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The purpose of this study is to generate an empirically informed theoretical framework which can be used to analyze the relationship between gender and innovation in the context of a municipality. The authors present and analyze three illustrative tales from a feminist perspective. The authors thus offer a more balanced approach to the conceptualization of gendered ascriptions with respect to the possible outcomes of innovation work in a public context.

An ethnographic account which employed “shadowing” as a method of observation.

The article presents a debate on how the social construction of gender and innovation can be placed in the context of a municipal reality. Our analysis reveals how the complexities of a gendered work life within a municipality can create paradoxes. A constructionism approach was used in the identification of hidden and unspoken paradoxes that exist in public spheres.

The authors used empirical tales from a very specific context, namely a Swedish municipality. The central implication of this study is the recognition of innovation as being masculine-gendered within the feminine context. This implication thereby deepens our understanding of gender paradoxes in the public sector.

This study provides insights to practitioners who intend to work with innovation in a public organization.

The social implications of this study is that when a male-gendered concept like innovation is implemented in a female-gendered context, like a municipality, it is of importance to contextualize the concept.

The empirical value of examples of a gendered work landscape at a Swedish municipality.

The primary purpose of this study is to determine if the main character is a shapeshifter and, if so, how does the tale contribute to shapeshifting lore.

The focus of the study is confined to a version of the tale that appears in Jane Yolen's Folktales From Around the World (1986) and on summaries of other versions of shapeshifting tales when needed. Support for the findings is provided by an examination of the observations and rhetorical techniques employed by what appears to be an unreliable narrator and selected knowledge and practices from a variety of academic disciplines.

The research findings neither confirm nor deny that the main character is or is not a shapeshifter.

Instead, the critical reading confirms the traditional characterization of folktales as coming from diverse folk roots and disappearing or changing as they circulate through geographical space and narrative time.

It also implies that the tale has outgrown its practical and social folk roots and now extends far beyond that of traditional shapeshifting or literary folktales.

By bringing to light the racial and gender fears, ignorance and emotional and physical violence that lurk just below the surface of the society from which serpent-woman emerges, the study creates a haunting vision of the embedded biases that lurk just below the surface of many societies.

To this author's knowledge, this is the first study of this tale to appear in publication. The findings need further investigation.

The purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.

Interview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.

When artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.

A consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

Family businesses do not perpetuate themselves. Entrepreneurs must nurture and propagate the values that led to the creation of the very thing most precious to them‐their business.This of course depends on stability. Nor do these cherished values propagate themselves. To be made meaningful for others, and for future generations, family experiences, values, and achievements must be communicated to others via language, narrative and storytelling, or other forms embedded in the narrative such as symbols. Often a variety of different socially constructed stories may be necessary contingent upon situation, purpose, or need.

The purpose of this paper is to explore the role of inscriptions on social media in enabling action at a distance. The purpose is addressed by investigating how and by what mechanisms inscriptions on social media can shape action at a distance.

We conduct a qualitative analysis of the Facebook page of a crowdfunded grassroots initiative, where the founders and their stakeholders interact.

We identify two mechanisms by which inscriptions on social media can shape action at a distance: a flow of micro-level inscriptions and a joint stabilisation of inscriptions. By signalling achievement, creating a sense of closeness and highlighting powerful explanations, these mechanisms guide what action at a distance is taken and by whom. Action thereby becomes a mutual exercise between centres of calculation and distant peripheries, highly intertwined with the stability of inscriptions. The two mechanisms indicate the importance of the boundaryless nature of the inscriptions in shaping action at a distance.

Our findings indicate new forms of inscriptions and, consequently, of novel conditions for action at a distance. These insights add to the literature on Web 2.0 and accounting, which has mainly revolved around the relationship between centres of calculation and distant peripheries that act upon each other rather than around the inscriptions that enable such action.

Little is known about the overall meaning of the Chernobyl exclusion zone (CEZ) from the visitors’ point of view. Conceptualizing the zone as a storyscape and its narratives as intangible heritage resources, this study aims to investigate the visitors’ engagement with these resources and the resulting articulations from the engagements as translated into verbal and visual storytelling.

Participant observation and participant generated images in combination with in-depth interviews with different types of tourists were conducted. This paper uses the photographs chosen by the interviewees themselves as a photo essay to explore the evocation of stories through narrative engagement.

Through participant-oriented research, this study identified three dominant storytelling themes through which visitors focus their understanding of the CEZ. Visitors’ narrative engagements and visual storytelling co-produce the site and entail fluid and even conflicting narrative articulations about the CEZ and its cultural significance.

The discoveries of this study stem from a unique developing heritage site. This study provided a more nuanced understanding of the different visitor categories in the CEZ and their group-specific ways to articulate, imagine and co-produce the storyscape of Chernobyl.

Gaining insight into the verbal and visual storytelling of tourists will contribute to the discussion of narrative consumption of different consumption profiles in tourism sites in addition to the mediation and construction of entangled memory spaces.