Diagnòstic en profunditat sobre la integració dels i les joves de 14 i 18 anys migrats a Catalunya

La finalitat d'aquest projecte és aprofundir en el procés d'integració socioeducativa de la joventut migrada a Catalunya, específicament, dels i les joves entre 14 i 18 anys. Entre els resultats destaquem que els ioves tenen un concepte força tancat i excloent del concepte de ciutadania com a estatus , i un baix grau, de coneixement de la diversitat cultural, especialment els joves autòctons, tot i que tenen una actitud de reconeixement i acceptació, favorable a la convivència intercultural, tant al centre educatiu com al seu barri. No obstant, tenen una visió de la diversitat cultural i del fet migratori en clau de coexistència, sense el reconeixement que suposaria un pas més cap a la convivència. La immigració és vista com un col•lectiu vulnerable, amb un baix nivell econòmic i cultural i que també és percebut com un problema i, fins i tot, com a causant de les dificultutats que actualment pateix i travessa el conjunt de la societat. Els joves tendeixen a relacionar-se amb el seu grup cultural, i responen de forma passiva en la comprensió i actuació davant dels problemes i assumptes públics. Entre els elements que valoren per sentir-se ciutadà té una especial importància la llengua. Eis joves que fa més de 10 anys que viuen a Catalunya són els que tendeixen a tenir un sentiment de pertinença cívica amb el lloc de residència. De fet, com mes temps porten els joves estrangers vivint al lloc d’acollida, perden importància elements d’identificació cultural del país d’origen, però la religió, les celebracions populars, l’art i la tendència a formar parella són elements identitaris del lloc d’origen, més estables. Es demana una intervenció urgent en diversos nivells i destinades a diferents agents. Destaquem: la importància d’una acollida afectiva i efectiva; potenciar espais de trobada; treballar els prejudicis; transversalitzar l’educació intercultural; potenciació de l’aprenentatge de la llengua catalana; formació del professorat en competències interculturals.

From Support to Control : A Configurational Perspective on Conjugal Quality

The topic of conjugal quality provides an empirical illustration of the relevance of the configurational perspective on families. Based on a longitudinal sample of 1,534 couples living in Switzerland drawn from the study "Social Stratification, Cohesion and Conflict in Contemporary Families", we show that various types of interdependencies with relatives and friends promote distinct conflict management strategies for couples as well as unequal levels of conjugal quality. We find that configurations characterized by supportive and non-interfering relationships with relatives and friends for both partners are associated with higher conjugal quality, while configurations characterized by interference are associated with lower conjugal quality.

Selvitys Eduskunnan lisärakennuksen taidekilpailusta

The purpose of this thesis was to investigate how and why an art competition was arranged to select pieces for the parliamentary annexe building in Helsinki. There is an emphasis on the cultural production aspects of the research. For the purpose of comparison, the thesis also examines how art acquisition takes place in the cities of Helsinki, Salo and Vantaa, and how the so-called percentage principle has been used in these cities The research method involved thematic interviewing of four persons with central positions on the competition jury. Questions were also sent by e-mail to experts and other people with knowledge of the subject area. Although art competitions have been arranged in Finland for decades, very little relevant literature exists. In addition to the interviews, other relevant literature was also referred to, including parliamentary records. The crucial questions concerned why the art competition for the parliamentary annexe was arranged and whether, indeed, it is possible to compete artistically in this manner. The thesis also examined the relationship between art and architecture and how the best works were selected from the vast range of submissions. The answers were both honest and interesting. The thesis presents a step-by-step analysis of the competition's progress over two stages, and according to the specific rules for such competitions as laid out in Suomen Taiteilijaseura. Strict adherence to the rules of the competition created a number of problems, some of which are also studied. The primary reason for staging a competition was to be as democratic as possible, and eliminating any possibility of nominating a particular artist or artists to realise their own work within the annexe. The competition opened up the possibility to consider various artistic proposals, and no genres were ruled out in advance. This format ensured a good response and a total of 1719 proposals were received, of which six were eventually selected. One conclusion was that open competition may not be the best way to gather artistic proposals in such circumstances, but it is very democratic.

