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Pervasive forms of worldwide communication now connect us instantly and constantly, and yet we all too often fail to understand each other. Rather than benefiting from our globally interconnected reality, the world continues to fall back on divisiveness, a widening schism exacerbated by some of the most pronounced divisions in history along lines of wealth, culture, religion, ideology, class, gender, and race. Cross-cultural dynamics are rife within multinational organizations and among people who regularly work with people from other cultures. This chapter reviews what we know from our scholarship on cross-cultural interaction among expatriates, negotiators, and teams that work in international contexts. Perhaps more important, this chapter outlines what we need to learn – and to unlearn – to be able to see diversity as an asset in helping individuals, organizations, and society to succeed rather than continuing to understand it primarily as a source of problems.

In “the century of culture,” a current drift is toward utilizing cultural heritage branding. Cultural heritage brand referred to in this study means a brand with value proposition based on cultural heritage. As Asian cultures are gathering global focus amid ongoing trend of exoticism and the growth of Asian economies, there is more opportunity especially for Asian brands to benefit from cultural heritage branding. Also, the advantages of cultural heritage branding can benefit fashion brands, considering that designs of great importance in fashion brand's competitiveness can earn creativity and originality from cultural heritage.

Therefore, this study (1) profiles cultural heritage fashion brands based on Asia: Japan, China, and Korea, (2) identifies components of cultural heritage fashion branding by comparative analysis, and (3) identifies characteristics in brand management strategy from the brands, and offer managerial implications for upcoming cultural heritage fashion brands.

This study adopts a case study approach that focuses on Asian fashion brands; Issey Miyake (Japan), Shanghai Tang (China), and Damyeon designed by Lee Hye Soon (Korea). The analytical contents of this research include general profiles (i.e., brand history, brand philosophy and concept, and BI and visual representation), cultural heritage perspectives and brand management perspective (i.e., product, price, place, promotion, and brand extension). Most of the information was retrieved from multiple sources including books, academic papers, brand's annual report, brand official website, news articles, etc.

Overall, this study shows cultural heritage fashion branding can be useful in distinctiveness in positioning and delivering brand value in depth, authenticity, and credibility for customers (Urde, 2007). The findings suggest some managerial as well as cultural heritage-related indications for upcoming cultural heritage fashion brands.

Although common components of cultural heritage fashion branding (i.e., utilization of traditional prototype, emphasis on traditional fabric, and preservation of traditional craftsmanship) were drawn out, achieving optimal balance between tradition and modernity was found critical as well. Managerial guidelines include foreign brand naming, premium pricing, art-related promotions, and extension for a total lifestyle brand. In further research, the type of industry and different country-of-origins can be applied in order to extensively study about the issue of cultural heritage branding.

The aim of this chapter is to: (1) model culture as a configuration of multiple values, (2) identify different culture archetypes across the globe, and (3) empirically demonstrate heterogeneity in culture archetypes within and across 52 countries. We use Schwartz values from the World Values Survey (WVS) and the archetypal analysis (AA) method to identify diverse culture archetypes within and across countries. We find significant heterogeneity in culture values archetypes within countries and homogeneity across countries, calling into question the assumption of uniform national culture values in economics and other fields. We show how the heterogeneity in culture values across the globe can be represented with a small number of distinctive archetypes. The study could be extended to include a larger set of countries, and/or cover a broader range of theoretically grounded values than those available in the Schwartz values model in the WVS. Research and practice often assume cultural homogeneity within nations and cultural diversity across nations. Our finding of different culture archetypes within countries and similar archetypes across countries demonstrates the important role of culture sharing and exchange as a source of reducing cultural conflicts between nations and enhancing creativity and innovation through interaction and integration in novel ways. We examine culture as a configuration of multiple values, and use a novel AA method to capture heterogeneity in culture values within and across countries.

Case study research frequently includes collecting and interpreting stories individuals tell about their lives and event that they believe that they know about. Chapter 3 discusses storytelling theory and describes case study research in consumer behavior of stories that consumers tell about buying and using products and services. Storytelling is pervasive through life. Much information is stored, indexed, and retrieved in the form of stories. Although lectures tend to put people to sleep, stories move them to action. People relate to each other in terms of stories — and products and brands often play both central and peripheral roles in their stories. To aid storytelling research in consumer psychology, this chapter develops a narrative theory that describes how consumers use brands as props or anthropomorphic actors in stories they report about themselves and others. Such drama enactments enable these storytellers to experience powerful myths that reflect psychological archetypes. The chapter includes findings from case study research that probes propositions of the theory. Implications for consumer psychology and marketing practice follow the discussion of the findings.

This chapter examines the problem of teacher education as it unfolds in the Indian context. It focuses on the historical and cultural context in which teachers’ attitudes and identities develop. Attention is particularly paid to contextual factors that frame teachers’ actions beyond individual intentions. Possibilities for breaking these frames and engaging in new alternatives for action are imagined. An historical approach is employed to understand teachers’ current pedagogical beliefs and action, and its future orientation.

The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.