La requalification professionnelle : cas des aides familiales résidantes du Québec

Le Programme des aides familiales résidantes (PAFR) a été en vigueur de 1992 jusqu’au 30 novembre 2014. Il s’agit d’un programme fédéral canadien par lequel des femmes originaires des Philippines en majorité et ayant obtenu un diplôme d’études postsecondaires migraient partout au Canada. Sous ce programme, celles-ci se retrouvaient avec un statut de migrante temporaire. Elles avaient la possibilité d’obtenir leur résidence permanente après avoir complété 24 mois de travail en tant qu’aides familiales. Elles devaient travailler au domicile privé d’un employeur dont le nom était inscrit sur leur permis de travail, chez qui elles avaient aussi l’obligation de résidence. En travaillant en tant qu’aides familiales résidantes, ces femmes étaient et sont toujours placées dans une situation de déqualification professionnelle inévitable qui semble se prolonger à long terme. Cette situation est notamment attribuable à la non-reconnaissance de leurs qualifications étrangères ainsi qu’à la structure du PAFR. Cette recherche porte donc sur le parcours de requalification professionnelle de ces migrantes, que certaines utilisent comme stratégie pour remédier à cette situation. En plus de s’intéresser à leur période de travail en tant qu’aides familiales résidantes, cette recherche étudie le parcours de requalification professionnelle en quatre étapes : la décision de participer à la formation ; le choix de l’orientation professionnelle ; le déroulement des études ; l’accès à un emploi correspondant à la formation. L’objectif est de connaître l’impact qu’aura le passage de celles-ci par le PAFR, sur leur parcours de requalification. Les résultats obtenus à l’aide de onze entretiens semi-dirigés, avec des femmes étant venues à Montréal par le programme, montrent qu’à long terme, le diplôme obtenu localement peut améliorer une situation professionnelle, mais ce n’est pas une garantie. Des obstacles comme l’isolement ainsi que l’impossibilité pour ces femmes de se construire un capital financier et social persistent et affectent toutes celles ayant migré sous le programme, qu’elles aient fait un retour aux études ou non.

La requalification professionnelle : cas des aides familiales résidantes du Québec

Le Programme des aides familiales résidantes (PAFR) a été en vigueur de 1992 jusqu’au 30 novembre 2014. Il s’agit d’un programme fédéral canadien par lequel des femmes originaires des Philippines en majorité et ayant obtenu un diplôme d’études postsecondaires migraient partout au Canada. Sous ce programme, celles-ci se retrouvaient avec un statut de migrante temporaire. Elles avaient la possibilité d’obtenir leur résidence permanente après avoir complété 24 mois de travail en tant qu’aides familiales. Elles devaient travailler au domicile privé d’un employeur dont le nom était inscrit sur leur permis de travail, chez qui elles avaient aussi l’obligation de résidence. En travaillant en tant qu’aides familiales résidantes, ces femmes étaient et sont toujours placées dans une situation de déqualification professionnelle inévitable qui semble se prolonger à long terme. Cette situation est notamment attribuable à la non-reconnaissance de leurs qualifications étrangères ainsi qu’à la structure du PAFR. Cette recherche porte donc sur le parcours de requalification professionnelle de ces migrantes, que certaines utilisent comme stratégie pour remédier à cette situation. En plus de s’intéresser à leur période de travail en tant qu’aides familiales résidantes, cette recherche étudie le parcours de requalification professionnelle en quatre étapes : la décision de participer à la formation ; le choix de l’orientation professionnelle ; le déroulement des études ; l’accès à un emploi correspondant à la formation. L’objectif est de connaître l’impact qu’aura le passage de celles-ci par le PAFR, sur leur parcours de requalification. Les résultats obtenus à l’aide de onze entretiens semi-dirigés, avec des femmes étant venues à Montréal par le programme, montrent qu’à long terme, le diplôme obtenu localement peut améliorer une situation professionnelle, mais ce n’est pas une garantie. Des obstacles comme l’isolement ainsi que l’impossibilité pour ces femmes de se construire un capital financier et social persistent et affectent toutes celles ayant migré sous le programme, qu’elles aient fait un retour aux études ou non.

