Institutions matter: essays on the determinants and consequences of socio-political institutions

ONLY AVAILABLE FOR CONSULTATION AT ASTON UNIVERSITY LIBRARY WITH PRIOR ARRANGEMENT This thesis seeks to contribute to the socio-political literature. It comprises of three individual chapters examining the determinants and consequences of different social-political institutional factors. Specifically, the first study combines game theoretical and empirical techniques to examine how bureaucrats favour other agents within their social group and the effects this will have on the level of corruption in the economy. To this end, I develop a simple model of allocation of time between economic activities and leisure (time spent building social network ties), to illustrate the underlying causal mechanism between social network and corruption. It shows that large social networks and low levels of economic activities provides the condition for high levels of corruption. However, the ability of the government to punish corruption through well-established laws and property rights enforcement acts as a deterrent to corruption. he second work also combines game theoretical and empirical techniques. It aims to clarify the relationship between the degree of competition and political influence of firms, paying particular attention to the level of government regulations that exist in the countries in which the firms operates. The interplay between economic and political institutions is vital to any analysis on understanding the workings of political influence. The third study is purely empirical. It examines the role of two types of business network, namely, political connections and business group affiliations on a firm’s performance. Evidence was provided on Chinese firms’ performance during the 2008 financial crisis.

'The prime minister said...': voices in translated political texts

A variety of texts are translated to fulfil functions for political communication across languages, cultures, and ideologies. For example, newspapers regularly provide quotes of statements by foreign politicians, without explicitly indicating that these politicians were actually speaking in their own languages. Politicians react to statements by other politicians as they were presented to them in translation. Political scientists and other experts often debate the potential political consequences of (the translation of) a statement. This chapter addresses the (in)visibility of translation in political communication and the link between textual profiles of translations and the socio-political contexts in which they are produced. The analyses are conducted from the perspective of Translation Studies. The focus is on institutionalised forms of political discourse, i.e. texts that originate in political or media institutions. The link between translation profiles and the social, institutional, ideological conditions of text production is illustrated with reference to authentic political texts (interviews, speeches by politicians, press conferences), mainly involving English, French and German as source and target languages.

A study of corporate social disclosures in Bangladesh

Most of the corporate social reporting (CSR) studies conducted so far have been in the context of developed countries. Very few studies are available on the CSR practices in developing countries. Given the different socio-economic context of developing countries it is argued that it is important to learn about the CSR practices in those countries. This study reports the results of a survey of CSR practices in Bangladesh. The main contribution of this paper is that in addition to measuring the extent and volume of disclosures by using content analysis, it explores the socio-political and economic context in which these disclosures take place.

The role of trust in the resource allocation process of an old university

Allocation procedures, have attracted considerable interest among higher education institutions in recent years. Relevant previous research indicates that several universities adopt different approaches to the resource allocation problem, employing models and procedures that reflect their organisational arrangements and their internal socio – political dynamics. We argue that while studying accounting processes in their organisational context, the role of trust should also be considered carefully. In particular, it is very important to consider the attitudes of the individuals involved and interacting within organisational processes, and especially the trust between them, which plays an important role to the overall good governance of these processes. In our study, the role of interpersonal trust in an old Scottish University resource allocation process is examined. The study indicates that trust is a very necessary insight to the facilitation of social structures of accountability that enhance a better governance of the resource allocation process.

Third Ways and new centres - ideological unity or difference?

This chapter illustrates extratextual and intratextual aspects of ideology as related to translation with a case study, a policy document by Tony Blair and Gerhard Schröder, jointly published in English and German in June 1999. Textual features of the two language versions are compared and linked to the social contexts. Concepts and methods of critical discourse analysis and of descriptive and functionalist approaches to translation are applied for this purpose. In particular, reactions to the German text in Germany are explained with reference to the socio-political and ideological conditions of the text production, which was a case of parallel text production combined with translation. It is illustrated that decisions at the linguistic micro-level have had effects for a political party, reflected for example in the German Social Democratic Party debating its identity due to the textual treatment of ideological keywords. The subtle differences revealed in a comparative analysis of the two texts indicate the text producers' awareness of ideological phenomena in the respective cultures. Both texts thus serve as windows onto ideologies and political power relations in the contemporary world.

