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Describes an innovative behavioural assessment technique devised by Exeter‐based Quality Values Publications. The methodology recognizes nine critical motivating factors which combine in any organizational culture: identification, internationalization, instrumentality, consensus, rationality, development, group dynamics, equity and equality. Describes application of the method at Normalair‐Garrett.

Although Social Media use has become all-pervasive, previous research has failed to explain how to use Social Media tools strategically to create business value in today's increasingly digital landscapes. Adopting a dynamic capabilities perspective, this paper empirically examines the specific process through which Social Media use translates into better performance and the capabilities involved in this process.

A research model is proposed that includes both antecedents and consequences of Social Media use. Existing research was examined to derive the research hypotheses, which were tested using SEM methodology on a sample of 212 hotels.

The results show that Social Media use does not exert significant direct impact on organizational performance. Rather, the findings confirm the mediating role played by Social CRM and Customer Engagement capabilities in the value creation process.

The results demonstrate how Social Media tools should be implemented and managed to generate business value in hotels. Implications yield interesting insights for hotel managers

This study is a first attempt to analyze empirically the real impact of digital media technologies, particularly Social Media use, drawing on the dynamic capabilities perspective and focusing on service firms (hotels). Including the variable “Organizational Readiness” as a basic prerequisite to benefit from Social Media use enhances the study's novelty and contribution.

Describes IKEA’s self‐managed learning programme. The company has a decentralized approach and its trading arm operates at national levels. Their self‐managed learning programme was developed by the UK‐based Roffey Park Management Institute. Roffey Park have also developed a self‐managed MBA programme for six managers from Portugal.

The prime function of the advertising appropriation is of course to act as a profit reservoir into which money may be pumped in good times and from which money may be tapped in hard times. However, a useful by‐product of the advertising appropriation can be increased sales of the company's products and much effort is expended towards this by‐product. It has been established reasonably clearly in the last few years that the major contribution towards the effectiveness of the advertising appropriation lies in the content of the advertisements. Nevertheless, since such large sums of money are involved, improvements in the way in which it is spent are worth making. This paper addresses the technicalities of the most important element in this latter process and suggests that current practice may not be the best possible practice.

In this study, a set of freely accessible Web sites were examined, as a first step in understanding the ways the Web is utilised for disseminating, publishing, discussing, studying and selling modern Hebrew literature. The sites were classified according to different facets using the method of content analysis. The results show that amateurs have great interest in publishing their works on the Web, either on their own private sites or on sites that encourage the users to upload their literary works and to interact with other writers and poets. Educational networks and organisations make use of the technology for advancing the teaching of literature. The most popular genre is poetry, closely followed by prose. Almost all sites enable some kind of interaction with the users; larger sites utilise the interactive capabilities of the Web to create virtual communities, to enable uploading of literary texts and to develop discussions about the works published on the site. Publishers, bookstores and a few electronic journals are also present.

This paper aims to clarify whether J. Walter Thompson (JWT)’s planning and research tradition gave rise to the concept of Account Planning. In addition, it seeks to analyse the different planning methodologies that preceded Account Planning to highlight how it emerged at JWT London. A further goal is to understand the impact of Account Planning, which sought to achieve effective advertising through detailed consumer insight and has transformed the multinational JWT as a whole and the advertising sector in general.

The methodology is based mainly on the analysis of primary research conducted on original files donated to Duke University Library (North Carolina, USA) by the multinational J. Walter Thompson.

Account Planning emerged in 1968 in London as a consequence of the research and planning tradition that already existed at JWT. JWT’s corporate culture established the importance of the Account Planning approach that was valued by advertisers and spread to all offices. The planning tools used by the multinational today are updated versions of those that were designed from 1960 onwards.

The historical approach taken here precludes an analysis of the current reality of Account Planning. In future research, it would be useful to carry out in-depth interviews with professionals to explore how they apply planning tools that represent updated versions of those that were developed 50 years ago.

This paper’s main interest lies in the fact that it is based on original, unpublished sources, an approach that makes it possible to reassess previous findings.

This paper briefly outlines the origins and development of the account planning function within advertising agencies. The transformation of the marketing communications environment during the 1990s is discussed together with the evolution of marketing theory and practice. The main focus of the paper examines if and how account planning has responded to the challenges of the marketing environment during the 1990s and the increasing demand for integrated marketing communications. It questions the extent to which account planning is meeting marketing communications needs in the new millennium both in terms of its traditional internal agency functions and the much debated topic of media neutral planning. The term media neutral planning is analysed and the distinction is drawn between media neutral ideas and neutrality in channel choice. The paper concludes that planning is an inherently flexible discipline and that its prime function is to place the consumer at the heart of creative marketing and communications planning.

“The issue we confront today is not primarily one concerning a special day for an individual. The issue is in reality whether our nation can summon the will and vision to recognize a great and historic period in its history by designating the birthdate of one who made major contributions to the period a national public holiday.”

The competition reality television show Dragula (Boulet Brothers, 2016-present) features a parade of monsters from the horror canon. Each episode, queer drag artists present outfits based on the show's aesthetic tenants: horror, filth and glamour. Nearly every outfit presented by the show's contestants, dubbed ‘drag monsters’, features some element of monstrosity and many pay specific homage to monsters from horror cinema. In drawing the monster figure into the world of gender performance, Dragula showcases the vast queer possibility of the monster figure. Like queerness itself, these drag monsters prove monstrosity is fluid and need not by associated to any one specific gender; the monster figure provides a canvas on which these artists can move between both human and non-human and male and female. This chapter traces the show's horror lineage – most notably the text from which it queers its name, Bram Stroker's Dracula (1987), and Stephen King's Carrie (1974) as well as the alternative precedent set by the drag legend Divine. Its analysis demonstrates Dragula's creative power in reimaging gender beyond the binary of man/woman by way of the monster figure.