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Taking a critical discursive approach (Potter and Wetherell, 1987; Wetherell and Potter, 1988, 1992) to analysing interview data, the article discusses the possible implications of top and middle managers' constructions of intercultural collaboration for the day-to-day workings of a Danish–Ukrainian software company. Of particular interest is the extent to which divergent and contesting understandings may lead to positive synergies or conflict, and whether managers' reflections may function as a means of justifying a particular mindset or course of action, provoking either contestation or acceptance within the organisation (e.g. Parker, 2000). Thus, the findings provide insight into the relation between discourse, that is, talk as (inter)action, and the development and enactment of organisational culture, contributing valuable and practice-oriented knowledge to the field of cross-cultural management. The data for the analysis are derived from 10 semi-structured interviews, which were conducted in the Danish headquarters and the Ukrainian division, respectively, securing a broad intraorganisational representation of voices.

It is a well-known fact that most translators are women and it is a fact which is often mentioned in translation discourse: translation is a so-called female occupation. But is this also a relevant fact and in which ways? In this article we aim to investigate how male and female translators talk about their occupation and whether gender is a relevant factor in how translators perceive their work. Our data consists of 18 narratives written by 9 male and 9 female non-literary professional translators who have been asked to write about their occupation as translators (in a semi-structured way). The data will be analysed and our findings structured by means of Greimas' actantial model. A general conclusion is that whereas male and female translators choose to talk about the same themes they sometimes talk about them in different ways emphasising different aspects.

PurposeThe purpose of this paper is to account for the genre characteristics of non‐linear, multi‐modal, web‐mediated documents. It involves a two‐dimensional view on genres that allows one to account for the fact that digital genres act not only as text but also as medium.Design/methodology/approachThe theoretical framework of the article is the Swalesian genre theory used in academic settings all over the world to investigate the relationship between discourse and social practice and to teach genre conventions to students of language and communication. Up till now most genre research has focused on the characteristics of "printed" texts, whereas less has been done to apply the genre theory to digital genres.FindingsThe article discusses the characteristics of digital genres, notably the media constraints that have a significant effect on the production and reception of digital genres and suggests an extension of the Swalesian genre model that takes the digital characteristics into account.Research limitations/implicationsThe suggestion for a revised genre model is not based on an extensive empirical study of various types of web sites. The observation is restricted to a limited number of commercial web sites.Originality/valueThe article proposes new insights into the concept of genre adapting traditional models of genre theory to web‐mediated texts. A revised two‐dimensional genre model incorporating media elements into the concept of genre thus takes account of the particular characteristics of the navigation and reading elements of web‐mediated genres.