Suchergebnisse

BOO! Culture, Experience, and the Startle Reflex. Ronald C. Simons. New York and Oxford, England: Oxford University Press, 1996. 272 pp.

Purpose: Intrapreneurship refers to employee initiatives in organizations to undertake something new, without being asked to do so. In recent years, enterprises have established "innovation units" to stimulate new ideas and utilize the energy and ideas of the individuals in international enterprises. It involves the process where an individual or a group of individuals, within an established company innovate or create a new organization as sub unit and get involved in the process of wealth creation. The systems of the organizations play an important role in developing entrepreneurial orientation of the employees. Various theories have suggested that there is a positive relation between the Intrapreneurship and organization culture and it becomes more prominent in the presence of effective reward system. The paper aims to explore the role of moderating effect of rewards on culture and Intrapreneurship relationship in an organizational setting. Methodology: The present study was done on a sample of 150 managers belonging to private sector organization. Variables in the study were assessed through descriptive statistics, Pearson Product Moment Correlation and Hierarchical Regression Analysis. Findings: It was analyzed that there is a positive and significant relationship between culture and Intrapreneurship and Performance Linked Rewards and Policies to motivate Innovation moderated the impact of culture on Intrapreneurship. Implications: The findings of this study can assist organizations to develop intrapreneurial mindset of employees with the suitable Reward System which is instrumental in providing a conducive culture to the employees. There should be better learning environment and better work place practices, performance linked rewards to encourage innovation by the employees.

Eternal Middle Ages: Time Models in Modern Mass Culture (by Aleksey Pozharov). Nowadays in the works of mass culture, a remarkable interest in the Middle Ages is noticed. According to many cultural studies, it is not so much the historical Middle Ages reflected in the cultural artifacts as it is the contemporary society set in medieval surroundings. What images and ideas does the modern mass culture deliver? In order to deal with this issue, it's necessary to consider one of the fundamental concerns of civilization: which model of time is relevant to the contemporary cultural artifacts.

There is a general impression in the scientific community in our country that the way science is taught, leant and the work culture of research and management of academic and research institutions is not conducive to cutting edge research, innovation and making world leaders. Mentoring continues to be poor with some exceptions. Very often, senior scientists with long innings in science teaching and research express anguish at the status quo in spite of a number of policy documents and recommendations for change. Indian science culture (teaching, research as well as administration) is a matter of prime concern and the issues cannot be pushed under the carpet if we desire a qualitative change. Most of the institutions of higher learning churn out graduates and post graduates who are largely unemployable. There are concerns on the number of Ph.Ds and not on the quality of Ph.D. One major consequence of the weak post graduates and Ph.Ds is the non-availability of competent faculty. Weakness and lack of interest in science learning starts from school. Learning continues to be by rote which is the prime reason for our low global rank in science and mathematics competence. Teaching and research apart there are umpteen other issues in over all culture of institutions and universities engaged in science teaching and research. Few oases of excellence are exceptions in the vast pool of mediocrity. Some points which need prime attention are: adoption of a tenure track system on the pattern of US institutions; feedback on and evaluation of teaching and mentoring; bottom up approach for candid feedback on issues which require long term solutions for efficiency and sound deliverables, cultivating the culture of working in front line areas, full transparency in working and an all out exit from culture of feudalism. This transformation needs commitment on the part of the politicians who man the respective departments of science education, research and human resource development. I am sure such a cultural change and paradigm ...

"Building upon long-term ethnographic research among image-makers in Delhi, Mumbai and other Indian cities, the author interrogates the dialogue between visual culture, technology and changing notions of political participation. The book explores selected artistic experiences in documentary and fiction film, photography, contemporary art and digital curation that have in common a desire to engage with images as tools for social intervention. These experiences reveal images' capacity not only to narrate and represent but also to perform, do and affect. Particular attention is devoted to the 'digital', a critical landscape that offers an opportunity to re-examine the significance of images and visual culture in a rapidly changing India. This volume will be of particular interest to scholars of visual and digital anthropology and cultures as well as South Asian studies"--

Megawattage sound systems have blasted the electronically-enhanced riddims and tongue-twisting lyrics of Jamaica's dancehall DJs across the globe. This high-energy raggamuffin music is often dismissed by old-school roots reggae fans as a raucous degeneration of classic Jamaican popular music. In this provocative study of dancehall culture, Cooper offers a sympathetic account of the philosophy of a wide range of dancehall DJs: Shabba Ranks, Lady Saw, Ninjaman, Capleton, Buju Banton, Anthony B and Apache Indian. Cooper also demonstrates the ways in which the language of dancehall culture, often devalued as mere 'noise,' articulates a complex understanding of the border clashes which characterize Jamaican society, and analyzes the sound clashes that erupt in the movement of Jamaican dancehall culture across national borders.

