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Three types of industrial buyer-seller relational process models are available: joining theory, stage theory, and state theory. However, historically, these models have developed based on the knowledge and cultural context of the Western world. Several researchers note that national culture may have an impact on international industrial buyer-seller relationships. Including culture in the models is highly important, especially as the business environment is increasingly more global and different countries have different business cultures. The goal of this paper is to define the most suitable industrial buyer-seller relational process models for describing relationships in various contexts. The paper includes a through literature review and a single case study in order to reach this objective. A new state theory model evolved during the research. It consists of two beginning states: searching and starting; four purely middles states: constant/static, decline, growth, and troubled; and a purely end state: termination. The state of dormant/inert is both a middle state and an end state, that is, when the relational actors are not in contact does not mean that the relationship has ended, but instead, for example, new legislation may have been implemented, which requires the actors to evaluate their relationship and its future. A relationship goes through the two beginning states in the order mentioned above, but after that, any state may occur.

There are two leading paradigms about the power balance between multinational corporations (MNCs) and states. The MNCs in Command approach takes the perspective that MNCs dominate states. The States in Command perspective assumes that states lord over MNCs. Each perspective suffers from noteworthy flaws. I advocate a modified bargaining power (MBP) approach to understanding the relative power of MNCs and states. I test the value of this approach by examining Microsoft's experience in China between 1987 and 2004. My study shows that that a MBP approach sheds considerable light on the aforementioned case, whereas the two leading paradigms do not.

The dislocation between what people are and what they have to do produces an erosion in values, dignity, spirit, and will (Maslow, Stephens, and Heil (1998)). For educators in the new millennia, these are trying times. The lack of prestige and autonomy combined with exponentially increasing demands contributes to the high rate of attrition, stress, and burnout. To stay the course and remain vibrantly engaged in the profession will require an extraordinary degree of self-care. This chapter offers a lens for viewing systemic factors affecting the educational landscape and underscores the need for educators to employ individual and collective strategies to preserve health and well-being.

Two interrelated theoretical schemes on leadership are presented in this paper. One is the Chinese CPM leadership behavior model, and the other, the Chinese implicit leadership theory. The CPM model recognizes three factors: Moral Character (“C” factor), Performance (“P” factor) and Maintenance (“M” factor). The Chinese implicit theory on leadership differentiates four trait factors: Personal Morality, Goal Efficiency, Interpersonal Competence, and Versatility. As such, it corresponds well with the CPM theory’s three-factor model. Both of these studies point to the salience of a cultural aspect. It has been demonstrated in the Chinese cultural context that the Chinese still place key importance on the moral character of their leaders and their behavior.

This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.