| 21. |
- Broberg, Pernilla, et al.
(författare)
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What explains variation in voluntary disclosure? : A study of the annual reports of corporations listed on the Stockholm Stock Exchange
- 2010
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Ingår i: Journal of Management and Governance. - New York, NY : Springer-Verlag New York. - 1385-3457 .- 1572-963X. ; 14:4, s. 351-377
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Tidskriftsartikel (refereegranskat)abstract
- The demand for information and transparency from listed corporations has recently increased. In spite of an increased demand for mandatory disclosures from regulators, corporations choose to voluntarily disclose additional information in order to satisfy demands from the capital market. However, the extent and content of information in those voluntary disclosures vary across corporations. The aim of this study is to explain the variation in the content of information in voluntary disclosures by listed corporations. The analyses are based on data collected from 431 annual reports from corporations listed on the Stockholm Stock Exchange during the years 2002 and 2005. The findings support explanations from agency theory and positive accounting theory that size and the debt ratio are positively correlated with the content of information in voluntary disclosures. Corporations with a high share of management ownership disclosed less information than corporations with a low share of management ownership. The study also shows that variations in voluntary disclosures can be explained by factors derived from institutional theory and ’international capital market pressures’. The results indicate that foreign ownership and international listing to some extent have a positive effect on the content of information in voluntary disclosures. Industry was another factor that had a significant influence on voluntary disclosures. One important finding is that regulation to some extent can stimulate voluntary disclosures; our results did not indicate an ’unintended chilling effect’ due to too much regulation. In general, the corporations disclosed more voluntary information after the introduction of IFRS. © 2009 Springer Science+Business Media, LLC.
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| 22. |
- Brock, Veronica, 1958-, et al.
(författare)
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Dissolving Boundaries : Creative Activities in a communicative classroom
- 2015
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Konferensbidrag (refereegranskat)abstract
- For a good four decades, a communicative approach has been promoted as an effective way of teaching English to Speakers of Other Languages (TESOL). In short, in a communicative classroom, learners engage in a range of interactive and creative tasks that not only encourage practice with language systems, language learning skills, and subject specific content, but which also encourage use of the whole body, and the whole classroom space with the incorporation of arts-based elements of music, poetry, drama, art etc.Despite the Swedish national curriculum for English also promoting a communicative approach, and despite much good practice, an analysis of trainee teacher narratives detailing personal experiences of learning English reveals that it is still not uncommon for English lessons in Swedish schools (at all levels) to be constructed in a way best described as “a painting-by-numbers” approach. The narratives depict classroom environments where learners sit in rows and work chronologically through a textbook guided by teacher instruction (often in Swedish) to turn to a specific page, read the text silently/aloud, and to write down the answers to any accompanying exercises. Typical homework exercises require the learning of a glossary of ten unconnected words for a future test.Thus, an aim of our teacher training programme is to encourage the adoption of a communicative approach. In doing so, an interesting phenomena has occurred in which the students consider the course in English as “more aesthetic” than courses where drama, music and dance etc. exist as independent subjects. This has given rise to a research project which explores the dissolving of boundaries between English and the Arts in Teacher Education.In this workshop, participants will experience how new life can be breathed into a chapter from any language text book/written or spoken text by lifting the content off the page and transforming it into a cohesive lesson complete with dynamic and integrated activities of a creative and communicative nature.
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| 23. |
- Broman, Elias, 1985-, et al.
(författare)
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Shifts in coastal sediment oxygenation cause pronounced changes in microbial community composition and associated metabolism.
- 2017
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Ingår i: Microbiome. - : Springer Science and Business Media LLC. - 2049-2618. ; 5:1, s. 96-
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Tidskriftsartikel (refereegranskat)abstract
- BACKGROUND: A key characteristic of eutrophication in coastal seas is the expansion of hypoxic bottom waters, often referred to as 'dead zones'. One proposed remediation strategy for coastal dead zones in the Baltic Sea is to mix the water column using pump stations, circulating oxygenated water to the sea bottom. Although microbial metabolism in the sediment surface is recognized as key in regulating bulk chemical fluxes, it remains unknown how the microbial community and its metabolic processes are influenced by shifts in oxygen availability. Here, coastal Baltic Sea sediments sampled from oxic and anoxic sites, plus an intermediate area subjected to episodic oxygenation, were experimentally exposed to oxygen shifts. Chemical, 16S rRNA gene, metagenomic, and metatranscriptomic analyses were conducted to investigate changes in chemistry fluxes, microbial community structure, and metabolic functions in the sediment surface.RESULTS: Compared to anoxic controls, oxygenation of anoxic sediment resulted in a proliferation of bacterial populations in the facultative anaerobic genus Sulfurovum that are capable of oxidizing toxic sulfide. Furthermore, the oxygenated sediment had higher amounts of RNA transcripts annotated as sqr, fccB, and dsrA involved in sulfide oxidation. In addition, the importance of cryptic sulfur cycling was highlighted by the oxidative genes listed above as well as dsvA, ttrB, dmsA, and ddhAB that encode reductive processes being identified in anoxic and intermediate sediments turned oxic. In particular, the intermediate site sediments responded differently upon oxygenation compared to the anoxic and oxic site sediments. This included a microbial community composition with more habitat generalists, lower amounts of RNA transcripts attributed to methane oxidation, and a reduced rate of organic matter degradation.CONCLUSIONS: These novel data emphasize that genetic expression analyses has the power to identify key molecular mechanisms that regulate microbial community responses upon oxygenation of dead zones. Moreover, these results highlight that microbial responses, and therefore ultimately remediation efforts, depend largely on the oxygenation history of sites. Furthermore, it was shown that re-oxygenation efforts to remediate dead zones could ultimately be facilitated by in situ microbial molecular mechanisms involved in removal of toxic H2S and the potent greenhouse gas methane.
