Made available in DSpace on 2016-06-02T19:12:28Z (GMT). No. of bitstreams: 1 4939.pdf: 2773447 bytes, checksum: 937ca96488b0a121f4e65c9ffecd4f77 (MD5) Previous issue date: 2013-02-22 / Universidade Federal de Minas Gerais / The Information Society is defined in terms of production, circulation and access to knowledge. Therefore, the copyright became a strategic element to the social, economical, political and cultural configuration of the Information Society. The history of copyright, including the creation of the current international regime for the protection of intellectual property rights, reveals the link established between this category of protection and international political economy. At the same time, new information and communication technologies allow diversification in creating process and access to knowledge, as well as enable the making of new devices which enhance the protection of intellectual assets. This scenario led to the questioning of the forms of regulation of copyright that goes through a process of reconstruction of meaning. The contradiction that is established in the Information Society is emphasized in the field of scientific production and communication, since it involves legitimate social interest as well as principles common to the scientific community. The present study aims to examine this contradiction in the international scenario considering the normative aspects linked to the international copyright protection, evaluating and comparing documents and international regulatory actions of the following international organizations: UNESCO, WIPO and WTO. The objective is to verify, by comparative analysis and data from interviews with key informants, the level of openness of organizations to dialogue with civil society. It will analyze the specific case of the inclusion of Open Access on the Agenda for Development administered by WIPO, and the effects of these debates on the international regime for the protection of intellectual property, as well as on the reconstruction of the legal framework of copyright in Brazil. / A Sociedade da Informação é definida em termos da produção, circulação e acesso ao conhecimento. Por isso, o direito autoral torna-se elemento estratégico para a configuração socioeconômica, política e cultural da Sociedade da Informação. A história da criação do direito autoral, incluindo a formação do atual regime internacional de proteção dos direitos de propriedade intelectual, nos revela o elo que se estabeleceu entre essa categoria de proteção dos bens intelectuais e a economia política internacional. Ao mesmo tempo, as novas tecnologias da informação e comunicação possibilitam a diversificação nos processo de criação e acesso ao conhecimento, bem como permitem a criação de novos dispositivos que intensificam a proteção dos bens intelectuais. Esse cenário provocou questionamento quanto às formas de regulação do direito autoral que passa por um processo de reconstrução de significado. A contradição que se estabelece na Sociedade da Informação é ressaltada no campo de produção e comunicação científica, uma vez que envolve interesses sociais legítimos, além de princípios e práticas comuns à comunidade científica. O presente estudo tem a finalidade de analisar essa contradição no cenário internacional considerando os aspectos normativos ligados ao regime internacional de proteção dos direitos autorais, avaliando e comparando documentos internacionais e ações regulatórias das seguintes Organizações Internacionais: UNESCO, OMPI e OMC. Objetiva-se verificar, pela análise comparativa e dados obtidos em entrevistas com informantes-chave, o nível de abertura dessas organizações para o diálogo com a sociedade civil. Será analisado o caso específico da inclusão do Open Access nas discussões da Agenda para o Desenvolvimento administrada pela OMPI e os efeitos disso para o regime de proteção da propriedade intelectual, bem como para a reconstrução do marco legal do Direito Autoral no Brasil.

