What made him change? an individual and national analysis of men's participation in housework in 26 countries

We offer new evidence on multi-level determinants of the gender division of housework. Using data from the 2004 European Social Survey (ESS) for 26 European, we study the micro and macro-level factors which increase the likelihood of men doing an equal or greater share of housework than their female partners. A sample of 11,915 young men and women is analysed with a multi-level logistic regression in order to test at individual level the classic relative-income, time-availability and gender-role values, and a new couple conflict hypothesis. At individual level we find significant relationships between relative resources, values, couple's disagreement, and the division of housework which support more economic dependency than "doing gender" perspectives. At the macro-level, we find important composition effects and also support for gender empowerment, family model and social stratification explanations of cross-country differences.

Cross National Contact Strategies

Using paradata gathered from the 11-nation Survey of Health, Ageing and Retirement in Europe (SHARE), this paper examines the impact of the first contact attempt and the first contact properties, respectively, on contact and response efficiency using logistic multilevel models. We find that despite the different sample frames and interviewer compensation structure between countries, there are no considerable country effects with respect to making contact, once interviewer effects are controlled. Moreover, results point to an increased efficiency associated with evenings especially on Sundays, at least on the very first contact attempt. For attempts that result in initial contact, Saturday afternoons are most likely to eventually lead to completed interviews, followed by initial contact on weekdays during the daytime. We hypothesize that this may be due to the SHARE sample being composed of people aged 50 and over.

Immigration and contested nation-building : explaining the political salience of immigration in multi-national societies

Multi-national societies present a complex setting for the politics of immigration, as migration’s linguistic, economic and cultural effects may coincide with existing contestation over nationhood between sub-units and the central state. Empirically, though, political actors only sometimes, and in some places, explicitly connect the politics of immigration to the stakes of multi-level politics. With reference to Canada, Belgium and the United Kingdom, this paper examines the conditions under which political leaders link immigration to ongoing debate about governance in multi-national societies. The paper argues that the distribution of policy competencies in the multi-level system is less important for shaping immigration and integration politics than is the perceived impact (positive or negative) on the sub-unit’s societal culture or its power relationship with the center. Immigration and integration are more often politicized where center and sub-unit hold divergent views on migration and its place in national identity.

Entre la imatge i la paraula: l'oscil·lant i l'amor en un cert cinema d'autor francès

L'amor ha estat concebut des d'una paraula que evoca la imatge i des d'una imatge que evoca la paraula. Partint d'aquesta hipòtesi ens preguntem com arribar a la síntesi d'ambdues formes d'expressió sense trencar l'indefinit a través del qual una evoca l'altra. Trobant en el cinema la possibilitat dialèctica entre ambdues, el següent estudi planteja com des d'un cert cinema d'autor francès nascut als anys 50 i prenent l'amor com a font d'inspiració, l'oscil·lació entre la imatge i la paraula es presenta en cada cas com una eina dereformulació del tema i a través de la qual l'autor articula el seu discurs

Figures i mirades salvatges en el cinema de Werner Herzog

Aquest treball de recerca vol explorar com el concepte del salvatge europeu es plasmaen l'obra del cineasta alemany Werner Herzog. Aquesta plasmació es produeix tant anivell figuratiu i narratiu com a nivell estètic. Per una banda, en aquests films hi ha un treball del cos i de com aquest es sotmet a diverses regles socials i de representació, que el salvatge contestarà amb un rebuig de l'ordre establert, sovint concretat en la idea de fuga cap a la natura. Per altra banda, l'estètica dels films de Herzog respon al que denominem una mirada salvatge: la representació d'una societat teatral que s'enfonsa, per una banda, i l'ús de recursos formals per a reproduir una mirada primigènia sobre les imatges, per l'altra. En tots els casos, la dinàmica d'alliberament de les forces civilitzadores constitueix el fonament de la narració i l'estètica del cineasta alemany.

El mirall de Narcís: mirada i identitat al cinema clàssic de Hollywood

Aquest treball se situa en el marc de l'estudi de les mirades en el cinema clàssic de Hollywood. S'interroga, en concret, sobre una mirada: la que alguns personatgesdirigeixen a la seva imatge especular. A la llum del mite de Narcís, es proposa escatirquin és el desig que va unit a aquesta mirada i quins efectes produeix sobre aquells que hi recorren, sobretot pel que fa a la fonamentació de la seva subjectivitat.Després de la identificació i l'examen de les figures cinematogràfiques que mostrenpunts de contacte amb la figura de Narcís, s'ha procedit a una exploració de les imatgesque les mostren mirant-se al mirall, per tal de precisar els trets que defineixen la sevamirada. Finalment, s'han resseguit certes variacions i prolongacions del mite de Narcís, presents també al cinema clàssic, per tal de veure l'evolució que hi sofreixen tant la pròpia mirada com la relació dels personatges amb la seva imatge. Aquest recorregut ha permès d'extreure algunes conclusions sobre la qüestió principal que ens havíem plantejat

