1,720,970 research outputs found
Traiettorie occupazionali, reti collaborative, creatività: un approccio sociologico al mestiere dello sceneggiatore di fiction televisiva
No full textLa tesi si occupa di un oggetto culturale, seriale e al momento autenticamente popular, quale il racconto audiovisivo - altrimenti detto fiction televisiva - attraverso l'analisi di una delle figure professionali che abita i territori della sua produzione: ovvero lo sceneggiatore.
Il lavoro si compone di cinque capitoli, dei quali il primo costituisce l’ossatura teorica e i restanti quattro la parte di analisi empirica. Dopo una riflessione sui concetti di "mondo dell'arte" e "campo sociale", sul contributo del production of culture approach, sugli studi empirici relativi alla produzione televisiva (capitolo primo), viene analizzato il mondo produttivo della fiction televisiva italiana da una prospettiva storica (capitolo secondo), con l'obiettivo di educare lo sguardo a guardare dietro al testo e al suo messaggio, cogliendo le condizioni – di tipo organizzativo, legislativo, tecnologico, politico, ecc. – che ne hanno determinato il cambiamento. I capitoli terzo e quarto sono invece interamente dedicati alla figura dello sceneggiatore televisivo. Il mestiere di chi scrive per la televisione è stato indagato da due punti di vista: i percorsi di carriera degli intervistati come traiettorie all'interno di un campo e le reti di collaborazione come famiglie creative. Infine, nella tesi viene considerata la creatività di cui si fa portatore lo sceneggiatore in quanto autore: ripercorrendo il suo lavoro di scrittura e i testi che produce l’analisi arriva ad inglobare anche le altre figure cruciali del processo produttivo di confezionamento di una fiction per il piccolo schermo.
La ricerca utilizza tecniche d’analisi multiple di tipo qualitativo: interviste in profondità, osservazione partecipante e analisi di documenti secondari
Dove ballano i moldavi la terra geme: etnografia su una pratica culturale in emigrazione
No full textLa migrazione è un processo di cambiamento socio-economico, ma anche socio-culturale. Numerosi studi hanno messo in evidenza le modalità attraverso le quali concezioni culturali e pratiche sociali pre-migratorie persistono nei paesi di destinazione. A questo scopo è stata condotta una lunga osservazione etnografica su un flusso migratorio consolidatosi nell’ultimo decennio tra la Moldavia e un’area di insediamento dell’Italia settentrionale, focalizzandosi sull’uso e il significato della danza tradizionale nel nuovo contesto. Lo studio etnografico multi-situato presentato è partito dall’ipotesi che nel cambiamento dal Paese d’origine a quello di destinazione anche ciò che appare come pervicace mantenimento delle «tradizioni» sia attraversato da processi di adattamento, innovazione e creatività. Si è voluto pertanto scandagliare il peso dell’innovazione e della creatività nella «riproduzione» culturale in emigrazione.
Dopo aver chiarito in quali situazioni, con quali modalità e con quale attribuzione di significati si danza nel Paese d’origine, vengono descritti i contesti e i luoghi in cui i migranti danzano, e analizzate similitudini e differenze tra la pratica in emigrazione e quella nel Paese d’origine. Viene poi affrontato il tema della costruzione e attribuzione di significato alla danza nel contesto di destinazione, e il processo attraverso il quale essa diventa un atto identitario. L’analisi si sofferma anche sui canali e sui processi di trasmissione della danza in emigrazione, mettendo di volta in volta in evidenza gli elementi che la differenziano da quella che ha luogo in Moldavia. Vengono approfondite le caratteristiche dell’infrastruttura organizzativa che nasce nel contesto di destinazione per garantire il mantenimento della pratica della danza e la sua fruizione anche al di fuori del contesto familiare, considerando sia l’impianto organizzativo che emerge dal rapporto tra migranti e istituzioni locali sia l’infrastruttura nata per rispondere alla richiesta di intrattenimento espressa dalla comunità moldava in emigrazione. Oltre a mettere in luce gli elementi che differenziano questi meccanismi organizzativi da quelli utilizzati nel Paese d’origine, si descriveranno i contatti transnazionali richiesti dal funzionamento dell’infrastruttura deputata al mantenimento della danza. Infine, viene discusso il valore della pratica della danza come strumento di rappresentazione dei migranti moldavi all’estero e di rappresentanza nel momento in cui subentrano delle forme di riconoscimento istituzionale
Performance Art: Campo di produzione e aspetti relazionali
