Luomu- ja lähiruoan pakkaaminen : pakkausten vaatimukset ja tulevaisuuden trendit eteläsuomalaisten elintarvikeketjun toimijoiden näkökulmasta

Luomu- ja lähiruoan kysyntä Suomessa on kasvussa mutta niiden markkinoiden kasvua hidastavat muun muassa logistiset ja markkinoinnilliset haasteet. Yksi keino näiden haasteiden ylittämiseen on luomu- ja lähiruoan pakkausten kehittäminen. Tämän diplomityön tarkoituksena on kartoittaa luomu- ja lähiruoan pakkausten ja pakkaamisen nykyisiä vaatimuksia ja tulevaisuuden trendejä elintarvikeketjun toimijoiden näkökulmasta. Tavoitteena on tuottaa uutta tietoa hyödynnettäväksi pakkauskehityksessä. Tutkimuksen teoreettisessa osassa kartoitetaan luomu- ja lähiruokamarkkinoita Suomessa ja Euroopassa, elintarvikeketjua ja sen toimijoiden rooleja sekä pakkausten tehtäviä ja elementtejä. Tutkimusmenetelmänä on käytetty laadullista haastattelututkimusta ja tutkimuksen empiiristä osuutta varten haastateltiin 18 elintarvikeketjun toimijaa Etelä-Suomen alueelta. Elintarvikeketjun toimijoiden tärkeimmät vaatimukset luomu- ja lähiruoan pakkauksille liittyvät tuotteiden suojaamiseen ja säilyttämiseen sekä pakkausten erottumiseen tavanomaisen ruoan pakkauksista. Vaatimukset ovat hyvin pitkälti samoja eri toimijaryhmien kesken. Tulevaisuudessa luomu- ja lähiruoan pakkaukset ovat toimijoiden näkemyksen mukaan entistä erottuvampia, ekologisempia sekä tarkemmin asiakkaan ja tuotteen tarpeiden mukaan mietittyjä. Lisäksi pakkauksiin tullaan laittamaan aktiivisia ja älykkäitä ominaisuuksia, vaikka osa toimijoista näkeekin ne tarpeettomina.

Triadic Perspective to Sport Sponsorship Relationships

Often the empirical studies about sport sponsorship co-operation have concentrated on the relationships between the sponsor and the sponsored target excluding the phenomenon sports manager, i.e. the intermediating actor from further examination. In this study the purpose was to contribute to the research gap in the current literature by thoroughly describing the roles and relationships in the sport sponsorship co-operation that includes an intermediating actor, that is a triad. The main objective was pursued to fulfill with the help of two sub-level research questions that were identified as ”What is the nature of the sport sponsorship triad?” and ”What is the role of the intermediating actor within the sport sponsorship triad?” First, the theorethical framework was constructed based on the existing literature of business relationship triads and sponsorship co-operation that were integrated in the synthesis of the theories the purpose of which was to produce a framework for empirical research. Then a qualitative research was conducted by using a single-case study approach. The data was collected through a semi-structured theme interview in person with the sports manager. Similar questionnaires were sent out to the sponsor and the athlete and answered in writing. After collecting the data, the actor roles’ and their relationships were examined individually, after which the analysis of the results was carried out and divided according to the research questions. The nature of the sport sponsorship triad was found to be a serial triad that could be likened to a system of two dyads connected by the intermediating actor. Each actor seemed to occupy a specific justifiable position within the co-operation, even though the relationships were found to be unbalanced in terms of resources, power/strength, interaction patterns and interconnectedness. The core role of the intermediating actor was found to be the role of a mediator, which was seen to increase the other parties’ dependence of the manager’s performance. Therefore, the role of the intermediating actor should be considered crucial for the very existence of the sport sponsorship co-operation, especially in cases where the nature of the triad is a serial triad.

