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Three decades of academic and professional discourse on HR technologies (HRTs) have produced continued disagreement over construct definitions and research streams that are highly fragmented. These realities suggest that greater consistency in meanings is sorely needed if we are to integrate and upgrade knowledge in this area. This chapter draws on the findings of a systematic research review to properly define the content domains of human resource information systems (HRIS), virtual human resources (virtual HR), electronic human resource management (e-HRM), and business-to-employee (B2E) systems. An integrative synthesis was performed on 242 system-level writings that appeared in the literature from 1983 to 2017. The weight of the evidence strongly supports treating HRIS, virtual HR, e-HRM, and B2E systems as independent, complimentary constructs. While the first three comprise a firm’s HRT system, the fourth construct is more appropriately positioned in the business-collaborative system. The sample was further evaluated with an analytic framework to detect patterns of practice in research designs. This revealed that much more attention has been focused on system actions and outcomes than on attitudes and system characteristics. Different units of analysis were well represented aside from trans-organizational studies. Finally, a case is made for better contextualizing HRT research by recognizing differences in assimilation stage, functional penetration, and collective proficiency. These factors are rarely mentioned, let alone studied, raising additional concerns about measurement error. Detailed suggestions are offered on ways to incorporate them. Together, these materials should promote more sophisticated and generalizable assessments of technology, improving our ability to understand its impacts.

As numerous scholars have noted, the law takes a strikingly incoherent approach to adolescent reproduction. States overwhelmingly allow a teenage girl to independently consent to pregnancy care and medical treatment for her child, and even to give up her child for adoption, all without notice to her parents, but require parental notice or consent for abortion. This chapter argues that this oft-noted contradiction in the law on teenage reproductive decision-making is in fact not as contradictory as it first appears. A closer look at the law’s apparently conflicting approaches to teenage abortion and teenage childbirth exposes common ground that scholars have overlooked. The chapter compares the full spectrum of minors’ reproductive rights and unmasks deep similarities in the law on adolescent reproduction – in particular an undercurrent of desire to punish (female) teenage sexuality, whether pregnant girls choose abortion or childbirth. It demonstrates that in practice, the law undermines adolescents’ reproductive rights, whichever path of pregnancy resolution they choose. At the same time that the law thwarts adolescents’ access to abortion care, it also fails to protect adolescents’ rights as parents. The analysis shows that these two superficially conflicting sets of rules in fact work in tandem to enforce a traditional gender script – that self-sacrificing mothers should give birth and give up their infants to better circumstances, no matter the emotional costs to themselves. This chapter also suggests novel policy solutions to the difficulties posed by adolescent reproduction by urging reforms that look to third parties other than parents or the State to better support adolescent decision-making relating to pregnancy and parenting.

The term Canterbury Sound emerged in the late 1960s and early 1970s to refer to a signature style within psychedelic and progressive rock developed by bands such as Caravan and Soft Machine as well as key artists including Robert Wyatt and Kevin Ayers. This chapter explores Canterbury as a metaphor and reality, a symbolic space of music inspiration which has produced its distinctive ‘sound’.

Drawing on ethnographic fieldwork, particularly observations and interviews with music artists and cultural intermediates (Bourdieu, 1993), we suggest that the notion of the Canterbury Sound – with its affinity for experimentation, distinctive chord progressions and jazz allusions in a rock music format – is perceived as a continuing artistic and aesthetic influence. We interpret the genealogy of the Canterbury Sound alternativity through discussions focused on the position of the ‘Sound’ within contemporary heritage discourses, the metaphorical and geographical implications of place in relation to popular music, and cultural longevity of the phenomenon.