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The purpose is to review the effects of employee participation (EP) in decision-making, ownership and profit on job quality, worker well-being and productivity, and derive policy recommendations from the findings.

The authors summarise results of “declining labour power”, plus theoretical arguments and empirical evidence for the benefits of EP for job quality, satisfaction and productivity.

Worker well-being and job satisfaction are ignored unless they contribute directly to profitability. EP is needed to remedy this situation when employers have market power and unions are weak. The result can be a rise in both productivity and well-being.

The chief issue here is that there are data limitations, particularly on the well-being effects of participation.

Lots of encouraging examples in many countries need legislative help to multiply.

It is quite possible that there could be major implications for welfare and employment.

The authors make the case for public sector subsidies for employee buyouts and new cooperative start-ups, as well as legislation for works councils and profit sharing.

In order to manage library or information functions you must be able to persuasively communicate with your management. To accomplish this, you must communicate in the language of your management, marshalling trendy and persuasive points on your own behalf With that as a given, there has been a very heartening development over the last few years for library and information managers—a burgeoning management attention to information.

The reasons for using the services of a library automation consultant are numerous, but the key reason is to obtain help—expertise—not already available in the library staff. When a decision to use a consultant is made, the consultant should be identified, selected, and hired through a careful review process. Not all consultants are equal in ability or share the same areas of expertise. Once a consultant is hired, the library must continuously evaluate the consulting process and provide feedback to the consultant so that necessary adjustments can be made. This symposium presents the related insights and perspectives of both librarians and library system vendors.

It is widely recognized by scholars that superhero stories tend to glorify vigilante justice; after all, these stories often maintain that extralegal acts of violence are necessary for combatting existential threats to personal and public safety. This scholarly common sense fosters a widespread dismissal of superhero stories as uncomplicated apologia for an authoritarian politics of law and order that is animated by hatred of unpopular people and ideas. However, some prominent contemporary Batman stories, including those told in the graphic novels of Grant Morrison and in the blockbuster movies of Christopher Nolan, are ambivalent: in their portraits of Batman and Joker as dark twins and secret colleagues, these stories both legitimize and challenge the countersubversive politics of American law and order.

Regardless of the size of the firm, the sector of the transportation industry or the style of management, distribution runs on information. The sheer size and volume of today's distribution activities require a high degree of commitment to computer‐based technologies to support managerial decisions on a continuous basis.

This chapter explores the development of the dangerous, sexualized fembot archetype in science-fiction film and television, drawing a line from the robot Maria in Fritz Lang's Metropolis (1927) to contemporary versions of the archetype.

Primarily, this chapter outlines how this historically villainous trope has been augmented and redefined in twenty-first Century posthuman science-fiction texts Ex Machina (Alex Garland, 2014) and Westworld (Joy et al., 2016 –). Both feature fembot characters who are central to the narrative, and can be defined as both villainous at times, but who also occupy the position of arguable sympathetic protagonists. In part, this redefinition can be argued as more a reflection of a Western hegemonic shift towards feminist values. Nevertheless, there have been criticisms of the male gaze present in both and of the emphasis on female suffering.

As oblique texts for an 18–35 audience, both Ex Machina and Westworld ask more questions than they answer. Through textual analysis and with reference to relevant scholarship, this chapter considers the impact of audience and institution on representation, the interplay between genre conventions and the presentation of the archetype as well as a considering how both offer different treatment of intersectional androids.

Purpose – This chapter examines how prison spaces are depicted in fictional contexts built around icons of popular music. Given that both icons and inmates occupy spaces that the majority of the population does not observe or experience, I am interested in the degree to which prisons serve as stagings for queer expression, even when inhabited by mainstream music stars.

Design/methodology/approach – The lyrical content and visual texts of Elvis Presley’s “Jailhouse Rock,” Michael Jackson’s “They Don’t Care About Us,” Lady Gaga’s “Telephone,” as well as material from mainstream musicals like Chicago, are closely analyzed and linked to other scholarly work on prison narratives.

Findings – In addition to binding the power of pop iconicity to the experience of incarceration, the musical numbers and cultural artifacts examined here also reveal differing manifestations of queer motifs in their visual and lyrical construction. Mainstream representations of prisons’ unique and liminal social orders are therefore considered to be open to queer renderings of affection and provocation.

Originality/value – Although prison sexuality is intensely studied by human rights organizations and criminologists, the possibilities for queer expression within fictional prison contexts have not been explicitly linked to the pop personas of music superstars and their creative projects.

In North America, delegated practice “medical direction” models are often used as a proxy for clinical quality and safety in paramedic services. Other developed countries favor a combination of professional regulatory boards and clinical governance frameworks that feature paramedics taking lead clinician roles. The purpose of this paper is to bring together the evidence for medical direction and clinical governance in paramedic services through the prism of paramedic self-regulation.

This narrative synthesis critically examines the long-established North American Emergency Medical Services medical direction model and makes some comparisons with the UK inspired clinical governance approaches that are used to monitor and manage the quality and safety in several other Anglo-American paramedic services. The databases searched were CINAHL and Medline, with Google Scholar used to capture further publications.

Synthesis of the peer-reviewed literature found little high quality evidence supporting the effectiveness of medical direction. The literature on clinical governance within paramedic services described a systems approach with shared responsibility for quality and safety. Contemporary paramedic clinical leadership papers in developed countries focus on paramedic professionalization and the self-regulation of paramedics.

The lack of strong evidence supporting medical direction of the paramedic profession in developed countries challenges the North American model of paramedics practicing as a companion profession to medicine under delegated practice model. This model is inconsistent with the international vision of paramedicine as an autonomous, self-regulated health profession.

To examine how public servants are depicted in film, I discuss the changes over time of Batmanʼs Commissioner Gordon, particularly his character arc in the contemporary The Dark Knight trilogy. An important aspect of Gordonʼs evolution is in contrast to the filmsʼ other prominent public servant, District Attorney Harvey Dent. The Gordon-Dent contrast illustrates aspects of the Friedrich-Finer debate over administrative discretion, a classic debate in public administration. The trilogyʼs verdict on public service is mixed: the flawed, rule-bending, expedient public servant survives while the fabricated hero is a sham. Commissioner Gordon is far more interesting than he had been for decades, but is he just an expedient bureaucrat ultimately pursuing self preservation? In contrast, the (pre-villain) Harvey Dent, who refuses to compromise his principles, is ultimately undone by his absolutism. For the complexity of his character and its centrality to the plot, I judge the depiction of Commissioner Gordon-warts and all-to be better than simplistic caricatures of bureaucrats and promising for future public servants in film.