scholarly journals Corporate headquarters in the twenty-first century: an organization design perspective

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Sven Kunisch ◽  
Markus Menz ◽  
David Collis
Keyword(s):  
Twentieth Century ◽  
Organization Design ◽  
Business Environment ◽  
First Century ◽  
Future Research ◽  
Corporate Headquarters ◽  
Special Collection ◽  
Design Perspective ◽  
Twenty First Century

Abstract The corporate headquarters (CHQ) of the multi-business enterprise, which emerged as the dominant organizational form for the conduct of business in the twentieth century, has attracted considerable scholarly attention. As the business environment undergoes a fundamental transition in the twenty-first century, we believe that understanding the evolving role of the CHQ from an organization design perspective will offer unique insights into the nature of business activity in the future. The purpose of this article, in keeping with the theme of the Journal of Organization Design Special Collection, is thus to invigorate research into the CHQ. We begin by explicating four canonical questions related to the design of the CHQ. We then survey fundamental changes in the business environment occurring in the twenty-first century, and discuss their potential implications for CHQ design. When suitable here we also refer to the contributions published in our Special Collection. Finally, we put forward recommendations for advancements and new directions for future research to foster a deeper and broader understanding of the topic. We believe that we are on the cusp of a change in the CHQ as radical as that which saw its initial emergence in the late nineteenth/early twentieth century. Exactly what form that change will take remains for practitioners and researchers to inform.

Micro-literature and Parodic Games in John Crace’s Brideshead Abbreviated: The Digested Read of the Twentieth Century

Tekstualia ◽  
2018 ◽  
Vol 1 (4) ◽  
pp. 95-108
Author(s):  
Katarzyna Szeremeta
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Critical Attention ◽  
Transformative Process ◽  
Twenty First Century ◽  
Literary Classics ◽  
Role Of The Reader ◽  
The Guardian

The following article aims to discuss parodic reworkings of literary classics for the twenty-first century readers as a form of micro-literature. The short format initiated in 2000 by the British satirist John Crace in The Guardian has become increasingly popular and outshone longer, traditional narratives. Although it generated significant critical attention it has not been exhausted by other researchers. Thus, the main objective is the analysis of the transformative process of digestion between source-texts and their abridged versions. The most relevant aspects investigated here include generic boundaries of parody and pastiche, intertextual strategies and the role of the reader.

scholarly journals Fragments and Fakes: The Arbor consanguinitatis of the Fondation Martin Bodmer and a Contemporary Forgery

Fragmentology ◽  
10.24446/uau ◽  
2018 ◽  
Vol 1 ◽  
pp. 121-153
Author(s):  
William Duba ◽  
Christoph Flüeler
Keyword(s):  
Twentieth Century ◽  
Content Analysis ◽  
First Century ◽  
New Class ◽  
Twenty First Century ◽  
First Folio ◽  
Changing Role

A tree of consanguinity (arbor consanguinitatis) contained in a manuscript published on e-codices (Cologny, Fondation Martin Bodmer, Cod. Bodmer 28), served as the model for a new class of forgery. An analysis of the Bodmer leaf in the context of other arbores consanguinitatis shows how the leaf relates to tradition; an examination of the leaf’s history and provenance reveals that the leaf was mutilated, probably in the mid-twentieth century. The forgery is proven to be such through a paleographical and content analysis of the script, and through an examination of the leaf’s method of composition. A second forgery is examined, a fragment of Jerome’s Epistle 53, fabricated from the first folio of another e-codices manuscript, Aarau, Aargauer Kantonsbibliothek MsWettF 11. The forgeries and their circulation provides the opportunity for an assessment of the changing role of manuscript fragments and fakes in the twenty-first century.

scholarly journals Aesthetic Views and Ideas of F. Busoni in the Development of Musical Art of the XX Century

2020 ◽  
Vol 16 (1) ◽  
pp. 157-169
Author(s):  
Yan Yuan
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Freedom Of Expression ◽  
Main Direction ◽  
First Century ◽  
Comparative Approach ◽  
New Instrument ◽  
Twenty First Century ◽  
The Aesthetic

