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This paper presents the second-generation estimates for the Italian engineering industry in 1911, a year documented both by the customary demographic census, and the first industrial census. The first part of this paper uses the census data to estimate the industry’s value added, sector by sector; the second further disaggregates each sector by activity, and estimates the value added, employment, physical product, and metal consumption of each one. A third, concluding section dwells on the dependence of cross-section estimates on time-series evidence. Three appendices detail the specific algorithms that generate the present estimates; a fourth, a useful sample of firm-specific data.

The paper provides an overview of research published in the innovation and operations management (IOM) literature on 15 methods for cost management in new product development, and it provides a comparison to an earlier review of the management accounting (MA) literature (Wouters & Morales, 2014).

This structured literature search covers papers published in 23 journals in IOM in the period 1990–2014.

The search yielded a sample of 208 unique papers with 275 results (one paper could refer to multiple cost management methods). The top 3 methods are modular design, component commonality, and product platforms, with 115 results (42%) together. In the MA literature, these three methods accounted for 29%, but target costing was the most researched cost management method by far (26%). Simulation is the most frequently used research method in the IOM literature, whereas this was averagely used in the MA literature; qualitative studies were the most frequently used research method in the MA literature, whereas this was averagely used in the IOM literature. We found a lot of papers presenting practical approaches or decision models as a further development of a particular cost management method, which is a clear difference from the MA literature.

This review focused on the same cost management methods, and future research could also consider other cost management methods which are likely to be more important in the IOM literature compared to the MA literature. Future research could also investigate innovative cost management practices in more detail through longitudinal case studies.

This review of research on methods for cost management published outside the MA literature provides an overview for MA researchers. It highlights key differences between both literatures in their research of the same cost management methods.

This chapter serves as the introduction to the edited collection, calling into focus the diverse ways in which ‘Australia’ is asserted in the spaces, scenes and practices of Australian heavy metal. This chapter responds to earlier quandaries in the sparse research on Australian metal which question if there is anything definitively ‘Australian’ about the characteristics, themes and narratives demonstrated within Australian heavy metal scenes. In response to this challenge, the author uses this chapter to establish critical foundations for addressing how Australianness has been represented ‘Downunderground’ (Phillipov, 2008, p. 215) – historically, musically and geographically, as work in this collection affirms. This introduction foregrounds the concerns of the edited collection at large, which addresses how national identity has been imagined and constructed in ways which can at once celebrate problematic patriarchal nationalist symbolism, yet also call into focus the resistant and subversive ways in which metal scenes have deconstructed, critiqued and renegotiated the parameters of what it means to be ‘Australian’. This chapter asserts that any interrogation of the ‘Australianness’ of Australian metal must problematise the notion of a singularly ‘Australian’ identity in the first instance. Here the author argues that ‘Australian metal’ as a consolidated signifier must be problematised to instead come to an understanding of the multisited ways in which ‘Australianness’ is experienced within scenes. In doing so the author establishes the critical trajectories for the edited collection at large – to track the genealogies of Australian metal as a component in a wider global scene, and consider the plurality of its contemporary manifestations.

Folk metal is an immensely varied genre but an interest in the past in general, and the remote barbarian past, in particular, is a universal and defining characteristic. Performers evoke history in a number of ways, including musical sound, visual imagery, and lyrical subject matter, but the most emphatic tactic adopted (albeit by a minority of bands) is by the use of lyrics in dead languages (defined as those with no speakers for whom they are a mother tongue). Europe has many of these, of which much the most prestigious is Latin; folk metal bands, however, tend to use one or other of the vernacular languages, invariably that spoken during the earliest and formative period of their own national group. This practice of singing in dead languages originated in 1994 with the Norwegian band Enslaved, in a period in which extreme metal bands were self-consciously rejecting English – pop music's dominant tongue – in an attempt to distance themselves from what they saw as inauthentic neo-liberal Anglo-American cultural hegemony. From its beginnings, it had strongly patriotic and nationalistic overtones but it is argued that the ancient texts from which lyrics are taken also acquire a quasi-religious character for listeners, not least because of the occulted and numinous air imparted by the opaqueness of the language. The acts that have most often composed lyrics in dead languages have been Scandinavian – singing in Old Norse – but the most popular act that currently engages in it is Eluveitie, from Switzerland, who, whilst mostly performing in modern English, include at least one song on every album in reconstructed ‘Gaulish’. This linguistic strategy is at once a means of locating Eluveitie within the ‘code’ of folk metal, a method of acquiring the sub-cultural capital associated with ‘authenticity’, and an opportunity to align themselves with internationally-familiar and popular ‘Celtic’ identity and sensibilities.

Wicke and Shepherd (1993) stated that socialist rock (and, by extension, metal) is more authentic than its capitalist counterpart because authenticity is tied to commercialism. This is, however, a very Western view of authenticity. Cushman's (1995) interviews suggest that rock musicians were themselves discussing authenticity in the late 1980s and with this comes notions of a socialist authenticity hitherto unexplored, related not to the official and unofficial cultures of Soviet Russia but rather to culture beyond that dichotomy. Other markers of authenticity also become more important: the Russian language is paramount here as the style of metal most prevalent at the time required clear lyrics, and so being able to be identified as a local, Russian, metal musician adds credence to one's status as an authentic, and particularly Russian, metal scene member. This chapter explores the precise circumstances in the early-mid-1980s which brought about metal music in Soviet Russia and how authenticity was determined among scene participants. It highlights the genesis of Russian metal in Russian rock and Western metal music. Then, a replacement is proposed for commercialism, the main marker of authenticity, in the Soviet Russian context, based on Yurchak's (2005) concept of vnye (meaning, approximately, to exist outside of or beyond Soviet society), as well as investigating other, less important markers of authenticity in their uniquely Russian context. One exemplar band, Aria, held both official and unofficial statuses, is used to illustrate the difficulty of making metal music in the Soviet period, as well as how certain aspects of authenticity could vary among rock and metal bands.