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Diversified trading networks have recently drawn a great deal of attention. In the process, the importance of diversity has perhaps been overemphasized. Using the trade in port wine from Portugal to Britain as an example, this essay attempts to show how a market once dominated by general, diversified traders was taken over by dedicated specialists whose success might almost be measured by the degree to which they rejected diversification to form a dedicated “commodity chain.” The essay suggests that this strategy was better able to handle matters of quality and the specialized knowledge that port wine required. The essay also highlights the question of power in such a chain. Endemic commodity-chain struggles are clearest in the vertical brand war that broke out in the nineteenth century, which, by concentrating power, marked the final stage in the transformation of the trade from network to vertical integration.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

The presence of mature masculinity is slowly reshaping contemporary action cinema in the twenty-first century. It is a phenomenon that rejects the unrealistic view that action heroes are embodiments of Apollo and Ares in human flesh. Instead, action heroes are viewed as flawed characters who cannot escape the realities of their corporeality, mortality and humanity. The following chapter is an examination of a particular type of action hero archetype that combines ageing with virtuous and mature masculinity. Here I use Tom Cruise's development and portrayal of Ethan Hunt in the Mission: Impossible series as a lens through which to highlight the presence of the virtuous and mature hero archetype in action cinema.

Cruise's representation of heroic masculinity is significant because it achieves three separate goals. First, Cruise's mature masculinity repudiates the hardbody model by showing its deficiencies as a male archetype. Second, it introduces a version of an action hero that emphasises the benefits of ageing and mature masculinity. Lastly, Cruise's onscreen presence redoubles the idea that heroic masculinity is motivated by a deep sense of morality, duty and a desire to serve the greater good. As the model of the mature and virtuous hero becomes more prevalent, as I argue, it not only reshapes action cinema but also produces cinematic representations of heroic masculinity that are more positive in terms of showing the importance of maturity, virtue, and public service.

Three themes dominate Hunting Causes. The first is that cause is a plural concept. The methods and metaphysics of causation, Cartwright believes, are context dependent. Different causal accounts seem to be at odds with one another only because the same word means different things in different contexts. Every formal approach to causality uses a conceptual framework that is “thinner” than causal reality. She lists a bewildering variety of approaches to causation: probabilistic and Bayes-net accounts (of, for example, Patrick Suppes, Clive Granger, Wolfgang Spohn, Judea Pearl, and Clark Glymour), modularity accounts (Pearl, James Woodward, and Stephen LeRoy), invariance accounts (Woodward, David Hendry, and Kevin Hoover), natural experiments (Herbert Simon, James Hamilton, and Cartwright), causal process accounts (Wesley Salmon and Philip Dowe), efficacy accounts (Hoover), counterfactual accounts (David Lewis, Hendry, Paul Holland, and Donald Rubin), manipulationist accounts (Peter Menzies and Huw Price), and others. The lists of advocates of various accounts overlap. Nevertheless, she sometimes treats these accounts as if they were so different that it is not clear why they should be the subject of a single book. And she fails to explain what they have in common. If, as she apparently believes, they do not have a common essence, do they have a Wittgensteinian family resemblance? She fails to explore in any systematic way the complementarities among the different approaches – for example, between invariance accounts, Bayes-nets, and natural experiments – that frequently make their advocates allies rather than opponents.

With three credited scriptwriters and five credited directors, the 1967 release of Casino Royale saw a gang of multifaceted James Bond 007s facing off against an army of beautiful, hypersexualised, personality-less female spies, headed by the real James Bond’s neurotic, insecure, American nephew Jimmy. Perhaps this wasn’t Fleming’s intended storyline for Bond’s first outing at Casino Royale, but the resulting parodic outing absorbed and commented upon some of the inherent gendered archetypes of Fleming’s work. What the 1967 Casino Royale accomplishes is a narrative which contrasts varieties of masculinity which are segmented forms of the masculinity defined by Fleming’s Bond. This chapter compares the masculinity of Bond developed in Fleming’s novel, before examining the representations of masculinity inherent within the four key male characters: Sir James Bond (David Niven), Evelyn Tremble (Peter Sellers), Cooper (Terence Cooper) and Dr Noah/Jimmy Bond (Woody Allen). By showing the depictions of masculine elements each of these characters embodies, along with the metanarrative elements of each performer’s persona, this chapter aims to identify how the 1967 Casino Royale both faithfully depicts the masculine elements of Bond while at the same time satirizing Bond’s particular brand of masculinity. This examination ultimately argues that this segmentation of Bondian masculinity is the core point of cohesion in a deeply incoherent, parodic film adaptation of Fleming’s novel.

In 1993, inspired by Sansone's (1998) book on the origin of sport, I speculated about sport mascots and cultural performance in an article published in the Journal of Sport & Social Issues (Sydnor-Slowikowski, 1993). It was a tentative piece that combined some of Sansone's ethological thesis with performativity/performance studies to contemplate contemporary collective/social authenticity, imperialist nostalgia and to critique racist ideologies linked to sport mascots, such as that of Chief Illiniwek, the University of Illinois’ stereotyped mascot of a mythical Native American.

I briefly trace the development of Mackenzie’s work, spanning nearly four decades, against the backdrop of changes in university business administration teaching and research programs over the last 40 years or so. It is argued that his work is clearly processual and applied, integrates process with a number of different kinds of levels, and joins a number of other processual approaches different than his own to move beyond current mainstream Newtonian-based, “reality as a concrete structure,” organizational study emphases. Mackenzie’s and other processual work is discussed within tipping point (“that magic moment when an idea, trend, or social behavior crosses a threshold, tips and spreads like wildfire,” Gladwell, 2002, back cover) and dynamic systems notions (Sterman & Wittenberg, 1999) to predict the likelihood of these works’ reaching such a tipping point and ultimately becoming a crucial part of mainstream organizational studies. It is proposed that the ideas discussed above be incorporated into a formal dynamic systems model, along the lines of Sterman and Wittenberg’s.

This chapter focuses on how retailers can do the right thing and be successful at the same time, particularly in the light of technological innovation. Service dominant logic (SDL), with the notion of operant and operand resources as a means to connect the retailer to the customer, provides a framework for the chapter. Normative decision making is presented as a necessary ethical and practical mindset to solve problems, and we illustrate the relationship between normative decision making and value. Value becomes the ultimate outcome to the customer that will allow for sustainable retailing into the future. Utilitarian value and hedonic value are presented and elaborated upon to show how companies and consumers come together to transform resources into value through service. Sections are included showing how value delivery will evolve into the future and what mix of value will be necessary so that retailing can see continued success.