Hakunilan Kultsa/Urban II hanke : pohdintaa yhteisöteatterin merkityksestä alueelle

This thesis analyses what local community theatre activity means to an area and its residents, and whether this kind of activity is meaningful. The objective was to explore whether and how community art can help urban areas to move in the direction of sustainable development: whether art can be part of regional policy development work. Hakunilan Kultsa was founded in 2003. It is an Urban II, European Union project and part of the Community Iniative Programme 2001-2006, financed by the EU. Hakunilan Kultsa is also a co-operation between Vantaa city council's culture and youth services. The project encourages Hakunila residents of different ages to take part in versatile art and cultural intrests in the Hakunila youth centre. People have the opportunity to participate in theatre, expression, arts, dance, performing arts and writing groups. One of the main aims is to found a sustainable community theatre in the area. The thesis examines what effects Hakunilan Kultsa has had so far. Inquiry form and thematical interviews have been used as research methods. Interviews and questionnaires were gathered between Autumn 2004 and Spring 2005. The whole process lasted from Spring 2004 until Spring 2006. The author also made participatory observations during the research process which in turn affected the conclusions. The thesis also deals with associated topics such as urban programmes, sustainable development, Hakunila as a suburban area, resident stimulation, and community thetare work. Hakunilan Kultsa has proved its importance. Based on the enquiries and interviews, the project has effectively presented the possibility for art forms to become hobbies. There is no cultural, age or economical discrimination. The easily accessible site and the low threshold principle make it easy for people to participate. The community theatre has improved the area's public image, increased participation and initiative, and given a voice to the community.

Luovuus ja itsetuntemus ohjaajantyössä

This research deals with obstacles and opportunities with respect to creativity. It mainly focuses on the author's most meaningful discoveries as an individual and a professional in the field of theatre during the past two years of her education. The research is a description of that transitional phase in her life. Firstly, the research discusses creativity and presence. Secondly, it describes the author personally and professionally and compares her earlier and current ways of working. It contemplates the obstacles and opportunities considering her self-knowledge and creativity, and disucsses the problems she has faced on the way to freedom and well-being. Following this, the author presents the tools for increasing her creativity, self-knowledge and body awareness in theatre work: the Gestalt Method, Acting with the Inner Partner and the Authentic Movement. She discusses the relativity between overall well-being in life and the quality of theatre work. The final section of the present research discusses the process of directing the play Suurin on rakkaus in 2006. It deals with issues such as self-knowledge in directing, group management, the importance of terror and excitement in directing and ways of enduring both. The conclusion explanes the reasons behind the author's capability of working with small groups, with creative and passionate theatre workers. It also lists the benefits of exploring one's passions, cooperating with enthusiastic and creative artists and the pursuit for balance in art and in everyday life.

Réquiem por la muerte del yo artista

RÉQUIEM POR LA MUERTE DEL YO ARTISTA es un proyecto audiovisual en forma de performance sobre la música del compositor finlandés contemporáneo Einojuhani Rautavaara, los Requiem del poeta alemán Rainer Maria Rilke y la concepción filosófica del arte y su comercialidad del artista americano Andy Warhol. RÉQUIEM POR LA MUERTE DEL YO ARTISTA es mi sangre. Es mi compromiso. Trata sobre la dualidad entre el artista y la persona, y cómo esto afecta a nuestro arte. RÉQUIEM POR LA MUERTE DEL YO ARTISTA es una operación de corazón. Es provocación; es sobre vomitar tu mente y estar sediento de futuro. Es comerte a ti mismo. Pero sobre todo, es mi concepción de arte: arte es todo aquello por lo que el creador esté dispuesto a morir.

Democratisation via elections in an African 'narco state'?

