Suchergebnisse

PurposeThis paper aims to describe how organizational culture is manifested in behavioral norms and expectations, focusing on 12 sets of behavioral norms associated with constructive, passive/defensive, and aggressive/defensive cultural styles.Design/methodology/approachThe organizational culture inventory, a normed and validated instrument designed to measure organizational culture in terms of behavioral norms and expectations, was used to test hypotheses regarding the impact of culture. Data are summarized from 60,900 respondents affiliated with various organizations that have used the instrument to assess their cultures. Also presented is a brief overview of a practitioner‐led assessment of four state government departments.FindingsThe results of correlational analyses illustrate the positive impact of constructive cultural styles, and the negative impact of dysfunctional defensive styles, on both the individual‐ and organizational‐level performance drivers. The results clearly link the dysfunctional cultural styles to deficits in operating efficiency and effectiveness.Originality/valueThe concept of organizational culture is derived from research in the field of organizational behavior characterized by use of qualitative methods. Yet, one of the most powerful strategies for organizational development is knowledge‐based change, an approach that generally relies on the use of quantitative measures. Although both methods share the potential for producing cumulative bodies of information for assessment and theory testing, quantitative approaches may be more practical for purposes of knowledge‐based approaches for organizational development generally, and assessing cultural prerequisites for organizational learning and knowledge management specifically.

How, if at all, is it possible to assess aspects of organizational culture and the way culture influences safety? This question concerns the possibility of proactive assessments: whether it is possible to 'predict' if an organization is prone to having major accidents on the basis of safety culture assessments. The article presents an empirical analysis of this question by comparing the results of a quantitative safety culture assessment on the Norwegian oil and gas platform Snorre Alpha, with the results of a qualitative investigation after a major incident on the platform. The two descriptions of the same culture are dramatically different. The lack of concurrence between the two descriptions suggests that safety culture surveys may have little predictive value.

The article attempts to examine the construction and representation of minority identities in the visual cultures of Pakistan, Bangladesh and Sri Lanka, thereby endeavouring to establish a cinematic historiography of South Asia. Since the cinematic medium can accomplish what written history cannot, this article makes an effort to understand the underlying causes of linearity and simultaneity which are fortes of the moving image, with regard to visual construction and representation of religious, ethno-linguistic and sexual identities. The major objectives of this article are to establish a comparative framework for the study of South Asian cinema with focus on films from Pakistan, Bangladesh and Sri Lanka, outline a possible theoretical structure for the future study of South Asian cinema, contextualize the intervening spaces between cinema and politics—particularly the realms of cinematic representation of religious or communal identities in South Asian cinema, categorise existing trends and observe transformations in the methodology of cinematic representation of identities.

This paper discusses the sense of shame in Korean culture. With Taoism, Korean culture began its transformation from a face-saving culture to a modern culture. Self-realization is the most important goal in a Taoist culture; the supreme value in the face-saving culture lay in the preservation of honor in the family. Influenced by western culture, modern Korean culture has come to focus on personal competence, mostly for the acquisition of material wealth. As a result, the crucial factor generating a sense of shame has shifted from failure of self-realization in the Taoist culture and injury of the family in face-saving culture, to personal incompetence in modern Korean society.

This article explains information culture and its specific features in the modern era of information culture among students. The scientific article presents an analysis of studies conducted on the culture of using the Internet and social networks among students studying in secondary specialized educational institutions. The information culture of students studying in secondary specialized Islamic educational colleges has been developed and explained extensively. The social factors that determine the lack of a critical approach to the selection of necessary information among students of a special Islamic educational college have been studied. Based on the fact that the acquisition of information culture is a vital necessity for future imams, the author made several proposals and recommendations in this regard. The main factors determining the level of formation of the information culture of students of secondary specialized Islamic education are explained. In the XXI century, every student, every teenager must meet the basic criteria of information culture; the problems of its use in the educational process and, of course, improving the culture of using the Internet are highlighted.
Keywords: Communication; digital technologies; information; internet; social networks.

The image of the European culture is given by the association of the concepts people-culture-history-territory, which provides certain local features. From this relation, we identify a cultural area with local, regional and national features beyond a certain European culture. Thus, we identify at least two cultural identity constructions on the European level: a culture of cultures, that is a cultural area with a particular, local, regional and national strong identity, or a cultural archipelago, that is a common yet disrupted cultural area. Whatever the perspective, the existence of a European cultural area cannot be denied, although one may speak of diversity or of "disrupted continuity". From a methodological point of view, we have to point out that despite the two-levelled approach the two conceptual constructions do not exclude each other: the concept of "culture of cultures" designates both a particular and a general identity area.

This thesis examines representations of military women in contemporary Western visual culture during the 'War on Terror' (2001-present). Through the comparison of cultural productions that center on military women (e.g. films, TV series, etc.), I assess the current perpetuation of representational patterns established by a long tradition of the military/war genre. Moreover, I attempt to identify new patterns and tropes, and also categorize any divergences to pre-established patterns. With this study I intend to explore the hypothesis that military women are subjected to systematic stereotyping when featured in fictional narratives as protagonists, which I understand to be a signal of a larger problem, concerning the instrumentalization of military women by military/political forces. Drawing from the works of Cynthia Enloe, Barbara Ehrenreich, Yvonne Tasker, among other critics who theorized on this subject, I attempt to expand on what was already written, adding original material relating exclusively to the period of the 'War on Terror'. Through the comparison and analysis of intermedia artworks from the US and European countries (UK, and France), I offer a wide cultural study on the fictionalization of military women. By focusing on US and European cultural representations of servicewomen I aim to verify the existence of similarities which may suggest a transatlantic cohesion in regard to not only representational tropes, but also military/political interests. The thesis is divided into three parts, each corresponding to an important stage in military life. Therefore, chronologically, the first part is dedicated to 'Boot Camp', the second to 'Deployment', and the last to 'Discharge'. This structure is intended to compartmentalize stages that introduce different sets of challenges to women in the military. Through this approach, I am able to direct my focus towards each segment as a whole, exploring correspondent cultural products that encompass dominant representations in each stage of military life. The final ...