This study explores how faculty in the social sciences experience and respond to academic capitalism. Academic capitalism is about market and market-like activity at the university and professorial efforts to secure external money. This research expands existing literature which has focused on the hard or natural sciences, and other areas more closely aligned with the market. Thirty-seven qualitative research interviews were conducted between March and July of 2006 with professors of sociology, criminology, economics at the University of Florida, Florida State University, and the University of South Florida. Results reveal academic capitalism in the social sciences is mostly about grant activity and involves essentially no technology transfer or patenting. Further, that grant activity is somewhat sporadic, still of marginal concern, and more important to junior faculty than for tenured and senior faculty. Findings also suggest academic capitalism in the social sciences is about a market of ideas, based on the value of positive social change and quality research, rather than economic yield. Despite their small contribution to the university bottom-line, professors in the social sciences find value in what they do. The theoretical component of the study proposed institutionalism and resource dependence theory as useful frameworks for viewing academic capitalism. The findings confirm the usefulness of institutionalism and resource dependence theory, but also add notions of globalization. Academic capitalism is about gaining legitimacy (institutionalism), responding to external constituencies to enhance revenue flows and buffer the institution from resource reductions (resource dependence), and the influence of such larger trends as commodification in the global marketplace (globalization).

L'objectif de ce travail est d'étudier l'impact du phénomène de mise en bouteille sur l'accès à l'eau. En effet, l’eau en bouteille influence non seulement la façon dont les gens boivent, mais elle affecte aussi leur possibilité d’accéder à la ressource, économiquement ou physiquement. L'objectif du projet est dès lors de comprendre quel rôle joue le droit dans la production de ce phénomène et dans la distribution de l'eau. En effet, la réglementation de la mise en bouteille se caractérise par une tension dans la conceptualisation juridique de l'eau en tant que ressource vitale ou comme marchandise. Ce travail repose sur une analyse comparative des régimes juridiques régissant l’eau en bouteille en Europe. Les recherches portent principalement sur la comparaison des régimes français, britannique et italien. Ce travail a pour but de montrer comment l’embouteillage produit, même dans ce contexte, de la rareté et / ou une inégalité dans l’accès à l’eau. L'enjeu de l'accès à l'eau et de sa distribution en bouteille est déterminé par la structure de la propriété, une institution construite autour de la terre, pour régir l'exploitation de l'eau. En effet, la plupart des systèmes juridiques européens, malgré leurs différences, ont élaboré un régime de réglementation de l’eau fondé sur le paradigme de la propriété. C’est le recours à ce paradigme qui entraîne la tension qualificative entre bien économique et ressource vitale. Cette tension est susceptible de permettre au phénomène d'embouteillage de réallouer de facto les prérogatives sur l'eau, malgré le régime juridique formel. / The purpose of this work is to investigate the impact of the bottling phenomenon on access to water. In fact, bottled water not only influences the way people drink, but it also affects their possibility of access the resource, either economically or physically. The aim of the project is then to understand what role law plays in the production of this phenomenon and in water distribution. Indeed, bottling regulation is characterized by a tension in legal conceptualisation of water as an essential resource or as a commodity. This work relies on a comparative analysis of the legal regimes governing bottled water in Europe. In particular, the research focuses on the comparison of the French, the British, and the Italian regimes. This work intends to point out how bottling produces scarcity and/or inequality in access to water even in this context. The challenge to water access and distribution constituted by bottled water is determined by the structure of property, an institution constructed around land, to govern water exploitation. Indeed, most of European legal systems, despite their differences, constructed a water regulatory regime that is based on the paradigm of property. The reliance on this paradigm brought about the qualificatory tension mentioned above. This tension is susceptible of enabling the bottling phenomenon to produce a de facto reallocation of water prerogatives despite the formal legal regime.

