Xem 1-19 trên 19 kết quả Social actors
  • Sociology is a curious discipline. Its objects of attention are both the taken-for-granted and the exceptional. It looks at the everyday experience and the extraordinary events as problematic; suffused with simultaneous and conflicting yet flourishing negotiations. Moved by this insight Peter Berger opened up his famed book with this poignant statement: “It can be said that the first wisdom of sociology is this: things are not what they seem…. Social reality turns out to have many layers of meaning. The discovery of each new layer changes the perception of the whole.

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  • BEING A MAVERICK SIMPLY MEANS BELIEVING THAT EVERYTHING IS POSSIBLE IN LIFE and nothing spectacular in this world has ever been achieved without the unconventional policies and ideas of Mavericks who took an independent stand apart from the masses and turn that crazy thought into realizable ideas that is worth its weight in Gold. The Worlds’ best Entrepreneurs, Artists, Actors & Actresses, Athletes, Scientist , you name it are all Mavericks. So, when you start to think like a Maverick, you begin to do and act like a Maverick.

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  • The motivation for this work is the need to establish a methodology for the study of sustainable systems in situations where conventional analysis cannot provide satisfactory information on the complexities of social phenomena and social actors.

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  • Computer agent techniques are having a greater acceptance in recent years in different fields of science, and as a result, they have begun to be implemented as a simulation technique. Agent techniques consist on using small, independent programs called agents that are modeled to represent the social actors, be it people, organizations or corporations.

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  • Power has been defined in a variety of different ways by sociologists and political scientists so it behooves us to review those definitions before launching into an exploration of the imagery of power. The simplest definition of power is an ability to get others to do something that they would not otherwise have done. This is sometimes referred to as power as “capabilities” or “potential” power and is measured in terms of the attributes of the social actor that allegedly possesses it. An individual is powerful if she is rich, well-educated, a member of a social elite, etc.

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  • This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion.

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  • However, it must be kept in mind that HTAs are only one of several options through which diasporas maintain links with and help their communities of origin. Immigrant entrepreneurs are also ‘social actors’, who participate actively in transnational activities.

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  • This report is Part I of the larger project on Internet intermediaries. It develops a common definition and understanding of what Internet intermediaries are, of their economic function and economic models, of recent market developments, and discusses the economic and social uses that these actors satisfy. The overall goal of the horizontal report of the Committee for Information, Computer and Communications Policy (ICCP) is to obtain a comprehensive view of Internet intermediaries, their economic and social function, development and prospects, benefits and costs, and responsibilities.

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  • While interacting socially, people are aware of and react to the feedback that they receive by the other people in an environment. They adjust their body posture, their facial expressions, and their general presentation. These adjustments are made not to be artificial but to convey appropriate social information for the situation.

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  • Hence, in order for us to understand not just this encounter but also Villa-Lobos’s stay in Paris, we need to explore carefully the sociohistorical configuration in which both occurred. My intention, though, is not to trace a global ‘context’ in which these figures were ‘immersed.’ Such an approach would impoverish the analytic possibilities, since as Bensa argues (1998:46), “context is immanent to practices and makes up part of them.

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  • Member States have anchored and reaffirmed their commitment to gender equality in several normative frameworks. 1 Yet, too many women have not been able to benefit from progress made in meeting the MDGs. Their rights are often not respected and they are left voiceless, excluded from social protection, access to services and economic opportunities. Women and girls continue to face gender-based discrimination and violence as internationally agreed commitments on women’s rights and the empowerment of women are not met in many countries.

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  • There is a whole genre of “celebrity” biography that focuses on the rich and famous, the influential, or the notorious, and within this category an entire sub-genre devoted to movie-stars and other Hol- lywood types. They can range from the sleazy and sensational to the more complex, hefty literary film studies, or historical biography— the latter varieties seeking to situate the biographical subjects in the social, cultural, or literary context of the times in which they lived, without sparing the gossip.

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  • Economics - to the great dismay of economists - is merely a branch of psychology. It deals with individual behaviour and with mass behaviour. Many of its practitioners sought to disguise its nature as a social science by applying complex mathematics where common sense and direct experimentation would have yielded far better results. The outcome has been an embarrassing divorce between economic theory and its subjects. The economic actor is assumed to be constantly engaged in the rational pursuit of self interest. This is not a realistic model - merely a useful approximation.

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  • The guidelines have been developed to inspire change among local governments (and other actors in the fi eld of urban development) in the planning, designing and managing of urban infrastructure. The goal is to encourage an integrated approach, taking into account principles and criteria of eco-effi ciency and social inclusiveness.

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  • The selection of neo-institutional theory as theoretical lens for the dissertation rests on several arguments. 3 First, the theory bears significant potential to generate fresh insights into the strategy formation process (Mintzberg and Lampel, 1999; Hensmans, 2003). Second, it con- ceptualizes very well the environment, its actors, its creation, and its internal functioning (Scott, 2001).

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  • Drawing from Goffman’s performance theory, there are three fundamental components to the passage of social information between individuals. When information is to be conveyed explicitly, it is given, but these messages are also impacted by the subtle, and perhaps unconscious messages that are given off by the actors, as well as the intention that the observer might infer (Goffman 1956: 2).

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  • Next to the processes causing the unequal distribution of environmental risks and outcomes, the framework model identifies the institutional landscape and the respective services and actions to tackle inequalities. A variety of actors is called upon to reduce and mitigate the occurrence of environmental inequalities, be they socially determined or not. In first place, responsibility is with the environmental actors and stakeholders shaping the environmental conditions, such as actors on environment, transport, housing, occupational settings etc.

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  • The ceremonial dance of the Alaskan Eskimo is a rhythmic pantomime--the story in gesture and song of the lives of the various Arctic animals on which they subsist and from whom they believe their ancient clans are sprung. The dances vary in complexity from the ordinary social dance, in which all share promiscuously and in which individual action is subordinated to rhythm, to the pantomime totem dances performed by especially trained actors who hold their positions from year to year according to artistic merit.

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  • Football hooliganism periodically generates widespread political and public anxiety in a variety of European and non-European countries. In spite of the efforts made and resources invested over the past decades, football hooliganism is still perceived by politicians, policymakers, media and other actors as a disturbing social problem. Issues such as how to understand or explain hooligan behaviour continue to challenge social scientists, while at the same time instant answers and solutions are demanded from wider, non-academic audiences....

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