Recent development cooperation with Guinea-Bissau, focussing on good governance, state-building and conflict prevention, did not contribute to democratization nor to the stabilization of volatile political, military and economic structures. Both the portrayal of Guinea-Bissau as failed ‘narco state' as well as Western aid meant to stabilize this state by multi-party elections are based on doubtful concepts and assumptions. Certainly, the impact of drug trafficking could endanger democratization and state-building if continued unchecked. However, the most pressing need is not state-building, facilitated by external aid, yet poorly rooted in the social and political fabric of the country, but nation-building from below as a pre-condition for the creation of viable state institutions.

The aftermath of Civil War

Using an event-study methodology, this paper analyzes the aftermath of civil war in a cross-section of countries. It focuses on those experiences where the end of conflict marks the beginning of a relatively lasting peace. The paper considers 41 countries involved in internal wars in the period 1960-2003. In order to provide a comprehensive evaluation of the aftermath of war, the paper considers a host of social areas represented by basic indicators of economic performance, health and education, political development, demographic trends, and conflict and security issues. For each of these indicators, the paper first compares the post- and pre-war situations and then examines their dynamic trends during the post-conflict period. It conducts this analysis both in absolute and relative terms, the latter in relation to control groups of otherwise similar countries. The paper concludes that, even though war has devastating effects and its aftermath can be immensely difficult, when the end of war marks the beginning of lasting peace, recovery and improvement are indeed achieved.

Le regard d'un psychiatre sur les écrits de la folie : la carrière de Hans Steck à l'Asile psychiatrique de Cery (1920-1960)

Quelles représentations de la schizophrénie les psychiatres vont-ils construire à travers l'étude des écrits asilaires des patients et des scientifiques dans la première moitié du XXème siècle? Le psychiatre helvétique Hans Steck (1891-1980), qui a travaillé à l'Asile psychiatrique de Cery de 1920 à 1960 et qui s'est fait connaître du public grâce à l'oeuvre d'Aloïse Corbaz, reconnue comme auteure d'art brut par Jean Dubuffet en 1945, constitue le fil rouge de la thèse. Dans le contexte des mouvements tels que Γ "art psychopathologique" et Γ "art brut", Steck étudie les théories de "la mentalité primitive et les peintures magiques des schizophrènes". En 1927, il se tourne vers les théories évolutionnistes de la régression et les premières études de Lévy-Bruhl pour avancer l'idée qu'il existe un "parallélisme schizo-primitif'. Puis il développe des explications de la pensée délirante, à partir des théories exposées lors du Premier Congrès International de Psychiatrie en 1950. Enfin, adoptant la perspective phénoménologique, il explique que "la fonction de l'art et la fonction du délire visent à reconstituer un monde viable pour le malade". En ce sens, l'expression artistique, bien que n'entrant pas dans le champ de la psychothérapie, fournit des indicateurs de l'état psychique du malade en même temps qu'elle contribue à son bien-être. Sont abordés les problèmes concernant la reconnaissance de Γ "auteur" interné, dont les oeuvres appartiennent soit aux archives médicales, soit au musée. La pérennité des critères qui définissent les oeuvres d'"art psychopathologique" ou d'"art brut" est également mise en question. Enfin, le rôle essentiel de l'écriture à l'hôpital, tant pour les patients que pour les soignants, fait l'objet de nombreux développements. - What representations of schizophrenia have psychiatrists been constructing when studying writings by patients and scientists in mental asylums in the first half of the 20th century? The Swiss psychiatrist Hans Steck (1891-1980) is the protagonist of this dissertation. From 1920 to 1960, he has been working at the "Asile psychiatrique de Cery" near Lausanne. Steck is known thanks to the paintings of Aloïse Corbaz, an artist recognized by Jean Dubuffet as belonging to the "art brut" movement in 1945. In the context of movements like "art psychopathologique" and "art brut," Steck studies theories of "primitive character and magic paintings of schizophrenics." In 1927, Steck engages with theories of regression and Lévy-Bruhl's early studies in order to push the idea of a "parallelism schizo-primitif." On the occasion of the First International Congress of psychiatry held in Paris in 1950, Steck develops explanations for the "pensée délirante." Finally, turning to a phenomenological point of view, he explains, "the function of art and the function of the delusion help the patient to reconstruct a viable environment for the sick person." In this way, artistic expression is not thought of as a psychotherapeutical means, but provides insight into the state of mind of a mentally sick person at the same time as contributing to his well-being. The dissertation discusses whether the "author's" work belongs in medical archives or museums. The continuity of "psychopathological art" and "art brut" criteria will be discussed. Finally, the essential role that writing played in the hospital for the patients as well as for the medical staff is presented.