This thesis investigates how the eight state-funded New Zealand universities present themselves in the prospectuses they publish yearly. The background for this research is the fact that the universities now have to compete for students and funding monies because the government has linked the amount of funding to the number of students and the universities’ success in research (McKenzie, 1996). Additionally, student fees and private sources increasingly contribute to the universities’ budget. The entry of competition into the tertiary education sector is a result of recent policy changes that led the education sector from an egalitarian scholarly system with a tradition of open and free access for all citizens to a market-oriented education industry, which contributes considerably to the national economy. This restructuring of the tertiary education sector is part of the major social, political and economic changes that New Zealand went through – and is still going through – beginning with the Fourth Labour Government's second term of office from 1987 to 1990 (Holland & Boston, 1990). The historical background of this thesis focuses on these policy changes that influenced all areas of the public life in New Zealand in the last 25 years. The literature review established that these reforms resulted in processes of commodification of education, competitive marketisation and corporatisation of the universities (Butterworth & Tarling, 1994). The purpose of this thesis is to find evidence of these three tendencies within the language and visual presentation of the university prospectuses. The prospectuses have been chosen as the data corpus because they provide a comprehensive overview of the institutions. Moreover, they represent a hybrid genre of an advertorial text type, being partly informational, partly promotional. The data has been analysed by applying textually-oriented discourse analysis (Fairclough, 1992). Discourse analysis has been proven to be a suitable methodology as it links linguistic analysis to the broader social context. The premise of this approach was that social changes leave traces within the discourse. The data analysis confirmed the intended outcome that the tendencies of commodification, marketisation and corporatisation are visible in the present material. This concludes that the order of discourse of business has colonised the order of discourse of tertiary education.

This thesis proposes that the current popularity of heroic fantasy arises from the genre's capacity to reveal "meaning" to the alienated subject within late modernity. While consumerism potentially undermines the subject's sense of stability both as an individual and as a member of a coherent and unified social group, the hero's journey conveys a compelling model for attaining a purposive subjectivity by acting on behalf of the broader community. However, this "healing" message is in turn appropriated by multinational corporations and nation states for financial advantage. Heroic fantasy can thus be read at various points of its production and consumption as both legitimating and contesting dominant institutions and ideologies.With particular reference to the books and films of The Lord of the Rings and Harry Potter, ontological security is discussed at both individual and collective levels across three horizons: commodification, gender, and nationalism. A combination of close textual analysis and the application of core concepts from cultural studies - particularly ethnographic study, hegemonic power relations and political economy - provides the methodological flexibility necessary to trace consumers' contradictory and ambivalent responses to the three themes: the anti-materialist message incorporated in the genre's moral economy is jeopardised by the rampant commodification of the texts; the normative masculinity and emphasised femininity common to the genre is contested by female readers; and the utopic visions of a secure and homogeneous community are exploited by the New Zealand government rebranding the country as Middle-earth. These arguments are oriented toward a New Zealand perspective; interviews with readers of Harry Potter and a discussion of the World Premiere of Peter Jackson's film adaptation of The Return of the King in "Wellywood" contribute to this specific context.This thesis therefore asserts that once heroic fantasy is placed in the contexts of production and reception conflicting trends are revealed, suggesting that the social impacts of heroic fantasy are complex and equivocal. Although the genre is readily commodified by the very system that it retaliates against, analysis suggests that heroic fantasy resists reification into a single dominant discourse as appropriation is never absolute.

