Knowledge dissemination in the global service marketing community

Purpose– The evolution of the service marketing field was marked by the emergence of a global, vigorous and tolerant community of service marketing researchers. This paper seeks to examine the history of the service marketing community and argues that it may be an archetype for building the emergent global service research community. Design/methodology/approach– The study combines qualitative and quantitative approaches. The authors interviewed four pioneering service scholars and also collected descriptive data (e.g. Authorship, Affiliation, Title, Keywords) of all service related articles published in 13 top peer‐reviewed marketing and service journals over the last 30 years (5,432 articles; 6,450 authors). In a dynamic analysis the authors mapped global collaboration between countries over time and detected clusters of international collaboration. Findings– Findings suggest a growing international collaboration for the USA and the UK, while for other countries like Israel the global collaboration started from a high level and decreases now. Further, the service marketing community never became polarized and there were always contributions from researchers all over the world. Research limitations/implications– As the global service research community is developing, service marketing becomes a research neighborhood within the broader service research community. Simultaneously, other research neighborhoods are emerging within this new community (e.g. service arts, service management, service engineering, service science). Originality/value– Anchored on the social evolution and biological evolution metaphors, this study explains the evolution of the service marketing field from both qualitative and quantitative perspectives. Furthermore, it explains the development of the service marketing community as an archetype for building the global service research community.

Watching the words: drama and poems

Some poems are inherently dramatic due to their narrative content or the events, characters, places and emotions that are their subject. Others have the potential for dramatisation because of some aural or visual quality of their poetic form. However, if dramatising poems is to be meaningful and effective children need to be taught something about the art form of drama rather than just being left to their own devices. This chapter explores the learning potential of considering the printed text of a poem as a notation of sound, movement, gesture and use of space. The chapter recognises a progression from simple nursery rhymes to the sophisticated use of poetic language in different types of literature that is mirrored in the journey from infants’ clapping games to the dramatic juxtaposition of aural and visual images in theatre and the performing arts.

Where do drama teacher’s come from? Initial investigations into the formation of professional identity

The article reports on research into what may have influenced trainees on four post-graduate teacher training courses in England to become specialist drama teachers rather than pursue careers in the world of professional entertainment. It goes on to explore how the trainees regarded an understanding of performance, and an ability to both use and demonstrate performance techniques, as integral to their professional role. The subsequent discussion examines how a drama teacher’s professional identity may be seen as being made up of the three inter-connected elements, self, role and character. While all teaching may be regarded as a performing art, this paper suggests that, for the drama specialist, an understanding of what constitutes ‘performance’ has a particular importance. A conclusion drawn from the research is that recognising the place of performance in their practice may result in experienced teachers of drama regarding themselves as artists whose art is teaching drama.

A Guide to Office Clerical Time Standards

A Guide to Office Clerical Time Standards is an instructional performance piece based on a corporate manual from 1960. The pamphlet is focused on the time necessary for the accomplishment of minute labour procedures in the office, from the depressing and releasing of typewriter keys to the opening and closing of filing cabinet drawers. In the performance, seven costumed performers represent the different levels of management and employment while performing the actions described in the guide, accompanied by a live musical score. There has been much discussion of the changes to work in the west following the decline of post-Fordist service sector jobs. These increasingly emphasise the specificity of employees’ knowledge and cognitive skill. However, this greater flexibility and creativity at work has been accompanied by an opposite trajectory. The proletarisation of white collar work has given rise to more bureaucracy, target assessment and control for workers in previously looser creative professions, from academia to the arts. The midcentury office is the meeting point of these cultures, where the assembly line efficiency management of the factory meets the quantifying control of the knowledge economy. A Guide to Office Clerical Time Standards explores the survival of one regime into its successor following the lines of combined and uneven development that have turned the emancipatory promise of immaterial labour into the perma-temp hell of the cognitariat. The movement is accompanied by a score of guitar, bass and drums, the componenets of the rock ‘n’ roll music that rose from the car factories of the motor city and the cotton fields of the southern states to represent the same junction of expression and control.