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To date, research focus has been on overt forms of abusive supervision, like aggressive behavior and physical violence. Less clear is the effect of implicit abusive supervisory behaviors such as gaslighting, a form of psychological manipulation whereby a “gaslighter” seeks to confuse, disorientate, and cast doubt in the mind of a victim. In this study, we aim to examine the effects of supervisory gaslighting on employee's affective organizational commitment (AOC). We also investigate the mediating role of leader-member exchange (LMX) on this relationship and whether employee emotional intelligence (EI) buffers the negative effects of supervisory abuse.

Two hundred and sixty-six participants were allocated to one of three conditions (high, medium, and none) where they read workplace scenarios varying in the level of supervisory gaslighting. Afterward, participants responded to AOC, LMX, and EI scales.

Results showed supervisory gaslighting decreases employee AOC and that this relationship is partly explained by the employee's relationship with their supervisor. Contrary to expectations, higher employee EI strengthened the effect of gaslighting on AOC.

Supervisory gaslighting remains largely unexplored and this chapter contributes to this topic by testing a model to understand the effects of gaslighting on AOC. These findings provide a solid foundation for further research in this area.

This autoethnography takes up the matter of toxic masculinity in university settings. We introduce the term “status silencing” as a way to make visible the normalization of toxic masculinity in everyday talk and interaction in university settings among and around colleagues. Status silencing is the process in which the status of a dominant individual becomes a context which renders the story of an individual with a subordinated status untellable or untold. Using strange accounting, we explore active and passive types of status silencing to show how talk and interactions involving toxic masculinity are both internalized and externalized expressions of power and dominance. We argue that while most scholars view toxic masculinity as blatant acts of violence (mass shootings, rape and sexual assault, etc.), it is also a normalized occurrence for feminized others and that toxic masculinity in academic settings is part of an ongoing institutional norm of silence.

Woman's use of violence has been mainly conceptualised through woman's experiences of victimization. However, more recent perspectives emphasise the female agency, responsibility and meaning of woman's violence. Listening to the voices of victims of women's abuse is a powerful way of learning about woman's use of violence and its impact on the victims. We conducted focus groups with 41 men from four countries who experienced female-perpetrated abuse. Four major types of abuse were identified: psychological abuse and coercive control followed by physical violence and sexual violence. Psychological abuse ranged from verbal assaults and gaslighting to provoking physical altercations and reporting false accusations. Patterns of control included deliberate isolation, threatening false accusations and financial domination. Men reported that women initiated physical violence for various reasons, including jealousy and rage. Some women used different objects that could seriously hurt, including knife, while others slapped, bit, punched or kicked. Several men reported female-perpetrated sexual abuse. Woman's use of violence in the intimate relationship should be treated seriously. A more gender-inclusive approach to partner abuse is required that can focus on a better prevention of abuse for all victims.

David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.

In this introductory chapter, we establish the basis for the theme of this volume, “Emotions and Disruption.” We discuss how the initial idea for the theme arose during the height of COVID-19. At this time, and as widely reported in the press (e.g., see Grensing-Pophal, 2020), a myriad of workplace disruptions occurred impacting employees' moods and emotions and their subsequent well-being and performance. We open by discussing some key work on emotions research during change and disturbance, followed by a synopsis of each of the chapters in this volume, including discussion of their key contributions. This includes an overview of how some of these chapters were first presented as conference papers at the Twelfth International Conference on Emotions and Worklife (EMONET XII), an event that took place for the first time online in response to the turbulence and travel disruptions created by the pandemic.

In this chapter we give an outline of the organization of this book and discuss its four major parts. We then relate each chapter to the relevant part and consider its key contributions in terms of what we have learnt about emotions when applying the lens of disruption.

We conclude that the chapters provide a range of insights and practical solutions for dealing with emotions during different types of disruption that should be helpful to practitioners and academics.

The chapters investigate underresearched topics and thus make new and important contributions. While many topics addressed in the chapters are still in their initial stages, they clearly have the potential to make a significant impact on people's work lives.

