The Japanese scientist Kitasato Shibasaburo (1853-1931) was one of the founders of microbiology. A devoted student of Robert Koch, his successful collaborations with European scientists resulted in anti-serums for tetanus and diphtheria, the discovery of the causative agent of the bubonic plague, and a number of other major contributions to both science and public health. He achieved this in spite of condescending attitudes on the part of many of his peers and even resistance from within his own government. Yet there remains a paucity of academic writing on Kitasato in the English language, particularly when compared to his eminent contemporaries. What does exist constructs a narrative of an historically weak Japanese scientific establishment. This work challenges that perspective, and will examine Kitasato’s interactions with his fellow collaborators in the context of the considerable social, political, cultural, and linguistic pressures acting upon them in order to elucidate what made them so extraordinarily successful in surmounting these barriers. In so doing it aims to provide insight for the scientists of today – for whom international collaboration is the ever-increasing norm – as to how they have succeeded historically and can now successfully interact with both each other and the powers that organize them. / Graduate

The Bronco Chase and arrest of O.J. Simpson for the murder of his ex-wife, Nicole Brown Simpson and her friend, Ronald Goldman, and his subsequent criminal trial became one of the most captivating, mass-mediated events of the last decade of the twentieth century. Simpson's iconic celebrity status and his race as an African-American inflamed the notoriety of the crime. An insatiable spectatorial desire for Simpson and narratives concerning his alleged involvement in the Brentwood murders engulfed the American public and American culture for thirty-two months. An excessive scrutiny of his identity by the media, law and order professionals and the populace generated a racially charged discursive cacophony. The memoir Simpson published during his remand to raise funds for his defense expenses, I Want to Tell You: My Response to Your Letters, Your Messages, Your Questions, allows for a productive critical study of everyday rhetoric and the commodity fetishism of celebrity. Released in late January 1995, during the first week of the prosecution�s opening statements in the criminal trial, I Want to Tell You was Simpson's first public comment following the nationally televised reading of his suicide note and his spectacular arrest on June 17, 1994. The intercalation of Simpson�s narrative utterance with 108 of the more than three hundred thousand letters he received from June to December 1994 as Los Angeles County Jail inmate 4013970 is a practical manifestation of the use value and exchange value of fame. The reciprocity of the epistolic, the phatic demands of address, the etiquette of fan mail and hate mail, the gift of the written text, vulnerable and resonant, reveal an adherence to the symbiotic dynamic of the celebrity-fan, writer-reader, dyadic relation and its currency. Plying his trade as idol of consumption, as spectacle, as genre, Simpson capitalised on the cultural condition of his name and his face as objects of desire. The racialised flesh of Simpson's African-American male body became a site and a sight for narrative and inscription within a pay-per-view marketplace of reification, prosopopoeia, gazeability and criminality.

The Bronco Chase and arrest of O.J. Simpson for the murder of his ex-wife, Nicole Brown Simpson and her friend, Ronald Goldman, and his subsequent criminal trial became one of the most captivating, mass-mediated events of the last decade of the twentieth century. Simpson's iconic celebrity status and his race as an African-American inflamed the notoriety of the crime. An insatiable spectatorial desire for Simpson and narratives concerning his alleged involvement in the Brentwood murders engulfed the American public and American culture for thirty-two months. An excessive scrutiny of his identity by the media, law and order professionals and the populace generated a racially charged discursive cacophony. The memoir Simpson published during his remand to raise funds for his defense expenses, I Want to Tell You: My Response to Your Letters, Your Messages, Your Questions, allows for a productive critical study of everyday rhetoric and the commodity fetishism of celebrity. Released in late January 1995, during the first week of the prosecution�s opening statements in the criminal trial, I Want to Tell You was Simpson's first public comment following the nationally televised reading of his suicide note and his spectacular arrest on June 17, 1994. The intercalation of Simpson�s narrative utterance with 108 of the more than three hundred thousand letters he received from June to December 1994 as Los Angeles County Jail inmate 4013970 is a practical manifestation of the use value and exchange value of fame. The reciprocity of the epistolic, the phatic demands of address, the etiquette of fan mail and hate mail, the gift of the written text, vulnerable and resonant, reveal an adherence to the symbiotic dynamic of the celebrity-fan, writer-reader, dyadic relation and its currency. Plying his trade as idol of consumption, as spectacle, as genre, Simpson capitalised on the cultural condition of his name and his face as objects of desire. The racialised flesh of Simpson's African-American male body became a site and a sight for narrative and inscription within a pay-per-view marketplace of reification, prosopopoeia, gazeability and criminality.

