Human resource practices, unionization and the organizational efficiency of French industry

Organizational performance improves through several channels, including changes in efficiency, innovation and technological change. Most of the extant research has focused on overall performance, often measured by partial measures of productivity, with little attention given to the components of performance. The aim of this paper is to analyze the impact of HR practices and unionization on one important channel - organization efficiency - as measured by technical and scale efficiency. Using French industry survey data, the paper shows that HR practices do influence efficiency, but this is moderated by the existence of unions. The results show a rather complex set of associations. We find robust results that show that in France, HR practices have a positive effect on scale efficiency but this effect is dampened in the presence of unions. On their own, HRpractices have no effect on technical efficiency. However, some of the results suggest that HR practices can exert a positive influence when combined with unions.

Exchange rate exposure, foreign currency derivatives and the introduction of the euro: French evidence

We investigate the impact of the introduction of the Euro on exchange rate exposures for French corporations and examine the corporate use of foreign currency derivatives to hedge exchange rate exposure post-Euro. Our findings indicate that the introduction of the Euro is associated with both a reduction in the number of firms that have significant exchange rate exposure and the absolute size of exposure. Consistent with these reduced exposures, French firms use foreign currency derivatives less intensively. Furthermore, the use of foreign currency derivatives is found to be associated with lower exchange rate exposure but there is insufficient evidence that these instruments are more effective in the post-Euro environment.

Painting equality : female artists as cultural entrepreneurial marketers

Purpose – There is growing interest by marketers in historical accounts that paint early female artists as entrepreneurial marketers. The purpose of this paper is to challenge the traditional view of entrepreneurship to incorporate a feminist theory of cultural entrepreneurship by considering the role of two female artists.
Design/methodology/approach – Using calls for historical research and new methods of enquiry in marketing, this paper traces early female artists and applies modern entrepreneurial theory to their marketing methods to identify their innovation, adaptability to change and planned marketing approach.
Findings – The paper suggests that entrepreneurial marketing is fused with the artists’ persona resulting in their celebrated status being widely recognised. It contributes an important fresh body of knowledge to the wider entrepreneurship debate by offering a new model of cultural entrepreneurial marketing. The three concepts of innovation, adaptability and marketing approach have not previously been applied to link women artists as entrepreneurs, however, this article argues that there is plenty of evidence to do so.
Research limitations/implications – While these artists are Australian (which could be seen to be a limitation), the art market is indeed international. In this respect, these artists join a longer international history as producers and consumers involved in entrepreneurial organisations from early days.
Originality/value – The artists’ significance falls within the context of emerging modernism, feminism and cultural identity during the 1920s and 1930s in Sydney, Australia. It is combined with and explains the actions and the success of two female artists’ unusual marketing approach. It is of value to readers interested in historical context regarding equality in the visual arts.

`He hath the French pox` : stigma, social value and social exclusion

Goods and resources are finite, and social forces heavily pattern their distribution. One of the principal mechanisms for shaping the distribution of resources is by regulating entitlement to community membership itself. By restricting groups' membership of community, so access to social goods and resources diminishes, which in turn has a negative impact on the health and wellbeing of the excluded groups. It is argued here that community membership is determined on the basis of the perceived social value of groups and individuals and stigmatisation is the marking of individuals and groups who are 'unworthy' of social investment. Using the notion of reciprocity we show how groups may be stigmatised and socially excluded as a mechanism for protecting limited social resources from exploitation. This perspective provides an empirically testable framework for the understanding of stigma and social exclusion that goes beyond the largely descriptive work that currently populates the field. We illustrate the process of stigmatisation and social exclusion and discuss how this suggests new styles of intervention, as well as new directions for research.

Mural Painting

For my freshman Jan Plan at Colby I painted a mural in Runnals Union illustrating a William Blake poem. This effort began a four year painting project which I pursued my sophomore and junior years by finishing the Hall of the Machines in Runnals and by commencing the Paper Wall in Roberts. As a Senior Scholar, I've continued my undertaking by painting eleven more panels. Eight of these are in the Paper Wall and the other three are in the Spa in Miller Library. In my wallpainting up until this year my major interest has been in a strong two-dimentional design created by color juxtaposition. Over these two semesters I've developed a greater concern with the role of color value contrasts in achieving a sense of three-dimensional space. As one views my paintings in chronological order, he can see that gradually colors become less intense, value contrasts more effective, and subject matter becomes based on observation rather than imagination. Please judge my achievement solely on observation of the walls in these three rooms as this paper is only a very brief catalogue of works and the slides are not the best reproductions.