Search results

Across the world, the concept of social entrepreneurship is taking off. It is globally called as unconventional economic institutions in the era of neoliberalism. But, as everyone celebrates the advent of social entrepreneurship, there's an important question that must be answered: why the sudden spotlight upon it? Over the last two decades, there has been growing focus on social entrepreneurship. Social entrepreneurship is an attempt to re-embed social and ethical dimensions within the neoliberal paradigm. As a neoliberal actor par excellence, the social entrepreneur is reoriented to confidently mediate in society, to do good for those at the bottom of pyramid. The term ‘entrepreneurship’, in the capitalist model, signifies the capacity for wealth creation, the ability to maximize profit for the self and, for shareholders, an extremely competitive market. However, the prefix ‘social’ indicates responsibility towards the collective, and values of solidarity and cooperation. Social entrepreneurs invariably carry the weight of the economic and political predicaments of the modern world; they are the descendants of neoliberal entrepreneurship, yet at the same time they confront some of its foundational pillars. In this chapter, the authors attempt to understand how a social entrepreneur mobilizes a series of values that articulate an alternate imagining of the neoliberal global order.

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.

Randy Pitman, an eloquent critic of librarians' print bias, has publicly noted a fact that should be obvious: referring to audiovisual materials in terms of what they are not (e.g., “non‐book materials”) automatically affords them second‐class status. Another media activist, Don Roberts, asserts that many selectors of multimedia library materials consider them to be “frivolous, secondary, or just plain negligible in content by comparison with printed materials.” In an article published twelve years ago which offered practical suggestions for overcoming “ingrained and inherent ‘printism,’” he listed alternative media producers and distributors, noted review sources outside the standard library literature, and provided other ideas for countering “the mistaken belief that you are required to leave your high‐fidelity, sensory‐aware self at home, or in your car, or at the concert hall, when you go to work at the library.” Today, he still finds “people who continue to specialize in formats, sentimentalize them, and try to perpetuate this or that medium as the pinnacle of consciousness…sometimes denying others access to formats which might be more appropriate to them in the process.” We are all multimedia beings, Roberts says: There is no way that books alone will enable us to “transform, inspire, and enliven.” Compiled with those thoughts in mind, the following annotated list of media producers and distributors which specialize in social issues—ethnicity, labor, peace, environment, and human rights, to name a few—primarily emphasizes independent and less well‐known media productions. Also worth noting are review sources like Angle—a publication covering work by women filmmakers (P.O. Box 11916, Milwaukee, Wl 53211, 414–963–8951; $20 individual, $30 institutional), Black Film Review (P.O. Box 18665, Washington, DC 20036; $12 individual, $24 institutional), and the lesbian/gay‐oriented Out in Video (Persona Press, Box 14022, San Francisco, CA 94114; $10).

This, the ninth annual survey of American history reference sources, comprises reviews of twenty 1985 imprints. The largest categories are bibliographies and encyclopedias (in which there are, respectively, five and four entries), followed by atlases, collective biographies, and dictionaries (two each), and one each of the following: a chronology, a directory, a document collection, a reference guide, and a statistical compendium.