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This chapter describes a case study of a multidisciplinary approach to the complex social issue of teaching English to multilingual tertiary students in a pluralistic context. It does this by advancing an innovative multilingual pedagogy combining specific aspects of Commedia dell’Arte (Di Niro) and translanguaging (Viljoen) to cross boundaries between languages and cultures for effectively teaching. This is achieved through an examination of Di Niro’s course structure, written reflections and observations of teaching students “English for Business Studies” at the University of South Australia (UniSA). Reflections are arranged and interpreted around three themes: multilingualism, game play, and physicality/embodied learning. Following O’Neill and Viljoen (2021, p. 1), the authors argue that “such reflection is not simply contemplative, but involves dynamic, transforming and reflexive processes of accessing” the lived-experience of language and culture of the teacher and students in an engaged and responsive learning dialogue. Commedia dell’Arte includes multilingualism, improvisation, gesture, role-play and extending students to develop socio-political dialogue. Translanguaging involves foregrounding and affirming the home language of multilingual students of English while also developing their English. Blending these methodologies and methods enables the authors to simultaneously address practical and theoretical aspects of teaching in a multilingual classroom.

The accountant has been characterised in popular culture as dull and boring. Accounting scholarship consistently describes this stereotype as negative. The purpose of this research is to enhance our understanding of this stereotype by comparing the characterisation of the accountant found in contemporary jokes with a similar characterisation found in commedia dell'arte, which is a form of improvisational theatre.

This research employs netnography to identify the stereotype of the accountant portrayed in jokes on social networking sites. To enrich our understanding of the stereotype of the characterisation of the accountant in contemporary jokes, it is compared with the characterisation of il dottore, the stock character of the professional man in commedia dell'arte.

The characterisation of the accountant in contemporary jokes is consistent with characterisations of the accountant in other areas of popular culture, confirming that the stereotype is widely entrenched in popular culture. Contemporary jokes provide a more detailed characterisation than previously identified in accounting scholarship. Since the stereotype of il dottore in commedia dell'arte resembles the stereotype of the accountant as portrayed in contemporary jokes, studying commedia dell'arte provides an approach that enhances our understanding of the characterisation of the accountant in popular culture.

The contribution of this research to accounting scholarship is the deployment of commedia dell'arte to capture the essence of the stereotype of the accountant as portrayed in popular culture. Extending the definition of popular culture to include contemporary jokes brings a unique use of netnography to accounting scholarship.

This paper explores the stereotype of the accountant in Florentine medieval popular culture based on literary works and from a historical perspective. It aims to highlight how stereotypes change with time and represent the cultural and historical evolution of a society. This research challenges Miley and Read (2012), who stated that the foundation of the stereotype was in Commedia dell'arte, an Italian form of improvisational theatre commenced in the 15th century.

The authors applied a qualitative research method to examine the accountant from a medieval popular culture perspective. The analysis consists of two phases: (1) categorisation of the accountant stereotype based on accounting history literature and (2) thematic analysis of The Divine Comedy (1307–1313) and The Decameron (1348–1351). The authors explored a synchronic perspective of historical investigation through a “cross-author” comparison, identifying Dante Alighieri as the first key author of medieval popular culture. During his imaginary journey through The Divine Comedy, Dante describes the social, political and economic context of the Florentine people of the 14th century. Then, with its various folkloristic elements, The Decameron of Giovanni Boccaccio becomes the “manifesto” of the popular culture in the Florentine medieval times.

This study shows the change of the accountant stereotype from the medieval age to the Renaissance. The Divine Comedy mainly connotes a negative accountant stereotype. The 14th century's Florentine gentlemen (“i galantuomini”) are apparently positive characters, with an ordered and clean aspect, but they are accused of being usurers. Dante Alighieri pictures the accountant as a “servant of capitalism”, “dishonest person, excessively fixated with money”, “villain and evil” and “excessively rational”. Giovanni Boccaccio mainly portrays a positive accountant stereotype. The accountant is increasingly more reliable, and this “commercial man” takes a more prestigious role in the society. In The Decameron, the accountant is depicted as a “hero”, “gentleman”, “family-oriented person with a high level of work commitment” and “colourful persona, warm, and emotional”. Overall, the authors provided new evidence on the existence of the accountant stereotype in the Florentine medieval popular.