Exploration du travail d’une classe en réseau sur un objet partagé en situation d’arts plastiques

Cette étude s’est déroulée dans le contexte de l’École en réseau au Québec. Une classe du primaire a utilisé un espace numérique collaboratif (Knowledge Forum) pour la réalisation d’activités d’éducation artistique, soit l’appréciation d’un corpus d’oeuvres et la création d’un objet d’art. La progression du discours écrit relativement à ces deux objets de partage a été étudiée. Nos résultats montrent que les élèves ont réussi à faire progresser leurs contributions sur les deux objets partagés. En interagissant entre eux, ils ont créé des artéfacts de connaissances partagées et développé un langage artistique propre. À la suite de nos constats, des implications pédagogiques ont été formulées pour d’encourager la participation des élèves lors d’activités d’éducation artistique au moyen d’outils numériques qui soutiennent la collaboration.

Era uma vez...As sete casas da infortuna: relação actor - marioneta : Relatório de estágio

O presente relatório tem como objectivo analisar a realidade de uma Companhia de Marionetas em Portugal, Teatro e Marionetas de Mandrágora, incidindo sobre a relação entre o actor, marioneta e meio envolvente (site specific) no contexto de uma prática teatral concreta, a produção do espectáculo Era uma vez ...As Sete Casas da Infortuna, no Castelo de Santa Maria da Feira. Os resultados apurados acompanham os moldes em que se procurou passar de um actor convencional para a especialização de um micromundo teatral onde a aprendizagem foi, fulcral desde o processo de construção até, à manipulação em cena num universo de trabalho particularmente árduo e específico. A minha trajectória no seio da companhia começou pela familiarização e aprendizagem informal da prática das marionetas através da observação directa dos espectáculos e de diferentes projectos da companhia. A formação feita no local de estágio (atelier da Companhia) foi outra das modalidades de formação que acompanhou o meu trajecto ao longo do estágio através da minha colaboração em projectos como Teatro nas Instituições, sempre sob a égide da divisão de tarefas e de alguma autoaprendizagem com a devida supervisão e orientação de artistas especialistas, como o Director Criativo, enVide neFelibata. O laboratório de aprendizagem prosseguiu pela mão da marionetista Clara Ribeiro que orientou a minha formação no sentido de absorver princípios teórico-práticos como o Foco, o Movimento e o Olhar para uma melhor consciencialização do universo do teatro de marionetas e formas animadas. Ainda nessa aprendizagem, a figura de alguns artistas especialistas foi fulcral, nomeadamente a da cenógrafa Marta Fernandes da Silva, que revelou ser de extrema importância ao longo do estágio pois permitiu uma verdadeira intersecção entre as componentes teórica e prática. Dessa forma pude acompanhar todo o processo de criação do Era uma vez ...As Sete Casas da Infortuna, e colaborar na construção das marionetas que iria manipular como actor - marionetista. Relativamente à questão da componente da interpretação no estágio, esta foi assumida pela encenadora - marionetista, Filipa Alexandre que, com a sua orientação, permitiu um enfoque do grupo de trabalho num processo de criação colectiva. Assim, a nível pessoal, fui movido por uma necessidade premente de descodificar o papel do actor na sua relação com a marioneta e o meio envolvente (site specific). ABSTRACT: This study aims to examine the reality of a Puppet Company in Portugal, the Puppet Theater of Mandrágora, focusing on the relationship between actor, puppet and environment (site specific) in the context of an actual theatrical practice, Once upon a time ...Seven houses of infortune, in the Castle of Santa Maria da Feira. The results obtained follow the way in which one seeks to move from one "conventional" actor to the specialization of a micro theater where learning was central from the building process to manipulation on the scene in a universe of work particularly hard and specific. My initial course within the company began with the familiarization and informal learning of the practice of puppetry through direct observation of performances and various projects of the company. The training done at the company (workshop of the Company) was one of the training arrangements that accompanied my way along the training through assistance on projects such as Teatro nas Instituições, always under the auspices of the division of tasks and due self-teaching with appropriate supervision and guidance of expert artists, such as the Creative Director, enVide neFelibata. The learning laboratory continued by the hand of the puppeteer Clara Ribeiro who supervised my training in order to absorb theoretical and practical principles as the Focus, the Movement and the Look for better awareness of the world of puppetry and animated forms. Also at this level, the figure of some specialist artists were central, such as the scenographer Marta Fernandes da Silva, who proved to be extremely important during this training, allowing a true intersection between the theoretical and the practical components. I could experience the surroundings of the creation notebook of Era uma vez ...As Sete Casas da Infortuna, and collaborate in the preparation of puppets that would handle as an actor - puppeteer. As to the question of the interpretation component on training, this was in charge of stage director - puppeteer, and the Artistic Director, Filipa Alexandre, whose instructions allowed a focus of the working group in a process of collective creation. Accordingly, to a personal level, I was urged to decode the role of the actor in relation to the puppet and the environment (site specific).

