Dispossession has been playing a central role in capitalist accumulation over the last four-hundred-year history of modern capitalism. This dissertation theorizes how dispossession contributes to producing and reproducing the capitalist mode of production in Bangladesh. To do so, the dissertation empirically examines three interrelated aspects of dispossession in its three analytical chapters. First, it explores how the state and the market work in tandem to organize and control dispossession while grabbing land and expelling peasants from their places. Next, it investigates how dispossession contributes to providing 'potential capitals,' such as grabbed land and dispossessed peasants, to the production sites to be converted into 'constant capital' and 'variable capital' and to creating antagonistic class relations. Finally, it explores how market and non-market actors control those dispossessed peasants-turned-workers inside and outside factories to produce surplus values in order to reproduce the capitalist system locally and globally. These three interactive components of dispossession show three successive phases of capitalist accumulation: land-grabbing by divorcing independent producers from their livelihoods (the initial phase), converting land into capital, peasants into wage workers, and non-capitalists into capitalists (the intermediate phase), and controlling and exploiting those wage workers to produce surpluses or a cycle of new capital (the final phase). This dissertation accordingly advances a full-scale theory of dispossession in its concluding chapter by examining how the starting, intermediate, and ending points of dispossession contribute to capitalist accumulation. The dissertation draws on a wide range of empirical evidence collected from Panthapath, Dhaka, Bangladesh. These include 77 life histories, 50 interviews, a land-use survey of 1,007 structures, and a short survey of 147 slums. It also uses various historical records and archival documents. The three major findings of this dissertation are as follows. First, the dissertation shows that the state acts as a class to organize land grabs, often working in tandem with the private sector, but also in direct competition with the market. Not only does the state monopolize extra-economic means to grab land, but the market also often gains access to extra-economic means. Next, the dissertation shows that dispossession works to privatize the commons, proletarianize subsistence labor, create antagonistic class relations, and redistribute wealth upward. Finally, the dissertation identifies a new regime of labor control, called social despotism, that dominates and exploits workers in factories to produce surpluses. I conclude this study with policy recommendations designed to address the various dimensions of structural injustice described in this dissertation. / Doctor of Philosophy / This dissertation theorizes how dispossession contributes to producing and reproducing the capitalist mode of production in Bangladesh. In its three analytical chapters, the dissertation empirically examines three interrelated aspects of dispossession. First, it explores how the state and the market work in tandem to organize and control dispossession while grabbing land and expelling peasants from their places. Next, it investigates how dispossession contributes to providing grabbed land and dispossessed peasants to the production sites and to creating various class hierarchies. Finally, it explores how market and non-market actors control peasants-turned-workers inside and outside factories to produce surplus values in order to reproduce the capitalist system. These three interactive components of dispossession show three successive phases of capitalist accumulation: land-grabbing by evicting peasants from their places (phase 1), converting land into capital, peasants into wage workers, and non-capitalists into capitalists (phase 2), and exploiting wage workers to produce surpluses (phase 3). This dissertation accordingly advances a full-scale theory of dispossession in its concluding chapter by examining how the starting, intermediate, and ending points of dispossession contribute to capitalist accumulation. The dissertation draws on a wide range of empirical evidence collected from Panthapath, Dhaka, Bangladesh. These include 77 life histories, 50 interviews, a land-use survey of 1,007 structures, and a short survey of 147 slums. It also uses various historical records and archival documents. Some of the major findings of this dissertation are as follows. First, the dissertation shows that the state acts as a class to organize land grabs, often working in tandem with the private sector, but also in direct competition with the market. Not only does the state monopolize extra-economic means to grab land, but the market also often gains access to extra-economic means. Next, the dissertation shows that dispossession works to privatize the commons, proletarianize subsistence labor, create exploitative class relations, and redistribute wealth upward. Finally, the dissertation identifies a new regime of labor control, called social despotism, that oppresses and exploits workers in factories to produce surpluses.

Cette thèse se propose de circonscrire et d'étudier les équivalents littéraires du ready-made duchampien dans la poésie moderne et contemporaine. historiquement issu du domaine des arts plastiques, cette pratique connaît des équivalents poétiques depuis le début du vingtième siècle (cendrars 'dernière heure') sans que l'on puisse pour autant toujours parler d'importation ou d'appropriation de la part des poètes concernés. on essaiera ainsi de définir l'appellation de << poésie ready-made >> dans un sens davantage générique que proprement généalogique, à l'aide de critères permettant de la distinguer de pratiques proches comme le plagiat ou le collage. on essaiera de montrer que, tout comme le ready-made duchampien, ces pratiques bouleversent la conception traditionnelle de la poésie et de l'écriture poétique. qu'on l'envisage en termes de production (le geste d'écriture se voit nié et remplacé par un geste de sélection / prélèvement / déplacement d'éléments non littéraires) ou en termes de réception (les effets de sens du ready-made en poésie reposent en grande partie sur des logiques non discursives, et l'objet déplacé n'est pas nécessairement écrit), la définition du << poétique >> se voit mise en question, amenant par là-même à une << chute des paradigmes >> (thierry de duve), ce qui pose alors la question de savoir quels outils peuvent être mis en place pour analyser ces objets et leur fonctionnement.

