Production et articulation des appartenances au mouvement Slow Fashion sur Twitter

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet.

Measurement of the inclusive and differential t/t cross sections at 13 TeV in the all-jets boosted regime with CMS

The t/t production cross section is measured with the CMS detector in the all-jets channel in $pp$ collisions at the centre-of-mass energy of 13 TeV. The analysis is based on the study of t/t events in the boosted topology, namely events in which decay products of the quark top have a high Lorentz boost and are thus reconstructed in the detector as a single, wide jet. The data sample used in this analysis corresponds to an integrated luminosity of 2.53 fb-1. The inclusive cross section is found to be sigma(t/t) = 727 +- 46 (stat.) +115-112 (sys.) +- 20~(lumi.) pb, a value which is consistent with the theoretical predictions. The differential, detector-level cross section is measured as a function of the transverse momentum of the leading jet and compared to the QCD theoretical predictions. Finally, the differential, parton-level cross section is reported, measured as a function of the transverse momentum of the leading parton, extrapolated to the full phase space and compared to the QCD predictions.

Production et articulation des appartenances au mouvement Slow Fashion sur Twitter

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet.

International Branding Strategies : In Swedish and Russian Fashion Companies

There are a lot of different business strategies for any company. However, in the fashion industry, the best way to become successful is to develop the brand using special branding strategies. Hence, a brand is the main weapon for fashion companies, which helps to launch international market and to create loyal customers around the world. Nowadays, due to the difficult current political situations and the collapse of oil and the dollar a lot of companies in different industries have to change their business strategies. It is especially true for fashion companies, because they depend on consumers ' income and their purchasing power. In the case of the fashion industry, branding strategy development can be more effective, than just business strategy. Hence, this thesis discusses the following problem: What branding strategy should Russian and Swedish fashion companies choose in order to build a strong brand and enter the international market.  The purpose of this thesis is to analyze various branding strategies of Russian and Swedish fashion companies during the process of entering foreign markets. At the end of this thesis, practical contribution in their process of international branding strategy creation will be discussed. In order to answer research questions more broadly and accurately, the mixed research method, using quantitive and qualitative study through interviews and survey was chosen. Semi-structured interviews were made with the CEO and brand managers of Russian and Swedish fashion companies. Moreover, the survey was made with two different questionnaires: for Russian and for Swedish customers. In the case of qualitative research, the author found that fashion companies from Russia and Sweden have got not just some features and differences, but also common aspects. The primary data from interviews allowed the author to understand the specifics of brand management in the fashion industry. It was found, that there are some useful aspects in Swedish strategies, which can be used by Russian companies to develop their brands on the international market. In the case of quantitative research, preferences of consumers from Russia and Sweden were analyzed and also some features were identified. Survey results provided the author with a common understanding about purchase habits, attitudes and perceptions to fashion brands. According to these, some hypothesizes, which are formulated in the first part of the thesis, have been proven or disproven. It was found, that preferences of Russian and Swedish people are pretty the same, however Russian customers do not like to risk with new brands and prefer well-known and trusted brands while Swedish customers are open for any brand, which can satisfy their tastes.

EXPRESSIVE ARTS – EMBODYING INCLUSIVE TEACHERS

The Declaration of Salamanca proposes a deep reformulation of educational praxis which has as a main goal to create an environment where all students can enjoy learning, improve and grow in confidence, in a perspective of Inclusive Education. In this sense, it is necessary that teachers acquire scientific and educational skills but, also, development of personal and interpersonal competences that are crucial for a flexible and adequate professional praxis. The concept of competences integrates knowledge, skills, personal values and attitudes that are acquired through work experience and learning by doing. On other side, experiential work is lived through a body in movement. Acknowledging these ideas and considering active methods and expressive arts as valorous contributions to the positive model of inclusive education in this paper, the authors propose the training in Expressive Arts to promote Inclusion but mainly to develop personal and interpersonal competences of teachers to the Inclusion

RELATIONSHIPS IN INCLUSIVE CLASSROOMS

Climate in the classroom is one of the determining factors in the development of practices in Inclusive Education. Many factors contribute to the climate in the classroom. However, there are predominance on affective-relational factors, with impact on action, norms and values, social interactions and learning processes. In this paper, the authors reflect on four studies which aim to identify and evaluate the relationship between several agents in the teaching–learning process (regular teachers, special education teachers and peer students) and the students with Autism, Cerebral Palsy, Mental Disability and Attention Deficit Hyperactivity Disorder. The studies were held in Primary Portuguese schools. The results are presented and discussed in their similarities and differences. The discussion shows that relationships between teachers and children with Special Education Needs (SEN) differ from those between teachers and typical children, but also according to different SEN. In general, there are not significant differences between regular teachers and special education teachers

Searching for best practices to build an inclusive intervention. The international project ENABLIN+ aproach

The project ENABLIN+ is an international partnership for the period of 01/01/2014 to 31/12/2016. It's addressed to the needs of children and youth with complex and intense support needs (CISN), their caregivers and supporters. It wants to develop a system of interdisciplinary in-service training, where professionals and parents of various professional backgrounds learn together, with the aim of improving inclusion, promoting de-institutionalization and enhancing quality of life of the children with CISN, at various age levels. ENABLIN+ promotes an inclusive intervention, not only in social life, but also in education. In this context, this work aims to present and discuss the concept of “best practices” in inclusive intervention based in real world cases. To study that subject we prepare a seminar, where 12 cases of “best practices” in inclusive intervention was presented.