Made available in DSpace on 2016-06-02T19:16:33Z (GMT). No. of bitstreams: 1 4680.pdf: 2944445 bytes, checksum: c5eeb5f5344075c7239eb08d0d7e5e66 (MD5) Previous issue date: 2012-02-24 / Financiadora de Estudos e Projetos / The Sociology of Science, presently also known by the Social Studies of Science and Technology, with theoretical and methodological inheritance from the Sociology of Knowledge, debates subjects about the nature of scientific activity and the relationship and interactions between science, technology and society. In this way this research centers on mapping the field of Sociology of Science by its scientific production, as a way to display its trajectory and reflect on its institutionalization as a field of knowledge. The studies about the analysis of scientific production can be included in the field of Sociology of Science and be made ever more frequent. The motivation to investigate this theme is justified by the fact that after the coming of the Internet a variety of different knowledge bases of scientific articles were available online which made much easier the process of data collection and also the treatment of the same. In light of this, the studies of the analysis of scientific production become ever more recurrent. Confronting this reality the research objective of this research was created as to investigate how the field of Sociology of Science configures itself from its scientific production represented by the data base Scopus. The objectives of study were: a) identify and analyze the scientific production on the field of Sociology of Science up from the articles indexed in the database Scopus; b) to understand how the field of Sociology of Science is internationally build, by constructing bibliometric indicators of scientific production like themes in the scope, published journals, authorship, temporal, institutional and geographic distribution of the articles. On the methodological point of view the research is supported on the bibliometric approach and the achieved results shows that a) the field of Sociology of Science follows a parallel growth with the field of Social Studies of Science and Technology; b) the Network Actor Theory is the methodology with the greatest representation in the field, with a growth rate, followed by Ethnographic studies. This exponential growth on the Network Actor Theory is the points to the existence of a trend by other fields in its use; c) around 40% of articles were written in collaboration. / A Sociologia da Ciência, atualmente também conhecida pelos Estudos Sociais da Ciência e Tecnologia, com heranças teóricas e metodológicas da Sociologia do Conhecimento, debate assuntos sobre a natureza da atividade científica e as relações e interações entre ciência, tecnologia e sociedade. Dessa forma esta pesquisa concentra-se no mapeamento do campo da Sociologia da Ciência a partir de sua produção científica, a fim de revelar sua trajetória e refletir acerca da sua institucionalização enquanto área do conhecimento. Por sua vez, os estudos sobre a análise da produção do conhecimento científico podem ser incluídos no campo da Sociologia da Ciência e se tornam cada vez mais frequentes. A motivação para investigar esse tema justifica-se pelo fato de que após o surgimento da Internet várias bases de dados de artigos científicos foram disponibilizadas online o que tornou mais fácil não só o processo da coleta de dados, mas também no tratamento dos mesmos. Em vista disso, os estudos de análise da produção científica se tornaram cada vez mais recorrentes. Diante dessa realidade constitui-se como problema de pesquisa dessa dissertação investigar como se configura o campo da Sociologia da Ciência a partir de sua produção científica representada na base de dados Scopus. Os objetivos do estudo foram: a) identificar e analisar a produção científica no campo da Sociologia da Ciência a partir dos artigos científicos indexados na base de dados Scopus; b) compreender como o campo da Sociologia da Ciência se constitui internacionalmente, por meio da construção de indicadores bibliométricos da produção científica, tais como temas abordados, periódicos publicadores, autoria, distribuição temporal, institucional e geográfica dos artigos. Do ponto de vista metodológico a pesquisa apoia-se na abordagem bibliométrica e os resultados obtidos apontaram que a) o campo da Sociologia da Ciência segue em crescimento paralelamente com o campo dos Estudos Sociais da Ciência e Tecnologia; b) a Teoria Ator Rede é a metodologia com maior representatividade dentro do campo, com uma taxa de crescimento, seguida pelos Estudos Etnográficos. Esse crescimento exponencial da Teoria Ator Rede aponta a existência de certo modismo por outras áreas do conhecimento em sua utilização; c) cerca de 40% dos artigos foram escritos em colaboração.

While not uncontested, the finding that liberal democracies rarely, if ever, fight wars against each other represents one of the seminal discoveries of international relations (IR) scholarship. Nevertheless, 'democratic peace theory' (DPT) – the body of scholarship that seeks to explain the democratic peace finding – still lacks a satisfactory explanation for this phenomenon. In this thesis, I argue that a primary source of this failure has been DPT's failure to recognize the importance of collective identification and trust for the eventuation of the 'liberal peace'. Building on existing DPT scholarship, most of it Realist or Rationalist in its inspiration, but also employing insights from Constructivist and Cognitivist scholarship, I develop a new model of how specific forms of collective identification can produce specific forms of trust. On this basis, I elaborate a new explanation of the liberal peace which sees it as arising out of a network of trusting liberal security communities. I then elaborate a new research design that enables a more rigorous and replicable empirical investigation of these ideas through the analysis of three historical cases studies, namely the Canada-USA, India-Pakistan, and France-Germany relationships. The results of this analysis support the plausibility of my theoretical framework, and also illuminate four additional findings. Specifically, I find that (1) IR scholarship needs a more nuanced understanding of the interaction between agents and structures; (2) 'institutionalized collaboration' is especially important for promoting collective identification; (3) DPT scholarship needs to focus more attention on the content of the narratives around which collective identification takes place; and (4) dramatic events play an important role in collective identification by triggering what I term catharses and epiphanies. I close the thesis by reviewing the implications of my findings for IR and for policymakers and by suggesting some areas worthy of additional research.