p. 1 - 110 / Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2013-01-28T19:35:56Z No. of bitstreams: 1 44.pdf: 1266833 bytes, checksum: 193186fa66265d8c8dda034c10b7e1d4 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-01-30T13:00:57Z (GMT) No. of bitstreams: 1 44.pdf: 1266833 bytes, checksum: 193186fa66265d8c8dda034c10b7e1d4 (MD5) / Made available in DSpace on 2013-01-30T13:00:57Z (GMT). No. of bitstreams: 1 44.pdf: 1266833 bytes, checksum: 193186fa66265d8c8dda034c10b7e1d4 (MD5) Previous issue date: 2007 / Esta dissertação discute as especificidades da dinâmica de trabalho dos hackers, no processo de produção não-contratual e colaborativo presente nas comunidades on-line de softwares livres - em particular, na comunidade relativa ao Projeto GNU Network Object Model Environment, mais conhecido pela sigla GNOME. A partir de uma exploração netnográfica, analisou-se, de início, a organização do trabalho que dá vida ao processo de produção colaborativo entre pares, empreendido por mais de 300 hackers e colaboradores de todos os cinco continentes do globo, no universo dessa comunidade on-line. Para tanto, levou-se em consideração algumas dimensões de uma realidade organizacional complexa como, por exemplo, a estrutura social e o fluxo de atividades. Além dessa análise, esta pesquisa buscou compreender a natureza do trabalho adotado pelos hackers no processo de produção e distribuição de softwares nessa organização, à luz da teoria antropológica da Dádiva. Como resultado, constatou-se então que se faz presente no Projeto GNOME um tipo de engajamento não-contratual, associado a uma forma de trabalho e circulação de bens que difere completamente de organizações ligadas à esfera do mercado ou do Estado. Em outras palavras, foi possível verificar uma nova expressão da dádiva moderna: um sistema de dádiva mediada por computador, tanto na essência como no modo de funcionamento e organização do trabalho. / Salvador

The thesis follows the development of charity, both as a theological concept and as the activity of increasing number of social institutions, over two centuries. The main narrative of the thesis follows these two themes, but it also identifies other background factors, particularly developments in social history. It uses insights from anthropological gift theory, reflected in part in the concept of noblesse oblige, a standpoint which both demands support from the rich to the poor and legitimates social divisions: points frequently made in charity sermons. The thesis explores the development of theologies of charity, in particular in the writings of Butler, Wesley, Sumner, Chalmers, Maurice, and Westcott, and also considers the philosophy of J S Mill and T H Green. From these, it is argued that the key development in theoretical analyses of charity is a shift in discourse from an emphasis on the duty of the rich to behave charitably (as in Butler's concept of benevolence) to a concern with the outcome of such giving on the recipients of charity. This is first seen in the writings and practice of the early leaders of the evangelical revival who saw the poor as children of God, but also as being in need of moral reformation. With the advent of a Christian approach to economics based on the thinking of Malthus and Sumner, a harsher approach developed which saw charity as undermining a divinely ordered social economy and was expressed in the Poor Law Amendment Act of 1834. The reaction against this led to a split in thinking about charity: on the one side a mix of economic theory, Comtean altruism and Greenian Idealism resulted in the growth of an autonomous, secular and professional approach to charity exemplified by C S Loch, and on the other a changing Christian approach to the position of the poor in society, going back to Maurice which was expressed in a call for justice rather than charity by the Christian Socialists of the late nineteenth century. Meanwhile, other political developments were resulting in a greater state involvement in what had hitherto been an independent field of charitable work, and resulted in very different patterns of welfare, in which charity took second place to state provision. The thesis ends by revisiting the split in discourse between givers and receivers of charity, and argues that both sides need to be considered in any theological discussion, including the need for recipients to be allowed to reciprocate to others.