No full textThe study focuses on artists who adopt performance art as a form of creative expression within the world of contemporary visual art. Some performances are extreme exhibitions which often assume violent and aggressive forms; others are quasi-visible events like communication misunderstandings or reiterated behaviors which make the flow of ordinary interaction unusual and sometimes create a feeling of anxiety in the audience. There are of course basic differences between these kinds of performance; nevertheless, in the case of both the most spectacular events and «minimal performances», the artist acts at the borderline of what is explainable, and his/her artistic practices highlight the need to traverse the frontiers between traditional genres, mixing them up or forsaking them. A performance essentially consists in the creation of an interactive event, and artists manage the central elements of the interactive order: the dimension which, according to Erving Goffman, represents a reality in itself, possesses its own logic, and cannot be reduced either to macro-structural dimensions or to individual psychology. The topic of the research reported here can be summarized in the following question: how is it possible to turn a «social interaction» into an «artistic object»? The answer can be articulated on different dimensions: how a performance is projected, arranged and carried out; what happens during performance events; how such events can be recorded and conserved. A performance results from cooperation among a group of people which cannot be defined as a «system»: there are no formal roles, there are no fixed positions, there are no decisional centers. Nevertheless, the basic elements are in place for it to be possible to talk of the existence of an interactional unit: different social actors act together in an intentional, reiterated and settled manner. It is possible to find a great number of events which take place on specific sites and during which artists, venue managers, critics, collectors and performance audiences meet, work together, and share their interests. It is thus possible to use the term «sphere» to refer to a place to which admittance is granted only after an initiation process and rite of passage. In such «spheres» people follow careers based on internal, formal and informal hierarchical ladders. Moreover, there are subjects who act as gatekeepers, and myths and symbols are shared. The research was conducted in Northern Italy, where several towns were selected as central nodes in the Italian contemporary art field. I conducted in-depth interviews with subjects occupying the three main roles in the artistic field: artists, venue managers and curators, and art critics. The selection of the interviewees was based on their strategic position in the field. My purpose was to investigate the node that they occupied in the art world by combining two criteria: first, the spatial position of the environment in which they lived and worked (marginal, peripheral, central); second, the stage of their professional career (beginning, emerging, established)
Mayr Hayastan Im Hairenik: Memory and the Politics of Construction of the Armenian Homeland
No full textEstablishment of the independent Republic of Armenia in 1991 has been a turning point in the Armenian history; except for the existence of an independent Armenian republic between 1918 and 1920, by the dissolution of the USSR, Armenians gained an independent state after more than six hundred years. The transition of the Soviet Armenia to an independent republic stimulated not only the radical dislocation of the established economic, political and socio-cultural structures in Armenia, but also transformed the routine in the Armenian diaspora communities. In this process, aiding the frail and infant independent Armenian republic became a paramount ethno-national cause among the diaspora communities and, by extension, one of the principal ethno-national binders, as well as a chief cause of controversies. Overall, the post-1991 era has witnessed the re-territorialization of the de-territorialized Armenian political imagination in the diaspora. This facilitated the post-1991 trans-state Armenian ethno-national re-construction along the Armenia-diaspora nexus. A parallel process to that has been the construction of the social reality of the post-1991 Armenia. This dissertation examines the construction of the Armenian ethno-national social reality of the post-1991 Armenia through the discursive social practices of the Armenian state, new generation diaspora organizations and the diasporic individuals within the communicative space formed along the Armenia-diaspora nexus. The examination demonstrates that concerns over the physical and cultural survival of the Armenian ethno-nation expressed in different ways are the main considerations that eventually result in the construction of the post-1991 Armenia as the guardian and the soil of the Armenianness. From an abstract point of view, the actual agent of discourses that speaks through the Armenian state, new generation diaspora organizations and the diasporic individuals is the “anxious Armenian” who searches stability and security, reclaims her ethno-national identity, and is concerned about the cultural survival of the Armenian ethno-nation. Besides all, she is the one who “remembers” the genocide. This “anxious Armenian”, instead, is the person that the social memory of the genocide speaks itself through. As such, genocide is not only the “defining and founding moment” of the contemporary Armenian identity, but also the “defining and founding moment” of the post-1991 Armenia
The Collaborative Production of Responses and Dispatching on the Radio: Video Analysis in a Medical Emergency Call Center
No full textWas geschieht, wenn jemand bei einer Notfallnummer um Hilfe anruft? Wie wird mit dem Notfall umgegangen? Wie wird der Notfalldienst in Gang gesetzt? Eine unverzügliche und kompetente Intervention sowie die Einschätzung der Schwere der Situation innerhalb weniger entscheidender Sekunden markieren die Qualitätsstandards, welche die Organisation von Notfallzentralen regulieren.
