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Trompe l’oeil as a novel art technique can not only promote art tourism but can also transform the landscape of a city into a platform for negotiation. Furthermore, trompe l’oeil aims to create a joyful, entertaining, new experience and an interactive environment for tourists in the cities. This paper highlights the introduction of trompe l’oeil as a new tourist attraction in Shiraz (Iran). Moreover, the goals of this study are to explore the role of trompe l’oeil (three-dimensional [3D] street painting) in promoting art tourism, to investigate the tendency of tourists toward experiencing art tours and trompe l’oeil and to determine the priority of trompe l’oeil themes from the domestic tourists’ perspective.

Qualitative and quantitative methods were used in this research study.

On the basis of the results of this study, it can be concluded that domestic tourists are eager to experience art tours and trompe l’oeil attractions and activities, except for buying and wearing 3D-printed clothes. In addition, trompe l’oeil on street floors and walls with funny, joyful and cultural-artistic and national-historical themes is more attractive for them.

No significant academic work has been undertaken in the field of art tourism to evaluate the attitude of tourists toward the trompe l’oeil attractions and activities.

This paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.

The study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.

Street art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.

This paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.

Corporate social responsibility (CSR) is an emerging field whose norms are still being written and rewritten. The concept of CSR as we know it today¹ started in the United States in the 1970s and 1980s and slowly spread to other developed countries in the 1980s and 1990s. The French for corporate social responsibility is Responsabilité sociale de l'entreprise (RSE), a nearly literal translation which however diverges to some extent from the original English. The concept is still unclear despite having been the subject of an increasing number of academic and professional papers, in management as well as in law journals. In the present study, we shall use the definition as set by the European Commission (2001), which defines it as ‘a concept whereby companies integrate social and environmental concerns in their business operations and in their interaction with their stakeholders on a voluntary basis’. The European Commission in its Communication to the Parliament (2006) has stressed the fact that ‘it is about enterprises deciding to go beyond minimum legal requirements and obligations (our emphasis) stemming from collective agreements in order to address societal needs’. The second part of the definition is often omitted, but is at the crux of the problem of determining where CSR begins and ends. Corporate practices which involve ethical, social or environmental problems are defined as CSR practices only if companies go above and beyond their legal obligations. It should also be noted that the definition does not specify which guidelines to take into account in order to identify the standards to be applied in any given circumstances.

The purpose of this paper is to describe an assessment design for the Developing Librarian training program. The Developing Librarian training program created by and for librarians and professional staff in the Humanities and History division is a two-year training program to acquire new skills and methodologies to support the digital humanities. The program is based on the assumption that learning must happen in context; therefore the training is project based with all participants engaged in building a digital humanities research site as a team. This approach enables participants to learn about new tools in a sustained manner that parallels the way humanities researchers are likely to use them.

In order to measure the success of achieving this goal, program designers defined three objectives: learn tools and methods that support the emerging research needs and trends in the humanities; create a more interesting and engaging work environment for librarians and professional staff; and engage effectively with the humanities research community across the University. Three methods/instruments were: Explicit Self-Reflections to assess what participants learned in each training unit; the Utrecht Work Engagement Scale to measure how participants feel about their work before and after the training program; and the Skill Set, Knowledge and Attitude Assessment to be administered at completion to measure the effectiveness of the training program as a whole.

At the time of writing, the Developing Librarian Project is mid-way to completion, and implementation of the assessment plan is ongoing. Based on these self-reports, there is evidence that the training program has been effective, and participants have been successful in meeting most of the learning objectives identified in the units completed. While self-assessment of knowledge and skills may have its limitations, this technique is proving adequate and efficient for achieving the program’s goals. This method encourages experimentation and establishes failure as an important aspect of the learning process.