Value co-creation in social marketing wellness services

Customer perceived value is concerned with the experiences of consumers when using a service and is often referred to in the context of service provision or on the basis of service quality (Auh, et al., 2007; Chang, 2008; Jackson, 2007; Laukkanen, 2007; Padgett & Mulvey, 2007; Shamdasani, Mukherjee & Malhotra, 2008). Understanding customer perceived value has benefits for social marketing and allows scholars and practitioners alike to identify why consumers engage in positive social behaviours through the use of services. Understanding consumers’ use of wellness services in particular is important, because the use of wellness services demonstrates the fulfilment of social marketing aims; performing pro-active, positive social behaviours that are of benefit to the individual and to society (Andreasen, 1994). As consumers typically act out of self-interest (Rothschild, 1999), this research posits that a value proposition must be made to consumers in order to encourage behavioural change. Thus, this research seeks to identify how value is created for consumers of wellness services in social marketing. This results in the overall research question of this research: How is value created in social marketing wellness services? A traditional method towards understanding value has been the adoption of an economic approach, which considers the utility gained and where value is a direct outcome of a cost-benefit analysis (Payne & Holt, 1999). However, there has since been a shift towards the adoption of an experiential approach in understanding value. This experiential approach considers the consumption experience of the consumer which extends beyond the service exchange and includes pre- and post-consumption stages (Russell-Bennett, Previte & Zainuddin, 2009). As such, this research uses an experiential approach to identify the value that exists in social marketing wellness services. Four dimensions of value have been commonly conceptualised and identified in the commercial marketing literature; functional, emotional, social, and altruistic value (Holbrook, 1994; Sheth, Newman & Gross, 1991; Sweeney & Soutar, 2001). It is not known if these value dimensions also exist in social marketing. In addition, sources of value said to influence value dimensions have been conceptualised in the literature. Sources of value such as information, interaction, environment, service, customer co-creation, and social mandate have been conceptually identified both in the commercial and social marketing literature (Russell-Bennet, Previte & Zainuddin, 2009; Smith & Colgate, 2007). However, it is not clear which sources of value contribute to the creation of value for users of wellness services. Thus, this research seeks to explore these relationships. This research was conducted using a wellness service context, specifically breast cancer screening services. The primary target consumer of these services is women aged 50 to 69 years old (inclusive) who have never been diagnosed with breast cancer. It is recommended that women in this target group have a breast screen every 2 years in order to achieve the most effective medical outcomes from screening. A two-study mixed method approach was utilised. Study 1 was a qualitative exploratory study that analysed individual-depth interviews with 25 information-rich respondents. The interviews were transcribed verbatim and analysed using NVivo 8 software. The qualitative results provided evidence of the existence of the four value dimensions in social marketing. The results also allowed for the development of a typology of experiential value by synthesising current understanding of the value dimensions, with the activity aspects of experiential value identified by Holbrook (1994) and Mathwick, Malhotra and Rigdon (2001). The qualitative results also provided evidence for the existence of sources of value in social marketing, namely information, interaction, environment and consumer participation. In particular, a categorisation of sources of value was developed as a result of the findings from Study 1, which identify organisational, consumer, and third party sources of value. A proposed model of value co-creation and a set of hypotheses were developed based on the results of Study 1 for further testing in Study 2. Study 2 was a large-scale quantitative confirmatory study that sought to test the proposed model of value co-creation and the hypotheses developed. An online-survey was administered Australia-wide to women in the target audience. A response rate of 20.1% was achieved, resulting in a final sample of 797 useable responses after removing ineligible respondents. Reliability and validity analyses were conducted on the data, followed by Exploratory Factor Analysis (EFA) in PASW18, followed by Confirmatory Factor Analysis (CFA) in AMOS18. Following the preliminary analyses, the data was subject to Structural Equation Modelling (SEM) in AMOS18 to test the path relationships hypothesised in the proposed model of value creation. The SEM output revealed that all hypotheses were supported, with the exception of one relationship which was non-significant. In addition, post hoc tests revealed seven further significant non-hypothesised relationships in the model. The quantitative results show that organisational sources of value as well as consumer participation sources of value influence both functional and emotional dimensions of value. The experience of both functional and emotional value in wellness services leads to satisfaction with the experience, followed by behavioural intentions to perform the behaviour and use the service again. One of the significant non-hypothesised relationships revealed that emotional value leads to functional value in wellness services, providing further empirical evidence that emotional value features more prominently than functional value for users of wellness services. This research offers several contributions to theory and practice. Theoretically, this research addresses a gap in the literature by using social marketing theory to provide an alternative method of understanding individual behaviour in a domain that has been predominantly investigated in public health. This research also clarifies the concept of value and offers empirical evidence to show that value is a multi-dimensional construct with separate and distinct dimensions. Empirical evidence for a typology of experiential value, as well as a categorisation of sources of value is also provided. In its practical contributions, this research identifies a framework that is the value creation process and offers health services organisations a diagnostic tool to identify aspects of the service process that facilitate the value creation process.