En 1977, Philippe Thomas (1951-1995) débute un travail qui se situe entre l’art et la littérature et qui conservera cette double dimension d’une œuvre procédant tant du voir que du lire. Il l’élabore en lui donnant une dimension narrative dont l’intermédialité, le réseau de ramifications intertextuelles et l’accumulation de travaux qui relèvent du dispositif construisent un récit à la forme discontinue. Participant d’une écriture des événements et s’appuyant sur une mise en parallèle de la présentation artistique et de l’énonciation, le projet de Thomas est celui d’une fiction du faire qui cherche à éprouver la frontière entre les mondes réel et fictionnel. Notre étude souhaite répondre aux objectifs d’une première monographie d’artiste et s’attache à décrire l’ensemble de l’œuvre de Thomas afin d’en reconstruire le parcours à l’aide d’un certain nombre de notions clés. Elle prend sa source dans la bibliothèque de cet artiste qui définit l’art comme un processus de recherche, comme une expérimentation du langage. C’est l’œuvre en train de se faire que nous observons, en nous intéressant à sa genèse et à ses conditions de réalisation. Et ce, afin de définir la posture d’auteur qui se dessine dans la spécificité d’une pratique artistique demandant la prise en compte tant de l’œuvre que de ses marges. Si le projet de Thomas met en place la disparition de l’auteur par le biais d’un protocole de signature de ses ready-mades, notre thèse rappelle qu’il s’agit d’une absence toute paradoxale : l’artiste caché par ses personnages demeure omniprésent et par là, participe de la redéfinition de l’auteur malgré la déclaration de sa mort une décennie plus tôt. / In 1977, Philippe Thomas (1951-1995) begins a practice situated between art and literature, and his works will conserve this dual dimension by proceeding both from the act of seeing and from the act of reading. Through intermediality, a network of intertextual offshoots, and an apparatus formed by the accumulation of works, he constructs a discontinuous narrative. Participating in event-based writing and relying on parallels between artistic presentation and enunciation, Thomas’ project is a fiction of making that seeks to test the frontier between real and fictional worlds. This study seeks to fulfill the need of a first monograph on the artist, and it describes the entirety of Thomas’ oeuvre so as to reconstruct his artistic career with the aid of a certain number of key notions. My first source is the library of this artist, who defines art as a research process like an experimentation of language. I observe the oeuvre as it is being constructed, by focusing on its genesis and on the conditions of its production. I do this in order to define an authorial posture shaped by the specificity of an artistic practice which requires consideration of both the works it produces and its margins. If Thomas’ project carries out the death of the author through a protocol of signatures of his readymades, my dissertation emphasizes that this is a paradoxical absence: the artist hidden by his personas remains omnipotent, participating in the redefinition of the author in spite of the declaration of his death a decade earlier.

The significance of human capital development (HCD) from an organizational perspective is adequately reflected in the extant literature; however, its inherent connection with total quality management (TQM) philosophy is yet to be investigated. Hence, this study intends to explore the role of HCD in implementing TQM philosophy and to develop a comprehensive HCD framework in this respect. The labor-intensive Bangladesh ready-made garment sector is used as the research site since the phenomenon under inquiry is not readily evident in the chosen setting. The interpretivist worldview is espoused in this exploratory research to accomplish the research aim. Correspondingly, an inductive approach followed by a qualitative multiple case study methodology is adopted. Five (5) RMG establishments are purposively selected as case organizations. Thirty (30) in-depth interviews (6 from each case organization) are conducted, using the semi-structured interview technique to generate rich and thick primary data. Reflexive thematic analysis is manually performed to analyze the interview transcripts. Findings imply that HCD engenders three major effects: reduced costs of operations, improved product quality, and on-time shipment. Thereby HCD ensures greater customer satisfaction and loyalty, which is the essence of TQM philosophy. Empirical evidence specifically suggests that HCD can contribute to TQM implementation by empowering employees to reliably participate in problem solving and decision-making, innovatively perform tasks, and effectively accomplish appropriate changes in work processes and procedures. This study contributes to the knowledge by evidencing the fact that an HCD framework integrating both learning and healthcare interventions has an explicitly positive nexus with TQM philosophy. / Commonwealth Scholarship Commission in the UK

