The European Union and global governance:a handbook

The role of the European Union in global politics has been of growing interest over the past decade. The EU is a key player in global institutions such as the World Trade Organization (WTO) and NATO. It continues to construct an emerging identity and project its values and interests throughout contemporary international relations. The capacity of the EU to both formulate and realise its goals, however, remains contested. Some scholars claim the EU’s `soft power’ attitude rivals that of the USA’s `hard power’ approach to international relations. Others view the EU as insufficiently able to produce a co-ordinated position to project upon global politics. Regardless of the position taken within this debate, the EU’s relationship with its external partners has an increasingly important impact upon economic, political and security concerns on an international level. Trade negotiations, military interventions, democracy promotion, international development and responses to the global economic crisis have all witnessed the EU playing a central role. This has seen the EU become both a major force in contemporary institutions of global governance and a template for supranational governance that might influence other attempts to construct regional and global institutions. This volume brings together a collection of leading EU scholars to provide a state-of-the-art overview covering these and other debates relating to the EU’s role in contemporary global governance. The Handbook is divided into four main sections: Part I: European studies and global governance – provides an overview and critical assessment of the leading theoretical approaches through which the EU’s role in global governance has been addressed within the literature. Part II: Institutions – examines the role played by the key EU institutions in pursuing a role for the EU in contemporary international relations. Part III: Policy and issue areas – explores developments within particular policy sectors, assessing the different impact that the EU has had in different issue areas, including foreign and security policy, environmental policy, common commercial policy, the Common Agricultural Policy, development policy, accession policy, the Neighbourhood Policy and conflict transformation. Part IV: The global multilevel governance complex and the EU – focuses on the relationship between the EU and the institutions, regions and countries with which it forms a global multilevel governance complex, including chapters on the EU’s relationship with the WTO, United Nations, East Asia, Africa and the USA.

The cutting performance of sialon ceramic tools

The thesis deals with a research programme in which the cutting performance of a new generation of ceramic cutting tool material is evaluated using the turning process. In part one, the performance of commercial Kyon 2000 sialon ceramic inserts is studied when machining a hardened alloy steel under a wide range of cutting conditions. The aim is to formulate a pattern of machining behaviour in which tool wear is related to a theoretical interpretation of the temperatures and stresses generated by the chip-tool interaction. The work involves a correlation of wear measurement and metallographic examination of the wear area with the measurable cutting data. Four main tool failure modes are recognised: (a) flank and crater wear (b) grooving wear (c) deformation wear and (d) brittle failure Results indicate catastrophic edge breakdown under certain conditions. Accordingly in part two, the edge geometry is modified to give a double rake tool; a negative/positive combination. The results are reported for a range of workpiece materials under orthogonal cutting conditions. Significant improvements in the cutting performance are achieved. The improvements are explained by a study of process parameters; cutting forces, chip thickness ratio, chip contact length, temperature distribution, stress distribution and chip formation. In part three, improvements in tool performance are shown to arise when the edge chamfer on a single rake tool is modified. Under optimum edge chamfer conditions a substantial increase in tool life is obtained compared with the commercial cutting geometry.

Design of sway frames

The aim of the work presented in this thesis is to produce a direct method to design structures subject to deflection constraints at the working loads. The work carried out can be divided into four main parts. In the first part, a direct design procedure for plane steel frames subjected to sway limitations is proposed. The stiffness equations are modified so that the sway in each storey is equal to some specified values. The modified equations are then solved by iteration to calculate the cross-sectional properties of the columns as well as the other joint displacements. The beam sections are selected initially and then altered in an effort to reduce the total material cost of the frame. A linear extrapolation technique is used to reduce this cost. In this design, stability functions are used so that the effect of axial loads in the members are taken into consideration. The final reduced cost design is checked for strength requirements and the members are altered accordingly. In the second part, the design method is applied to the design of reinforced concrete frames in which the sway in the columns play an active part in the design criteria. The second moment of area of each column is obtained by solving the modified stiffness equations and then used to calculate the mlnlmum column depth required. Again the frame has to be checked for all the ultimate limit state load cases. In the third part, the method is generalised to design pin-jointed space frames for deflection limitatlions. In these the member areas are calculated so that the deflection at a specified joint is equal to its specified value. In the final part, the Lagrange multiplier technique is employed to obtain an optimum design for plane rigidly jointed steel frames. The iteration technique is used here to solve the modified stiffness equations as well as derivative equations obtained in accordance to the requirements of the optimisation method.