八○年代，台灣文化出版界湧起一陣文學已被商品化的譴責之聲。談論文學商品化現象的人士甚多，可是卻少有人詳陳其概念內涵，更遑論深入舉證具體剖析。由文學商品化論述的興起所引發的種種疑惑，乃是促成本論文的研究動機。簡言之，本論文試圖回答以下研究問題：一、究竟什麼是文學商品化？其在學術上的理論淵源為何？為什麼會產生商品化這種現象？而這種現象真的始自八○年代嗎？二、被商品化的文學究竟是嚴肅文學還是通俗文學，亦或二者？ 　　本研究分為二部分來解答上述問題：第一部分是文學商品化概念的理論探討與歷史實證研究，本部分的研究先由理論探討中抽繹出文學商品化現象的觀察層面，再依據理論的啟示從歷史縱剖面（五○~八○年代）來實際探討該現象濫觴之年代以及發崛其可能之形成（或未形成）原因。第二部分探究第二個研究問題。這一部分的研究乃是以九○年代的台灣社會為橫切面，從中揀選出最具代表性的嚴肅及通俗文學出版社（分別是洪範與皇冠兩家出版社），然後根據前一階段中所探討之商品化概念，去檢測九○年代文學出版事業是否有被商品化的現象。 　　研究結果扼要簡述如下： 　　從理論探訪中得知：商品化是伴隨現代他工業發展而來的一個現象，面文學商品他應走在工業經濟發展成熟之後才會產生的現象。文學商品化簡言之就是文學成為資本家牟利的工具，作品存在的意義是以交換價值而非美學價值來衡量。文化產品逐漸如同工業產品一般，必須不斷地被產出、交換為資本家積累財富。文學商品他封藝街創作領域造成的最大傷害便是－－讓異化現象在文化領域中出現。此外，商品他現象令論者關切的焦點是人的自主性，或者說是在資本主義社會中消費者自主性的問題。綜合上述，我們在實際研究文學商品化現象時，觀察的局面當放在文學產銷過程中，究竟有沒有造成文學創作者與消費者自主性逐漸淪喪的問題。 　　隨者資本主義經濟體制在台灣社會的深化，文學商品他現象確實有愈來愈盛行的趨向。七○年代時商品化現象僅發生在文學翻譯領域中，到了八○年代創作領域開始受到侵害，八○年代以後，依循出版企劃目標而生產的文學集體創作有增加的趨勢，作者在有限的自主權束縛下，連創作意念的表達亦顯得支離破碎。九○年代之後商品他的情形更加普遍流行。就目前來說，文學商品他現象封傳統藝術創作理念所造成的傷害應是遠遠地超過對文學消費者自主性的危害。 　　至於嚴肅及通俗文學被商品化的課題，研究結果顯示，皇冠出版社在文學生產方面確有較多商品化市場導向的作品，雖然洪範的出版計劃並非完全無視於市場需求的存在，可是它絕對遵循文人創作者導向的原則，不會為了牟利將理性化作法帶入藝術創作領域中，這一點就是洪範與皇冠最大的差別，至於在銷售模式上，皇冠與洪範倒是相去不遠。 　　九○年代的台灣社會已進入消費社會階段，文學商品化現象似乎是難以避免的趨勢。面對這樣的情勢，如何在當今社會中建立其他文學出版傳播途徑彌補市場機制之不足將成為迫切須要解決的問題。 / In the 1980s, many cultural elites consented to the view-point that "literary commodification" phenomenon was very pre-valent. This phenomenon was often discussed, but the "literary commodification" concept was seldom clarified. The main purpose of this thesis is to explore the following questions: (1) What is "literary commodification"? Why does the phenomenon take place? When did the phenomenon originate in Taiwan? (2) Is serious/popular literature commodified? 　　In order to answer questions mentioned above, this research is divided into two parts and each tries to answer one of those questions. The first part includes the theoretical exploration and historical empirical research of the "literary commodifi-cation" concept. The second studies the production and distri-bution of publishing firms of serious/popular literature. 　　The important results of this thesis are as follows: 　　"Literary commodification", simply speaking, is that literature becomes a profitable tool controlled by capitalists. Literary works are measured by exchange value, not aesthetic value. Cultural works are gradually like industrial products. Capital -ists accumulate wealth by producing and exchanging those cultural products continuously. When capitalist economical development is getting mature in Taiwan, "literary commodifi-cation" phenomenon is getting prevalent. In the 1970s, "liter-ary commodification" phenomenon took place only in literary translation field. After the 1980s, there are more and more market-oriented works designed by publishing firms. The authors of those works must conform to publishing firms' requirements. Under these circumstances, artists' autonomy is infringed seri-ously. "Literary commodification" phenomenon is getting worse in the 1990s. The results of the second part indicates that " literary commodification" mainly happens in popular literature field. 　　In the 1990s, Taiwan has become a consumer society in which commodification will be an inevitable tendency. "Literary co-mmodification" may make literary works more homogeneous in the book market, so how to establish other literary communication chaanel except market will be an urgent issue.

This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.