Intellectual alienation in a fragmented society and universe, as illustrated in the work of Wolfgang Koeppen (1906- )

This text is concerned with the intellectual and social alienation experienced by a twentieth century German writer (1906 - ).·the alienation begins in the context of German society, but this context is later globalised. The thesis first discusses the social and· intellectual origins and the salient features of this alienated stance, before proceeding to a detailed analysis of its recurring symptoms and later intensification in each of the author's main works, chronologically surveyed, supported by reference to minor writings. From the novels of the thirties' showing the burgher-artist conflict, and its symbolic dichotomies, the renunciation of traditional German values, and the ambiguous confrontation with new disruptive socio-political forces, we move to the post-war trilogy (1951-54), with its roots in the German social and political experience of the thirties' onwards. The latter, however, is merely a background for the presentation of a much more comprehensive view of the human condition:- a pessimistic vision of the repetitiveness and incorrigibility of this condition, the possibility of the apocalypse, the bankruptcy and ineffectiveness of European religion and culture, the 'absurd' meaninglessness of history, the intellectual artist's position and role(s) in mass-culture and an abstract, technologised mass-society, the central theme of fragmentation - of the structure of reality, society and personality, the artist's relation to this fragmentation, intensified in the twentieth,century. Style and language are consonant with this world-picture. Many of these features recur in the travel-books (1958-61); diachronic as well as synchronic approaches characterise the presentation of various modes of contemporary society in America, Russia, France and other European countries. Important features of intellectual alienation are:- the changelessness of historical motifs (e.g. tyranny, aggression), the conventions of burgher society, both old and new forms, the qualitative depreciation and standardisation of living, industrialisation and technology in complex, vulnerable and concemtrated urban societies, ambiguities of fragmented pluralism. Reference is made .to other travel-writers.

Alternative Emanzipationsvorstellungen in der DDR unter Honecker (1971-1990):ein Diskussionsbeitrag zur Rollen der Frau

Over the last twenty years the situation of women in the German Democratic Republic has been the subject of a considerable number of studies. The approach has generally been of a sociological or socio-political nature. In this thesis I propose to go one step further by examining the information that may be gained from literary sources. In a state where the media are subject to censorship, and thus controlled, one can refer to literature as an acknowledged source of inside information. Literary works often provide a forum for the formulation and discussion of ideas, which could not be aired elsewhere. Chapter 1 shows why literature, which had always been allocated a special role by the GDR's leading party, the SED, may be regarded as a reliable indicator of everyday life in that country. In this thesis I compare the findings of an analysis of women's literature with sociological data on the one hand and the portrayal of the "ideal" women in GDR media and official writings on the other. The thesis takes an interdisciplinary approach and draws on sources in political, legal, sociological, and cultural fields alike. This constellation of sources allows me to show that the views that female writers expressed in their works frequently coincide with sociological findings. Both of these sources were frequently found to be at odds with statements made in official writings and the media. Such insights could not have been provided by a study conducted from within one discipline.

Teaching and learning German language and culture in higher education in Britain:problems, challenges and didactical implications. A case study

The aim of this thesis is to explore key aspects and problems of the institutionalised teaching and learning of German language and culture in the context of German Studies in British Higher Education (HE). This investigation focuses on teaching and learning experiences in one department of German Studies in the UK, which is the micro-context of the present study, in order to provide an in-depth insight into real-life problems, strengths and weaknesses as they occur in the practice of teaching and learning German. Following Lamb (2004) and Holliday (1994), the present study acts on the assumption that each micro-context does not exist in vacuo but is always embedded in a wider socio-political and education environment, namely the macro-context, which largely determines how and what is taught. The macro-analysis of the present study surveys the socio-political developments that have recently affected the sector of modern languages and specifically the discipline of German Studies in the UK. It demonstrates the impact they have had on teaching and learning German at the undergraduate level in Britain. This context is interesting inasmuch as the situation in Britain is to a large extent a paradigmatic example of the developments in German Studies in English-speaking countries. Subsequently, the present study explores learning experiences of a group of thirty-five first year students. It focuses on their previous experiences in learning German, exposure to the target language, motivation, learning strategies and difficulties encountered, when learning German at the tertiary level. Then, on the basis of interviews with five lecturers of German, teaching experience in the context under study is explored, problems and successful teaching strategies discussed.