<p>Particle pollution in South Korea has become a matter of significant public concern, culminating in its declaration as a “social disaster” through a government proclamation in 2019. This study shows how the existing interventions to tackle particle pollution in South Korea as a “social disaster” contribute to maintaining the status quo, paradoxically. The study attempts to interpret pollution as entanglements, relations, and processes by addressing the discussions and politics surrounding particle pollution, the interventions to tackle it, and what they presuppose and exclude via multi-sited ethnography.</p> <p>What narratives form the bedrock of the current discourses and politics around particle pollution in South Korea? What kinds of population, knowledge systems, values, and interests are incorporated and excluded around particulate matter in Korea? Drawing upon four months of fieldwork, interviews, and collaborative work with residents, scientists, and activists in South Korea, this thesis offers a new understanding of how citizens’ experiences and knowledge practices have reshaped the concepts of pollution, toxicity, and health. The study indicates that the existing practices and knowledge vis-à-vis pollution control have individualized pollution by presuming particular ways of normalcy and excluding others. In doing so, this study captures the multiplicity of particle pollution and shows the existence and stories of different bodies living with/in pollution.</p> <p>Drawing on the literature in feminist science and technology studies as well as medical and environmental anthropology scholarship, this study problematizes harm reduction-based environmental and health intervention practices by describing the current individualized particle pollution responses. The research reveals how people in Korea living with/in particulate matter have perceived, datafied, defined, adjusted, and responded to particle pollution and its toxicity. The study suggests that pollution should be envisaged as entanglements and relations by shedding light on the stories that particulate matter has been perceived, coordinated, and generated in various ways. Lastly, indicating that the knowledge and interventions surrounding particle pollution have exploited and flattened the environment based on the human–nature dichotomy, the study suggests different ways of conceptualizing pollution, while considering the multiplicity of pollution, toxicities, and bodies.</p>

I den här avhandlingen undersöks hur privilegierade representationer av femininitet och maskulinitet tar sig uttryck och konstrueras i samtida museipraktiker med fokus på Nordiska museet i Stockholm. Studien visar hur dessa musealt imaginära representationer samverkar med intersektionella aspekter som klass, etnicitet, nationalitet och sexualitet. Avhandlingen diskuterar också epistemologiska och ontologiska frågor om hur historiska narrativ skapas och hur museala artefakter kan förstås. Huvudargumentet är att de dominerande representationerna skapas med hjälp av en reducerad matris av stereotypa skript för kön, klass, etnicitet, nationalitet såväl som sexualitet, vilket kan ses som uttryck för en fallogocentrisk betydelseekonomi. Denna undersökning av samtida skript på Nordiska museet har använt teoretiska tankegångar och analytiska redskap från de överlappande kunskapsfälten sexual difference, queer- och sexualitetsforskning, genus/könsmaktforskning, kvinnohistorisk forskning, maskulinitetsforskning, postkolonial feministisk forskning, samt feminist studies of science and technology. Ett pluralistisk feministisk nomadologisk metateoretiskt ramverk har skapats för att analysera och försöka förstå det empiriska materialet utifrån de nämnda teorierna. Världen och däribland museernas verksamhet är så komplex och mångfasetterad att många olika genusteoretiska ingångar krävs för att kunna läsa och förstå olika gestaltningar. I avhandlingen ritas en översiktskarta över de fallogocentriska museala skripten upp bredvid vilken en partiellt situerad terrängkarta placeras som kastar ljus över det musealt imaginära. / This study investigates how privileged representations of femininity and masculinity are created in contemporary work at The Swedish National Museum of Cultural History, Nordiska museet, in Stockholm. The thesis shows how these representations closely intersect with the museal imaginaries of class, ethnicity, nationality and sexuality. The study gives rise to ontological questions of how historical narratives are produced and how museal artifacts are apprehended. The main argument is that the dominating representations are created through a reduced matrix of stereotyped scripts for gender, class, ethnicity, nationality and sexuality that can be understood as reflections of a phallogocentric order. This exploration of contemporary scripts at Nordiska museet is performed with analytic tools from the overlapping fields of sexual difference, queer and sexuality studies, gender studies, women’s studies, masculinity studies, post colonial feminist studies and feminist studies of science and technology. A pluralistic feministinformed nomadological metatheoretical frame is used as an umbrella to embrace these theoretical approaches. The complexity of the social world and of a museum demand different theories to be applied to different situations. A general map of the phallogocentric museal scripts is drawn, besides which a partial and locally accounted one is juxtaposed that gives shape to the museal imaginary.

