This chapter begins with outlining the repeated appeal from non-Indigenous Australians to share in the heritage of First Nations people without recognition of the ongoing impact of colonialism. It argues that one devastating consequence was the loss or endangering of many first languages of Australia. The chapter considers the relationship between poetry, language and Country, described by Alexis Wright as ‘library land’. Foregrounding the immeasurable significance of these archives of land and lived cultural practice, the chapter details the differences between Aboriginal oral traditions and the translation of Indigenous song poetry into a written context. Aboriginal women’s poetry of mourning and lament, milkarri, is discussed, the chapter pointing out that the power of such songs remains with those to whom the songs belong and the Country that has created the songs. It turns attention to attempted translations of Aboriginal song into English by Eliza Dunlop and then more contemporary translations of Indigenous oral traditions, such as John Bradley’s bilingual book co-authored by Yanuwa families, Stuart Cooke’s translation of Kimberley song cycles, and the Queensland University Press bilingual anthologies of Aboriginal song cycles. The chapter concludes with a discussion of the translation history of the Moon Bone cycle.

Africa faces a $1.3 trillion annual funding gap to achieve the SDGs and build climate resilience, yet private investors hesitate due to perceived high risks. Despite contributing less than 4% of global carbon emissions, Africa bears disproportionate climate impacts, with over 110 million people already affected by extreme weather events.

This chapter explores how philanthropy is emerging as the most powerful de-risking tool for both sustainable development and climate finance. By absorbing early-stage risks, providing patient capital, and unlocking private investment, philanthropy is catalysing solutions in renewable energy, climate adaptation, and nature-based carbon sequestration. Through real world case studies, it reveals how blended finance, impact investing, and catalytic capital can accelerate Africa’s green transition and economic transformation.

An explanation is given of what channel coordination entails and why it is so important, both internally and externally to the firm. Key coordination objectives are discussed. The importance of pull and push strategy connections to successful channel coordination efforts is stressed. Sufficient channel control is only achieved in both direct channels and indirect channels through effective coordination efforts. How power is built and applied within both direct and indirect channels is elaborated upon. Finally, an explanation is given of how manifest conflict and motivation can impact both channel functioning and subsequent end-customer behavior.

This chapter explores the role of law in organizational interaction. In contrast with recent work on international institutional law that seeks to overcome functionalism and make legal sense of interaction, this chapter argues that interaction among international organizations is a legally constituted phenomenon, in two specific senses. First, law constitutes the space of the interaction (that is, the ‘organizational ecosystem’). Second, law provides the background norms for organizational autonomy and the vocabulary for the decoupling of the organization’s practice and its formal goals. Such a decoupling through institutional law allows international organizations to flexibly interact with each other and adapt to external pressures. Thus, in its dual role, international law provides the building blocks of interaction, playing a crucial role before the need to ‘regulate’ interaction even appears.

Memory, shared realities, and political possibility through the remnant traces of an art installation. The unstable documentation of several related 1990s collective arts installations, all intentionally ephemeral within the abandoned spaces of condemned buildings on the eve of their destruction, opens up questions of plural achievement, the singularity of truth, and the possible contradictions among versions of evidence. These interconnecting collective arts projects were all intended to break free of the commodified gallery space, while calling attention to the vulnerability of both culture and city to rampant financial speculation. Despite the author’s and the archive’s confusion, different versions of the Khaneh Kolangi (the “To-Be-Demolished House”) together provided a key intervention in Iranian postrevolutionary arts culture and practice. They also offer a ghostly metaphor for the ongoing potential power of collective action, individual and shared memory, and political inspiration. Luce Irigaray’s conceptualizations of a plural self and its potentials offers insight into posibilities for differently understanding power, politics, and history.

Dealing with cumulative environmental problems unavoidably requires repeated interactions (coordination) among multiple and often many actors relevant to the other three CIRCle functions (conceptualization, information, and regulatory intervention). Coordination can promote effective approaches, avoid policy drift, and resolve disputes. Key actors may include multiple agencies and levels of government, quasi-governmental organizations, supranational and international institutions, and nongovernmental organizations representing stakeholders of different kinds. Rules can help overcome significant cost, time, and political disincentives to establishing and maintaining coordination. Two broad types of formal rules for coordination emerge in mechanisms for coordinating conceptualization, information, and intervention: those that establish an institution, and those that provide for interaction in other ways, such as duties to notify or cooperate or undertake joint planning. Legal mechanisms can also expressly provide for dealing with policy drift and resolving disputes between regulatory actors. Real-world examples are provided of legal mechanisms to support these forms of coordination.

