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This article discusses the experiences of a university's business school in enhancing the preparation of undergraduates through the innovative design and delivery of Business Policy, the capstone course taken by all business students.

The case discusses the proactive approaches taken to explicitly align efforts between thinking and doing, for both faculty course designers and student participants alike.

Ten strategic areas of innovation and improvement are identified and discussed as areas for individual course alignment as well as the impetus for college and university business program development and delivery.

These innovations can be replicated by other institutions to enhance graduates' career preparation, pursue greater consistency with their organization's mission, develop external stakeholder engagement, and enhance internal collaboration with colleagues within the business school and across the university.

The unique value of this innovative and multifaceted approach was recognized by AACSB International, the elite accrediting agency for business schools, in several articles and at a conference on undergraduate program innovation.

This study examined gender differences of the customer expectations and satisfaction of job seekers with employment and training services by a state government in the USA. A customer satisfaction survey was administered yielding 1,393 responses from individuals who applied for employment and training services from the New Jersey Employment Service. It was found that women generally have higher expectations regarding the importance of service delivery issues than their male counterparts. However, no differences were found between men and women reporting their actual satisfaction of the service received. This research created a baseline and further research is necessary to delve into reasons for the differences.

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next 10 years adaptations of the novels and short stories appeared in the newspaper with Bond’s appearance fashioned firstly by John McLusky and then Yaroslav Horak. When the supply of Fleming’s stories was exhausted, new adventures were penned by Jim Lawrence with artwork by Horak, McLusky or Harry North. From 1977 publication switched to the Sunday Express and then the Daily Star. Eventually, the strips were reprinted for a whole new audience by Titan Books.

Subsequently, Bond appeared in a number of other comic book adaptations and reworkings, including key adaptations by the independent publishers Dark Horse and Dynamite, offering contemporary re-imaginings of this iconic, but always controversial, male icon. Taken together they provide a run of Bond adventures over more than 50 years. As such, they contain an alternative Bond universe, where his embodiment of male heroism mimics and varies Fleming’s original and the images constructed in the film franchise. This chapter will consider these mirror images and their responses to changing societal pressures as Bond adapts to new definitions of what constitutes the male hero.

The law in a liberal state is often a violent instrument. So said Robert Cover. Among those communities to which the law has been particular cruel are Native Americans. Indeed, the traditions and practices of Native American tribes have spawned rich and fascinating narratives. Each tribe has created its own “nomos – its own normative universe” – with a distinct set of rules, expectations, and tenets. Even still, the state and federal governments have historically challenged Native American traditions and culture with various legal and judicial policies. Insofar as the state-imposed law is blunt and imprecise, certain Native American narratives are thus threatened. Over the past decade, several judicial cases have highlighted the clash between the state’s imperial authority and Native American narratives. Our chapter explores these court cases with an eye to the inevitable conflicts that emerge when law exists uneasily in a liberal state.

The enduring popular image of James Bond is (in the words of the theatrical trailer for Dr No) ‘the gentleman agent with the licence to kill’. Yet the screen Bond is hardly a hero in the manner of gentlemanly archetypes such as Cary Grant and David Niven (reputedly Ian Fleming’s preferred choice for the role). This chapter will explore how the image of Bond in the films has changed over time both in response to wider social and cultural archetypes of masculinity and due to the different performance styles of the various actors to play the role: Sean Connery, whose rough-hewn Scottishness can be seen as a means of representing the ‘otherness’ of Fleming’s character (‘Bond always knew there was something alien and un-English about himself’); George Lazenby, whose one-off appearance as an emotionally damaged Bond in On Her Majesty’s Secret Service anticipated later portrayals of the character; the parodic variant of Roger Moore; the brooding Byronic hero of Timothy Dalton; the ‘Milk Tray Man’ charm of Pierce Brosnan; and Daniel Craig, whose combination of bull-in-a-china-shop physicality and vulnerable masculinity (literally so in Casino Royale) has by common consent successfully transformed Bond from a cartoon superman into a twenty-first century action hero.

In 2020, the latest James Bond film will hit cinema screens. The film has been produced by Eon Productions, is based on Ian Fleming’s suave, sophisticated super spy and stars Daniel Craig in the title role. With a troubled production shoot well-documented in the media, Daniel Craig often seeming and contradictorily at odds of being both enamoured and loathing with the role, a director leaving through ‘creative differences’ and numerous screenwriters being drafted in as last-minute replacements or add-ons, it will be interesting to see how the latest Bond adventure fares both critically and financially.

At their heart, the Bond adventures – originally in Ian Fleming’s novels and short stories, and then in their film incarnations before spilling out into newer platforms – offer pure escapism for the reader, viewer, listener and gamer. Set against the backdrop of exoticism in a post-war climate, the stories centre around MI6 Agent, James Bond, stopping enemies of the British Empire in their attempts at world domination. They gave the reader a sense of both an attempt by Fleming/Bond to recapture Britain as an important power on the world stage. Whilst Bond may have sipped martinis as he coolly dispatched the latest despotic tyrant, they also offered up ideas about time, place, culture, the social climate of the period and gender.

This book will focus on numerous aspects of the Bond-catalogue, but in particular paying particular attention to how the portrayal of gender, both in the stories and behind the scenes, has helped shape one of the most significant, important and successful British franchises.

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.

The Librarians of Glasgow University since 1641 are identified, and their periods of office summarised and assessed as far as information allows. The terms of appointment in early years and pattern of town and university alternating nominations are outlined, and the gradual development of the post into that of a professional librarian in the twentieth century is illustrated.

Through all the villains that James Bond has encountered on his globe-trotting adventures – from Dr No to Auric Goldfinger, Drax to Le Chiffre and Rosa Klebb to Xenia Onatopp – one villain has remained a constant threat to both Bond and world security. Whether hiding behind a corrugated screen, living on a mountain top lair, working from a hollowed-out volcanic rocket site, or sitting in a wheelchair, Ernst Stavro Blofeld has proved time and time again to be a thorn in Bond’s side.

This chapter will investigate the changing appearances of Blofeld across the Eon Productions’ film franchise. It will consider the concept of Blofeld as Bond’s alter-ego, whilst offering in-depth analysis of just how – and why – this master-nemesis remains firmly rooted in Bond’s filmic adventures, whilst cementing his position as the villain most associated with the series.

While the architect members of the Adam family have been subjected to considerable scrutiny over the years, architectural historians seem to have overlooked the information to be gleaned from the 1883 catalogue of the Blair Adam library, a copy of which is held in the National Library of Scotland. Of course a catalogue printed almost a hundred years after the death of the last of the architects in the family is hardly a totally reliable guide. Nevertheless, if used with care and in association with other surviving evidence, it can shed additional light on a number of aspects of Adam biography.