This study provides a precise definition of the term 'Kafkaesque' by enriching literary criticism with scientific theory and practice, including an experiment on readers' responses to Kafka. Dictionary definitions justify taking the term back to its textual origins in Kafka's works, and the works can fruitfully be analysed by investigating how readers engage with them through cognitive processes of imagination. Modern scientific developments posit that vision, imagination, and consciousness should be conceived of not in terms of static pictorialism – reducible to the notion of 'pictures in the head' – but in terms of enaction, i.e. as an ongoing interaction with the external world around us. Most traditional nineteenth-century Realist texts are based on pictorialist assumptions, while Kafka's texts evoke perception non-pictorially and are therefore more cognitively realistic. In his personal writings, Kafka wrestles with problems entailed by pictorialist conceptions of vision, imagination, and the function of language, and comes to enactivist solutions: evocation of perception that does not result in painting static tableaux with words. In his fictional works, Kafka correspondingly evolves a cognitively realistic way of writing to evoke fictional worlds that directly engage the cognitive processes of their readers; Der Proceß is a prime example of the 'Kafkaesque' text and reading experience, defined by being compelling yet simultaneously unsettling. Modulations in narrative perspective and evocation of emotion as enactive also contribute to the experience of the 'Kafkaesque' as compelling; yet Kafka's texts simultaneously unsettle by preventing straightforward emotional identification with the protagonists, and destabilising deep-rooted concepts of selfhood as singular and unified. The theoretical discussion of the 'Kafkaesque' experience as compelling yet unsettling is complemented and refined by an experiment testing readers' responses to a short story by Kafka. The term 'Kafkaesque realism' denotes Kafka's compelling yet unsettling non-pictorial evocation of perception of the fictional world. Kafkaesque realism falls into the broader category of 'cognitive realism', which provides a framework for analysing fictional texts more generally.

<div> <p>New information and communication technologies (ICTs), such as cell phones, email, and social media, have been transforming how social movements recruit, organize, participate in collective action, and experience repression. Yet, limited scholarship has addressed the uses of these technologies by social movements organizing within American prisons. Using a dialectical interpretive approach, I examine how a coalition of prisoners’ rights organizations uses ICTs to plan and participate in collective resistance across prison walls. The coalition, referred to here as the New Prisoners’ Rights Coalition (NPRC), organizes against low and no-wage prison labor, unhealthy and unsafe prison conditions, and inhumane prisoner treatment. The NPRC has a multi-platform public digital presence and mobilizes prisoner activists and free activists. Through narrative description, I summarize the ways NPRC activists use ICTs from December 2013 through September 2016, noting changes in ICT use over time and in response to movement repression. I find that new ICTs offer innovative ways for NPRC activists to record and document their environments, communicate privately, and communicate publicly. ICTs, however, do not remove all barriers to activism or ensure that activists’ concerns are resolved or even taken seriously. NPRC activists struggle to overcome stigma and mischaracterization online. They face physical repression, interpersonal hostilities, institutional sanctions, economic repression, legal sanctions, interpretive repression, surveillance, and monitoring. In different circumstances, the NPRC responds to repression by increasing ICT use, decreasing ICT use, going dark, migrating from one online platform to another, and shifting digital responsibilities from prisoner activists to free activists. I explain how, most of the time, the digital unreachability of the prison environment makes it difficult for NPRC activists to substantiate their claims of mistreatment, abuse, and injustice. Moreover, I consider how current prison technology policies may be inadvertently pushing NPRC activists into difficult-to-monitor online spaces and exacerbating safety concerns of corrections workers.</p></div>

When the New Zealand Government restructured the system of the public funding of research (1990-1992) it created Crown Research Institutes (CRIs) as companies operating in a global, market-led economy. One CRI, AgResearch, responded to this environment by corporatisation and instituted a normative system of control of workers which, through strategic plans, vision and mission statements, and performance appraisal processes, encouraged workers to adhere to company goals. This thesis, reporting on an ethnographic study of this CRI, shows how most scientific workers (technical workers and scientists alike) experienced insecurity through estrangement because the contributions they wished to make were less valued both in society and in their work organisation. They were excluded from participation in both organisational and Government policy-making, and felt they did not ‘belong’ anymore. Scientists in particular were also experiencing alienation (in the Marxist sense), as they were losing autonomy over the production of their work and its end use. Scientific workers developed tactics of compliance in order to resist these experiences and ostensibly comply with organisational goals while maintaining and protecting their self-identities, and making their work meaningful. Meanwhile, to outward appearances, the work of the CRI continued. This thesis adds to the sociology of work literature by extending the understanding of the concepts of compliance and resistance in white-collar work, particularly under normative control, by developing two models of resistance. It adds to the stories of the impact on public sector workers of the restructuring of this sector in New Zealand’s recent history, and develops implications for science policy and practice.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.

This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.