How can you be a good mentor? How can you pass on your wisdom? How can you help people to find their answers to challenges? Mentoring now plays a key role in organisations that…
Abstract
How can you be a good mentor? How can you pass on your wisdom? How can you help people to find their answers to challenges? Mentoring now plays a key role in organisations that wish to pass on their hard earned wisdom. But how to ensure that such an approach works? This article explores issues you may wish to consider when: selecting mentors; defining the role of mentors; and running a mentoring session. The article also illustrates the classic “Five C” model for helping people to focus on their challenges; choices; consequences; creative solutions; and conclusions. Good mentors create a “stimulating sanctuary”. They help people to build on their strengths, find solutions and achieve ongoing success. This article gives a snapshot of key elements to bear in mind when introducing mentoring into your organisation.
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Good mentors do more than pass on their wisdom. They help people see the roads they can follow to reach their goals. They do this in a way that enables people to take more control…
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Good mentors do more than pass on their wisdom. They help people see the roads they can follow to reach their goals. They do this in a way that enables people to take more control of their personal and professional lives. The article suggests five steps to creating an effective mentoring program.
When Sony Europe began a restructure in 2003, Roy White, its VP of HR, realized that identifying and focusing on each employee’s key strengths would be crucial to enhancing…
Abstract
When Sony Europe began a restructure in 2003, Roy White, its VP of HR, realized that identifying and focusing on each employee’s key strengths would be crucial to enhancing performance. Here, he explains how by introducing mentoring projects under a three‐step plan, the organization encouraged employees to focus on what they do best and maximize their contribution to the bottom line.
The origins of CURL in the 1980s lay in its members’ need to share machine‐readable catalogue records ‐ an aim materially assisted by the establishment of JANET. Funding from the…
Abstract
The origins of CURL in the 1980s lay in its members’ need to share machine‐readable catalogue records ‐ an aim materially assisted by the establishment of JANET. Funding from the Wolfson Foundation and the University Grants Committee enabled the development of a consortial database of catalogue records, based in the University of Manchester from 1986. CURL became a limited company in 1992, with charitable status, and established itself as a reseller of records, through OCLC, addressing wider issues for research support through input to the Follett Review of academic libraries in 1993. The transformation of the CURL Database into a national OPAC followed from the award of national funding in 1994/5 and, with the Consortium’s membership growing to more than 20 by 1996/7, CURL has embarked on a systematic strategic plan designed to exploit its members’ extensive holdings of research materials for the benefit of the wider scholarly community.
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Craig Furfine and Mike Fishbein
Zoe Greenwood, vice president at Foundation Investment Advisors, was glancing through the offering memorandum for a new commercial mortgage-backed securities (CMBS) deal on April…
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Zoe Greenwood, vice president at Foundation Investment Advisors, was glancing through the offering memorandum for a new commercial mortgage-backed securities (CMBS) deal on April 1, 2010, a time when the opportunities for commercial mortgage investors had been bleak to the point of comical. This new CMBS deal represented the first opportunity to buy CMBS backed by loans to multiple borrowers since credit markets had shut the securitization pipeline in June 2008.
The offering gave Greenwood a new investment opportunity to suggest to her firm's latest client. She had planned to recommend an expansion in her client's traditional commercial mortgage business, but these new bonds looked intriguing. Could the new CMBS offer her client a superior risk-return tradeoff compared with making individual mortgage loans?
After students have analyzed the case they will be able to:
–Learn how to construct promised cash flows from both commercial mortgages and commercial mortgage-backed securities
–Understand the benefits and costs of direct lending versus indirect lending (purchase of mortgage-backed bonds)
–Underwrite commercial mortgage loans issued by others to identify potentially hidden risks
–Evaluate at what price a mortgage-bond investment makes financial sense
–Learn how to construct promised cash flows from both commercial mortgages and commercial mortgage-backed securities
–Understand the benefits and costs of direct lending versus indirect lending (purchase of mortgage-backed bonds)
–Underwrite commercial mortgage loans issued by others to identify potentially hidden risks
–Evaluate at what price a mortgage-bond investment makes financial sense
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Inventory control is not the same as stock control ‐ it means control of each item that goes to make up the total inventory. In this exercise Keith Padden shows how his…
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Inventory control is not the same as stock control ‐ it means control of each item that goes to make up the total inventory. In this exercise Keith Padden shows how his hypothetical range of crystal balls ‐ by which he means baked beans, soft drinks, instant coffee, or anything else ‐ can be rationalised. The result can be a release of working capital sufficient to make good the deficit in cash flow ‐ or to buy sites, build and fit out six 15,000 sq ft supermarkets.
Claire Louise Castle, Karen Burland and Alinka Greasley
The current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and…
Abstract
Purpose
The current article focuses on the experiences of live music event attendees with visual impairment (VI). It outlines the factors which impact on the accessibility of events and considers how accessibility might be improved for these individuals.
Design/methodology/approach
The article reports on findings from a mixed-methods project utilising a structured interview study (N = 20) and an online survey (N = 94). Interview data were analysed using Interpretative Phenomenological Analysis, providing in-depth insight into participants’ experiences before and during events. Quantitative survey data were analysed descriptively and statistically, and Thematic Analysis of open-ended responses was carried out.
Findings
Attendance at live events varied amongst participants, and so too did the factors impacting on their attendance. Challenges were identified in relation to several key areas: accessing information and tickets, experiences with staff, navigation and orientation, and the use and availability of disabled facilities and specialist services.
Originality/value
This article is the first to offer in-depth exploration of music event accessibility for individuals with VI. It builds on existing research which has considered the experiences of deaf and disabled attendees but has not yet offered adequate representation of individuals with VI. The article offers practical recommendations for venues and organisers seeking to ensure accessible events for all and contributes to the wider discourse surrounding inclusivity at music, arts and cultural events.
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VINE is produced at least four times a year with the object of providing up‐to‐date news of work being done in the automation of housekeeping processes, principally in the UK. It…
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VINE is produced at least four times a year with the object of providing up‐to‐date news of work being done in the automation of housekeeping processes, principally in the UK. It is produced and substantially written by the Editor who is based at the Polytechnic of Central London and supported by a grant from the British Library Board and opinions expressed in VINE do not necessarily reflect the views and policies of the British Library. The subscription for 1985 to VINE is: £24 for UK subscribers, £27 to overseas subscribers (including airmail delivery). Second and subsequent copies to the same address are charged at £25 for UK and £17 for overseas. VINE is available on either paper or microfiche copy and all back issues are available on microfiche.