Search results

Religious institutions can affect organizational practices when employees bring their religious commitments and practices into the workplace. But those religious commitments function in the midst of other organizational factors that influence the working out of employees’ religious commitments. This process can generate varying outcomes in organizational contexts, ranging from a heightened effect of religious commitment on employee behavior to a negligible or nonexistent influence of religion on employee behavior. Relying on social identity theory and schematic social cognition as unifying frameworks for the study of religious behavior, we develop a theoretically informed approach to understanding how and why the religious beliefs, commitments and practices employees bring to work have varying behavioral impacts.

The purpose of this paper is to describe the use of a test artifact proposed by NIST to quantify the dimensional accuracy of a metal additive manufacturing process. Insights from this paper are given concerning both the performance of the machine, a concept laser Mlab cusing machine, and the applicability of the NIST test artifact in characterizing accuracy. Recommendations are given for improving the artifact and standardizing a process for evaluating dimensional accuracy across the additive manufacturing industry.

Three builds of the NIST additive manufacturing test artifact were fabricated in 316 stainless steel on a concept laser Mlab cusing machine. The paper follows the procedure described by NIST for characterizing dimensional accuracy of the additive process. Features including pins, holes and staircase flats of various sizes were measured using an optical measurement system, a touch probe and a profilometer.

This paper describes the accuracy of printed features’ size and position on the test artifact, as well as surface finish on flat and inclined surfaces. Trends in variation of these dimensions are identified, along with possible root causes and remedies. This paper also describes several strengths and weaknesses in the design of the test artifact and the proposed measurement strategy, with recommendations on how to improve and standardize the process.

This paper reviews a previously proposed design and process for measuring the capabilities of additive manufacturing processes. It also suggests improvements that can be incorporated into future designs and standardized across the industry.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.

Purpose – This chapter aims to present an overview of what constitutes child murder, including definitions, history, prevalence, risk factors, offender motivations, and theoretical understanding.

Design/methodology/approach – The author uses secondary data from the National Incident-Based Reporting System, Uniformed Crime Reports, and Vital Statistics to show comparisons with previously conducted research. This allows for an overview of child murder.

Findings – There are numerous inconsistencies due to methodological issues. It is hard to find studies where a large sample was used. Definitions of child vary between studies, as does the age categories used. In addition, child homicide is predicted to be grossly underrepresented due to lack of communication between agencies, lack of formalized training, lack of a formalized classification system, and lack of reporting.

Originality/value – Research on child homicide can be instrumental in many areas including policy creation, implementation, and evaluation. It can serve as a benefit for those attempting to provide preventative measures. It may also help law enforcement with investigation. It is only through continued analysis of these types of cases and vigilant research, policy, and practice that society can more effectively protect young children from exposure to potentially murderous outcomes.

Purpose: Death is a universal inevitability of life, though parents and adults often report difficulty or concerns about discussing the topic with children. This investigation reports on how parents of very young children (ages 3–6) have or would discuss death with their child, and what parents consider in navigating such discussions.

Methodology: In-depth interviews were conducted with parents (N = 24) of very young children (ages 3–6) to develop a grounded theory of parents actual and anticipated approaches to discussing death with children.

Findings: Parents generally described either seeking to protect children’s “innocence” by avoiding or limiting conversations of death, or, seeking to promote children’s socioemotional competence in confronting the complexities of death through more extensive discussions. We identified four factors we hypothesize may influence parents intended strategies for navigating these approaches: (1) parents’ past and current experiences related to death, (2) children’s exposure to deaths, (3) cultural and personal beliefs about death, and (4) parents’ knowledge and awareness of their child’s cognitive competences. While protection of children’s “innocence” and cultivation of children’s socioemotional competences are not opposing goals, these concepts appeared to be situated on a continuum.

Originality/Value: Given the prevalence of death in contemporary media, and an ongoing global pandemic, young children’s exposure to death will remain heightened for the foreseeable future. Family scholars and practitioners would be wise to prepare to assist families and children thoughtfully and compassionately. We further explore tools, resources, and strategies parents and professionals have found helpful in navigating these discussions.

