generation

Iranian women have faced substantial socio-economic changes in the last decades, which provided opportunities to change gender beliefs and production of new generations of women. The aim of the present study is to examine the different attitudes of women towards gender roles, based on Mannheim and Giddens` theory. A survey method was used and data was gathered based on a researcher-made questionnaire. The statistical population was all women older than 18 years living in Rasht City, among them 384 were selected by the stratified and random sampling methods. According to the findings, respondents were divided into three generations: the war and revolution generation, the post-war generation, and the generation of nuclear events. The results indicate the difference between the attitudes of different generations and even by controlling the structural and demographic factors, it was found that the women of the post-war generation affected by cognitive areas, had the most modern attitudes towards gender roles. According to Mannheim`s generational approach, there is a significant relationship between the generational experience and the attitudes of generations.

This study aims to test the relationship between knowledge generation and organizational creativity. The second method was surveyed (analytical) using exploratory research through the survey as a data collection tool. The validity coefficient was measured as a reasonable degree of stability was obtained for a sample of (46) individuals. The data was analyzed using statistical package (SPSS V25). Descriptive Statistic Among the findings is that CASNOS has a medium level of the knowledge generation process, and there is a statistically significant effect of knowledge generation on the organizational innovation of CASNOS (El-Oued), according to the dimensions adopted in the study model.

L’histoire de la poésie négro-africaine moderne, telle que tracée depuis la Négritude, était fixée sur des clichés idéologiques et esthétiques connus et ressassés depuis longtemps par les auteurs comme par la critique. Les thèmes de la liberté, de la dénonciation du racisme, des spoliations diverses, de la quête d’identité entre autres, rencontraient généralement ce besoin de ressourcement dans les traditions orales négro-africaines. D’une façon ou d’une autre, cette esthétique orale s’est presqu’imposée au fil du temps à ces auteurs, mais aussi aux épigones qui vont leurs succéder. Contre toute attente cependant, il va subsister des styles, des formes de discours et des fonds idéologiques qui semblent s’en démarquer et que nous découvrons de plus en plus comme un courant spécifique traversant certes plusieurs stades historiques, mais qui restent homogènes dans leur construction du fait poétique. L’exemple d’ Au tréfonds de mon âme d’Okaré Kouadio est si typique, qu’il nous permettra d’aborder les liens fondateurs et leurs principes d’écriture qui, visiblement, les démarquent des modèles poétiques connus dans l’environnement poétique négro-africain.