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.

Forecasting the UK/US exchange rate with divisia monetary models and neural networks

This paper compares the UK/US exchange rate forecasting performance of linear and nonlinear models based on monetary fundamentals, to a random walk (RW) model. Structural breaks are identified and taken into account. The exchange rate forecasting framework is also used for assessing the relative merits of the official Simple Sum and the weighted Divisia measures of money. Overall, there are four main findings. First, the majority of the models with fundamentals are able to beat the RW model in forecasting the UK/US exchange rate. Second, the most accurate forecasts of the UK/US exchange rate are obtained with a nonlinear model. Third, taking into account structural breaks reveals that the Divisia aggregate performs better than its Simple Sum counterpart. Finally, Divisia-based models provide more accurate forecasts than Simple Sum-based models provided they are constructed within a nonlinear framework.

The role of meetings in the social practice of strategy

This article addresses the recent turn in strategy research to practice-based theorizing. Based on a data set of 51 meeting observations, the article examines how strategy meetings are involved in either stabilizing existing strategic orientations or proposing variations that cumulatively generate change in strategic orientations. Eleven significant structuring characteristics of strategy meetings are identified and examined with regard to their potential for stabilizing or destabilizing existing strategic orientations. Based on a taxonomy of meeting structures, we explain three typical evolutionary paths through which variations emerge, are maintained and developed, and are selected or de-selected. The findings make four main contributions. First, they contribute to the literature on strategy-as-practice by explaining how the practice of meetings is related to consequential strategic outcomes. Second, they contribute to the literature on organizational becoming by demonstrating the role of meetings in shaping stability and change. Third, they extend and elaborate the concept of meetings as strategic episodes. Fourth, they contribute to the literature on garbage can models of strategy-making.

Supply chain management diffusion among firms in the Republic of Ireland

The changing business environment has sharpened the focus on the need for robust approaches to supply chain management (SCM) and the improvement of supply chain capability and performance. This is particularly the case in Ireland, which has the natural disadvantage of a location peripheral to significant markets and sources of raw materials which results in relatively high transport and distribution costs. Therefore, in order to gain insights into current levels of diffusion of SCM, a survey was conducted among 776 firms in the Republic of Ireland. The empirical results suggest that there is a need for more widespread adoption of SCM among Irish firms. This is particularly the case in relation to the four main elements of SCM excellence reported in this paper. The design of supply chain solutions is a highly skilled, knowledge-intensive and complex activity, reflected in a shift from 'box moving' to the design and implementation of customised supply chain solutions. Education and training needs to be addressed by stimulating the development of industry-relevant logistics and SCM resources and skills.

Modelling and simulation strategies for the electric systems of large passenger aircraft

The simulation of a power system such as the More Electric Aircraft is a complex problem. There are conflicting requirements of the simulation, for example in order to reduce simulation run-times, power ratings that need to be established over long periods of the flight can be calculated using a fairly coarse model, whereas power quality is established over relatively short periods with a detailed model. An important issue is to establish the requirements of the simulation work at an early stage. This paper describes the modelling and simulation strategy adopted for the UK TIMES project, which is looking into the optimisation of the More Electric Aircraft from a system level. Essentially four main requirements of the simulation work have been identified, resulting in four different types of simulation. Each of the simulations is described along with preliminary models and results.