This qualitative study researches the concept of entrepreneurship in an indigenous population by assessing the external and internal challenges entrepreneurs face, discusses the various types of support offered, and compiles recommendations for partners to understand the Diné entrepreneur. This research interviewed nine enrolled members of the Navajo Nation tribe who have either created businesses on the reservations, managed non-profits aimed at supporting entrepreneurs, or possessed a wealth of entrepreneurial experiences working both on or off the Navajo Nation Reservation. This text builds upon the themes of economic development, cultural-match, and indigenous sovereignty by analyzing the concept, action, and future of Diné entrepreneurship.

The purpose of this paper is to set out an approach to innovation in criminal justice settings that gives service users a “voice” through the co-production of digital content designed for services that promote desistance. The authors describe the benefits and challenges of involving service users in co-creating mediated digital content within a co-production framework.

This paper presents a new methodology for developing desistance-oriented programmes. The authors draw on a distinctive co-production exemplar within a prison setting that captures the perspectives of people who have shared their voices and the authors begin to explore the impact that co-production has had for them and for the service.

The testimonies of service users involved in this exemplar provide insights into the benefits and challenges of co-production in the criminal justice system more broadly.

Co-production is a credible service design strategy for developing digital services in prisons and probation; Complementary Digital Media (CDM) provides a promising pedagogical approach to promoting desistance; CDM enables service users to share their voice and stories to assist their peers. Digitally enabled courses to promote desistance can be well suited to peer support delivery models.

CDM is a novel approach that uses co-production to create highly tailored content to promote desistance in discrete target groups. CDM can be used to digitalise processes within traditional offending behaviour programmes (OBPs). It can also enable the development of innovative toolkit approaches for flexible use within day-to-day therapeutic conversations between service users and criminal justice staff or peer supporters. CDM thereby offers practitioners in criminal justice settings an entirely new set of evidence-informed resources to engage service users.

Although there are a number of hybrid tropes and cross-over conventions that relate to contemporary action cinema, broken down to its most rudimentary components, the genre places its cinematic hero in scenes of ritualised violence or conflict, with the intent of showcasing both athletic mastery and aesthetically pleasing physiques for interested and invested audiences. In as much as it is difficult to define the contemporary genre, the role of the action hero is clear in all permutations. Indeed, there is little question or query about who or what makes for a popular and long-standing action star. After all, names such as Stallone, Schwarzenegger and Statham have become inextricably linked to the genre in question. While there is much to consider here in relation to the muscles and power of these hard-bodied heroes in sweaty vests or form fitting t-shirts, there is another iteration of masculinity, a different and more agile physique, a more refined sartorial code, that has quietly overtaken these macho figures as the site of contemporary action, and that figure is Keanu Reeves. With this in mind, this chapter will examine the ways in which popular media reviewers foreground star image, acting, movement, the body and performance in order to position Reeves as an action star removed from the physical excesses of bulkier, slower and less agile men who continue to perform in the genre around him.

This paper aims to explore how Maori entrepreneurs in Aotearoa New Zealand negotiate cultural and commercial imperatives in their entrepreneurial practice. Culture is integral to Indigenous entrepreneurship, an example being tikanga Maori (Maori cultural values) and Maori entrepreneurship. This study discusses the tensions and synergies inherent in the negotiation of seemingly conflicting imperatives both theoretically and practically.

This study reports on a thematic analysis of semi-structured interviews involving ten Maori enterprises of the Ngati Porou tribe on the east coast of Aotearoa New Zealand.

This study finds that depending on their contextual and cultural orientation, Maori entrepreneurs use tikanga to help negotiate cultural and commercial imperatives. The contingency of entrepreneurial situations and the heterogeneity of Maori perspectives on whether (and in what way) tikanga influences entrepreneurial practice appear influential. The authors propose a typology of Maori entrepreneurs’ approaches to explain the negotiation of cultural and commercial imperatives comprising the “culturally engaged Maori entrepreneur”; the “culturally responsive Maori entrepreneur”; and the “culturally ambivalent Maori entrepreneur.”

This study proposes a typology to analyse entrepreneurial practices of Indigenous entrepreneurs’ negotiation of cultural and commercial imperatives.