Transcultural ethnography is about understanding the flows of culture and its consequences as organizations expand their global reach across national boundaries. This scope of research focus beyond a company’s nation of origin is precisely what distinguishes international business from other types of business studies that are primarily domestic. Yet, the concept of national borders is fraught with controversy both in real world actuality as well as in ivory tower discussions. An ethnographic perspective that considers both culture and borders as concepts that are often overdetermined in our efforts to put together aggregated understandings of a world increasingly characterized by cultural flows as well as barriers is essential to theory building. Since transcultural ethnography involves research at globally distributed sites, a comprehensive understanding of how changing cultural contexts affect multinational enterprises (MNEs) and in turn the reciprocal effects of the MNEs on the host environments is essential to advancing transnational theory.

The preface considers why historical context is such a rich and complicated lens through which to approach Michael Field and their work, given the complexity of Katharine Bradley and Edith Cooper’s lives and collaborative identity as Michael Field, and the startling range of past historical periods with which their work engaged, including Ancient Greece, Rome, Egypt, and Renaissance Italy, among other periods. The Preface approaches Michael Field as firmly situated within the cultures of the fin de siècle or 1890s, and discusses how their work develops in the twentieth century or modernist era. Finally, the Preface approaches the more difficult aspects of Michael Field’s identity, addressing issues of gender, sexuality, and the incestual dimension of Bradley and Cooper’s relationship.

In the ‘betweens’ of art, research and teaching, this chapter adopts an a/r/tographic approach to explore children’s learning through media art within the Anthropocene, a proposed epoch that acknowledges human impact on Earth’s geology and ecosystems. This learning is thought of as ‘connected learning’, a type of learning that emphasises the integration of educational experiences across various settings, leveraging new media to foster innovative approaches to knowledge creation. The idea of connected learning aligns with the linked concept of children’s lifeworlds – which Arnott and Yelland take to encompass the everyday interactions that children negotiate in daily life as well as the less visible social, technical and material forces that shape those experiences – and the significance of Land as a participant in children’s learning. Children co-labour (or collaborate) with words, materials, technologies and Land to make meaning with their lifeworlds (e.g. semiosis as a process of wording and worlding). They do this in situated practice and through speculation (e.g. by asking “What if...?) to examine possible futures and alternative realities.

This chapter considers Michael Field’s collaborative authorship, focusing on the tension between singularity and plurality in their shared authorial identity. It explores Michael Field’s pseudonymous collaboration as a constant negotiation between multiple voices that radically revises conceptions of both life-writing and verse in the nineteenth and early twentieth centuries. The chapter surveys Katharine Bradley and Edith Cooper’s shared diary Works and Days and their poems, such as ‘A girl’ to show how they generate a sense of unison in their work, in the process achieving a fluid negotiation between different voices.

In this chapter, Sarah Parker interviews Tom Floyd and Sophie Goldrick of Shadow Opera about the process of creating Veritable Michael, an opera and podcast inspired by Michael Field’s life and work. Tom Floyd is the Artistic Director of Shadow Opera and Sophie Goldrick is the Producer and mezzo-soprano, who sings the part of Katharine Bradley in the show. In this interview, they respond to questions about how they originally conceived the piece, why opera is a suitable form for telling Katharine Bradley and Edith Cooper’s story, how the collaborative creative process worked, and how audiences have reacted to the performance and the podcast.

This chapter argues that stand-up comedy events are never apolitical. Politics are expressed and embedded not only in the words that are said but also in the production decisions that shape the context in which they are delivered. The Guilty Feminist podcast is used as an example through which to demonstrate this principle. The podcast presents segments of stand-up comedy within an unconventional format: one that has been designed to serve the political aims and principles of its creators. Key creative decisions are interpreted through the stated political philosophy of the podcast’s co-creator and permanent host, Deborah Frances-White. Her intersectional, feminist politics underpin three important aspects of the podcast’s creative policy: the decision to prioritise women and minority performers, an emphasis on collaboration over competition, and a challenge to conventional wisdoms regarding the nature of comic licence.

The construct of emotional intelligence (EI), also interchangeably referred to as EQ, has engendered considerable scholarly attention within the field of psychology over the past three decades. Despite its significant appeal in business, education and popular literature, EI remains a theme of scientific controversy and investigation. This scrutiny arises from discernible disparities between popular and scholarly interpretations of EI, which are further complicated by the methodological challenge of devising reliable measurement instruments.