Time and professional work in public sector organisations: an examination of four occupational groups in education and medicine

The aim of this thesis is to examine the experience of time of four professional occupational groups working in public sector organisations and the factors affecting this experience. The literature on time and work is examined to delineate the key parameters of research in this area. A broad organisation behaviour approach to the experience of time and work is developed in which individual, occupational, organisational and socio-political factors are inter-related. The experience of secondary school teachers, further education lecturers, general medical practitioners and hosoital consultants is then examined. Multiple methods of data collection are used: open-ended interviews, a questionnaire survey and the analysis of key documents relating to the institutional settings in which the four groups work. The research aims to develop our knowledge of working time by considering the dimensions of the experience of time at work, the contexts in wlhich this experience is generated and the constraints these contexts give rIse to. By developing our understanding of time as a key feature of work experience we also extend our knowledge of organisation behaviour in general. In conclusion a model of the factors relating the experience of time to the negotiation of time at work is presented.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Diesseits und jenseits der Oder:Judith Hermanns literarische Auseinandersetzung mit Theodor Fontane in Sommerhaus, später

Judith Hermann's works have attracted considerable criticism for their supposedly slight portrayal of passively drifting characters and for their alleged failure to engage with the socio-political realities of contemporary life in the Berlin Republic. Only very recently have scholars paid attention to the hidden concern with memory expressed in her books, and have set out to examine their intertextual depth. This paper explores these previously neglected historical references in Summerhouse, later and analyses the book's intricate intertextual allusions with specific reference to Theodor Fontane's works. It examines how the tentative existence, which Hermann's characters experience, is the product of a hesitant and fruitless confrontation with questions of German history and nationhood. Using pervasive water imagery, Hermann shows present-day Germany as a continually contested territory with a fluid identity shaped by an abundance of conflicting narratives. In this context, the allusions to Fontane as a representative of the Wilhelminian period serve as references to a continuing German tradition of repression and marginalisation. At the same time, Hermann recognises Fontane's ambivalent political stance combining elements of social criticism with a general endorsement of social order. Ultimately, the seemingly indifferent attitude of Hermann's characters and the elegiac style used to portray them, emerge as a distancing mechanism that functions as a postmodern variant of Fontane's irony and is shaped by a similar sense of skepticism towards developments in German society and national history. © 2012 Springer Science+Business Media B.V.

Leadership and management research in Africa:a synthesis and suggestions for future research

Although we are aware of some positive cases of leadership and management emerging on the African continent, very little empirical or theoretical work has addressed leadership and management in Africa. This raises a challenge for African nations in that ultimately a country's economic performance is contingent on the effectiveness of its leadership and management practices that serve to unlock the potential of its workforce to effectively implement the strategic goals of organizations. Against the backdrop of an increasingly knowledge-dependent global marketplace, the centrality of leadership and effective management systems as drivers of individual and organization performance has never been more critical. This special section brings together a compendium of papers that advances the science of leadership and management within the African context. Our principle goal was to examine what is unique, what generalizes, and what does not generalize from the West and East to Africa, as well as within different regions of Africa and then offer ideas to guide future research and practice. The papers in this section provide a broad and indeed innovative approach to studying leadership and management in Africa by including historical, philosophical, economic, and socio-political perspectives, as part of the analyses of leadership and management in the African context. Our editorial provides an integration of this work and a launching point for some audacious goals for future leadership and management science and practice in Africa and beyond. ©2011 The British Psychological Society.