This study engages with accounting history literature accountants' stereotypes in an unexplored context and time period, providing a base for comparative international research on accounting stereotypes and popular culture. Additionally, it addresses the need for further research on the accountant stereotype based on literary works and from a historical perspective. Therefore, this research also expands the New Accounting History (NAH) literature, focussing on the investigation of the accountant stereotype connotations in the 14th century.

A television comic announces a satiric Golden Fleece Award for the faux pas of some government official. The San Diego Chicken hams it up in the stands of the baseball park. A Swiss mime troupe advertises the services of a communications corporation. All these may be more familiar to young people today than is a circus clown. These and other entertainers are all in the business of laughter and provide commentaries on current society.

The strictest definition of teaching and learning is no longer what it used to be with innovation becoming an important component of classroom teaching. The fact that classroom teaching has moved beyond the walls and to the homes of students confined to hand-held device or their computer is in itself a rare feat that academics couldn’t imagine even a few years ago. Innovation in teaching and learning is bringing qualitative change in higher education along with quantitative expansion. Changes are essential part of teaching and learning as it helps in improving the quality and equity in creating learning opportunities for students. Teaching and learning have been undergoing rapid changes and is never considered to be a change averse sector; however, in certain parts of the world, the acceptance toward change has been very slow and they are lagging behind in adopting technology, improving efficiency, and productivity and the quality standard of education.

The book volume highlights some interesting interventions practiced around the world by higher education instructors who were forced to make necessary changes in the conversion from face-to-face instruction to the use of online and virtual platforms owing to COVID pandemic. Instructors took help of modern technology and used virtual exchange platform to create meaningful classroom discussions and lively interactions between learners and faculty. Quality assurance was a priority with regular monitoring of students’ interaction, performance, and involvement in a class. Changes in a conventional way of teaching are the need of the hour and technology is expected to bring some radical improvement in this field.

The purpose of this paper is to critically review the research literature on training interventions to increase the workplace application of improvisation.

A literature review was undertaken, work was considered in light of research methodology (qualitative, quantitative and discussion) and themes were identified and coded in Nvivo.

Although there is a substantial body of research on improvisation as a workplace phenomenon, there is only limited empirical research on the workplace application of improvisation training.

Further research is needed in the field, specific recommendations are made.

This paper provides an in-depth briefing on the current state of the literature for trainers and HR professionals who are considering the merits of using improvisation training in their workplace.

Mintzberg (1973) suggested that up to 90 per cent of managerial behaviour is improvised. This paper provides a new depth of understanding on the workplace application of improvisation training and the paucity of knowledge in the field.

Processes of novelty generation and adoption have received much more attention than novelty evaluation. This paper explores the internal processes enacted by organizations to recognize and assess novel ideas for further implementation by focusing on the role that artifacts play in identifying the creative potential of an idea versus another one. Our empirical study focuses on the evaluation of novelty in the form of new experiences and builds on the analysis of two highly creative organizations, elBulli restaurant, led by chef Ferran Adrià, and the Italian Drama Academy Nico Pepe. We find that organizations implement three distinct processes to evaluate the novelty of ideas: analyzing, structuring, and formalizing. In these processes, artifacts play a key role in making novel ideas tangible by anticipating audiences’ reactions, integrating the novelty generated into an organizational corpus of knowledge, and consolidating novel ideas for future applications. Our results show that these processes take place iteratively in all phases of the idea’s journey, increasingly leading to the collective identification and assessment of novelty.