Uso de wikis semánticas

En el presente PFC vamos a estudiar a fondo las wikis semánticas, para tratar de plasmar primeramente el estado del arte de éstas, su aprovechamiento y uso real, más allá de su concepción teórica o prototípica. Posteriormente utilizaremos una de ellas para realizar un ejercicio práctico, cargando una ontología nueva desarrollada para ésta y probando la potencia de las consultas sobre ésta.

Treatment-Naive Individuals Are the Major Source of Transmitted HIV-1 Drug Resistance in Men Who Have Sex With Men in the Swiss HIV Cohort Study.

Background. Human immunodeficiency virus type 1 (HIV-1) transmitted drug resistance (TDR) can compromise antiretroviral therapy (ART) and thus represents an important public health concern. Typically, sources of TDR remain unknown, but they can be characterized with molecular epidemiologic approaches. We used the highly representative Swiss HIV Cohort Study (SHCS) and linked drug resistance database (SHCS-DRDB) to analyze sources of TDR. Methods. ART-naive men who have sex with men with infection date estimates between 1996 and 2009 were chosen for surveillance of TDR in HIV-1 subtype B (N = 1674), as the SHCS-DRDB contains pre-ART genotypic resistance tests for >69% of this surveillance population. A phylogeny was inferred using pol sequences from surveillance patients and all subtype B sequences from the SHCS-DRDB (6934 additional patients). Potential sources of TDR were identified based on phylogenetic clustering, shared resistance mutations, genetic distance, and estimated infection dates. Results. One hundred forty of 1674 (8.4%) surveillance patients carried virus with TDR; 86 of 140 (61.4%) were assigned to clusters. Potential sources of TDR were found for 50 of 86 (58.1%) of these patients. ART-naive patients constitute 56 of 66 (84.8%) potential sources and were significantly overrepresented among sources (odds ratio, 6.43 [95% confidence interval, 3.22-12.82]; P < .001). Particularly large transmission clusters were observed for the L90M mutation, and the spread of L90M continued even after the near cessation of antiretroviral use selecting for that mutation. Three clusters showed evidence of reversion of K103N or T215Y/F. Conclusions. Many individuals harboring viral TDR belonged to transmission clusters with other Swiss patients, indicating substantial domestic transmission of TDR in Switzerland. Most TDR in clusters could be linked to sources, indicating good surveillance of TDR in the SHCS-DRDB. Most TDR sources were ART naive. This, and the presence of long TDR transmission chains, suggests that resistance mutations are frequently transmitted among untreated individuals, highlighting the importance of early diagnosis and treatment.

Gombrich i la història cultural

The recent death of the art historian motives this approach to his works. Gombrich studies connected art with many other fields of human knowledge. In this article the author focused the Gombrich conception of the relationship between art and cultural history.

Fiber Arts of the Hmong, 1983

This brochure describes the textile folk art and needlework of the Hmong tribes who are from Northern China. It is a colorful and exciting addition for American admirers of fine stitching. It also tells of the history of the Hmong tribes.

Comunicació, imatge i aprenentatge

El objetivo de este trabajo es caracterizar algunos de los contextos comunicativos visuales a través de los cuales se producen, en la sociedad actual, aprendizajes no reglados. Aprender se da siempre en el sí de algún contexto comunicativo. Por lo tanto, las características fundamentales de la comunicación también lo son de los procesos de aprendizaje, incluso aquellos donde la imagen tiene un papel central. En este artículo se ofrece una caracterización general de la comunicación, atendiendo a sus vertientes más relevantes: socialización y transmisión de la información a través de signos (en especial, los visuales).