Globaali jihadistinen liike kumouksellisen sotataidon kehittäjänä

Tämän tutkimuksen lähtökohtana oli havainto siitä, että maailmanlaajuisen jihadismin toimet muistuttivat suuresti kumouksellista sodankäyntiä. Tarkastelemalla ilmiötä lähemmin oli nopeasti havaittavissa, että globaaliksi jihadistiseksi liikkeeksi tunnistettava toimija kävi ja oli kehittänyt taitoa käydä tällaista sotaa. Näin keskeiseksi tavoitteeksi tutkimukselle muodostuikin selvittää miten globaali jihadistinen liike oli kehittänyt kumouksellisen sodankäynnin sotataitoa ja sotataidollista ajattelua. Tämän tutkimuksen asetelma on perusluonteeltaan vertaileva. Se tarkastelee teoriaohjaavan sisällönanalyysin kautta kumouksellista sotataidollista kehitystä, tarkemmin sotataidollisen ajattelun kehitystä, vertaamalla globaalin jihadistisen liikkeen strategista ajattelua kumouksellista sotaa käyneiden strategien klassisiin mallinnuksiin. Strategioiden välinen vertailu suoritettiin tarkastelemalla globaalin jihadistisen liikkeen strategista ajattelua klassisista strategioista löydettävien vertailutasojen kautta. Globaalia jihadismia tarkastellessa kävi selville sen monisyinen luonne. Tätä toimijaa ei sellaisenaan voi kutsua yhdeksi organisaatioksi, eikä pelkästään ideologiaksi. Globaali jihadistinen liike tässä tutkimuksessa hahmotettiin sosiaaliseksi liikkeeksi, joka pitää sisällään yhteisen päämäärän eteen pyrkiviä, samaa ideologiaa tunnustavia organisaatiota, soluja ja yksittäisiä toimijoita. Vertailevan analyysin perusteella voidaan sanoa, että sosiaalisliikemäisestä luonteesta huolimatta ja osaltaan sen ansiosta globaali jihadistinen liike on kyennyt kehittämään kumouksellisen sodan strategista ajattelua suuntaan, jossa hajaantunut organisaatiomuoto, rajaamaton toiminta-alue ja kauas tulevaisuuteen tähtäävä tavoitteenasettelu ovat yhteiseen ideologiseen katsontaan sitoutuneina muovanneet liikkeestä toimijan, joka on kyennyt selviämään hengissä mittavista vastatoimista huolimatta. Se on myös kyennyt ylläpitämään itsetarkoitukseksi muodostunutta operaatiotahtia tavalla joka asettaa modernille turvallisuusympäristölle jatkuvia ja vakavia haasteita.

Value co-creation in bio-based chemicals value network

The purpose of this Master’s thesis is to study value co-creation in emerging value network. The main objective is to examine how value is co-created in bio-based chemicals value network. The study provides insights to different actors’ perceived value in the value network and enlightens their motivations to commit to the collaborative partnerships with other actors. Empirical study shows that value co-creation is creation of mutual value for both parties of the relationship by combining their non-competing resources to achieve a common goal. Value co-creation happens in interactions, and trust, commitment and information sharing are essential prerequisites for value co-creation. Value co-creation is not only common value creation, but it is also value that emerges for each actor because of the co-operation with the other actor. Even though the case companies define value mainly in economic terms, the other value elements like value of the partnership, knowledge transfer and innovation are more important for value co-creation.

RECUEIL DES ŒUVRES POÉTIQUES de Jehan Molinet. Ms. in-fol. sur papier de 201 f., demi-rel. v. f, tr. r. (Rel. du XVIIIe siècle.)

Complainte (La) de Grece

Collection de pièces de théâtre. TOME XXXIV

Contient : 1 "O urso ou Os caçadores medrózos. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta pelo actor Antonio Jozé de Paula, copiada aos 23 de janeiro de 1818." ; 2 "Entremêz intitulado : A utilidade da partida, aprezentada na secretaria de estado dos negocios do reino, em 19 de mayo de 1797." Incomplet à la fin. La partie qui manque ici se trouve dans le manuscrit Portugais 107, f. 261 à 267 v° ; 3 "As variedades de Protheo ou Os irmaons rivaes. Drama magico de trez actos, que se repprezentou no theatro nacional do Bairro Alto, com geral aceitaçaõ, composto pelo antigo e vulgarmente denominado Judêo, ampliado por Alexandre Jozé Victor da Costa Sequeira, copiado aos 21 de junho de 1817." ; 4 "A velha namorada ou Os amantes graciozos. Farça composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 28 de agosto de 1819." ; 5 "As velhas rabugentas ou Os velhos fingidos. Farça composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 20 de dezembro de 1827." ; 6 "Nova farça intitulada : O velho da lanterna ou O cazamento embaraçado, por J. J. N. A. junior. Anno de 1825." ; 7 "O velho das piroletas. Farça para uzo do theatro da rua do Arco." Deux exemplaires ; 8 "Farça intitulada : O velho e o poeta namorados e illudidos... Aranjada para o theatro nacional da rua dos Condes, pelo socio R. J. Fortuna, no anno de 1825." ; 9 "Farça. O velho entalado, por Antonio Xavier Ferreira d'Azevedo." Permis de représenter, daté de Lisbonne, 12 août 1829 ; 10 "O velho perseguido. Farça composta por Antonio Xavier F. de A." ; 11 "Os velhos amantes ou O velho estrangeiro. Farça que se repprezentou no theatro nacional do Bairro Alto, com geral aceitaçaõ, composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 22 de dezembro de 1817."