Generalized Nets Model of an E-Learning System Software Architecture

The paper has been presented at the International Conference Pioneers of Bulgarian Mathematics, Dedicated to Nikola Obreshko ff and Lubomir Tschakaloff , Sofi a, July, 2006.

Observed and predicted hydrogen bond motifs in crystal structures of hydantoins, dihydrouracils and uracils

A survey of crystal structures containing hydantoin, dihydrouracil and uracil derivatives in the Cambridge Structural Database revealed four main types of hydrogen bond motifs when derivatives with extra substituents able to interfere with the main motif are excluded. All these molecules contain two hydrogen bond donors and two hydrogen bond acceptors in the sequence of NH, C = O, NH, and C=O groups within a 5-membered ring (hydantoin) and two 6-membered rings (dihydrouracil and uracil). In all cases, both ring NH groups act as donors in the main hydrogen bond motif but there is an excess of hydrogen bond acceptors (two C=O able to accept twice each) and so two possibilities are found: (i) each carbonyl O atom may accept one hydrogen bond or (ii) one carbonyl O atom may accept two hydrogen bonds while the other does not participate in the hydrogen bonding. We observed different preferences in the type and symmetry of the motifs adopted by the different derivatives, and a good agreement is found between motifs observed experimentally and those predicted using computational methods. We identified certain molecular factors such as chirality, substituent size and the possibility of C-H⋯O interactions as important factors influencing the motif observation. © 2012 The Royal Society of Chemistry and the Centre National de la Recherche Scientifique.

3D Reconstruction and Digital Visualization of the South of the Royal Palace in Great Preslav

The report presents the film 10th century. The South of the Royal Palace in Great Preslav. It consists of two parts – 10th century. The Royal Palace in Great Prelsav. The Square with the Pinnacle and The Ruler’s Lodgings. 3D and virtual reconstructions of an architectural ensemble – part of the Preslav Royal Court unearthed during archaeological researches are used in the film. 3D documentaries have already gained popularity around the world and are well received by both scholars and the public at large. One of the distinguished tourist destinations in Bulgaria is Great Preslav – capital of the mediaeval Bulgarian state and a significant cultural center of the European Southeast in 9th–10th centuries, too. The first part of the film is created with the financial support of America for Bulgaria Foundation and the second – with the funding of Bulgarian National Science Fund at the Ministry of Education, Youth and Science. A team of almost 20 members worked on the film, including computer specialists, professional actors, and translators in the four main European languages – English, German, French and Russian, Trima Sound Recording Studio. In the first part of the 3D film are shown a segment of the Royal Palace, the square with the water pinnacle and the adjacent buildings – an important structural element of the town-planning of the Preslav Court center in the 10th century. In the second part the accent is the southern part of the Royal Palace in Great Preslav, where the personal residence of the Preslav ruler’s dynasty is situated. The work on the virtual reconstruction was done by Virtual Archaeology club at the Mathematical School, Shumen. Due to the efforts of its members it is now clear how the square in front of the southern gate looked like.

Is keiretsu really a source of competitive advantage for Japanese automotive suppliers?

Purpose - The purpose of this paper is to examine how firms create and sustain competitive advantage in the inter-firm business relationships from a supplier's perspective. It also investigates what factors affect their competitiveness and relationship between buyers and suppliers. Design/methodology/approach - This is an exploratory study on keiretsu partnerships composed of four main phases: analysis of theoretical perspectives, construction of a conceptual framework, interview of a CEO, and finally, a survey questionnaire with Japanese automotive suppliers. Findings - As a result, this paper classified these 11 companies into four supplier groups (affiliated or independent Tier 1 suppliers; affiliated or independent Tier 2 suppliers) and analysed their competitiveness developing the research propositions further. The benefits of affiliation under a keiretsu partnership are discussed, showing that there may be little benefit in being an affiliated Tier 1 supplier. Even more critical, the results show that independent Tier 2 supplier may be more competitive than affiliated tier ones. Originality/value - These intriguing results reveal an urgent need of investigating Japanese automotive supply chains from the suppliers' perspectives in the future research. This paper extended the literatures on competitive advantage and business relationships at both theory and managerial practice.

