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To date, managing intellectual capital has focussed on maximising possibilities to create knowledge, while minimising chances of losing knowledge. However, effective intellectual capital management should consider another dimension: orphan knowledge. Orphan knowledge relates to questions such as: Do organisations “unlearn” things or forget things and repeat past mistakes? Do some organisations unnecessarily duplicate equivalent activities within different areas of the organisation? If orphan knowledge exists, then organisations need to understand their potential for creating orphan knowledge. This paper defines orphan knowledge, and provides evidence of its potential by developing various scenarios and relating case‐study analysis from a sample of Australasian organisations. Indications are that even in organisations considered current “best practice” in managing intellectual capital, there is a medium to high potential for orphan knowledge to be created. Future research will determine whether different knowledge types, namely explicit versus tacit knowledge, have differing potentials for knowledge orphaning. Further research will consider the chief knowledge officer’s role in preventing and recovering organisation orphan knowledge.

To date knowledge management within learning organizations has focussed upon maximizing possibilities to create knowledge while minimizing the chances of losing knowledge. However, knowledge management needs to consider a third option: dealing with orphan knowledge. There are situations where organizations forget things and repeat past mistakes. Do organizations really “unlearn” or just merely forget? In answering in the affirmative to this question, various scenarios are presented which may lead to creating orphan knowledge, knowledge forgotten, separated, or isolated within the organization. Orphan knowledge management needs to consider different knowledge types and their ease or otherwise of becoming orphaned. Orphan knowledge management should begin with a status assessment of the organization’s true “knowledge position”. Processes of orphan knowledge recovery or the development of strategies to minimize orphan knowledge should play a significant part in any organization’s strategic knowledge management plan. Within this context the role of the chief knowledge officer is seen as an important part of this strategic knowledge management plan.

Contends that the current treatment of intellectual capital possessed by organizations (either knowledge intensive or otherwise) has been somewhat superficial. For instance, the terms “intellectual” assets and “intangible” assets have often been used interchangeably, although a case can be made that there are differences between these two groups of assets. To date there has been too much focus on intellectual assets – and to some extent an implied equivalence between intellectual assets and intellectual capital. Considers the issue of the other factor within the intellectual capital equation, namely, intellectual liabilities. For if double entry is to apply in the area of intellectual capital then with every debit (in the sense of a building up) there should also be allowed the possibility of a credit (in the sense of a reducing down). In fact intellectual capital is more appropriately derived as a net figure (subtracting intellectual liabilities from intellectual assets) rather than a mere summation of the organization’s identified intellectual assets. Whether or not actual absolute values can be derived is also considered questionable.

“Consumerism”, for want of a better description, is given to the mass of statutory control (which shows no sign of declining) of standards, trading justice to the consumer, means of redress to those who have been misled and defrauded, advice to those in doubt; and to the widespread movement, mostly in the Western world, to achieve these ends.

This paper aims to analyse how both Lin’s birthplace identity and his Christian identity contributed to his fruitful public career and to ascertain which identity became the most significant.

Archival research is the main method used in this paper. The most important archives drawn from are the Daniel Tse Collection in the Special Collection and Archives of the Hong Kong Baptist University Library. Oral history has also been used in this paper to uncover more material that has not yet been discussed in existing scholarly works.

This paper argues that although Lin’s birthplace identity and social networks helped him to start his business career in Nam Pak Hong and develop into a leader in the local Chaozhou communities, these factors were insufficient to his becoming a respectable member of the Chinese elite in post-war Hong Kong. He became well known not because of his leading position in local Chaozhou communities or any great achievement he had obtained in business but because of his contribution to the development of Christian education. These achievements earned him a reputation as a “Christian educator”. Thus Lin’s Christian identity became more important than his birthplace identity in contributing to his successful public career.

This paper has value in showing how Christian influences interacted with various cultural factors in early Hong Kong. It also offers insights into Lin’s life and motivations as well as the history of the institutions he contributed to/founded. It not only furthers our understanding of the Chinese Christian business elite in early Hong Kong but also provides us with insights when further studying this group of people in other British colonies in Asia.

Alongside the ubiquitous computer games apparently the marketing success of the 1992 toy season was a series of 25 year old puppets who had featured in a repeat showing of the orginal ITV series on BBC — Thunderbirds — more than 70 franchises have been sold to sell goods marked with the International Rescue logo and it is alleged that these products are even bigger than the previous smash marketing hit the Teenage Mutant Ninja turtles, saving thousands of jobs and making substantial profits for the British toy industry. The characters are licensed for right‐owners ITC (originally the international marketing arm of ATV, the ITV company which put out the programme, and now an independent company, ATV having long since lost its ITV franchise) by Copyright Promotions, Europe's largest licensing company (‘Thunderbirds are go to save the toy industry’ Sunday Telegraph 15/11/92).

DECEMBER sees the close of the presidency of Lionel R. McColvin. Few men in the record of the Library Association have more deserved the eminence the office affords and the feeling is aroused that it is all too brief a tenure. None has used twelve months to more useful purpose. He presided over the Annual Conference with dignity and conducted the unfortunate Annual Business Meeting with a fairness that was scrupulous. He has given several public addresses, a notable one being that at the Manchester Public Library Centenary which may be read in The Manchester Review (Autumn, 1952); has served on at least one Government committee, has opened libraries, unveiled the L.C.C. tablet to William Ewart; has found time to address various branch and divisional meetings of librarians, to serve on the N.C.L. Executive Committee, to sign the Fellowship certificates of successful candidates and, of course, has presided over every meeting of the L.A. Council and, we understand, with such success that complete harmony ruled in that very miscellaneous body. He passes on his office with honour and with our gratitude.

Ich habe genug (I have enough) BWV 82 is one of the best known, most regularly performed and consistently recorded of J.S. Bach's approximately 200 extant sacred cantatas. ¹ In the text, by an anonymous author, the narrator repeatedly expresses their readiness to die, in faith that they will be received by their saviour in eternal life. The whole cantata expresses a fearless ‘longing for death’ (Schweitzer, 1911/1966, p. 114), coupled with a serene contentment. Bach's setting of this text for religious purposes not only supports the sentiments expressed by the narrator but colours, illuminates, vitalises and elevates it in ways that startle the ear, quicken the spirit and stir the imagination. In the third and final aria of the cantata, Bach employs an almost-jaunty dance rhythm to accompany the narrator's anticipatory delight in their own death, liberated from worldly and bodily suffering. After identifying some of the ingenious ways Bach animates the text, I offer some speculations and elaborations as to how and why this work has had such an enduring presence in the Western musical canon, for believers and non-believers alike.