The cities are being presented as commodities with their constructed images. Their names are being transformed to brand names, of entertainment, culture etc. Tourism industry is the main actor of this process. In my study on the relationship between tourism industry and its effects on the built environment of the city, the present study focuses on Batumi, a resort city of Georgia. A massive construction activity is being conducted in the city aiming to create tourist attractions, which include the creation of international chain hotels, beautification of public spaces and regeneration of the beach line. The city of Batumi, which has a long history as a port city and also as a resort mainly attracting tourists from the neighboring countries to Georgia, is undergoing a rapid change that transforms the city into a space of consumption. This change, including creation of tourist enclaves, commodification of heritage, gentrification and refashioning the city to create particular ways of seeing reflects the impact of consumption culture on tourism.

The intent of this study is to determine if the process of creative destruction is underway in a rural community located in Newfoundland and Labrador and to identify why this development sequence has or has not occurred. Three objectives underlie this study. The first is to determine at what stage Ferryland is situated in the Model of Creative Destruction. The second is to explain the community’s current stage in the model. The third objective is to provide recommendations for this community on its future development potential. These objectives were fulfilled through data collection that included: participant observation, content analysis of newspapers, and a review of relevant documents, key informant interviews, and resident and visitor surveys. This mixed method study concluded that the community of Ferryland is in the stage of advanced commodification in Mitchell’s (2009) Model of Creative Destruction. Three reasons are identified for its current state. First, the community lacks a tourism champion. Secondly, human capital shortage in Ferryland has created a lack of workers. Lastly, the actions of local stakeholders are not driven solely by the motivations outlined by Mitchell (2009). They are also underlain by the desire for pleasure; a motivation that does not appear to have encouraged fast-paced development. Furthermore, Ferryland is a community on a much smaller scale, which may have lessened perceived impacts and scale of development. Based on these conclusions, it is recommended that the Ferryland Tourism Committee creates a long-term plan for tourism that incorporates opinions of local residents.

The intent of this study is to determine if the process of creative destruction is underway in a rural community located in Newfoundland and Labrador and to identify why this development sequence has or has not occurred. Three objectives underlie this study. The first is to determine at what stage Ferryland is situated in the Model of Creative Destruction. The second is to explain the community’s current stage in the model. The third objective is to provide recommendations for this community on its future development potential. These objectives were fulfilled through data collection that included: participant observation, content analysis of newspapers, and a review of relevant documents, key informant interviews, and resident and visitor surveys. This mixed method study concluded that the community of Ferryland is in the stage of advanced commodification in Mitchell’s (2009) Model of Creative Destruction. Three reasons are identified for its current state. First, the community lacks a tourism champion. Secondly, human capital shortage in Ferryland has created a lack of workers. Lastly, the actions of local stakeholders are not driven solely by the motivations outlined by Mitchell (2009). They are also underlain by the desire for pleasure; a motivation that does not appear to have encouraged fast-paced development. Furthermore, Ferryland is a community on a much smaller scale, which may have lessened perceived impacts and scale of development. Based on these conclusions, it is recommended that the Ferryland Tourism Committee creates a long-term plan for tourism that incorporates opinions of local residents.

After the severe devastation from the Korean War between 1950~1953, SouthKorea achieved a complete makeover. The country with the 12th largest economy inthe world commemorated its success by hosting the G20 summit in 2010 for thefirst time in Asia. Korea is the only country switched its status from aninternational aid recipient to a donor. The country is known to have a highpotential to grow even further with its emerging economy.Many developing countries in Africa, South East Asia and Latin Americadeclared that they adopted or plan to adopt the Korean development model which isgovernment-driven industrialization nurturing exports. However behind thedazzling skyscrapers, the country is reported to be suffering from a high suiciderate, rising temporary employment, disparity, value crisis and increasing antisocialbehaviours.Based on an analysis of indices, the country is diagnosed to be in anomie. Thesociety is going through moral breakdown due to commodification introducedduring the rapid industrialization. Given that society is shaped through a constantreconciliation between freedom and security, Korea has sacrificed its security byletting market freedom override politics, which has to function as a soundmoderator, to the point it cannot be controlled.This paper argues that ensuring the primacy of politics to rein in marketfreedom is an urgent task. Market needs to be repositioned under society in pursuitof restoring the balance between freedom and security which should work as thebasis of the every development agenda. Sound governance and transparency asprerequisites, many countries should establish those before starting to implement adevelopment plan. Restoring community is heightened both as a measure ofprevention and cure that it can be started at the individual level.