação e fotografia), adoptando uma perspectiva semiótica. Através dos conceitos saussuriano de “signo” e de “ícone” perceiano, procuro demonstrar de que forma os símbolos em filmes noir constituem significados que são enfaticamente indexicais, isto é, de que maneira eles são transversais, passando de um símbolo para outro (ou evento), direccionando e coagindo a atenção do espectador. A tese conclui então que o filme noir não pode ser considerado e entendido como um género fílmico e que o seu estilo visual (o aspecto dominante do cinema noir) tem como propósito acentuar o desencanto sentido no rescaldo da guerra, representar os meandros da vida urbana americana e, principalmente, enfatizar a incerteza, a ansiedade e o lado obscuro da existência humana.