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| 24. |
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| 25. |
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| 26. |
- Brunow, Dagmar, 1966-
(författare)
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Amateur home movies and the archive of migration : Sandhya Suri's I for India (2005)
- 2010
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Ingår i: Tourists and Nomads. Amateur Images of Migration. Second Interdisciplinary Conference on Amateur Images 22 – 24 April 2010.
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Konferensbidrag (refereegranskat)abstract
- Encompassing 40 years of immigrant life in Britain, Sandhya Suri’s filmic essay I for India (2005) is a collage of amateur home movies, British newsreels as well as film stock shot by the director herself. The home movie footage was filmed by Suri’s father who came to Britain as an immigrant doctor in the 1960s and who exchanged super8-films andaudio reels as cine-letters about his new life with his family in India. After having rediscovered the material on the attic of her family home, Sandhya Suri transformed it into her graduate thesis film at the The National Film and Television School in London. Dealing with memory, nostalgia and migrant experiences in Britain, I for India establishes a counter-history to the hegemonic national discourse in which migrant experiences are marginalized, objectified or rendered invisible.My paper is going to examine the role of the amateur footage for reflecting on the ontology of the image and the materiality of the different film formats. How does the reception of the footage change in the course of its dissemination? In what way does the filmic montage in I for India contribute to challenging the dominant media discourse on Asians in Britain? I would like to argue that the amateur footage helps to counter the ethnographic, Eurocentric gaze on the new citizens and subverts the hegemonic use of images of migrants as a means of control and classification (Alan Sekula) or as a weapon (Susan Sontag). How do the amateur images migrate into the collective (national) visual archive? Finally, the example of I for India might also show that Zygmunt Bauman’s binary opposition between tourists and nomads needs to be complicated.
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| 27. |
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| 28. |
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| 29. |
- Brunow, Dagmar, 1966-
(författare)
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Before YouTube and Indymedia : Cultural memory and the archive of video collectives in Germany in the 1970s and 1980s
- 2012
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Ingår i: Studies in European Cinema. - Bristol : Intellect Ltd.. - 1741-1548 .- 2040-0594. ; 8:3, s. 171-181
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Tidskriftsartikel (refereegranskat)abstract
- Collective film-making practice in Germany is still a blind spot in film historiography. During the 1970s and 1980s independent film and video workshops established a nationwide network to provide ‘counter information’ (Negt/Kluge) in order to challenge dominant media representations. Therefore, the works of the video collectives can become a relevant source for historians and journalists alike. While the videos can be perceived as an important contribution to left-wing cultural memory, this memory of the various media practices of the last decades is currently fading away. The videotapes slowly disintegrate and as digitization is costly and time-consuming, many video productions will not survive. This has consequences not only for historiography, but also for the visual iconography of cultural memory. This article focuses on the archival practice of three workshops in Hamburg, the stronghold for German independent film-making after 1968: the Medienpädagogikzentrum (Centre for Media Pedagogy, 1973–), bildwechsel (1979–), the umbrella organization for women in media, culture and art, and die thede (1980–), an association of documentary film-makers. The examples show how archival practice can be conceptualized not only as part of the hegemonic national archive alone, but also as an act of counter-memory. © 2011 Intellect Ltd Article.
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| 30. |
- Brunow, Dagmar
(författare)
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Black diasporic filmmaking and the political aesthetics of anti-essentialism
- 2011
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Ingår i: 9th International Conference of the Collegium for African American Research, "Black States of Desire: Dispossession, Circulation, Transformation", Université Paris Diderot-Paris 7, April 6-9, 2011.
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Konferensbidrag (refereegranskat)abstract
- The fact that Black artists are quite often pigeonholed as spokespersons of Black experience is due to a mimetic understanding of art. Using examples from 1980s Black British diasporic filmmaking I would like to shift the analytical focus from representation and mimesis towards art as interventionist practice. The mysterious deaths of young Black men in police custody form the point of departure for an exploration of memory and mourning in Mysteries in July (Black Audio Film Collective, 1991). Additionally, the Sankofa film collective's Territories (1985) is an exploration of urban space, historiography, heterotopia and Black masculinities, while practices of surveillance and the framing of Blacks via media discourses are addressed in Handsworth Songs (Black Audio Film Collective 1986). These filmic essays, instead of looking at the black male as a given social problem, reflect on its construction through discourses of media and governmentality.Rather than creating a counter-discourse, these films abstain from trying to depict events "as they really happened". Instead, they deconstruct the hegemonic media discourse through the use of self-reflexive means. While counter practices often assume a unified essentialist stand (as in concepts of Afrocentrism and négritude, for example) I would suggest that in 1980s diasporic Black British filmmaking self-reflexivity is employed as a strategy which might be able to solve a notion of "strategic essentialism" (Spivak). Filmmaking thus serves as an epistemological tool to deal with the gaps, fissures and absences in the national visual archive and in hegemonic historiography while at the same time defying notions of homogeneity and authenticity. The use of self-reflexivity enables the films to reflect on modes of exclusion of the Black subject from hegemonic discourses on the ontology of the image and on the filmic apparatus. To sum up, my paper outlines auteurist strategies of dealing with the exclusion of both the official canon and of the collective visual archive of the nation.
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