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This article is a broad reflection on some of the most common forms of artistic creation, including music, literature and cinema: – a reflection on how (and why) they may reach us and how they may be used or created effectively.

The purpose of this paper is to examine Providence College's experience in organizing, creating, and implementing the library's collection management system.

The paper discusses the need for and the development of a collection management system to help make decisions regarding the cancellation and retention of periodical titles.

The collection management system provided the librarians with information required to integrate the periodicals collection. It allows the academic departments to manage the periodical titles in their respective areas and to make decisions about which periodical titles they would like the library to subscribe or to cancel. It allows the library to inventory the collection.

The paper provides insight into the integration of a collection management system and would be useful to those involved in that field who are looking to follow suit.

Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

Communications regarding this column should be addressed to Mrs. Cheney, Peabody Library School, Nashville, Tenn. 37203. Mrs. Cheney does not sell the books listed here. They are available through normal trade sources. Mrs. Cheney, being a member of the editorial board of Pierian Press, will not review Pierian Press reference books in this column. Descriptions of Pierian Press reference books will be included elsewhere in this publication.

This paper aims to show the representation of entrepreneurship in movies (blockbusters) as a source of influence on popular representations.

The author uses semiotics to contrast dominant representations in popular movies about Chanel with the reality of her professional life as can be found in archives about the fashion world and couture workers.

The changes in the account of the entrepreneur's success may disregard important elements such as the importance of collective work and the role of social history on entrepreneurial ventures.

Is entrepreneurship really a source of information in the general representations of what it is to be an entrepreneur and what explains the success and failure of entrepreneurial venture when we observe that popular representations are so far away from what research can describe and interpret using primary data?

By displaying the discrepancy between entrepreneurship theory and popular representations, especially in the movies, one may be able to grasp some of the reasons why entrepreneurship needs more in-depth analysis of actors' representations in relation to the image of popular entrepreneurs in the public eye.

The silhouette of the little fellow with baggy trousers, decrepit oversize shoes, undersize derby, frayed short cutaway, sporting a bamboo cane and jet black mustache is recognized worldwide. Charlie Chaplin's slight 5′ 4″ stature complemented that costume, his symbol for a lifetime. Hunched shoulders, sorrowful face, and frightened air made Charlie look all the more vulnerable. As early as 1916, the reputable English magazine Tatler commented, “The lineaments of Mr. Chaplin are known to the uttermost ends of the earth and his face may be described as one upon which the sun never sets.”

The initial policy of the countries that developed vaccines has been to lock the vaccine by patent. This has been due to the fact that domestic demand for vaccine was mounting. Since only a few countries could invest in it, manufacturing and export remained at the behest of those few resulting in deep inequity in the global rollout. Pandemics are global health crises. Hence, calls for the patent waiver for the COVID-19 vaccine are growing to access the vaccine. The vaccine and its production, marketing and distribution have been politicized driven by the hegemonic aspiration. Both manufacturing and import-dependent countries are racing to win the diplomatic battle: the former has to win to gain hegemony and the latter to get the vaccine. Hence, the vaccine distribution has been marked with deep discrimination, and as a result, the migrant community is less likely to get their vaccine on time. This article engages in the decades-long debate over intellectual property rights and patenting life-saving vaccines. We argue that exemption of COVID-19 vaccines from intellectual property rights would improve global access and equity.

THE “power of the Press” is infinite in almost everything, and none the less in Public Library Administration. In addition to notices of important accessions to the Library, reports of library lectures, paragraphs on every happening with the object of keeping the institution constantly in the public eye the idea of contributing special “publicity” articles to the local newspapers may be worthy of general consideration.