Uniform design for the optimization of Al2O3 nanofilms produced by electrophoretic deposition

Surface modification by means of nanostructures is of interest to enhance boiling heat transfer in various applications including the organic Rankine cycle (ORC). With the goal of obtaining rough and dense aluminum oxide (Al2O3) nanofilms, the optimal combination of process parameters for electrophoretic deposition (EPD) based on the uniform design (UD) method is explored in this paper. The detailed procedures for the EPD process and UD method are presented. Four main influencing conditions controlling the EPD process were identified as nanofluid concentration, deposition time, applied voltage and suspension pH. A series of tests were carried out based on the UD experimental design. A regression model and statistical analysis were applied to the results. Sensitivity analyses of the effect of the four main parameters on the roughness and deposited mass of Al2O3 films were also carried out. The results showed that Al2O3 nanofilms were deposited compactly and uniformly on the substrate. Within the range of the experiments, the preferred combination of process parameters was determined to be nanofluid concentration of 2 wt.%, deposition time of 15 min, applied voltage of 23 V and suspension pH of 3, yielding roughness and deposited mass of 520.9 nm and 161.6 × 10− 4 g/cm2, respectively. A verification experiment was carried out at these conditions and gave values of roughness and deposited mass within 8% error of the expected ones as determined from the UD approach. It is concluded that uniform design is useful for the optimization of electrophoretic deposition requiring only 7 tests compared to 49 using the orthogonal design method.

A közösségi versenyképesség elméleti keretei = Analytical framework to study competitiveness of communities

