The Baby Book: Everything You Need to Know About Your Baby From Birth to Age Two:

Purpose. This study aims to evaluate individual differences in interpersonal deviance and how organizational culture can mediate these differences among federal civil servants in Nigeria. Design/Methodology/Approach. The study adopted a cross-sectional design and Purposive sampling technique in selecting civil servants from south-western Nigeria, who are the participants in this study. Findings. The results of a multiple regression analysis revealed that individual differences collectively predicted interpersonal deviance, while a locus of control also had independent influence on interpersonal deviance. Gender was not a significant factor in interpersonal deviance and organizational culture fully mediated the influence of age on interpersonal deviance. Research limitations/Implications. The study focused on interpersonal deviance within federal civil service in south-western Nigeria, its indicators, how organizational culture can mediate these indicators, and how management can prevent this behaviour in the federal civil service. Originality/Value. This study will contribute significantly to the country’s ongoing efforts, which are aimed at preventing deviant behaviour in federal civil service and making civil service more responsible in its duty of faithfully carrying government programmes. Paper type. Issues paper.

E-Journal of International and Comparative Labour Studies

Despite the increasing presence of contemporary women orchestral conductors, their experiences have been met with a peculiar silence. Given that they are still a small minority, in a mostly male-dominated field, their stories have scarcely permeated the profession’s discourses. Although there have been a very limited number of scholarly publications and stories in the press, large-scale research into women conductors’ experiences in the orchestral profession has been minimal. In the small amount of research that has been done, discussions have focused on more public and professional issues, such as women’s historical achievements, career paths, mentorships, and institutional barriers (c.f. Jagow; and Hinely). Private issues, such as motherhood, have largely remained undocumented.

Conducting motherhood: The personal and professional experiences of women orchestral conductors

[Mother-Work: Women, Child Welfare & the State, 1890-1930]

In her book, Maternal Thinking: Towards a Politics of Peace, Sara Ruddick argues that a maternalcommunity is essential for the empowerment of mothers. This view is an acknowledgement that motherhood is not a solo performance but in fact requires support and encouragement not justji-om the private domesticity of one's home andfamily lfe, butfiom the culture at large. Andyet the theatre communityboth localandglobal-has been more than reticent to acknowledge motherhood and the way it aflectspractice on a variety ~levels,puttingpressure on women to appear as childless in order t o maintain theirprofessionalstatus. As women's work in theatre is often regarded as separate and independentji-om their role as mothers (findeed it is addressed at all), the equilibrium between their working persona and their maternalidentity is often at odds, resulting in considerable stress. At the heart of this anxiety is the issue gbalancing work and home lfe. Using the experience of \"Mia, \" astagehand, carpenterandtechnician who has recently becomea new mother, as a case study, this paper will investigate the delicate balance between maternal identity and professionalpersona in relation t o theatre practice, focusing on the issues of 'fpassing\" as a non-mother in theatre, negotiating new motherhood and breastfeeding with technicalproduction, and the rhetoric of the \"Good Mother.\

/pdf/performing-the-good-mother-maternal-identity-professional-1irisvarrk.pdf

Performing the Good Mother: Maternal Identity, Professional Persona and Theatre Practice

Despite the fact that the representation of patriarchal motherhood has been ubiquitous in dramatic literature as it continues to be reified, codified and upheld as one of-if not the most-central relationships in the nuclear family, making it a much studied element of early human development and leaving it well documented in the annals of theatre history, mothering remains, with the exception of a handful of references, a topic that has been all but absent fiom writing on women's theatre practice. There are reasons for this dearth of scholarship, to be sure. Ostensibly, patriarchal divisions of the public and private spheres of life have deliberately relegated women's theatre practice as external from their domestic responsibilities by seeing childrearing as women's work that is separate from any they might perform in the public realm. But as Adrienne Rich (1986) and other feminist theorists (i.e., Peters, 1997;Abbeyand O'ReiUy, 1998; Fox, 1998; D u q , Mandell & Pupo, 1989) have taught us, motherhood is a part of the paid labour force and is present in each and eve~ywork sector in which women participate. As feminist sociologist Bonnie Fox notes:

/pdf/stage-mothers-a-qualitative-analysis-of-women-s-work-d8gm799g10.pdf

Corinne Rusch-Drutz

Papers

Stage Mothers: A Qualitative Analysis of Women’s Work Experiences as Mothers in Toronto Theatre

Performing the Good Mother: Maternal Identity, Professional Persona and Theatre Practice