Seit einigen Jahren führen verschiedene sozialwissenschaftliche Forschungsgruppen ein Programm der systematischen Untersuchung von Arbeitstätigkeiten durch, bei dem ethnografische und naturalistische Methoden eingesetzt werden. Das Interesse an Arbeitstätigkeiten ist zweifellos in den Sozialwissenschaften und besonders in der Soziologie keineswegs neu. Neu ist allerdings die spezifische analytische Perspektive, unter der diese Forschungen durchgeführt werden: Dieses Programm verzichtet auf "großartiges Theoretisieren" und konzentriert sich stattdessen auf die empirische Untersuchung von Aktivitäten und Praktiken. Dabei wird eine beispiellose Detailgenauigkeit und analytische Feinheit erreicht. In der Tat hat erst dieses Vorgehen auf der Ebene feinster Details, die durch den Einsatz von Videoaufzeichnungen zugänglich werden, ermöglicht, die außerordentliche und subtile kollaborative "Herstellung von Arbeit" zu dokumentieren, und zwar auf eine Ebene ausgedehnt, die sich jenseits dessen erstreckt, was Menschen in ihren Alltagsroutinen bewusst wahrzunehmen vermögen. Dieser Aspekt betrifft insbesondere die Befähigung der jüngsten "Studies of Work", jene stillschweigenden Prozeduren und Formen des Common-Sense-Denkens zu dokumentieren, die in die Ausführung von Tätigkeiten in bestimmten Arbeitsfeldern involviert sind.
Dieser Aufsatz fokussiert darauf, wie die Auftragsabwicklung in medizinischen Notfallzentralen erfolgt. Obwohl aus vorangegangenen Untersuchungen über die Interaktion zwischen Anrufenden und Angerufenen bekannt ist, wissen wir über die soziale Organisation, die die Auftragsabwicklung ermöglicht, sehr viel weniger. Die Daten, über die hier berichtet wird, stammen aus einem Forschungsprojekt über Einsatzzentralen der 118-Notfallrufnummmer in Italien, an dem ich seit einigen Jahren beteiligt bin. Durch den Kontrast von Audio- und Videoaufzeichnungen werde ich zeigen, dass die Auftragsabwicklung nicht aus reinem Informationstransfer besteht, sondern dass Ergebnisse aus einer intensiven Koordinationsarbeit zwischen den beteiligten Handelnden resultieren, die sowohl Face-to-Face also auch medial vermittels technischer Apparate erfolgt.What happens when someone rings an emergency hotline for help? How is the emergency handled? How does the emergency service swing into action? Prompt and competent intervention and assessment of the gravity of the situation in a few crucial seconds: these are the quality standards that regulate the organization of emergency operations centers. For a number of years various groups of social science researchers have carried forward a program for the systematic study of work using ethnographic and naturalistic methods of analysis. An interest in work is certainly nothing new in the social sciences, and in sociology in particular. What is new, though, is the particular analytical viewpoint from which such research is now conducted. This program has dispensed with large-scale theorization and has concentrated on the empirical study of activities and practices, achieving an unprecedented level of detail and analytical fineness. Indeed, only by proceeding at this fine level of detail—made possible by the use of videorecordings—has it been possible to document the extraordinary and subtle collaborative production of work, and to do so at a level which extends well beyond the conscious awareness of people in their everyday routine. This aspect concerns in particular the capacity of the latest generation of studies of work to document the tacit procedures and forms of common-sense reasoning involved in the performance of tasks in concrete work settings. This paper focuses on the ways in which the dispatch is done in a medical emergency operation center. Although we know a great deal about the interaction between caller and call-taker from previous research, we know much less about the social organization that makes the dispatch possible. The data analyzed in this paper derive from a research project in which I have been engaged for a number of years on operation centers for the 118 emergency telephone number in Italy. Contrasting the data obtained from audiorecording with the data obtained from videorecording, I will show that a dispatch does not consist purely in information transfer, but is the outcome of intense coordination work among the actors involved face to face and through the mediation of technological apparatus.¿Qué ocurre cuando alguien llama a un teléfono de emergencia? ¿Cómo se gestiona la emergencia? ¿Cómo se pone en funcionamiento el servicio de emergencia? Una intervención rápida y competente, así como la valoración de la dificultad de la situación en pocos y decisivos segundos son los estándares de calidad que regulan la organización de las centrales de emergencia. Desde hace algunos años diferentes grupos de investigación en ciencias sociales desarrollan un sistemático programa de investigación sobre actividades de trabajo empleando métodos etnográficos naturalistas. Este interés no es nuevo en las ciencias sociales, especialmente en la sociología. La novedad reside en la específica perspectiva analítica empleada en estas investigaciones. Este programa renuncia a la teorización a gran escala y se concentra en el estudio empírico de actividades y prácticas, alcanzando un nivel de detalle y finura analítica sin precedentes. De hecho, sólo procediendo en este nivel de detalle, posible gracias al registro en video, podemos documentar la extraordinaria y sutil producción del trabajo en colaboración en un grado que está más allá de aquello que puede ser percibido por las personas en su rutina cotidiana. Este aspecto concierne en particular a la última generación de estudios sobre el