This dissertation explores the entangled territorialities of charitable fundraising, redressing the under-theorisation of the praxis as a social construct and a transformative spatial process. It approaches fundraising from an etiological perspective, drawing on French continental theory, particularly the work of Michel Serres and of Deleuze and Guattari, as well as concepts arising from literature in relational geographies and in business studies. Unlike many scholarly accounts, which obscure the fact that this property-challenged, property-desiring practice relies on the hospitality of others in order to extract and transfer resources, this study argues that the trait of interloping is crucial to fundraising’s expansive colonisation of urban space. Seizing on the notions of minor architecture and itinerant territoriality, it thinks through fundraising’s habits, inhabitations and habitats. By doing so, it reveals a form of nomadic war machine specialised in crafting parasitic architectures that invade urban territories to constitute a territory of its own. That this state-authorised territory has become an obligatory passage point within contemporary networked societies says much about how power is forged through the intersection of political, moral-economic and socio-affective parameters. Moreover, in uncovering a hint of revanchism against the property-owning classes, this research points to the usual affective politics emerging at a time of state metamorphosis and protracted economic uncertainty. This conceptual work provides entry for an ethnographic exploration of the charitabilisation of urban life within the context of austerity in contemporary Paris. Evidence collected from interviews, participant observation, video, photography, maps, drawings and extant literature is used to illuminate fundraising’s polydimensional strategies and widespread yet minimally disruptive appropriations and expropriations. While other authors have documented the movement of fundraising in France from utter marginalisation to mainstream to strategic importance, this study traces the political and territorial machinations of the powerful Parisian network of non-profit leaders, association executives, heads of fundraising agencies, management consultants, lawyers, and government officials who lead the push for a more generous France. The continuities, tensions, and contradictions between this group’s production of space and the realities of on-the-street fundraising are explored through a series of case studies. The views presented highlight ways in which fundraisers induce and take advantage of breaches in prevailing articulations of space, time and citizen-bodies to fortify more-than-capitalist urban logics. Collectively, they render visible the temporalities, hotspots, technologies, imaginaries, schemes, and hypocrisies informing an aggressive incrementalism. The new view of Paris imparted foregrounds the enterprising, contested and geographically uneven process of cultivating the habit of ceding property, both in the sense of subjectivities and of material rights. This dissertation’s conceptual and empirical strands make it possible to apprehend how minoritarian actors become dominant. Extending the minoritarian’s right to temporally hold power and property is shown to involve continuously testing and exploiting the affordances of relations. Displayed and analysed are the contamination of ideals and the breaking of pacts within fundraising’s moral pursuit of wealth transference. Such promiscuities ought to be regarded as, this study emphasizes, a form of preparedness for the city to come.

Dans la présente thèse, nous proposons une grille de lecture – ancrée dans la théorie du don de Marcel Mauss – et permettant de comprendre les échanges effectués dans le cadre des réseaux sociaux numériques (RSN). Cet éclairage que nous présentons, nous amène à définir et à conceptualiser « le lien social virtuel » qui explique la continuité d’utilisation de ces plates-formes de socialisation en ligne. Il nous permet également d’effectuer une taxonomie des utilisateurs des RSN en fonction de leurs comportements de « donneurs » et de « receveurs » sur ces sites. C’est ainsi que nous avons pu identifier quatre profils : « les connectés » et « les réseauphiles » (catégorie de continueurs) puis « les désenchantés » et « les déconnectés » (catégorie de discontinueurs). Nous suivons une démarche de recherche mixte puisque nous adoptons à la fois des méthodes quantitatives et qualitatives qui s’enrichissent mutuellement et nous permettent de répondre à notre problématique de recherche / In this dissertation, we propose a reading grid of interactions within social networking sites, which is rooted in the theory of the gift developed by Marcel Mauss. This lighting allows us to conceptualize the “virtual social tie” which explains the continuance of usage of these online platforms. It also leads us to develop a taxonomy of social networking sites’ users based on their behavior as “donors” and “receivers” on these websites. Thus, we have identified four groups which are: “connected” and “network-aholics” (category of continuers) then “disenchanted” and “disconnected” (category of discontinuers). We follow here a mix-method research approach as we adopt both quantitative and qualitative methods so as to get data and be able to answer to our research question

To the present-day reader texts are widely available. However, to the early modern reader this access was limited. While book ownership increased in the seventeenth and eighteenth centuries, it was not universal – even libraries were both limited in their collections and exclusive to the communities they served. Libraries were to be found all over Early Modern England, from city libraries to town subscription libraries. One could gain access to books but these collections were often rather limited in the variety and number of books they offered. Undoubtedly many libraries purchased books for their collections, but frequently books were also given to them by benefactors. One fine example of a community library which reflects its readers and members is the library of St Peter’s Cathedral, York Minster. York Minister library owes its existence to traceable benefactors and donations. One could study the collection to give an insight into reading practices and interests of the Early Modern Period. But in doing so we fall foul of becoming static and failing to develop the historiography of Book History. Instead, we can re-evaluate this collection by drawing from the old focus of genres but shifting this focus and approach the collection from a different path: a material path. These books resonate value. Not solely due to their genres and subject matter, but their value is also generated in how the books became accessible, through generosity and donation. As donations from benefactors these books should not be considered solely as works of literature, but as gifts from one agent to another. Gifts given with both intention and purpose.

