Suchergebnisse

Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

Un ensemble éclectique de textes théoriques, de chapitres monographiques, d'entretiens, mais dont la lecture constitue sans doute la meilleure introduction à la société politique sud-africaine, bien au-delà de la restitution des nouvelles formes de la production culturelle populaire dont il traite (.).

Rédigée entre 1993 et 1996. ; This thesis studies the growing importance of economic culture, in education and the economic professions, especially in the academic world. It also analyses the ascension of economists in the political field. ; La thèse étudie la montée en puissance de la culture économique, à travers le système éducatif, les professions d'économiste, notamment dans le monde universitaire. Elle s'intéresse également à l'ascension des économistes dans le champ politique.

Rédigée entre 1993 et 1996. ; This thesis studies the growing importance of economic culture, in education and the economic professions, especially in the academic world. It also analyses the ascension of economists in the political field. ; La thèse étudie la montée en puissance de la culture économique, à travers le système éducatif, les professions d'économiste, notamment dans le monde universitaire. Elle s'intéresse également à l'ascension des économistes dans le champ politique.

Die vorliegende Arbeit besteht aus drei Teilen Im Theorie-Teil (Kap. 1-6) wird ausgehend von einer Bestands- aufnahme des wissenschaftlichgen Umgangs mit der oekologischen Krise ein heuristisches Modell oekologischen Gewissens entwickelt, das auf den philosophischen Prinzipien der Angst (Anders), Hoffnung (Bloch) und Verantwortung (Jonas) basiert. Im Methoden-Teil (Kap. 7-10) werden Stichproben und Instrumente vorgestellt. Insgesamt wurden 600 Personen aus allen Kontinenten im Alter von 3 bis 87 Jahren in den Jahren 1994 bis 1996 befragt. Die Patchwork-Methodik bietet dabei die Moeglichkeit, qualitative und quantitative Daten miteinander zu kombinieren. Im Ergebnis-Teil (Kap. 11-20) werden Auswertungen zu folgenden Bereichen diskutiert: Lebensalter, Entwicklung, Geschlecht, Politik, Kultur, Zeitgeschichte und Biographie. Der abschliessende Appell eines umfassenden Paradigmenwechsels richtet sich an das Individuum, die scientific community und die ¨grosse¨ Politik. ; Ecological Conscience--a Patchwork-Study of Children and Adolescents The dissertation has three parts: The theoretical part (Chapters 1-6) reviews scientific work from various fields of the social sciences and the humanities on the handling of the ecological crisis. A heuristic mode is model of an 'ecological conscience' is developed based on the philosophy of Guenther Anders (¨Prinzip Angst¨), Ernst Bloch (¨Prinzip Hoffnung¨, and Hans Jonas (¨Prinzip Verantwortung¨). The methods part (Chapters 7-10) documents sample properties and instruments used in an empirical study of some 600 individuals from all five continents. The age of participants ranged from 3 to 87. Data were collected in the years 1994 to 1996. An approach called a patchwork methodology combines quantitative and qualitative strategies of data collection and analysis. The results part (Chapters 11-20) reports findings related to age, individual development, gender, politics, culture, current history, and biography. At the end a call for a pro-ecological paradigmatic shift is voiced that is aimed towards every individual, the scientific community and politicians.

The author approaches the culture of institutions, both theoretically and empirically, with case studies at the French National School of Administration and the European Commission. She discusses the way institutions, through the practices and discourses of their representatives and agents, construct their territories, perform activities and define political spaces. She asks why the institution has become a place of culture, while society, as a coherent whole is a concept that fades away in the wake of globalisation. Bureaucratic cultures cannot be treated in the same way as national, social or local culture. The agents of power institutions are not the objective agents of a neutral institution. There are power relations at work. Their culture is not the expression of a system but the particular declension of subsystems inside a more complex unit. ; L'auteur traite de la culture des institutions, au plan théorique et empirique, à partir des études de cas de l'Ecole Nationale d'Administration et de la Commission européenne. Elle analyse la manière dont les institutions, via les pratiques et les discours de leurs représentants et agents, construisent un territoire, développent des activités et définissent des espaces politiques. Elle s'interroge sur la raison pour laquelle l'institution est devenue un lieu de culture alors que la société, comme tout cohérent, est un concept qui disparaît dans le contexte de la mondialisation. Les cultures bureaucratiques ne peuvent être traitées de la même manière que les cultures locales, sociales ou nationales. Les agents des institutions de pouvoir ne sont pas les agents objectifs d'une institution neutre. Des relations de pouvoir sont en jeu. Leur culture n'est pas l'expression d'un système, mais la déclinaison particulière de sous systèmes inscrits dans une unité plus vaste. .

Les populations riveraines confrontent leurs observations et leurs connaissances pragmatiques des cours d'eau avec la réalité des problèmes que celui-ci leur pose. Considérant qu'elles restent partie prenante de la gestion de l'hydrosystème, elles confrontent leurs savoirs communs à ceux des scientifiques et des administrations. Elles revendiquent une prise en considération de leurs savoirs et pratiques. Dans les conflits de gestion de l'eau, le principal enjeu repose sur la nécessité de trouver les modalités de qualifier le cours d'eau tout en permettant son inscription dans la réalité sociale.

Les populations riveraines confrontent leurs observations et leurs connaissances pragmatiques des cours d'eau avec la réalité des problèmes que celui-ci leur pose. Considérant qu'elles restent partie prenante de la gestion de l'hydrosystème, elles confrontent leurs savoirs communs à ceux des scientifiques et des administrations. Elles revendiquent une prise en considération de leurs savoirs et pratiques. Dans les conflits de gestion de l'eau, le principal enjeu repose sur la nécessité de trouver les modalités de qualifier le cours d'eau tout en permettant son inscription dans la réalité sociale.