trabajo, que documenta los procedimientos tácitos y las formas del razonamiento del sentido común comprendidas en el desarrollo de actividades en determinados ámbitos. Este artículo se centra en las formas en las que se desarrollan las tareas en los centros médicos de emergencia. Aunque conocemos mucho, gracias a investigaciones previas, sobre la interacción que se produce entre quien realiza la llamada y quien la recibe, sabemos poco sobre la organización social que hace posible las órdenes y tareas en el centro. Los datos analizados en este artículo provienen de un proyecto de investigación en el que he participado durante algunos años en los call-centers del número de emergencia telefónico 118. La comparación de los datos obtenidos del registro de audio con aquellos del registro de video permite ilustrar cómo una orden no consiste únicamente en una transferencia de información, sino que es el resultado de un intenso trabajo de coordinación entre los diferentes actores, tanto cara a cara, como a través de la mediación de aparatos técnicos
Youth Political Organizations and Music in Contemporary Russia: the National Identity Issue
No full textThis dissertation studies the relationship existing between youth political organizations, music and national identity in contemporary Russia. In particular, it focuses on some of the most representative youth political organizations present in the city of St. Petersburg and aims at describing their contribution to the conceptualization of post-Soviet Russian national identity(ies), as captured through an analysis of their music
The Collaborative Production of Responses and Dispatching on the Radio: Video Analysis in a Medical Emergency Call Center
Full text linkWhat happens when someone rings an emergency hotline for help? How is the emergency handled? How does the emergency service swing into action? Prompt and competent intervention and assessment of the gravity of the situation in a few crucial seconds: these are the quality standards that regulate the organization of emergency operations centers. For a number of years various groups of social science researchers have carried forward a program for the systematic study of work using ethnographic and naturalistic methods of analysis. An interest in work is certainly nothing new in the social sciences, and in sociology in particular. What is new, though, is the particular analytical viewpoint from which such research is now conducted. This program has dispensed with large-scale theorization and has concentrated on the empirical study of activities and practices, achieving an unprecedented level of detail and analytical fineness. Indeed, only by proceeding at this fine level of detail—made possible by the use of videorecordings—has it been possible to document the extraordinary and subtle collaborative production of work, and to do so at a level which extends well beyond the conscious awareness of people in their everyday routine. This aspect concerns in particular the capacity of the latest generation of studies of work to document the tacit procedures and forms of common-sense reasoning involved in the performance of tasks in concrete work settings. This paper focuses on the ways in which the dispatch is done in a medical emergency operation center. Although we know a great deal about the interaction between caller and call-taker from previous research, we know much less about the social organization that makes the dispatch possible. The data analyzed in this paper derive from a research project in which I have been engaged for a number of years on operation centers for the 118 emergency telephone number in Italy. Contrasting the data obtained from audiorecording with the data obtained from videorecording, I will show that a dispatch does not consist purely in information transfer, but is the outcome of intense coordination work among the actors involved face to face and through the mediation of technological apparatus.
URN: urn:nbn:de:0114-fqs080340
From Software Specifics to Software-Specific Vagueness
Full text linkThe paper identifies some recurrent forms of ‘software-specific’ vagueness in the context of software engineering work practices as a set of conditions for establishing shared understanding between engineers and users on the features and possible uses of the system. Relying in particular on about 20 hours of audio-video recording of meetings between the software engineers and users at three different sites, the paper identifies three recurrent patterns of ‘software-specific’ vagueness: (i) “openness versus completenessâ€, that is, the extent to which the software-based modeling tool requirement of internal completeness hampers the flexibility crucial to its function; (ii) “representation versus coordinationâ€, that is, the degree of recognizability of system features as management support functions of control with respect to line work management functions and (iii) “object orientation versus procedural orientationâ€, that is, the order that the model imposes on interaction and the representations of interaction located within the object instead of on a procedural level as in e.g. issue lists. Contrary to expectations concerning software engineering when it is viewed as a matter of logic, the establishment of a common ground of reference between engineers and users does not rely on making instructions about the software more accurate, more detailed or more specific. Rather, the paper argues that the vagueness of many expressions, specifically with regard to openness, coordination functions and procedural-orientation of the software, helps build a shared understanding
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