Tanulmányunk célja a versenyképesség közösségi beágyazottságának elemzéséhez alkalmas elemzési keretek bemutatása és a versenyképesség fogalmának elemzése a fogalom intézményi, normatív tartalma szempontjából. Célunk a közösségi versenyképesség fogalmának és az ezt elemezni képes megközelítés kidolgozása. A feladat kettős: 1. A versenyképesség értelmezése a döntések közösségi keretei szempontjából 2. A közösségi keretek versenyképességre gyakorolt hatásának elemzése Ennek érdekében a tanulmány első fejezetében az egyéni döntést meghatározó tényezőket és az egyéni döntések jövőbeli interakciók környezetére gyakorolt hatását elemző keretet vázoljuk fel. Megközelítésünk szerint az egyéni döntést négy tényező határozza meg. a közösségi környezet, a természeti környezet, s személyes jellemzők és az interakciós partnerek. Az ez alapján születő döntések formálják a jövőbeli döntési környezetet. A döntések hatásának elemzéséhez a környezetre gyakorolt hatások értékelését orientáló fogalomra van szükség. Elemzésünk esetében ez a fogalom az értékteremtés, amit a következőképp határozunk meg: az értékteremtő tevékenységek során valaki arra törekszik, hogy saját személyes céljait a másokkal való kölcsönösen előnyös együttműködések lehetőségeinek bővítésével, hozamainak növelésével szolgálja. A második fejezetben az egyéni döntések közösségi kereteit és az egyéni döntések közösségre gyakorolt hatását elemezzük részletesen. A formális és informális intézmények világát, a közösségi magatartásokat szabályozó normák és konvenciók rendszerét a következő öt – a valóságban gyakran keveredő - alapelemre bontjuk értékrend, konvenció, közösségi szabály, hivatalos előírás, egyének közötti megállapodás. Ezek közül a magánszereplők együttműködésének az érintett szereplők által módosítható intézményi elemeinek (konvenció, megállapodás) alkalmazkodása a leggyorsabb, a közösség egészét irányító formális intézmények a status quo iránti elfogultságuk miatt lomhábbak, míg a közösség életét informálisan befolyásoló normák a legstabilabb intézményi elemek. A közösségek változása általában lassú, legtöbbször nem szándékolt hatások következménye. Mindezek mellett a közösségi intézmények tudatos alakításában komoly szerepe van (1) a konvenciókat megújító intézményi innovátoroknak, (2) a szerződéses formulákon módosító vállalkozóknak és (3) a hivatalos előírások formálásába bekapcsolódó politikai szereplőknek politikai vállalkozóként, tisztviselőként, vagy közéleti résztvevőként. A harmadik fejezetben a versenyképesség fogalmát elemezzük, és ez alapján határozzuk meg a közösségi versenyképesség fogalmát. Megvizsgáljuk, milyen feltevésekkel él a fogalom a közösségi környezettel kapcsolatban, illetve milyen normatív elemei vannak a definíciónak. A vizsgálathoz a versenyképesség fogalmának egy lecsupaszított változatát használtuk. E szerint a versenyképesség valaki képessége értékteremtő módon bekapcsolódni a gazdasági munkamegosztásba úgy, hogy tevékenysége relatív hozama nem csökken. Az elemzés alapján a versenyképesség a közösségi környezet következő hét elemére épül: 1. A közösség tagjainak és a tagság tartalmának meghatározottsága; 2. a potenciális együttműködő felek közös múltja, jövője, konvenció- és normarendszere; 3. A gazdasági együttműködés intézményeinek (csere, vállalkozás, tulajdon, szerződés) működőképessége; 4. Az értékteremtés normatív koncepciója és az arra épülő részleteiben meghatározott, és részleteiben is közösségi legitimációval bíró szabályrendszer; 5. Az innovációt támogató és a kellően rugalmas értékrend és közösségi szabályok. 6. A gazdasági munkamegosztás igényeihez részleteiben és változásával is igazodó konvenciók, hivatalos előírások és szerződések; 7. A közösségi környezet tudatos alakításával foglalkozó szereplők (közösségi innovátorok, vállalkozók és politikai szereplők) motivációja és lehetősége a hozamok relatív szintjének tartását támogató intézményi környezet karbantartásában. A versenyképesség fogalmának intézményi elemzése rámutat, hogy a fogalom gazdag értéktartalommal és határozott közösségi intézményrendszer-képpel rendelkezik. A közösségi versenyképesség ez alapján a versenyképesség fogalmába kódolt közösségi környezetként határozható meg. A kutatás következő lépése a közösségi versenyképesség meghatározása, az azt befolyásoló mechanizmusok feltárása és javítását támogató elemzési eszközök, gyakorlati segédletek kidolgozása. Ezen feladatok előkészítése érdekében a tanulmány mellékletében két történelmi esettanulmányt mutatunk be, röviden áttekintjük a téma szempontjából releváns irodalom főbb eredményeit és bemutatunk egy praktikus alkalmazásra szánt normatív elemzési eszközt, mellyel az elemezhető, hogy az állami lépések mennyire bátorítják az értékteremtő vállalkozást. _________ This paper (1) introduces an analytical framework to study the impact of the community on competitiveness and (2) analyses the institutional and normative content in the concept of competitiveness. The goal is to elaborate an approach that supports the definition and analysis of the ‘competiveness of community’. This task has two main parts: 1. interpretation of competiveness from social choice perspective 2. assessing the impact of social settings on the competiveness of a community The first chapter of the study draws up an analytical framework to study the social factors of individual decisions and their impact on the environment of future interactions. We focus on four main factors that shape setting of future interactions: social environment, natural environment, personal characteristics and partners in interactions. We use the concept of value creation to assess the impact of individual decisions on these factors. The second chapter discusses the social factors of individual decisions and the impact of individual decisions on the community. Institutions are conceptualized as value systems, conventions, community rules, official rules and contracts in the study. The conventions and contracts can accommodate to the changes of environment more smoothly, formal institutions are less flexible due to their bias toward status quo. Informal rules and value systems resists change more frequently. The formation of social environment is usually slow and based on unintended effects. Altogether (1) innovators who revise social conventions, (2) entrepreneurs who reshape contracts and (4) political entrepreneurs who formulate formal rules have influential roles on the institutional setting. The third chapter discusses the social assumptions included into the definition of competitiveness and we give a definition for the competiveness of communities. A simplified definition of competitiveness is used for this analysis: competiveness is someone’s ability and motivation to participate in the economic division of labor in a way that is based on value creation and maintains the relative return of activities. Our analysis reveals that competitiveness assumes the following features of the community: 1. Defined membership of community: who are the members and what does membership mean. 2. Common past, future, convention and norm system of the potential participants of interactions 3. Functionality of institutions that facilitate division of labor (exchange, entrepreneurship, property, contract) 4. Existing normative concept on value creation and social accepted rules that govern interactions 5. Value system and rules that promote innovation 6. Conventions, official norms and contracts that fits to economic division of labor in a detailed and dynamic way 7. Motivation and potential of actors who shape social environment consciously to maintain institutions in order to sustain the relative return of economic activities This analysis shows that the concept of competitiveness assumes well established values and detailed expectations on institutional settings. Followingly, competiveness of community can be defined with these criteria of social environment. Two historical case studies and the draft of a policy oriented toolkit demonstrate the applicability of the introduced approach in the appendix. The core findings of the literature are also reviewed there.