Summary: The main direction of the article is the study of the leading aesthetic attitudes and ideas of F. Busoni, who influenced the development of music in the twentieth century. The purpose of the work is to systematize and generalize the representations of musicians of the twentieth century on the role of F. Busoni in the development of composer and performing musical art. For this, a comprehensive, hermeneutic, comparative approach is applied. In his books, F. Busoni outlined many ways in which the music of the twentieth century subsequently developed – from an expanded interpretation of tonality, harmony and harmony to new ways of composition, which he summarized in his letter to P. Becker as “new classicism”. The aesthetic views and ideas of F. Busoni expressed by him in relation to both composer and performing creativity were repeatedly discussed by the composer in a polemic with A. Schoenberg and G. Pfitsner, were supported by his students L. Grünberg, O. Luning, as well as many other composers and performers in the twentieth century. Attempts at creating F. Busoni’s new modal structures summarized the leading directions in the search for “new expressiveness” from N. Rimsky-Korsakov, M. Mussorgsky and the late A. Scriabin to O. Messian, P. Hindemith and B. Bartok. The composer’s desire to expand the ability of the fret by dividing it not by semitones, but by quarter tones and less influenced his creation of plans for the production of a new instrument – harmonium for producing a third of tones, which anticipated subsequent experiments and achievements in the field of electronic music. His aesthetic attitudes regarding the expression of feelings in the measures of art “opened” the discussion regarding the art of interpretation, dividing the music audience into two camps – who welcomed the freedom of expression of the musician-performer and who considered the requirements of musical objectivity to be quite justified, like M. Ravel, P. Hindemith and I. Stravinsky. It was they who supported the aesthetic essence of “new classicism” formulated by F. Busoni in the ideals of clear logic, a sense of style and the high art of polyphony – all those qualities that were his guide in the music of I.S. Bach. Formulated in the works of the composer, aesthetic views and ideas continue to develop and make sense in the musical art of the twenty-first century.

scholarly journals Liberation Theologies of the Twentieth Century: Insights for Integral Development of Africa in the Twenty-First Century

2021 ◽  
pp. 1-8
Author(s):  
Samuel O. Okanlawon
Keyword(s):  
Twentieth Century ◽  
Lessons Learned ◽  
First Century ◽  
Public Theology ◽  
Historical Method ◽  
Integral Development ◽  
Twenty First Century ◽  
And Gender ◽  
Role Of Religion

Development ideas and programmes in Africa generally overlook the role of religion. But contrary to this attitude, religion, in this context, Christianity, can be a catalyst to the development of Africa in the twenty-first century. The theological discourse of the twentieth century propelled progressive socio-economic and political developments. Thus, the paper examines the liberation theologies of the twentieth century and contextualizes the lessons learned from them for development in Africa and as an exemplar exercise in public theology. This is done using the historical method of research within the ambit of the theory of theological reflection. The liberation theologies affirmed the biblical ethos of liberation for all people under God with a focus on poverty, racism, and gender inequality. They became the platform for galvanizing efforts towards humanization and the betterment of people’s lives. Their propositions can be integrated into thinking and quest for development in Africa. Keywords: Theology, Liberation, Liberation Theologies, Development, Feminist, Africa, Black, Public Theology.

scholarly journals Understanding Simulated Extreme Precipitation Events in Madison, Wisconsin, and the Role of Moisture Flux Convergence during the Late Twentieth and Twenty-First Centuries*

2012 ◽  
Vol 13 (3) ◽  
pp. 877-894 ◽  
Author(s):  
Kathleen D. Holman ◽  
Stephen J. Vavrus
Keyword(s):  
Twentieth Century ◽  
Extreme Precipitation ◽  
Moisture Flux ◽  
First Century ◽  
Moisture Flux Convergence ◽  
Extreme Precipitation Events ◽  
Late Twentieth ◽  
Twenty First Century ◽  
Precipitation Events

Abstract Understanding extreme precipitation events in the current and future climate system is an important aspect of climate change for adaptation and mitigation purposes. The current study investigates extreme precipitation events over Madison, Wisconsin, during the late twentieth and late twenty-first centuries using 18 coupled ocean–atmosphere general circulation models that participated in the Coupled Model Intercomparison Project (CMIP3). An increase of ~10% is found in the multimodel average of annual precipitation received in Madison by the end of the twenty-first century, with the largest increases projected to occur during winter [December–February (DJF)] and spring [March–May (MAM)]. It is also found that the observed seasonal cycle of precipitation in Madison is not accurately captured by the models. The multimodel average shows a strong seasonal peak in May, whereas observations peak during midsummer. Model simulations also do not accurately capture the annual cycle of extreme precipitation events in Madison, which also peak in summer. Instead, the timing of model-simulated extreme events exhibits a bimodal distribution that peaks during spring and fall. However, spatial composites of average daily precipitation simulated by GCMs during Madison’s wettest 1% of precipitation events during the twentieth century strongly resemble the spatial pattern produced in observations. The role of specific humidity and vertically integrated moisture flux convergence (MFC) during extreme precipitation events in Madison is investigated in twentieth- and twenty-first-century simulations. Spatial composites of MFC during the wettest 1% of days during the twentieth-century simulations agree well with results from the North American Regional Reanalysis dataset (NARR), suggesting that synoptic-scale dynamics are vital to extreme precipitation events.