Translation and peace:Arabic, English and Hebrew versions of Israeli-Palestinian peace initiatives

The present thesis examines Palestinian-Israeli peace initiatives as politically negotiated texts and their different Arabic, English and Hebrew language versions. Its aim is to make a contribution to a deeper understanding of the role of translation and recontextualization of politically negotiated texts in situations of ongoing contemporary conflict. In modern Translation Studies, although research exists on the translation of political texts following functional (e.g. Schäffner 2002) or systemic-linguistic (e.g. Calzada-Pérez 2001) approaches or applying narrative theory (Baker 2006), peace initiatives and politically negotiated texts are still a largely under-researched genre of political texts. The thesis – which takes 31 Arabic, English and Hebrew language versions of 5 different Palestinian-Israeli peace initiatives as its corpus – operates within the framework of product-oriented Descriptive Translation Studies (Lambert and Van Gorp 1985) and Critical Discourse Analysis (Fairclough 1992). For all of the peace initiatives analysed, there exist several language versions which were made available in different contexts by different institutions and for different readerships and purposes. The thesis pursues a top-down approach. It begins with presenting the socio-cultural and political contexts of the production of the original versions of the respective peace initiatives (the source texts) and their different language versions (target texts), focusing on their underlying functions and principles of audience design. It then moves to examine how the textual profiles of the language versions of peace initiatives reflect aspects of ideology, political affiliation and power relations at both the macro- and micro-structural levels. The final step is to account for these aspects in terms of socio-political and institutional conditions of the production of the translations. The overall textual analysis demonstrates that when translated, peace initiatives can be interpreted differently by different institutions in their attempt to promote their respective political interests and narratives. Also, it is very frequently that translations produced in one specific institutional context are recontextualised for use in another one. Such recontextualisation goes hand in hand with further textual amendments. To summarize, the thesis demonstrates how these translations – as products – are (re)framed and (re)contextualized in different institutional settings in order to serve different purposes. These texts, thus, play different roles in situations of ongoing contemporary conflict depending on the institutional context in which they are presented and the purposes they set to serve. These main findings make an original contribution to the discipline of Translation Studies in respect of emphasizing the need to study translations in their socio-political, historical and institutional contexts.

Regional interests in Europe:Wales and Saxony as modern regions in Europe

The question of how to organize and manage sustainable regional development has recently come to the fore in many places across the industrialized countries of Central and Western Europe, and especially within the European Union (EU).This book looks at the home-grown natural, economic and social, socio-political, political and administrative conditions which policy makers face, while also being subjected to numerous external influences. Political actors in less important EU regions The question of how to organize and manage sustainable regional development has recently come to the fore in many places across the industrialized countries of Central and Western Europe, and especially within the European Union (EU).This book looks at the home-grown natural, economic and social, socio-political, political and administrative conditions which policy makers face, while also being subjected to numerous external influences. Political actors in less important EU regions attempt to create and implement strategies of regional development in the context of regional policy-making by EU institutions, national governments and the globalization process

Co-constructed caring research and intellectual disability:an exploration of friendship, intimacy and being human

For this paper, emotional and socio-political questions lie at the heart of relationships in understanding intellectual disability and what it is to be a human. While the sexual and intimate is more often than not based on a private and personal relationship with the self and (an)other, the sexual and intimate life of intellectually disabled people is more often a ‘public’ affair governed by parents and/or carers, destabilizing what we might consider ethical and caring practices. In the socio-political sphere, as an all-encompassing ‘care space’, social intolerance and aversion to difficult differences are played out, impacting upon the intimate lives of intellectually disabled people. As co-researchers (one intellectually disabled and one ‘non-disabled’), we discuss narratives from a small scale research project and our personal reflections. In sociological research and more specifically within disability research it is clear that we need to keep sex and intimacy on the agenda, yet also find ways of doing research in a meaningful, caring and co-constructed way.