In diesem Beitrag werden erste Ergebnisse eines Forschungsprojektes vorgestellt, das rechtsorientierte Einstellungen von Jugendlichen im Rahmen schulischer Anerkennungsbeziehungen untersucht. Nach einem knappen Überblick über den bisherigen Stand der Forschung, der Darstellung des eigenen Forschungsdesigns und einiger zentraler quantitativer Befunde zu rechten, ethnozentrischen und gewaltaffinen Einstellungen bei Schülern in einem neuen und einem alten Bundesland analysieren [die Autoren] in einem weiteren Schritt das Vorkommen rechter Orientierungen unter Jugendlichen an den von [ihnen] untersuchten Einzelschulen und nehmen basierend darauf hoch und niedrig belastete Schulen vergleichend in den Blick. Dabei gehen [sie] der Frage nach, welche Zusammenhänge zwischen einer hohen bzw. niedrigen Belastung von Einzelschulen durch rechtsorientierte Jugendliche und der Qualität schulischer Anerkennungsbeziehungen bestehen. In einem abschließenden Ausblick werden die bisherigen Ergebnisse bilanziert und einige Perspektiven für die weitere Forschungsarbeit entwickelt. (DIPF/Orig.) ; The authors present first results of a research project examining right-wing-oriented attitudes among adolescents within the framework of school-related relationships of mutual recognition. Following a short survey of the latest developments in research, the presentation of the research design of the project in question, and some of the central quantitative findings on rightwing, ethnocentric, and violence-prone attitudes among students in one of the old and one of the new Laender, the authors analyze – in a second step – the occurrence of right-wing orientations among adolescents learning at the individual schools forming part of their study and, based on this examination, they compare highly affected and lesser affected schools. In this context, they ask whether there exists a connection between a high or a low occurrence of right-wing attitudes among adolescents at the individual schools and the quality of the school-internal relationships of mutual recognition. In a final outlook, the present findings are assessed and possible perspectives for further research are developed. (DIPF/Orig.)

Die Studie ist in zwei Befundsphären struktural-funktional angelegt. Es wurde eigens ein semantisch-pragmatisch-qualitativen Verfahren, als Textvollanalyse, methodisch von Alphons Silbermann und Klaus Merten abgeleitet. Ein Kategorienschema wurde entworfen. Die Aussagen bzw. Textstellen werden eingeordnet. Hiermit wird dem wissenschaftlichen Grundverlangen zur Gültigkeit inhaltsanalytischen Vorgehens zur Erreichung einer für die Fallstudie genügenden Repräsentativität gefolgt.Im Ergebnis kommt die Studie zu der These, dass die Organisation der Kunst als in einem kompliziert-vielfältigen, dennoch nicht pluralistischen Wirkungsgeschehen verirrt ist. Und dass dieses Struktursystem von den politischen Parteien durch eine Salonpersonnage, unter dem Anschein eines wilden Kollektivgebildes, gezielt zur Integration von Parteizwecken in Dienst genommen wird. Deutschlands empirisches Kunstorganisationssystem ist nicht normgerecht ausgelegt. Ausgehend von dem offizial institutionalisierten Kooperativen Kulturföderalismus und dem empirischen Struktursystem der organisierten Kunstförderung (OKF) wird in einer historischen Fallstudie die Gründung der Bundesakademie für kulturelle Bildung Wolfenbüttel e.V. im Zeitraum von 1978 bis 1986 aus Sicht der Künstler untersucht.Dabei wird die Frage fokussiert und mit faktisch-dokumentarischen Ergebnissen beantwortet, ob und in welchem Umfang ein bestimmtes intermediäres Kunstförderungssystem - der Bundesverband Bildender Künstlerinnen und Künstler, - im Sinne der Grundgesetzgarantie für eine freie Kunst dieVorstellungen und Interessen der Bild-Kunst-Schaffenden selbst berücksichtigt und berücksichtigen kann?

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. PierruRapport intermédiaire ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. PierruRapport intermédiaire ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most ...

Co-direction du projet : Isabelle Charpentier ; Patrick Lehingue ; avec Eric Darras et E. Pierru ; Democratisation, the stated objective of French cultural policies since the end of the Second World War, is the recurrent subject of many passionate debates. The observation of cultural practices, which have been the subject of regular statistical measurements in France since 1973, thanks to the surveys on the cultural practices of the French under the aegis of the Department of Studies and Forecasting of the French Ministry of Culture, attests to a continuous increase in consumption of an intellectual and artistic nature. However, these figures should not mask the persistence of major social divisions and, consequently, the very relative nature of the democratisation that has taken place, in particular for the most distinctive regular cultural practices.Beyond simply relating the different cultural practices measured, their intensity and frequency, to the social properties of the practitioners, this work questions the meaning of these links, thus combining an approach in terms of the sociology of cultural consumption and socio-cultural inequalities in access to practices and products, with the concerns and hypotheses of reception studies. Indeed, in the wake of Anglo-Saxon Cultural Studies, but also of the 'intuitions' of the French sociologists Claude Grignon and Jean-Claude Passeron, the hypothesis was formulated that the relationship between the supply of cultural products (especially those with a strong cultivated symbolism) and the structuring of the tastes, expectations and practices of the public is neither uniform, nor mechanical, nor exclusive. The social effects linked to the cultural offer - in its multiple forms - are a function of the levels of exposure of the different audiences. However, these audiences appear to be very diversely and selectively exposed to this offer, and very unequally interested in it, particularly in working-class areas and, more generally, among those most deprived of cultural ...