Thesis (Ph.D.)--Duquesne University, 2005. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 105-110) and index.

This paper examines the ways in which corporate social responsibility (CSR) is used by mining companies in Peru to minimize conflict between themselves and communities. It assesses the use of CSR at both the community and national levels, and concludes that there are important limitations to a reliance on the privatized management of social conflict. Most importantly, a reliance on corporations to manage conflict in which they themselves take part inherently limits the outcomes of this conflict for the communities to those which do not threaten the business interests of the companies. This paper further argues that the political organization of communities and the involvement of external actors in the conflict has an effect on the type of CSR policies enacted by the company. Thus, communities who are better organized, especially with the help of external actors, may achieve more favourable results from CSR-led negotiations with companies.

Bibliography: pages 109-111. / Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.

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Thesis (M.S.)--George Mason University, 2008. / Vita: p. 116. Thesis director: Wallace Warfield. Submitted in partial fulfillment of the requirements for the degree of Master of Science in Conflict Analysis and Resolution. Title from PDF t.p. (viewed Aug. 28, 2008). Includes bibliographical references (p. 109-115). Also issued in print.

Missing from extant conflict literature is an examination of both symmetric and asymmetric conflict ties. To address this void, network analysis was utilized to examine the responses (both symmetric and asymmetric conflict ties) of 140 employees and managers in four divisions of a large agency of the Federal Government. The study was limited to conflict over scarce resources. Conflict management methods were examined as well as the perceptions of how respondents both cope with and feel about conflict. The results indicate that when two people in a conflict setting are structurally equivalent they both report actions and feelings that are opposite from those of- the other person. This finding, an inverse contagion effect, has been termed diffusion resistance.

This study addresses violent urban disturbances which occurred in England in the early 1980s with particular reference to the Bristol ‘riots’ of April 1980 and the numerous disorders which followed in July 1981. Revisiting two concepts traditionally utilised to explain the spread of collective violence, namely ‘diffusion’ and ‘contagion,’ it argues that the latter offers a more useful model for understanding the above-mentioned events. Diffusion used in this context implies that such disturbances are independent of each other and occur randomly. It is associated with the concept of ‘copycat riots’, which were commonly invoked by the national media as a way of explaining the spread of urban disturbances in July 1981. Contagion by contrast holds that urban disturbances are related to one another and involve a variety of communication processes and rational collective decision-making. This implies that such events can only be fully understood if they are studied in terms of their local dynamics. Providing the first comprehensive macro-historical analysis of the disturbances of July 1981, this thesis utilises a range of quantitative techniques to argue that the temporal and spatial spread of the unrest exhibited patterns of contagion. These mini-waves of disorder located in several conurbations were precipitated by major disturbances in inner-city multi-ethnic areas. This contradicts more conventional explanations which credit the national media as the sole driver of riotous behaviour. The thesis then proceeds to offer a micro analysis of disturbances in Bristol in April 1980, incorporating both qualitative and quantitative techniques. Exploiting previously unexplored primary sources and recently collected oral histories from participants, it establishes detailed narratives of three related disturbances in the city. The anatomy of the individual incidents and local contagious effects are examined using spatial mapping, social network and ethnographic analyses. The results suggest that previously ignored educational, sub-cultural and ethnographic intra- and inter-community linkages were important factors in the spread of the disorders in Bristol. The case studies of the Bristol disorders are then used to illuminate our understanding of the processes at work during the July 1981 disturbances. It is argued that the latter events were essentially characterised by anti-police and anti-racist collective violence, which marked a momentary recomposition of working-class youth across ethnic divides.

While capitalism is thought by many to enable male homosexual identity to emerge, this same economic system creates a class hierarchy that promotes a heteronormative worldview, which marks homosexual men as the outcasts of society. In England during the years leading up to the First World War, a man’s character and persona were determined by his social class position. As a result homosexual men of the upper class, who held power, respectability, and masculine virtues in society, used class to mask their sexuality. In this sense the upper-class position enabled men to portray a public identity that abided by the constraints of heteronormativity despite their homosexual desire, which remained suppressed for fear of losing their power within society. Even when homosexual men displayed effeminate traits that opposed masculine ideals, the upper-class position worked to reinforce their heteronormativity, showing the power of capitalism’s class system to infiltrate and influence a man’s identity. E. M. Forster’s Maurice and A. T. Fitzroy’s Despised and Rejected provide two examples of how the upper-class position worked to mask the recognition of male homosexuality by society in early twentieth–century England. Written in 1913, but not published until after Forster’s death in 1971, Maurice has become a canonical text in the gay literary tradition. Through depictions of male intraclass and cross-class relationships, this novel suggests that class position worked to maintain a public heteronormative identity where stepping outside of strict class boundaries could disrupt the very thing which enabled one to keep one’s power. While the posthumous publication of Maurice complicates its place as a representation of homosexual identity and British society at the time, A. T. Fitzroy’s Despised and Rejected gives a clearer picture of both through its focus on homosexuality and pacifism. Through this investigation of homosexuality and pacifism, Fitzroy acknowledges a connection between male sexual identity and a refusal to go to war. While this failure to participate in militarism indicates a man’s opposition to heteronormativity, particularly normative masculinity, the upper-class position redirects this difference away from homosexual identity and onto effeminacy. This effeminacy does not indicate homosexual identity, but rather a failure to embody masculine ideals of the time. Ultimately, both novels portray the power of the upper-class position to define identity by supporting heteronormativity and masking homosexuality.

Li, Hang. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 267-282). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.