This essay is more or less a very boring analog game in paper, which is trying to find the similitude between ART and CONSCIOUSNESS, as well as the boundaries of legality of taking over or stealing someone else's work. The dynamic of this game of mine starts by choosing a lecture of any research and change some keywords to create a new research. The format of this essay suggests an interaction and will need an interaction of the reader with the essay itself in order to add more concepts and could make it more personal and transform the main subject of this essay. It does not necessarily have to be an art topic, so it is very open to any personal interest. There are no rules of this game, you can change the subject, the actors, the author or try to change it back to the original lecture. Everything is possible; at the end the reader could acquire by signing this essay or theory. / [I examensarbetet ingår utställningen "YSO":] YSO explore metaphysical information in order to expand the idea of Art and consciousness, which experience and perception are both essential as a part of the information processing. Condensing this information to be able to exchange it on different states the Meta, Virtual and physical state. The formal aesthetic display of YSO is an interpretation of the different inputs objects or data that will or could construct an assumption with deliberate inputs through the senses to be able to interpret the correlation between Art and Consciousness. Material: Freezer, pick-up car, silicon form, water, wood, plastic sheet, tv, ice machine, media player and paint. Teknik: Installation/video/variable. Längd på video: 01:54:00. / <p>The video, essay and installation is a unit and represent different states of consciousness and non-physical matter's reality (nonphysical-matter Reality) and all of these contribute to the information.</p><p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. </p><p>The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p>

The main aim of European economic integration is to reach the common market of goods, services, persons and capital. To make this aim easier to realize in terms of free movement of capital, European Commission has created the statute of the European company (Societas Europaea, SE) as a new institute and corporate vehicle on the supranational level. The paper offers information about creation of the European company according to Comunitary and Czech national law and its corporate structure and mentions several concrete cases of company creation or transformation. The end of the study is dedicated to an analysis of the current usage of European company and advantages and disadvantages of this legal form of trading company together with a summary of current experience with the existence of European company and with the possible future of transnational companies within European Union.

The thesis “Effects of the Post Multi-fiber Agreement on Bangladesh Ready Made Garments Sector” is a part of our M.Sc. in Business Administration Program. The thesis paper on this topic is done under the supervision of Mr. Göran Alsén, Professor of Blekinge Institute of Technology (BTH) Ronneby, Sweden. In our country garment industry has been playing most vital role in our national economy, foreign exchange earnings, employment, growth in other sector and most prominently women employment. In the first chapter we tried to focus on the historical background of Multi Fiber Agreement, the growth of Bangladesh Garments Manufacturer and Exporter Association (BGMEA).In 1983 the total members of BGMEA were 143 with narrow export volume but in 2007 we see the total members are 4637.They contribute 75.64% of our total export (BGMEA, 2007). People who are directly involved with this sector became worried because of phase out of quota system from January 2005.But if we observe the current scenario it is very much positive for our national economy. It’s true that competition grew high but at the same time we can say that our garments industry did not lose its market reputation compared to that of other rival competitors like China, India, Sri Lanka, Vietnam etc. It’s very obvious that we have great problem with the backward linkage industry. As a result we are facing huge competition among the competitors. We have to face huge competition with the other competitors as long as we could set up our backward linkage industry. Under these circumstances, our Government is taking necessary steps to remove this problem. It is now simply a matter of time. But we hope we will get rid of this problem very soon. In this thesis paper we have tried to analyze the performance of five different RMG companies and we have also tried to examine the impact of withdrawal of quota system. Based on these five RMG factories we observe that our RMG industry is performing well after Post MFA. In addition, if we look our total exports we see that approximately 74.93% of our total export is from RMG sector. It is very promising sector compared to other export items. Thus we can say that to survive in this competitive sector our RMG sector should take some more necessary steps like improving employee efficiency, ensuring more training facility, emphasizing on backward linkage industry etc. To attract foreign investors these are very important.

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Under projektet ”Att brodera är ett verb –Betraktelser ur ett nålsöga” har jag använt applikationsbroderi som teknik för att transformera och bearbeta material från min omgivning. Jag har sorterat alla material efter färgcirkeln och skapat rutor som jag satt ihop till ett abstraherat lapptäcke. Arbetet har syftat till att undersöka processbaserat görande och jag har därför tagit hjälp av verben i konstnären Richard Serras ”Verb list”. Jag har satt upp fyra regler för mig själv att förhålla mig till under arbetets gång. Med reglerna har jag velat eliminera alla val och processer som inte handlar om själva görandet i sig. Lapptäcket har tagit sin slutliga form utifrån det ramverk som reglerna utgjort. Under min opponering diskuterade jag och opponenten Karin Lundgren-Tallinger främst hur jag har förhållit mig till mina regler under arbetets gång och hur de hade kunnat vara tydligare. Till Konstfacks Vårutställning hängde jag upp lapptäcket på en ställning av skrot i ett hörn och spred ut vissa rutor och andra obearbetade material så som skräp och garner i flera delar av rummet. Installationen av verket gjorde jag för att skapa en känsla av att arbetet med rutorna när som helst skulle kunna återupptas och görandet forsätta.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.