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In comparing results across organisations, inventory turnovers often provide a simple, useful and pragmatic utilisation measure of this working asset. Managers, however, must take into account differences such as size and product lines to interpret safely comparisons. In this paper a simple model relates turnover to volume and the breadth of product lines. Several case histories are presented to show how managers can develop meaningful turnover targets to adjust for these differences.

In the last four years, since Volume I of this Bibliography first appeared, there has been an explosion of literature in all the main functional areas of business. This wealth of material poses problems for the researcher in management studies — and, of course, for the librarian: uncovering what has been written in any one area is not an easy task. This volume aims to help the librarian and the researcher overcome some of the immediate problems of identification of material. It is an annotated bibliography of management, drawing on the wide variety of literature produced by MCB University Press. Over the last four years, MCB University Press has produced an extensive range of books and serial publications covering most of the established and many of the developing areas of management. This volume, in conjunction with Volume I, provides a guide to all the material published so far.

The most significant event for the School has been the announcement of the creation of the National Centre for Management Research and Development. The Centre is due to open in 1986 and will provide research facilities for up to 20 major projects designed to improve the competitiveness of Canadian business practices.

The contemporary zombie genre is known for exploring what the end will look like, with its widespread infection, chaos and violence – all images that resonate in a post-9/11 America. These zombie narratives also speak to a present-day America with their emphasis on diminishing individuality and agency. Unlike early Haitian incarnations of the zombie figure, the modern zombie terrifies because no singular agent possesses the victim’s mind. In contrast, the light-hearted CW television show, iZombie (2015–) rethinks the zombie paradigm. Not only does it envision how zombies would manifest in everyday life, without the requisite apocalypse, but it also subverts the antiquated gender politics common to the genre by providing viewers with a female zombie protagonist, Olivia Moore (Rose McIver) who is not only highly functional, but also female and with plenty of agency. Moore, through whose eyes the show is told, absorbs personality traits and memories belonging to the brains she eats, from frat boy to alcoholic, stripper to housewife. This device creates such a cornucopia of roles for McIver to explore that it brings to mind the work of American photographer Cindy Sherman, providing a rare multi-dimensional woman on TV. iZombie also takes the contemporary zombie text’s reliance on the trop of infection one step further. This chapter not only examines iZombie’s unusual female point of view, but also its portrayal of ‘zombie-ness’ as a chronic contagious illness with many similarities to HIV.

The supply‐side or demand‐servicing functions of inventory are well‐known in the inventory, logistics, and retailing literature. However, this literature has yet to develop the demand‐stimulating function of inventory. This article introduces the concept of psychic stock, defined as retail display inventory for stimulating demand. Psychic stock is a minimum inventory level, which is modelled by a partitioning of psychic, cycle, and safety stock.

The Register of Current Research in the field of Physical Distribution Management has been compiled from the response to a request for such information made to Universities in 23 countries throughout the world. The last register was published in 1972 in this journal.

To examine the key communicating factors which influence 12‐13 year old girls in their purchasing decisions for fashion clothing.

A series of four, structured focus group interviews, consisting of six girls, with questions developed after analysing the available literature. A qualitative method of data analysis was conducted based around five related themes and the “reflective stage”, 11‐16 years of John (1999).

This stage is highly fashion‐sensitive. The findings show the key decision factors when buying are parental and peer group approval, and the purchasing of fashion items is strongly influenced by brand name and its associations. The findings revealed the respondents were prepared to pay a premium for branded clothing, placing a high emphasis on the product being deemed cool.

The study utilises purely qualitative methods to explore the role of branding and purchasing influences from the perspective of these girls in order to gain a richer and deeper understanding of their behaviour. The findings provide the basis for further research into the buying behaviour of older girls.

The results of this study could be used by fashion retailers, marketers and their advertising agencies when planning a media campaign targeted at 12‐13 year old girls.

Understanding the importance of the selected themes can help fashion retailers study their consumers based on the key dimensions reported in this research and ensure that the key communication factors identified, are considered prior to developing a campaign for this target group.

Many “Divas” despite possessing destructive character traits ironically become successful entrepreneurs thus illustrating an alternative “storied” social construction of entrepreneurship. This influences how female entrepreneurs are perceived in the popular press and can be manipulated as an alternative entrepreneurial reality. The purpose of this paper is to build upon research into entrepreneurial identity introducing the “Diva” concept.

The qualitative methodological approach involves an analysis of biographies of famous Diva's to identify common themes; and an internet trawl to identify supplementary micro‐biographies and newspaper articles on “Divas”. This tripartite approach allows rich data to be collected permitting a comparative analysis.

This empirical paper presents the socially constructed nature of entrepreneurial narrative and the “Diva storyline” demonstrating the influence of journalistic licence upon how successful women are portrayed. The paper adds incremental credence to power of male‐dominated journalistic practices to vilify enterprising behaviour to sell newspapers.

An obvious limitation to the work is that the sample of articles and biographies selected were chosen via search parameters which mention the word “Diva”. Nevertheless, there is scope for further “more detailed” research into the phenomenon to flesh out the model built in this preliminary paper.

An important implication for scholars and journalists is the need to reconsider how we tell and decode entrepreneur stories. As researchers, we need to recognise that there are other avenues for women to become entrepreneurs than to become businesswomen and that it is alright for women to reject the “entrepreneur” label.

This paper informs our understanding of the socially constructed nature of how we tell, understand and appreciate entrepreneur stories. It thus makes a unique contribution by illustrating that the storylines which constitute the “Diva cycle” are constructed from the same storylines that we associate with entrepreneur stories but narrated in a different order. It provides another heuristic device for understanding the social construction of gendered entrepreneurial identities making it of interest to feminist scholars of entrepreneurship and to social constructionists alike.

This paper aims to explore some initial and necessarily broad ideas about the effects of the world wide web on our methods of understanding and trusting, online and off.

The paper considers the idea of trust via some of the revolutionary meanings inherent in the world wide web at its public conception in 1994, and some of its different meanings now. It does so in the context of the collaborative reader‐writer Web2.0 (of today), and also through a brief exploration of our relationship to the grand narratives (and some histories) of the post‐war West. It uses a variety of formal approaches taken from information science, literary criticism, philosophy, history, and journalism studies – together with some practical analysis based on 15 years as a web practitioner and content creator. It is a starting point.

This paper suggests that a pronounced effect of the world wide web is the further atomising of many once‐shared Western post‐war narratives, and the global democratising of doubt as a powerful though not necessarily helpful epistemological tool. The world wide web is the place that most actively demonstrates contemporary doubt.

This is the starting place for a piece of larger cross‐faculty (and cross‐platform) research into the arena of trust and doubt. In particular, the relationship of concepts such as news, event, history and myth with the myriad content platforms of new media, the idea of the digital consumer, and the impact of geography on knowledge that is enshrined in the virtual. This paper attempts to frame a few of the initial issues inherent in the idea of “trust” in the digital age and argues that without some kind of shared aesthetics of narrative judgment brought about through a far broader public understanding of (rather than an interpretation of) oral, visual, literary and multi‐media narratives, stories and plots, we cannot be said to trust many types of knowledge – not just in philosophical terms but also in our daily actions and behaviours.

This paper initiates debate about whether the creation of a new academic “space” in which cross‐faculty collaborations into the nature of modern narrative (in terms of production and consumption; producers and consumers) might be able to help us to understand more of the social implications of the collaborative content produced for consumption on the world wide web.