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The concept of religious tolerance and toleration has been the subject of much scholarly discussion for centuries. In the wake of the Reformation, however, it became a much more practical concept, with Europeans living next door to people perceived as heretics. A certain level of tolerance had to be achieved or else the entire continent would fall into a state of mass violence and disarray. Religious tolerance as a social practice was tested to its limits in the principality of Transylvania during the mid-sixteenth century. The multiconfessional state was home to five competing denominations and somehow managed to establish and maintain a certain level of peace in the region during the age in which religious warfare was rife throughout the continent. This article analyzes the unique emergence of the Unitarian, or anti-Trinitarian, confession in the Transylvanian principality, in order to answer broader questions on the concept of religious tolerance in early modern Europe. After initially outlining current thinking on the concept of religious tolerance, it describes the unique emergence of Unitarianism in Transylvania, aided greatly by political rulers. Challenging the idea of Transylvania being a haven for religious freedom in this time period, the article addresses contemporary debates surrounding the emergence of Unitarianism, namely in the 1567 Debrecen Reformed Synod. It also analyzes legal actions taken to sanction multiconfessionalism in the region, before ultimately situating this study within the broader context of religious tolerance in early modern Europe.

Food miracles permeate the historical and contemporary Gujarati Hindu landscape, from the homeland to East Africa and throughout the wider diaspora. However, approaches to food miracles differ from one tradition to the next, and approaches to the divine or the saint can often have a direct impact upon a tradition's ethical approach to wider society. This article considers food miracles as they are more widely understood in the Hindu context, especially in the Hindu diaspora, but with a specific focus on the Jalaram Bapa tradition. By engaging both spiritually and physically in this relationship, food miracles offer a direct and personal experience of Jalaram himself. Furthermore, this presence promotes an ethical framework that draws directly upon the narratives that speak of his life, namely that of seva for all, regardless of social status or religious background.

On Henri Bergson's view, the flux of time is reality itself and the things we study are the things that flow. Unfortunately, popular literatures on organizational knowledge are accustomed to seeing the moving by means of the immobile. They perceive knowledge as an already organized state that can be transferred between spatially distinct points. Drawing on Bergson's theory of continual movement (Duration) and Deleuze's concept of transversal communication, I challenge the ontological concern for knowledge production and use between the discrete parts of an organized system. Instead of seeing knowledge as the integration of derived points or positions, I advocate a threefold method of creative involution in which production and use are considered as a living interpenetration of foldings and movements that connect all `things' at all places and times.

The presumption that agency is primarily the function or personification of a naturalized human actant can be traced through a Western intellectual tradition which draws upon a dualistic conception of the self as a unified, productive, sovereign subject, and an independent, external, physical other. In this paper, I problematize the prevalence of such Cartesian differentiation. I review an alternative, postfoundational actant ontology, then trace the resemblances in the work on situated knowledges. These orientations challenge the hierarchical division between the internal self and the external other and instead emphasize the relational, material, and performative nature of human being. Drawing on the notion of proximal thinking, I suggest that formal organizations can productively be described as relational spaces, containing multiple and complex frontiers, frames and interfaces, with(in) which ostensibly differentiated and individualistic attitudes toward agency give way to the variety and possibility of the self-in-between; a cyborg-consciousness able to withstand the tension of partial identities and contradictory voices.

PurposeInspired by an exciting revival of interest in the working methods and processes of the creative arts, the purpose of this paper is to make use of the auteur approach to film production, to further develop knowledge about sensuous methodologies in qualitative research.Design/methodology/approachAn exegesis of the authors' particular experiences in producing and disseminating a short documentary film is used to construct a framework from which to analyse affective modes of engagement within the parameters of qualitative research.FindingsQualitative researchers are characterised as creative artists who bring their precise aesthetic choice to bear on an audience through a mix of technical competence, distinguishable personality and interior meaning.Practical implicationsOne way for qualitative research to have affective impact is to use the working methods and procedures of the creative arts.Social implicationsA research culture is required where risk is permissible and engagement with the creative arts is given greater recognition in future qualitative projects.Originality/valueAs a mode of creative arts enquiry, film making can allow a degree of the emotional meaning and feeling within a study to come through into the analysis and the viewer's/reader's affective experience. This is often difficult to come by in more scientifically‐driven research approaches.

A line of flight is essentially a movement of creativity, a practical act or a way of living that wards off or inhibits the formation of 'centres' and stable powers in favour of continuous variation and free action. This article supports the arts-based practice of a documentary film, Lines of Flight, which uses free solo rock climbing in the Pennine region of northern England, to give access to a range of 'intensely lived experiences' that can offer a route out of the social, economic and cultural conditions that often subjugate modern society and back to life in its free and wild state. The documentary becomes a presentational line of flight in itself, as it looks to find the conditions for a novel experience in the making, under which a new filmic affect is produced in the here and the now.

This article is an effort to build a manifesto for the academic acceptability of filmmaking as organisational research. While a film does not offer an argument with premises to reach a conclusion, it does accomplish its own distinctive manifestation of research as a performance of thought. Drawing on experience of academic film projects, we promote the idea of using filmmaking not only to convey research ideas but also to communicate the full sensory variety of organisational life. Finally, we see film as a powerful and valid feature of academic research output, providing opportunities for scholars to convey understanding to a broader public than the academy alone.

This article aims to provide a reassessment of the processes of diffusion of innovations into organizations, based on new empirical data. The focus of the article is the latter stages of the diffusion process. The article draws on the results of two studies, which examined the diffusion of innovations in health care in the UK. These projects were a matched pair of qualitative studies, using purposeful selections of comparative case studies. The results demonstrate the ambiguous, contested nature of new scientific knowledge. The highly interactive nature of diffusion, with active adopters is illustrated. There is no evidence of a single adoption decision. The science is socially mediated. The features of context and of actors interlock to influence diffusion.