Race and the Feminized Popular in Nietzsche and Beyond

Hypatia ◽  
2013 ◽  
Vol 28 (4) ◽  
pp. 749-766 ◽  
Author(s):  
Robin James
Keyword(s):  
Twentieth Century ◽  
Racial Politics ◽  
Pop Culture ◽  
White Men ◽  
First Century ◽  
Careful Attention ◽  
Acting Black ◽  
White Femininity ◽  
Twenty First Century

I distinguish between the nineteenth‐ to twentieth‐century (modernist) tendency to rehabilitate (white) femininity from the abject popular, and the twentieth‐ to twenty‐first‐century (postmodernist) tendency to rehabilitate the popular from abject white femininity. Careful attention to the role of nineteenth‐century racial politics in Nietzsche's Gay Science shows that his work uses racial nonwhiteness to counter the supposedly deleterious effects of (white) femininity (passivity, conformity, and so on). This move—using racial nonwhiteness to rescue pop culture from white femininity—is a common twentieth‐ and twenty‐first‐century practice. I use Nietzsche to track shifts from classical to neo‐liberal methods of appropriating “difference.” Hipness is one form of this neoliberal approach to difference, and it is exemplified by the approach to race, gender, and pop culture in Vincente Minnelli's film The Band Wagon. I expand upon Robert Gooding‐Williams's reading of this film, and argue that mid‐century white hipness dissociates the popular from femininity and whiteness, and values the popular when performed by white men “acting black.” Hipness instrumentalizes femininity and racial nonwhiteness so that any benefits that might come from them accrue only to white men, and not to the female and male artists of color whose works are appropriated.

The role of memory in human life. On the basis of the ideas of the twentieth century philosophers and thinkers

2021 ◽  
Vol 3 ◽  
pp. 53-61
Author(s):  
Katarzyna Olewińska
Keyword(s):  
Twentieth Century ◽  
Martin Heidegger ◽  
William Faulkner ◽  
Human Life ◽  
First Century ◽  
Henri Bergson ◽  
Sound And The Fury ◽  
Twenty First Century ◽  
Time Frames

In The Sound and the Fury William Faulkner writes: “Time is dead as long as it is being clicked off by little wheels; only when the clock stops, does time come to life.” The following words relate to the role of memory frames in human life. They also begin the analysis of the ideas of twentieth and twenty-first century philosophers such as Henri Bergson, Martin Heidegger, Paul Ricoeur and David Farrell Krell. Even though there is a strict reference to the Modernist thinkers, the author goes slightly deeper, reminding earlier concepts of Plato, Socrates, Aristotle and Protagoras. The second part of the article has been devoted to the notions connected with time frames and memory such as experiencing of the passage of time, reminding, forgetting, forgiving as well as postmemory.

‘A Heap of Broken Images’? Reviving Austro-German Debates over Musical Meaning, 1900–36

2013 ◽  
Vol 138 (1) ◽  
pp. 129-174 ◽  
Author(s):  
Matthew Pritchard
Keyword(s):  
Twentieth Century ◽  
Educational Theory ◽  
First Century ◽  
Critical Hermeneutics ◽  
Musical Meaning ◽  
Force And Motion ◽  
The Status ◽  
Musical Interpretation ◽  
Twenty First Century

AbstractThis article examines a range of writings on the status of musical interpretation in Austria and Germany during the early decades of the twentieth century, and argues their relevance to current debates. While the division outlined by recent research between popular-critical hermeneutics and analytical ‘energetics’ at this time remains important, hitherto neglected contemporary reflections by Paul Bekker and Kurt Westphal demonstrate that the success of energetics was not due to any straightforward intellectual victory. Rather, the images of force and motion promoted by 1920s analysis were carried by historical currents in the philosophy, educational theory and arts of the time, revealing a culturally situated source for twenty-first-century analysis's preoccupations with motion and embodiment. The cultural relativization of such images may serve as a retrospective counteraction to the analytical rationalizing processes that culminated specifically in Heinrich Schenker's later work, and more generally in the privileging of graphic and notational imagery over poetic paraphrase.

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