Après avoir passé plus de 4 ans dans des camps de travail forcé, Jonas Mekas, lituanien, est déporté avec son frère par les Nations-Unies en 1949 aux États-Unis. Les deux rescapés de la seconde guerre mondiale dédient alors leur temps au cinéma. Dès leur arrivée, ils se procurent une caméra 16 mm bolex et se tournent vers le cinéma expérimental, grâce, entre autre, à une de ces cinéastes pionnières américaine Maya Deren. En marge de l'industrie cinématographique hollywoodienne, Jonas Mekas participe à l'édification de structures - coopératives, associations, magazines, journaux - afin de rendre accessible ce genre filmique, de lui obtenir une reconnaissance publique et de, ultimement, le préserver. En 1969, il réalise un film intitulé "Diaries, Notes and Sketches : Also Known as Walden". Mekas réalise ensuite des films qui réemploient des séquences qui se trouvent dans cette première ébauche filmique. Ce processus se retrace au sein de son « premier essai » numérique qu'il réalise à l'ère cybériste intitulé "The First Forty" (2006), composé de vidéos et de descriptions textuelles. Tout comme il l’avait fait avec Walden, Mekas présente explicitement celui-ci à un public, en l’occurrence son nouveau public d'internautes, qui en prend connaissance sur son site web officiel. La présentation numérique et la table des matières papier accompagnant "Diaries, Notes and Sketches : Also Known as Walden" rédigée par l'artiste en 1969 ont une fonction similaire au sens où, par elles, Jonas Mekas donne ces deux créations aux spectateurs. Nous avons choisi d'employer le terme de dispositif pour parler de ces « objets » qui font appel à diverses formes énonciatives afin de créer un effet spécifique chez le spectateur. En explorant la théorie sociologique moderne du don développée par Jacques T. Godbout, notre projet a été de relever « l'esprit de don » qui se retrace au sein de ces dispositifs. Cette étude nous permet de constater que les dispositifs audiovisuels / cinématographiques que développa Mekas sont des « objets » qui peuvent être reçus tel des dons suscitant le désir de donner chez les spectateurs. Ils sont le ciment symbolique personnel et collectif nécessaire à l’accomplissement du processus de « reconnaissance » qu’implique le don. / Having spent more than 4 years in camps of forced labor, Jonas Mekas, Lithuanian, is deported by the United-Nations in 1949 to the United States. With his brother, both survivors of the Second World War, they manage to acquire a bolex 16 mm camera. Outside the Hollywood cinematographic industry, Mekas participates to the institutionalization of the underground artistic community by creating cooperatives, associations and magazines. Mekas is devoting his time to make experimental film genre accessible and allows it to become publicly recognized for its artistic value, which would lead towards protecting and preserving it. In 1969, Mekas produced "Diaries, Notes and Sketches: Also Known has Walden" which condense 4 years of capturing everyday events, people, New York, nature. From his Walden, Mekas will reuse some sequences found in this first draft when comes the time to edit new films. In 2006, Mekas produces his “first digital essay” entitled "The First Forty" (2006). It consists in a presentation of his cinematic labor to a new public, his “new Internet Audience”, in which sequences of Walden appear. Accessible on his official website, this digital piece is composed by videos and their textual descriptions, reminding us of Diaries, Notes and Sketches: Also Known has Walden and its table of content drafted by the artist in 1969. These two apparatus have a similar function : by them, Jonas Mekas explicitly gives these two pieces to the spectators. By investigating the sociological “gift theory” developed by the Jacques T. Godbout, our project was to reveal how “the gift spirit" can be found within those two creations. This study allows us to believe that audiovisual/cinematographic apparatus created by Mekas are “objects” which can be received such as gifts leading to arrouse the spectator’s desire to give in his turn. In this way, they are personal and collective symbolic cement necessary for the fulfillment of the process of “recognition” which involves the gift spirit.

This work considers the theoretical, epistemological and methodological criteria for a hermeneutic phenomenological approach to the study of spiritual experience founded within a qualitative paradigm. Spirituality is noted to be of increasing significance in society and as a developing discipline within the academy and spiritual experience is offered as an opening to greater understanding and appreciation of an individual's understandings of their spirituality. The methodology provides an interpretative approach towards an opportunity for resonance, identification and empathy between individual and reader through richly descriptive narratives offering insights into such experiences and developing themes and threads of particular interest prior to seeking universal and semi universal traits between or amongst narratives. Practical methods for applying the methodology are considered, including ethical and researcher reflexive issues. The assessment of the methodology includes its application to a case study, located within contemporary Christianity in the Roman Catholic Archdiocese of St Andrews and Edinburgh, Scotland, which due to limitations of space focuses particularly on the notion of the Gift and assists in the determination of the efficacy and validity of hermeneutic phenomenology in the study of spiritual experience.