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…
Abstract
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.
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The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero…
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The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.
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The librarian and researcher have to be able to uncover specific articles in their areas of interest. This Bibliography is designed to help. Volume IV, like Volume III, contains…
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The librarian and researcher have to be able to uncover specific articles in their areas of interest. This Bibliography is designed to help. Volume IV, like Volume III, contains features to help the reader to retrieve relevant literature from MCB University Press' considerable output. Each entry within has been indexed according to author(s) and the Fifth Edition of the SCIMP/SCAMP Thesaurus. The latter thus provides a full subject index to facilitate rapid retrieval. Each article or book is assigned its own unique number and this is used in both the subject and author index. This Volume indexes 29 journals indicating the depth, coverage and expansion of MCB's portfolio.
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One of the consequences of being a philosopher who insists on removing philosophy from the realm of abstract speculation and installing it as a practical tool for the posing and…
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One of the consequences of being a philosopher who insists on removing philosophy from the realm of abstract speculation and installing it as a practical tool for the posing and solving of everyday problems is that you are liable to be taken at your word. Others take that philosophy and “apply” it to practical problems. When this happens the philosopher loses control over his or her ideas, whose coherence and utility are then dependent on the skill and understanding of the disciple. Given Karl Popper's project for just such a practical philosophy it is perhaps not surprising that sooner or later someone should write a book which attempts to use Popper's thought to clarify a whole range of questions about public life, from the “logic” of centralised social, physical or economic planning to the desirability of comprehensive schools and metrication. What must dismay Popperians is that in Dr. Roger James' hands what emerges is a theoretically incoherent book which avoids being petulant only when it is banal.
With three credited scriptwriters and five credited directors, the 1967 release of Casino Royale saw a gang of multifaceted James Bond 007s facing off against an army of…
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With three credited scriptwriters and five credited directors, the 1967 release of Casino Royale saw a gang of multifaceted James Bond 007s facing off against an army of beautiful, hypersexualised, personality-less female spies, headed by the real James Bond’s neurotic, insecure, American nephew Jimmy. Perhaps this wasn’t Fleming’s intended storyline for Bond’s first outing at Casino Royale, but the resulting parodic outing absorbed and commented upon some of the inherent gendered archetypes of Fleming’s work. What the 1967 Casino Royale accomplishes is a narrative which contrasts varieties of masculinity which are segmented forms of the masculinity defined by Fleming’s Bond. This chapter compares the masculinity of Bond developed in Fleming’s novel, before examining the representations of masculinity inherent within the four key male characters: Sir James Bond (David Niven), Evelyn Tremble (Peter Sellers), Cooper (Terence Cooper) and Dr Noah/Jimmy Bond (Woody Allen). By showing the depictions of masculine elements each of these characters embodies, along with the metanarrative elements of each performer’s persona, this chapter aims to identify how the 1967 Casino Royale both faithfully depicts the masculine elements of Bond while at the same time satirizing Bond’s particular brand of masculinity. This examination ultimately argues that this segmentation of Bondian masculinity is the core point of cohesion in a deeply incoherent, parodic film adaptation of Fleming’s novel.
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James Jianhui Zhang, Roger Haiyan Huang and Jerry Junqi Wang
Roger Hussey and James Gulliford
This paper questions the adequacy of the current financial reporting regulatory system to deal with corporate financial information disclosed on the Internet. The results of a…
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This paper questions the adequacy of the current financial reporting regulatory system to deal with corporate financial information disclosed on the Internet. The results of a research study made on the FTSE 100 companies Internet sites are used to discuss company practices and the issues arising. The paper outlines the key problems and suggests alternative approaches to regulating this new frontier for financial reporting.
Since I became a professional trainer I have encountered many people who talk about “learning” curves in a way which indicates they do not fully understand what “learning” curves…
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Since I became a professional trainer I have encountered many people who talk about “learning” curves in a way which indicates they do not fully understand what “learning” curves are, how they are arrived at and what use to make of them. I have had queries from training officers wanting to know “what is the learning curve” for particular jobs. I have met many management students who think a “learning” curve is a statement of an absolute state of the universe in much the same way as Isaac Newton's Laws of Motion. Recently I came across a company selling synthetic work‐study data who included in their data an analysis, based on a “learning” curve, which indicated how many repetitions of the method would be necessary before the operator “learned” the job to given levels of performance. The International Labour Office's Introduction to Work Study shows a diagram of a “typical learning curve” (p. 205) but there is no discussion of the use of the curve, why it is or what it is or just how “typical” it is. It has been put in with minimal apparent understanding and minimal attempt to develop understanding. Each of the above examples demonstrates a need to make clear the background to “learning” curves and what use to make of them.
An article in Education & Training (March 1979) by H. Gershoni discussed the well known phenomenon of industrial workers obtaining, by trial and error, efficient — or more…
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An article in Education & Training (March 1979) by H. Gershoni discussed the well known phenomenon of industrial workers obtaining, by trial and error, efficient — or more commonly inefficient — methods of performing motor tasks in the course of their day to day work. Mr. Gershoni centred his thoughts on macro and micro methods which he defined in terms of the movements of the workpieces or the work procedure (the macro method) and the motions made by the operator whilst performing the work procedure (the micro method). Essentially this distinction is the What/How distinction of Seymour.
It would be an interesting question to ask how many of the people reading this article see themselves as machines—on a par with a motor car for example or a transistor radio or a…
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It would be an interesting question to ask how many of the people reading this article see themselves as machines—on a par with a motor car for example or a transistor radio or a pocket calculator. I feel I am on safe ground if I predict that less than one per cent of you habitually think of yourselves in this way. Possibly I would be equally safe in suggesting that less than one per cent of you see yourselves in these terms even for a few minutes once a year. In fact very few people see themselves as either simple or complex machines. I know this to be true for myself and for most of the people I have ever met. The really fascinating thing is that personally I find it very, very easy to see every other human being as a machine. I am in a position to know that inside me is an “I”—as self. I consider my body to be an extension of that self. The problem is that I cannot see the “self” or the “I” in you. All I can see is the body, the extension of your “self”.