Showing papers by "Copenhagen Business School published in 1990"
34 citations
24 citations
Posted Content•
TL;DR: In this paper, a serious of three questionnaires was sent to academic researchers, business leaders, and politicians, in an iterative Delphi process to identify the primary issues and concerns that make up the field of study of entrepreneurship.
Abstract: Explores the primary issues and concerns that make up the field of study of entrepreneurship and identifies eight themes that characterize this field. In order to identify these themes, a serious of three questionnaires was sent to academic researchers, business leaders, and politicians, in an iterative Delphi process. The first questionnaire asked the respondents to define entrepreneurship. These definitions were then compiled and broken into ninety attributes. The second questionnaire asked the participants to rank the list of attributes. Based on these rankings, the attributes were broken into eight themes: the entrepreneur, innovation, organization creation, creating value, profit or nonprofit, growth, uniqueness, and the owner-manager. The final questionnaire asked for feedback on the eight themes. In the end, two viewpoints on entrepreneurship emerged. The first viewpoint focuses on the characteristics of entrepreneurship while the second focuses on the outcomes of entrepreneurship. Despite this work, a definition of entrepreneurship has not yet emerged. (SRD)
20 citations
TL;DR: In this paper, the authors discussed the barriers to the implementation of modernization in relation to the higher-educational system and concluded that the most prominent barrier to the modernization process is the planning philosophy of general public-sector policy and educational policy of the 1970s.
Abstract: In Denmark, the public sector is currently undergoing modernization. New organizational structures, new forms of control and changed economic conditions are the challenges to public organizations in the 1980s. In this article the barriers to the implementation of modernization are discussed in relation to the higher-educational system. The conclusion is that the most prominent barrier to the modernization process is the planning philosophy of general public-sector policy and educational policy of the 1970s, and not institutional resistance. Thus, implementation processes need to be discussed not only from top-down and bottom-up perspectives but also from a more horizontal perspective.
8 citations
TL;DR: When a nubile, curly-haired Mary Pickford look-alike enters the stage to the sound of Everybody's Doing It in John Dos Passos' The Big Money (1936), she signals not only the birth of a new American icon but also the death of traditional American ideals as discussed by the authors.
Abstract: When a nubile, curly-haired Mary Pickford look-alike enters the stage to the sound of Everybody's Doing It in John Dos Passos' The Big Money (1936), she signals not only the birth of a new American icon but also the death of traditional American ideals. In a gloomy, despairing portrait of the 1920s, Dos Passos chronicled in The Big Money a nation in blind pursuit of wealth, power and pleasure at the expense of original American dreams of equal opportunity, dignity and happiness. The movie star emerged as the major symbol of the alienated America of Dos Passos' U.S.A. trilogy.l Margo Dowling rises in The Big Money from rags to riches, but the nation's newest sweetheart achieves success at the cost of integrity and authenticity. Like other radicals of his time, Dos Passos saw the film star as the epitome of bourgeois decay, yet, like the majority of his contemporaries, he was at the same time not a little fascinated with his golden-headed fantasy woman. At a point in American history characterized by uncertainty and confusion, the Star functioned as an easily readable cultural sign. Like social observers from de Tocqueville to Beaudrillard, Dos Passos employed the language of type in attributing to familiar images and signs "American" meanings and codes. The idea of "Woman" was, as Martha Banta demonstrates in Imaging American Women (1987), particularly central to the American mind in the early twentieth century, when the fragmentation and alienation of modernity stimulated a desire for clear sign systems.2 In a re-writing of the American
1 citations
TL;DR: In this article, the authors demonstrate that it may sometimes reduce costs to have more political agents such as parties, district representatives, bureaucratic bodies and political advisors, because the possibility to make relative performance evaluations of the agents may substantially reduce the costs of motivating the agents in performing their duties as desired.
1 citations
Journal Article•
TL;DR: In the spring of 1989, 1 was called upon to enter a seminar room at UCLA wearing a pair of mirror sunglasses as discussed by the authors, which might in itself be rather trivial and possibly prompted only the transfer students enrolled in my "Rhetoric in Modern American Culture" course to send me a second glance.
Abstract: In the spring of 1989, 1 was called upon to enter a seminar room at UCLA wearing a pair of mirror sunglasses. This act might in itself be rather trivial and possibly prompted only the transfer students enrolled in my "Rhetoric in Modern American Culture" course to send me a second glance. California is, after all, California: generally, it takes more than a pair of shades, however hot, to attract attention on the L. A. scene. Nonetheless, my discomfort in staring at my students from behind the mirrors occasionally only to see myself reflected in theirs outweighed my satisfaction with having democratized the classroom by participating in my own amateur semiotician's exercise: "Bring an American sign to class." Yet, as the exercise proceeded through a Levi's mini-skirt, the cover of Jack Solomon's The Signs of Our Time, a Rolex watch, and an occasional TV Guide, I realized that my sunglasses constituted the ultimate postmodern pedagogical gesture. As Todd Gitlin explains in "We Build Excitement," an analysis of car commercials and Miami Vice, the mirror glass signals "no one home" and consistently "throws back all inquiries to the inquirer" (139). A sign of "untouchable knowingness" (139), the mirrors strip the wearer even (or particularly) a thirty-something college professor of individual features and carves out an ideological territory of sleek nothingness. While Gitlin proceeds to situate the ultimate postmodern abstraction image as image in contemporary American fears, evasions, and desires, his interpretation of a world of surfaces leads us as well to theoretical and pedagogical questions crucial to Composition Studies in the eighties and nineties: Is there a teacher in this class? Is there an essay in this class? And, if so, why? These questions seemed particularly relevant to me a few hours later, as I was trying not to fall asleep in the Sculpture Garden behind Bunche Hall over the first set of essays from my English 131 A (Advanced Composition) course. The class had seemed promising during the first few sessions, when the students had interviewed one another on their backgrounds and profiles as writers: influences, work habits, the pleasures and pains of the composing process and written up the interviews with the skill one would expect of UCLA's supposedly best, or, since the course was an elective, at least most motivated student writers. Faced with the responsibility of teaching what I imagined would be as advanced a group of students as the