Domestic violence is the manifestation of gender and power within intimate and family relationships. How women make sense of their experience of violence may be influenced by the presence or absence of collective hermeneutical resources. In spaces where feminist interpretive resources are not available, women’s authentic experiences tend to be erased, misunderstood, and misrepresented even in institutions that are meant to protect them. This chapter critically examines one such institution – survey research. While surveys show the extent of a social problem, it is essential to examine whether surveys highlight or erase the various ways in which women struggle with violence. This leads to the questions: What hermeneutical resources do women have to make sense of their experience of violence? How do surveys erase or enhance collective understanding of women’s experience of violence? This chapter juxtaposes the findings about women’s attitudes toward domestic violence as measured by the Tamil Nadu National Family Health Survey (NFHS) 2016 with ethnographic data gathered from rural Tamil Nadu, India. In the survey, more than 70% of the women justified domestic violence against women. In contrast, analysis of ethnographic data revealed that women rarely justified violence but rather struggled with violence in three ways – subverting violence, calibrating violence, and collaborating against violence. Where there were organizing structures, such as a union, women resorted to collaborative action. Thus, surveys that measure women’s attitudes toward domestic violence as static mind-sets erase how consciousness is an outcome of political organizing that provides marginalized groups with liberational interpretive resources.

Purpose: Previous research identified a measurement gap in the individual assessment of social misconduct in the workplace related to gender. This gap implies that women respond to comparable self-reported acts of bullying or sexual discrimination slightly more often than men with the self-labeling as “bullied” or “sexually discriminated and/or harassed.” This study tests this hypothesis for women and men in the scientific workplace and explores patterns of gender-related differences in self-reporting behavior.

Basic design: The hypotheses on the connection between gender and the threshold for self-labeling as having been bullied or sexually discriminated against were tested based on a sample from a large German research organization. The sample includes 5,831 responses on bullying and 6,987 on sexual discrimination (coverage of 24.5 resp. 29.4 percentage of all employees). Due to a large number of cases and the associated high statistical power, this sample for the first time allows a detailed analysis of the “gender-related measurement gap.” The research questions formulated in this study were addressed using two hierarchical regression models to predict the mean values of persons who self-labeled as having been bullied or sexually discriminated against. The status of the respondents as scientific or non-scientific employees was included as a control variable.

Results: According to a self-labeling approach, women reported both bullying and sexual discrimination more frequently. This difference between women and men disappeared for sexual discrimination when, in addition to the gender of a person, self-reported behavioral items were considered in the prediction of self-labeling. For bullying, the difference between the two genders remained even in this extended prediction. No statistically significant relationship was found between the frequency of self-reported items and the effect size of their interaction with gender for either bullying or sexual discrimination. When comparing bullying and sexual discrimination, it should be emphasized that, on average, women report experiencing a larger number of different behavioral items than men.

Interpretation and relevance: The results of the study support the current state of research. However, they also show how volatile the measurement instruments for bullying and sexual discrimination are. For example, the gender-related measurement gap is considerably influenced by single items in the Negative Acts Questionnaire and Sexual Experience Questionnaire. The results suggest that women are generally more likely than men to report having experienced bullying and sexual discrimination. While an unexplained “gender gap” in the understanding of bullying was found for bullying, this was not the case for sexual discrimination.

In this chapter, we consider how the character of Rob Titchener has been developed in The Archers, moving him from hero of the hour to villain of the piece. We draw on a critical disability studies’ perspective to argue that ability and disability have been crucial in turning the character of Rob from the desirable and attractive man who first arrived in the village into a national hate figure, despised by all. We begin this analysis by introducing critical disability studies and studies of ableism as fields of academic inquiry. We then draw on these resources to offer an analysis of the ways in which ability and disability were used as a narrative device to develop Rob’s character. We question the ways in which ability and disability are used to denote ‘good’ and ‘evil’ in the development of characters in cultural texts like The Archers, and end with a plea to scriptwriters to engage differently with dis/ability and to consider the impact of the stories we tell on the everyday lives of disabled people.

In this chapter, we argue that the four songs we hear on 3rd April 2016 serve as both background music and a means of revealing the inner world of Helen and Rob.