Abstract
This paper examines evidence on the role of assimilation versus source country culture in influencing immigrant women's behavior in the United States—looking both over time with immigrants' residence in the United States and across immigrant generations. It focuses particularly on labor supply but, for the second generation, also examines fertility and education. We find considerable evidence that immigrant source country gender roles influence immigrant and second generation women's behavior in the United States. This conclusion is robust to various efforts to rule out the effect of other unobservables and to distinguish the effect of culture from that of social capital. These results support a growing literature that suggests that culture matters for economic behavior. At the same time, the results suggest considerable evidence of assimilation of immigrants. Immigrant women narrow the labor supply gap with native-born women with time in the United States, and, while our results suggest an important role for intergenerational transmission, they also indicate considerable convergence of immigrants to native levels of schooling, fertility, and labor supply across generations.

JEL codes: J13, J16, J22, J24, J61

The youth culture has taken over in the Western world, and the United States is its champion. Has this cultural emphasis widened the generation gap, or is it just a natural by-product of the generational differences that exist in all societies? Is the gen

New beginnings: American culture and identity -- Ethnicity and immigration: between many worlds -- African Americans: "I don't sing other people's voices" -- In God we trust?: religion in American life -- Approaches to regionalism: the west and the south -- The American city: "the old knot of contrariety" -- Gender and sexuality: "to break the old circuits" -- Representing youth: outside the sunken nursery -- The spread of freedom -- The transmission of American culture

Episode 1 of 3 in podcast series Lattes with Lily. An examination of coffee cultures in the U.S., how they have evolved as spaces of everyday routines and then again as scenes of social and political change, and what they mean for the democratic spirit.