An assessment approach such as this does not measure the impact of training and development on digital humanities research, but initiates a valuable process, highlighting skills gaps at the individual, and organizational levels. These data are important for identifying and implementing appropriate training opportunities for librarians supporting emergent research activities and for understanding what skills and professional preparation are needed for new staff recruited into the organization.

A successful training program should be benchmarked, evaluated in a substantive and systematic way, and improved continuously. A formal assessment plan, directly tied to clearly articulated objectives, helps assure that such a program is effectively evaluated, iteratively developed, and successfully implemented. The Developing Librarian Project provides a useful model of how an academic library can leverage assessment and evaluation processes to identify skills gaps and training needs and generate actionable data for improving staff learning.

States that buildings may become unoccupied for a variety of reasons, and that some will be physically or functionally obsolete and may be beyond economic repair or adaptation. Explains that the best option in such cases will generally be complete or partial demolition and the redevelopment of the site. Shows that, for the vast majority of unoccupied premises, however, the best solution will be reuse, but until such time as a suitable use and occupier for the building can be found, the property must be properly managed. Presents a sensible approach to the inspection and evaluation of empty properties in order to formulate and implement an action plan to protect and maintain them in an appropriate condition suitable for future reoccupation. Concludes that without proper management, unoccupied buildings will deteriorate and become the target for theft, vandalism and arson. Apart from creating a potential eyesore, this will have liability implications for the building owner and wider implications for the environment.

Describes the repair work carried out on the tower of Winchester Cathedral in 1991, detailing the use of scaffolding and the individual work on the roof, stonework and the bell chamber and frame. Outlines the improvements made in fire protection and to the wiring and lighting and highlights a number of historical findings uncovered by the restoration work.

In 2019, a popular revolution toppled Sudan's long-term military president, Umar al-Bashir. The country then entered a three-year transition toward democratic rule during which power was shared between Sudan's military and civilian political organizations. In this period, international organizations and foreign governments were quick to proclaim their support for Sudan's democratic transition. However, policy reforms during Sudan's transition went beyond changes to formal political institutions, as the transitional government implemented major programs of economic restructuring. These restructurings were supported by Sudan's international partners, who normalized a discourse that Sudan was “overindebted,” and who held that political and economic reforms ought naturally to accompany each other. As a result, the transitional government implemented a shock program of liberalization and austerity that imposed material hardship on much of Sudanese society, including during a global recession resulting from the COVID-19 pandemic. This contributed to endangering the transition itself and the progressive promises of Sudan's 2019 revolution.

This chapter traces the history of how Sudan was excluded from Western financial and commercial markets through the imposition of sanctions in the 1990s. This caused Sudan to explore non-Western sources of external financing in East Asia and the Arabian Gulf. This history then shapes the contested ways in which Sudan's debts are counted by international institutions to create the misleading impression that the country is overindebted. Finally, the chapter examines how different elites coalesced to impose a program of shock fiscal austerity and economic liberalization during a crucial political moment, which helped to imperil the country's fragile political transition.

This chapter explores the development of the dangerous, sexualized fembot archetype in science-fiction film and television, drawing a line from the robot Maria in Fritz Lang's Metropolis (1927) to contemporary versions of the archetype.

Primarily, this chapter outlines how this historically villainous trope has been augmented and redefined in twenty-first Century posthuman science-fiction texts Ex Machina (Alex Garland, 2014) and Westworld (Joy et al., 2016 –). Both feature fembot characters who are central to the narrative, and can be defined as both villainous at times, but who also occupy the position of arguable sympathetic protagonists. In part, this redefinition can be argued as more a reflection of a Western hegemonic shift towards feminist values. Nevertheless, there have been criticisms of the male gaze present in both and of the emphasis on female suffering.

As oblique texts for an 18–35 audience, both Ex Machina and Westworld ask more questions than they answer. Through textual analysis and with reference to relevant scholarship, this chapter considers the impact of audience and institution on representation, the interplay between genre conventions and the presentation of the archetype as well as a considering how both offer different treatment of intersectional androids.