Collection de pièces de théâtre. TOME II

Contient : 1 "Antes a filha que o vinho. Farça." ; 2 "A apotheose de Hercules. Drama em trez actos. Lisboa, 1806." ; 3 "Drama em hum só acto, que se intitula : A appariçaõ a Affonso Henriques no campo de Ourique, representado no theatro nacional do Salitre, no mes de março (na quaresma) de 1813." ; 4 "A quanto obriga amor ou Os doidos da data moderna. Entremez." ; 5 "Drama intitulado : Argonauta escravo." ; 6 "Comedia emtitulada : Armida e Reinaldo, em dous actos." ; 7 "Opera. Os asombros da constancia : Volugeso e Berenice. Copiada aos 20 de novembro de 1788." ; 8 et 9 "A assembleia rafada ou A velha taful. Farça composta por hum anonimo, ampliada por Alexandre José Victor da Costa Sequeira, copiada aos 29 de novembro de 1817." Deux exemplaires, dont un non daté et sans le nom de l'arrangeur ; 10 "As astucias de Zanguizarra ou Os velhos logrados. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta pelo ponto Ricardo Jozé Fortuna, copiada aos 20 de abril de 1818." ; 11 "A audiencia ou A eschola dos principes, drama sentimental de trez actos, que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composto pelo actor Antonio Jozé de Paula, copiado aos 20 de setembro de 1817." ; 12 "O aventureiro nocturno. Drama em 3 actos. Anno de 1814. Por A. R. C." ; 13 "O aviso á gazeta. Farça."

Collection de pièces de théâtre. TOME XXII

Contient : 1 "Merinval ou O castigo da vingança. Tragedia traduzida do francez." ; 2 "A mizantropia ou O arrependimento. Drama sentimental de sinco actos, que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composto no idiôma hespanhol por hum anónimo, traduzido no idiôma portuguez pelo actor Antonio Jozé de Paula, ampliado por Alexandre Jozé Victor da Costa Sequeira, copiado aos 24 de julho de 1817." ; 3 "Entremes famozo do mizeravel." ; 4 "Intervalo : O morgado emsacado... copiado a 7 de setembro de 1826." ; 5 "A morte de Cézar ou Do mundo a maior crueldade. Drama trágico de trez actos. Acrescentada e posta ao gosto moderno por Joaõ Ignacio Henriques e por***, copiado aos 7 de junho de 1808." ; 6 "O morto vivo ou O desvanecido de si mesmo. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta pelo actor Antonio Jozé de Paula, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 26 de novembro de 1817." ; 7 "Comedia intitulada : Muito vence amor e engano ou O ignorante por sabio admetido." ; 8 "A mulher com defeito ou O cazamento por gazèta. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta por Ricardo Jozé Fortuna, copiada aos 28 de fevereiro de 1818." ; 9 "A mulher de máu génio ou A criada generoza. Drama de meio-caracter de trez actos, composto no idiôma italiano pelo Doutor Carlos Goldôni, traduzido no idiôma portuguez por hum anónimo, ampliado por Alexandre Jozé Victor da Costa Sequeira, copiado aos 6 de julho de 1817." ; 10 "A mulher zeloza ou Os extremos da amizade. Drama sentimental em 2 actos por A. Xavier F. de A."