Inscription on the Holocaust memorial, Mahnmal am Opernplatz; Hannover, Germany.

Gottschalk family member names engraved on the memorial to the Jews of Hannover who perished in the Holocaust; Elizabeth Gottschalk nee Steinfeld, Henriette Gottschalk nee Rothschild, Jeanette Gottschalk (relationship unknown), and Karl Gottschalk.

Studio portrait of Louis Gottschalk.

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Walter, Ilse, Freddy, Ursula, and Rudolf Gottschalk with Edith Braunschweig in costumes dancing to a minuet for the 80th birthday celebration of Henriette Gottschalk; Hannover, Germany. Portraits Children

On 5 Oct 1929 the family got together in Hannover to celebrate the 80th Birthday of Henrietta Gottschalk nee Rothschild where the children danced a minuet by Beethoven or Mozart; left to right: Grandniece Edith Braunschweig, Walter Gottschalk, Ilse Gottschalk, Freddy Gottschalk, Ursula Gottschalk, and Rudolf Gottschalk

Gottschalk family in the park; Hannover, Germany. Portraits Family

Left to right: Therese Godshaw (Gottschalk) nee Molling, Walter, Freddy, Grandmother Henriette Gottschalk nee Rothschild, Ursula, Hal and Kurt

Liederkranz trip to Hundseck Portraits Groups

Liederkranzausflug nach Hundseck; Standing l-r; Sidi Ullmann, Ehepaar, Alfred und Toni Hirschland, Willi Ullmann, Lisel Suess, Lene Hesse-Sinzheimer, Julius Suess, ?, Hermann Boehm, Eugen Hirsch, Dr. Carl Kahn, Frau von Michael Rothschild (Ella?), Max Sinzheimer, Grete Hirschland and Alfred Liebmann ; Seated l-r: Adele Boehm, Michael Rothschild, rosel Suess, Louis Kahn (Junior), Ehepaar Dr. Gustav Hecht, Paula Hirsch and Marianne Kahn

Studio portrait of Louis Gottschalk.

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Family portrait of the Gottschalk family; Hannover, Germany.

Front Row (l-r): Frau Steinfeld (mother of Elizabeth Gottschalk nee Steinfeld and Hela Steinfeld), Fritz Gottschalk, Karl Gottschalk, Henrietta Gottschalk nee Rothschild (mother of Fritz, Karl, Anna and Ernst), Anna Catsenstein nee Gottschalk (twin of Karl Gottschalk), and Elizabeth Gottschalk; Back Row (l-r): Hela Steinfeld (sister of Elizabeth Gottschalk nee Steinfeld), Therese Gottschalk nee Molling (wife of Fritz), Leo Catsenstein (husband of Anna), Elizabeth Gottschalk nee Steinfeld (wife of Karl), Ernst Gottschalk, and Henny Molling nee Meyerhof (mother of Therese Gottschalk nee Molling)

Gottschalk family in the park; Hannover, Germany. Portraits Family

Left to right: Therese Godshaw (Gottschalk) nee Molling, Walter, Freddy, Grandmother Henriette Gottschalk nee Rothschild, Ursula, Hal and Kurt

Group of two women, one man and one child, sit on chairs outdoors Portraits Groups

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Group of two women, one man and one child, sit on chairs outdoors Portraits Groups

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