Visions postapocalíptiques: la ruïna i el cos en el cinema de Ciprì i Maresco

Aquest treball de recerca traça, mitjançant una metodologia transversal i comparativa, un recorregut per dos dels pilars fonamentals en la producció videocinematogràfica del duet de directors sicilians Daniele Ciprì i Franco Maresco: el cos i la ruïna. Considerada la seva obra com una visió radical del cinema i la televisió com a mitjà expressiu, al mateix temps que es treuen a la llum les principals motivacions que els han dut a seguir aquesta via al marge dels convencionalismes, s’aborden i analitzen alguns dels conceptes i motius visuals que es troben en ella: el cinisme, el sublim, el grotesc, el context postapocalíptic... Defugint tot propòsit d’establir una cronologia de fets, es destaquen i examinen posteriorment els aspectes més rellevants de la geografia dels espais que filmen i de l’anatomia dels personatges que els habiten, tot desglossant un seguit de subtemes per facilitar l’anàlisi i demostrar que la conjunció de cos i ruïna confecciona una atmosfera expressiva portada al límit de la representació

Cinema display: una exploración intuitiva del arte mediante burbujas conceptuales

El disseny i la implementació d'un prototip de display interactiu perifèric per a la cerca divergent de relacions conceptuals entre obres (films).

Voiko totuutta tavoittaa? : direct cinema -tyylisuunnan käyttö dokumenttielokuvassa

The subject of this study is the use of direct cinema style in documentary film. The main purpose of this thesis was to the research the ways in which direct cinema style attempts to show and achieve truth in documentary films. The following questions were posed: Is it possible to depict reality in a documentary film; how does the choice of using this style affect the final documentary? The essential purpose of this study was to try to see whether the direct cinema style works when trying to achieve truth in a documentary film. This work consints of two elements, the theoretical part and the short documentary. The theoretical part deals with the history, the truth, and the direct cinema- style in documentaries. The theoretical information of direct cinema has been used when making the short documentary. In the documentary Tuloaula 2 I have studied the way in which using direct cinema -style works in practise. The documentary has followed as strictly as possible the direct cinema style. I was the director, the cameraman and the editor of my documentary film. In the documentary film Tuloaula 2 it appeared that the direct cinema style works best when filming everyday life. By using this style it is easy for the director to observe and leave his own persona in the background. The strength in using the direct cinema style is that it enables the viewer to build his/her own impression on the subject. Even though the direct cinema style aims to achieve objectivity the director has to make numerous subjective choices during both the filming and the editing process. These subjective choices automatically effect the "truth" of the documentary film. The difficulty in a direct cinema style is the large amount of material. This often leads to a long editing phase, which is not often possible in the busy production schedules. The direct cinema style is not at its best when shooting people who are passive because their attention often focuses too much on the camera. In general, the best way to make a documentary film would be to use many documentary styles in one film and not to srictly concentrate on only one style.

[Archives de la Parole]. , [The Coorg national anthem : Swadēsi priya kirtane] : dialecte Kodagu (i.e.koḍaga), chant / [Sir George Grierson], éd. ; Linguistic survey of India ; Voix parlée, homme

[Traditions. Asie. Inde. Province de Madras [i.e. Chennai]]

Audit report on America's Agricultural Industrial Heritage Landscape Inc., D/B/A Silos and Smokestacks National Heritage Area, Independent Auditor's Reports, Financial Statements and Supplementary Information, Schedule of Findings and Questioned Costs, December 31, 2004 & 2005

Other Audit Reports - 28E Organizations

Design Guide and Construction Specifications for National Pollutant Discharge Elimination System (NPDES) Site Runoff Control, 2006

According to the 1972 Clean Water Act, the Environmental Protection Agency (EPA) established a set of regulations for the National Pollutant Discharge Elimination System (NPDES). The purpose of these regulations is to reduce pollution of the nation’s waterways. In addition to other pollutants, the NPDES regulates stormwater discharges associated with industrial activities, municipal storm sewer systems, and construction sites. Phase II of the NPDES stormwater regulations, which went into effect in Iowa in 2003, applies to construction activities that disturb more than one acre of ground. The regulations also require certain communities with Municipal Separate Storm Sewer Systems (MS4) to perform education, inspection, and regulation activities to reduce stormwater pollution within their communities. Iowa does not currently have a resource to provide guidance on the stormwater regulations to contractors, designers, engineers, and municipal staff. The Statewide Urban Design and Specifications (SUDAS) manuals are widely accepted as the statewide standard for public improvements. The SUDAS Design manual currently contains a brief chapter (Chapter 7) on erosion and sediment control; however, it is outdated, and Phase II of the NPDES stormwater regulations is not discussed. In response to the need for guidance, this chapter was completely rewritten. It now escribes the need for erosion and sediment control and explains the NPDES stormwater regulations. It provides information for the development and completion of Stormwater Pollution Prevention Plans (SWPPPs) that comply with the stormwater regulations, as well as the proper design and implementation of 28 different erosion and sediment control practices. In addition to the design chapter, this project also updated a section in the SUDAS Specifications manual (Section 9040), which describes the proper materials and methods of construction for the erosion and sediment control practices.