Juan Bernardo Botero Botero v Empresa de Obras Sanitarias de Caldas S.A., E.S.P. – EMPOCALDAS, cp. Mauricio Fajardo Gómez

Se declaró infundado el recurso de anulación interpuesto contra el laudo arbitral proferido el 26 de agosto de 2010 por el Tribunal de Arbitramento constituido para dirimir las controversias surgidas en relación con el contrato de consultoría No. 104 de 2007, celebrado entre el señor Juan Bernardo Botero y la Empresa de Obras Sanitarias de Caldas S.A., E.S.P. - EMPOCALDAS S.A., E.S.P.

Interdependence in Southern Africa: an examination of the relations between Zimbabwe and South Africa

Most research on southern Africa focuses on the total dependency of the region's states--Angola, Botswana, Lesotho, Malawi, Mozambique, Swaziland, zambia and Zimbabwe--upon the dominant power, South Africa. This thesis examines the relationship between South Africa and Zimbabwe and argues that these two states are more interdependent than dependency scholars would acknowledge. Although a study of the historical period reveals that dependency theory, as defined by Raul Prebisch, Andre Gunder Frank and A. Valenzuela, is helpful for understanding the development of relations between the two states, it is unable to account for many of the characteristics of the relationship which are found in the contemporary context, especially since 1980. An examination of various economic areas of interaction, including investment, trade and transportation, as well as the political realm, indicates that each state exhibits a degree of dependence upon the other. Thus, it is possible to characterize the relationship as one of "mutual dependence," or interdependence as defined by Robert Keohane and Joseph S. Nye. Interdependence is further examined through the concepts of sensitivity and vulnerability. Sensitivity signifies the ability of a state to respond effectively to policy changes made by another state wi thin a given area of interaction without incurring large costs, while vulnerability denotes that an actor is unable to respond, or only at great cost. By applying these concepts to the relationship between Zimbabwe and South Africa, it is determined that although South Africa tends to be sensitive while Zimbabwe is generally vulnerable, the degrees to which these two states are sensi ti ve and vulnerable varies over time and issue area. As the changes wi thin South Africa start to affect relations wi th the rest of southern Africa, it wi 11 be necessary to understand the interaction between the states from an interdependency perspective if cooperation within the region wi 11 be successful. By appl ying an interdependence framework, this study aims at contributing to the understanding of relations among the countries of southern Africa in general, and between South Africa and Zimbabwe in particular.

Niagara alternative food projects : networks, discourses and nature /

This thesis undertakes an exploration of the nature of alternative food projects in Niagara. A review of various theoretical approaches to the study of food and agriculture, suggests that actor-network theory offers the most useful lens through which to understand these projects. In particular, actor-network theory facilitates non-dualistic theorisations of power and scale and a commitment to the inclusion of non-humans in the 'social' sciences. The research is based on 19 in-depth interviews with actors involved in various urban and rural projects including community supported agriculture, community gardens, chefs using local seasonal food, a winery that grows organically, the good food box, a value-added small business, and organic producers. The analysis consists of four themes. The first analytical section pays special attention to the prominence of agri-tourism in Niagara, and examines the ways in which the projects in the sample interact with agri-tourist networks. In the second section the discussion focuses on the discourses and practices of resistance among Niagara alternative food actors. The participants' interviews suggest there are more discourses of resistance toward agri-tourist than toward dominant food networks. The third section questions commodity chain theorisations of alternative food projects. In particular, this section shows how the inclusion of non-human actors in an analysis confounds conceptualisations of 'short' and 'local' chains. The final analytical section assesses relations of power in Niagara alternative food projects. Three important conclusions arise from this research. First, Niagara alternative food projects cannot be conceptualised as operating at the 'local' scale. Broadening the scope of analysis to include non-human actors, it becomes apparent that these projects actually draw on a variety of extra-local actors. They are at once local and global. Second, the projects in this sample are simultaneously part of alternative, dominant and agri-tourist networks. While Niagara alternative food projects do perform many of the roles characteristic of alternative food systems, they are also involved in practices of development, business, and class distinction. Thus, alternative food networks should not be understood as separate from and in direct opposition to dominant food networks. Despite the second conclusion, this research determines that Niagara alternative food projects have made significant strides in the reworking of power. The projects represented in this thesis do engage in resistant practices and are associated with increased levels ofjustice.

