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Organizational Science Abroad
Organizing consists of making other people work. We do this by manip ulating symbols: words, exhortations, memos, charts, signs of status. We expect these symbols to have the desired effects on the people con cerned. The success of our organizing activities depends on whether the others do attach to our symbols the meanings we expect them to. Whether or not they do so is a function of what I have sometimes called "the programs in their minds" -their learned ways of thinking, feeling, and reacting-in short, a function of their culture. The assumption that organizations could be culture-free is naive and myopic; it is based on a misunderstanding of the very act of organizing. Certainly, few people who have ever worked abroad will make this assumption. The dependence of organizations on their people's mental pro grams does not mean, of course, that we do not find many similarities across organizations. Some characteristics of human mental program ming are universal; others are shared by most people in a continent, a country, a region, an industry, a scientific discipline, or even a gender.
Management across Cultures
The second edition of this popular textbook explores the latest approaches to cross-cultural management, as well as presenting strategies and tactics for managing international assignments and global teams. With a clear emphasis on learning and development, the text encourages students to acquire skills in multicultural competence that will be highly valued by their future employers. This has never been as important as now, in a world where, increasingly, all managers are global managers and where management practices and processes can differ significantly across national and regional boundaries. This edition has been updated after extensive market feedback to include new features: a new chapter on working and living abroad; applications boxes showing how theories and key concepts can be applied to solve real-life management problems; student questions to encourage critical thinking; and updated examples and references. Supplementary teaching and learning materials are available on a companion website at www.cambridge.org/steers. In addition, recommended in-depth cases for each chapter are available at www.iveycases.com/CaseMateBrowse.aspx.
Settling Scores
Classical music was central to German national identity in the early twentieth century. The preeminence of composers such as Bach and Beethoven and artists such as conductor Wilhelm Furtwangler and pianist Walter Gieseking was cited by the Nazis as justification for German expansionism and as evidence of Aryan superiority. In the minds of many Americans, further German aggression could be prevented only if the population's faith in its moral and cultural superiority was shattered. In Settling Scores, David Monod examines the attempted "denazification" of the German music world by the Music Control Branch of the Information Control Division of Military Government. The occupying American force...
Tragedy and the Tragic in German Literature, Art, and Thought
Essays in this volume seek to clarify the meaning of tragedy and the tragic in its many German contexts, art forms, and disciplines, from literature and philosophy to music, painting, and history.
Austrian Information
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Risë Stevens
As an American woman who attained the highest rank in her chosen field, she is an example of what can be accomplished through a combination of natural talent and the will to succeed. Rise's career is unique in that it encompassed opera, recordings, radio, films, television, academic, and arts administration. She was a mainstay at the Metropolitan Opera for twenty-three seasons. In the 1940s she had her own radio show, she appeared in a classic film. In the 1950s she was a popular guest on television, her recordings sold in the thousands. The complete Carmen has been in print for over fifty years, the Mannes School of Music survived a bleak period in the 1960s because of her, the Metropolitan...
Saint-Saëns and the Stage
The first major study of Saint-Saëns's stage music, timed to coincide with revivals of his operas on stage.