Az erősödő állami szerepvállalás értékelése a magyarországi elektronikus hírközlő hálózati fejlesztésekben (Evaluation of the increasingstate’s rolein the electronic communications network development in Hungary)

Az elektronikus hírközlő hálózat rohamszerű fejlesztésének igénye az elektronikus szolgáltatások széles körű elterjedésével az állami döntéshozókat is fejlesztéspolitikai koncepciók kidolgozására és azok végrehajtására ösztönzi. Az (információs) társadalom fejlődése és az ennek alapjául szolgáló infokommunikációs szolgáltatások használata alapvetően függ a szélessávú infrastruktúra fejlesztésétől, az elektronikus hírközlő hálózat elérésének lehetőségétől. Az állami szerepvállalási hajlandóság 2011-től kezdődően jelentősen megnőtt az elektronikus hírközlési területen. Az MVM NET Zrt. megalapítása, a NISZ Zrt. átszervezése, a GOP 3.1.2-es pályázat és a 4. mobilszolgáltató létrehozásának terve mind mutatják a kormányzat erőteljes szándékát a terület fejlesztésére. A tanulmányban bemutatásra kerül, hogy az állam milyen beavatkozási eszközökkel rendelkezik az elektronikus hírközlő hálózat fejlesztésének ösztönzésére. A szerző ezt követően a négy, jelentős állami beavatkozás elemzését végzi el annak vizsgálatára, hogy megfelelő alapozottsággal született-e döntés az állami szerepvállalásról. _____ With the widespread use of the Internet, the need for the rapid development of the digital communication networks has prompted government policy makers also to conceptualize and implement development policy. The advancement of the (information) society and the use of information communication technology as a prerequisite of it are fundamentally determined by the development of broadband infrastructure and whether broadband access to the digital telecommunication network is available. The propensity of the government to play a bigger role in the field of electronical communication has increased significantly from 2011. The setup of MVM NET Zrt. / Hungarian Electricity NET Ltd./, the realignment of NISZ Zrt. / National Info communication Services Company Limited by Shares - NISZ Ltd./, the GOP 3.1.2. tender and the plan to enable a new, i.e. the fourth mobile network operator to enter the market all indicate the robust intention of the government to develop this field. The study shows the tools of government intervention for the incentive of the development of the electronical communication network. Then the author analyses the four main government interventions to examine whether the decision on the role of the state was adequately well-founded.