Leaf from a Liturgical Music Manuscript for Good Friday

The text reads as follows: Narrator: Passio domini nostri iesu christi secundum matheum. In illo tempore dixit iusus discipulis suis. Christ: Scritis quia post biduum pascha fiet, et filius hominis tradetur ut crucifigatur. Narrator: Tumc congregati sunt principes sacerdotum et seniores populi, in atrium principis… Translated: Narrator: The Passion of Our Lord Jesus Christ according to Matthew. “And it came to pass when Jesus had finished all of these words that he said to his disciples: Christ: You know that after two days the Passover will be here; and the Son of Man will be delivered up to be crucified. Narrator: Then the chief priests and the elders of the people gathered together in the court of the high priest…

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.

Letter to William Collver or John Roberts, 1849

A letter to “my dear Mr. Collver and co.” The writer mentions the “circuit” that she has traveled, and a conference which she attended. In regard to the circuit, she talks about her interest in the Welland Canal. The references all seem to be religious in nature. She asks Mr. Collver how he likes the new preacher and says that in a letter that the preacher published in the newspaper he refers to the “breaking of Jordan Chapel”. She says that a society of teetotalers has been established in her town and they are known as “Sons of Temperance”. She also mentions “my man Brown” who was there but has left, leaving her to have the circuit by herself. She signs off with “I am yours affectionately [Eleanor Corman]. The second part of the letter is addressed to “my dear Mr. Roberts”. She asks him for some music that she would like, but cannot find in Kingston. She would like him to “come down and teach singing” this winter. She also asks him to give her regards to Mr. P. Beamer and family. She ends this part of the letter with “Nothing further yours affectionately [Eleanor Corman]”. There are 4 red postmarks on the outside of the letter and they are: Picton, July 31, 1849 Cobourg, August 2, 1849 St. Catharines, August 4, 1849 There is one other postmark which is too faded to be legible.

Au-delà de l'instrumentalisation: une nouvelle identité pour le tiers secteur en France?

Ce mémoire porte sur la constitution du tiers secteur français en tant qu’acteur social et politique. Dans de nombreux pays, les relations entre l’État et les organismes mutualistes, coopératifs et associatifs de la société civile (un ensemble hétérogène qu’on appelle ici le « tiers secteur ») ont été récemment formalisées par des partenariats. En France, cette institutionnalisation s’est concrétisée en 2001 par la signature d’une Charte (CPCA). Nous explorons l’hypothèse qu’à travers l’institutionnalisation, le tiers secteur français se construit en tant qu’acteur –ayant une (ou des) identités propres de même qu’un projet de société relativement bien défini. La perspective dominante présente dans la littérature internationale traitant de l’institutionnalisation des rapports entre l’État et le tiers secteur est celle d’une instrumentalisation des organisations du tiers secteur au détriment de leurs spécificités et de leur autonomie. Cette perspective nous semble limitative, car elle semble être aveugle à la capacité d’action des organisations. Par conséquent, dans ce mémoire, nous cherchons à comprendre si une transformation identitaire a eu lieu ou est en cours, au sein du tiers secteur français, et donc s’il se transforme en acteur collectif. Pour apporter certains éléments de réponse à nos hypothèses et questions de recherche, nous avons effectué une analyse des discours via deux sources de données; des textes de réflexion rédigés par des acteurs clés du tiers secteur français et des entretiens effectués avec certains d’entre eux au printemps 2003 et à l’automne 2005. Sur la base de deux inspirations théoriques (Hobson et Lindholm, 1997 et Melucci, 1991), notre analyse a été effectuée en deux étapes. Une première phase nous a permis d’identifier deux cadres cognitifs à partir desquels se définissent les acteurs du tiers secteur français, les cadres « association » et « économie solidaire ». Une deuxième phase d’analyse consistait à déterminer si les deux cadres cognitifs pouvaient être considérés comme étant des tensions existant au sein d’un seul et même acteur collectif. Nos résultats nous permettent de conclure que les organisations du tiers secteur français ne se perçoivent pas globalement comme un ensemble unifié. Néanmoins, nous avons pu dégager certains éléments qui démontrent que les cadres sont partiellement conciliables. Cette conciliation est grandement subordonnée aux contextes sociopolitiques et économiques français, européen et international et est également conditionnelle à la découverte d’un mode de fonctionnement convenant à tous les acteurs.