When we think of language and culture, we often think of our ethnical background, along with the influences from our society, history, media and the people around us. However, through my years here at UCSD, I have learned that there is a different form of language and culture in Costume Design. Culture impacts how we think and language helps us communicate; both play a major part in us understanding one another. For each show that I worked on, I've had to learn a new language to speak to directors, actors, and costume technicians. The language that I am speaking of is not English, French, or Vietnamese but rather it pertains to the choice of words I use to communicate my design. For culture, as a costume designer, we are always balancing between pop culture and historical culture. Kyle Donnelly's adaptation of Taming of the Shrew(d), the play was set in a post-apocalyptic world where a group of women put of plays in exchange for food and water. Donnelly was highly influenced by her environment when she pitched this idea – requests in the department, politics, and the movie, Mad Max: Fury Road, which was very popular at the time. For the development of my design, I researched pop culture's different ideas of post-apocalyptic worlds as well as the history of American stereotypes in women's clothing and how it relates to their job (i.e. the waitress, the businesswoman, the stay-at-home mom). In my pop culture research (film & television, modern art, comics, etc.), depictions of post-apocalypse worlds are often characterized by distressed clothing, dirt, make-shift weapons and recycling, which I used in my overall design. For each individual character's look, historical culture was a major influence – the cut of a business suit jacket, the recognizable color and shape of a waitress uniform. Knowing both pop and historical culture helped me develop the language I needed to clearly convey my ideas.To gain both the director's and actors' confidence, I had to educate myself and used terms they would understand by referencing things they are exposed to in their daily lives – film, art, music. I also focused on character development – the backstory, the mental and physical state, education and more. For example, Hannah Finn's character story was that before the apocalypse, she was a high school dropout working as a waitress at a diner in a small town. She was poor, uneducated but funny and loves to make jokes. She was at work when the apocalypse took place, which explains why she's still in her work uniform. Her character also wears a chest armor made from cans and uses a large ladle that has nails through it as a weapon (to mimic a mace), which was inspired by things she would have found in the diner kitchen. Both the director and the actor loved the visual and emotional story created for the character and understood the concept that I was going for. When presenting to the costume shop, I introduced the general post-apocalyptic theme, however, instead of talking about each character's backstory, we spoke about construction, fit and function of each outfit. The language use when speaking to the shop is much more technical. I had to learn clothing and construction terminology – such as raglan sleeve, a gather, a blind stitch, etc. – to properly articulate my design. Using Finn's costume as an example again, with the technicians, we talked about the history of the style of the uniform and how it should fit, where wear and tear should be, how distressed it should look and how the can apron should be constructed to look like it was home-made. Costume vocabulary and details are very important when it comes to the construction. I was very specific when providing Finn's actions in the play and the technicians offered solutions to some clothing restrictions she was experiencing, such as adding a gusset to the underarm area of the sleeve to give her more room to stretch her arms up. Without knowing the proper language, we would have had a harder time understanding the needs of the show. Marco Barricelli's production of The Green Cockatoo was an entirely different language and culture from Shrew(d). Barricelli and the actors has little to no knowledge of the French period and culture for which this play was written. To make is easier for them to understand, I provided historical reference images, such as paintings and French fashion plates, as well as research from pop culture (the movie, Marie Antoinette) to help familiarize the look. I also focused on colors to differentiate social class, and researched the French body (i.e. how they walk, stand, sit, hold an accessory, etc.) to help the actors fully embrace the period and help create a visual realistic piece for the director. All parties would want to know why I made the choices I made and having that knowledge puts confidence in my answers and modernizing some costume pieces gave comfort to everyone, physically and mentally. For this production, I had seven corsets, two dresses and two men's coats built. The shop's focus was on how clothing was accurately constructed during this time and learning about all the understructure need to create the silhouette of the period. Together, we studied period clothing patterns, use of fabric and embellishments. My design was a mix of historical reference and self-imagination and the language of period clothing helped both the shop and I to fully realize each piece. For Claire Roberson's character, Severine, we exaggerated the width of her hips by using a larger bum roll to emphasize her status and wealth. From the cut of her dress to the intricate beaded lace, along with a wig and white face makeup, all these technical changes helped elevate her character further, while also being semi-period appropriate. A famous quote from Judith Dolan, "We don't copy the period, we use the period." The language and culture of contemporary shows, such as Go. Please. Go, and (w)holeness, in my opinion, are more intricate and challenging. We deal with choosing our own outfits, what accessories to wear and how to do our hair daily, thus it is often difficult to separate fashion from costumes. This proven to be so while working on my most recent production, Revolt. She Said. Revolt Again. The director, Sean Graney, wanted the costumes to be motivated by what the actors wear in their daily life instead of what clothes the character they were playing would wear, thus blurring the line of fashion and costume. I did a background research on all the actors to learn their style while also trying to appeal to Graney's taste in clothes. It was difficult navigating eight different types of styles, all influenced by their different cultures and the language used to speak to men verse speaking to women about clothes also came in to play. However, another important factor was missing (which led to some miscommunication) and that was the generational difference between the director and the actors. Having allowed the actors the freedom to choose their own costumes, they introduced fashion that they are currently attracted to, one being the crop top. I learned that Graney dislikes the crop top because it reminds him of the fashion he grew up with in the 90s, which he thought was tacky, therefore, in his mind, all crop tops are tacky. Neither could fully understand why the other liked or disliked the crop top and it was because of this fashion cultural difference. I learned when speaking with the actors, I talked about how their individual style adds to the show, and with the director, I spoke of the group as an ensemble and how it visually relates to the rest of the production. On the other hand, the shop technicians did not care for current or past fashion, rather we focused on detailing and visual effect. The colors of this show were red, brown and white, and the technicians helped me incorporate all three colors into each outfit without making them look too absurd or abnormal. Such an example would be in Mary-Rose Branick's costume. Branick had a red polo shirt with brown corduroy overalls. She was missing white in her outfit and so we took out her brown zipper and replaced it with a white zipper. Having everyone in a controlled color pallet and changing minor details helped to push the clothes further to looking like costumes than ordinary street clothes. The language of costume construction was key in helping to make such changes. Every show that I've worked on has provided me with a different experience and new challenges. The languages and cultures I've learned has assisted me in helping the director visualize the production, understand how it relates to the actor and the character they are playing and how to properly communicate with the team who builds these items. The language we speak and cultures we learn is used to appeal to the visual, the emotional and the technical. Therefore, costume designers must be multi-cultural and multi-lingual to be successful.

Purpose
The purpose of this paper is to fill the gap in the literature by exploring the perceived societal discrimination as an antecedent of perceived organizational discrimination, and investigating the impact of organizational culture (i.e. constructive, passive-defensive and aggressive-defensive culture norms) on perceptions of discrimination in the workplace.


Design/methodology/approach
A total of 176 American employees completed three surveys assessing perceived societal discrimination, perceived organizational discrimination and organizational culture online through Amazon Mechanical Turk. Data were analyzed using hierarchical multiple regression method.


Findings
Results suggest individuals' perceptions of discrimination in the workplace are influenced by both perceived discrimination in society and perceptions of behavioral norms related to organizational culture. Findings in the current study indicated individuals' attitudes and beliefs manifested in the societal context were carried into, and reflected in, the workplace. Additionally, beliefs related to organizational discrimination were found to be amplified or minimized depending on organizational culture; specifically, organizations dominated by culture norms reflecting behaviors related to individual security needs predicted higher levels, and culture norms reflecting behaviors related to meeting employee satisfaction needs predicted lower levels of perceived organizational discrimination.


Originality/value
This paper tested theoretical frameworks debated in the literature by exploring beyond institutional boundaries in the study of perceived discrimination by exploring perceived societal discrimination as an antecedent to perceived organizational discrimination. This project also is the first study (to authors' knowledge) to investigate the impact of organizational culture on perceived organizational discrimination.