Artículos de revistas sobre el tema "Furniture, Spanish"

As a general rule, during 18th century the production and treatment of furniture within the Spanish court was determined by the characteristics of the raw materials used for its construction, mainly the wood and the textile. The pre-eminance of one of these materials explained the management of furniture by different Oficios (offices) of the Royal Household. If wood was considered the key element, the furniture would be managed by the Furriera. When a textile was the most outstanding element, the Tapicería was the Oficio in charge of it. The presence of rich elements such as gold, silver or precious stones meant that the Guardajoyas was also involved. Therefore, it can be established that there was a close collaboration between the different workers of the Royal household. However, materials were not always the reason why a furniture was going to be managed by one Oficio or another so, occasionally, function and/or type of furniture were also the key elements that determined its management.

This article studies the furniture present at the Xth Barcelona International Trade Fair in 1942, the first one after the Civil War. It is important to point out that the Franco regime tried to use this Fair as a propaganda device, as well as to reactivate the local and national economy, and internationalize the autarchic industries. The study focuses on the wood industry and the commercial and aesthetic relations with all invited countries, as well as with the Moroccan protectorate, and with Equatorial Guinea (a Spanish colony at the time, and source of exotic woods). The study also delves into the relationships between various local decoration and furniture companies and the Fair. In addition, it aims to create a typology of the different pieces of furniture that appeared at the event to draw a working hypothesis about the evolution of furniture during this period.

In 1802 the heir to the Spanish crown and his sister María Isabel married their cousins, the prince of Naples and Sicily and his sister María Antonia. Being the wedding in Barcelona, the court had to move there, with the logistical problem that this represented. Part of the magnificent furniture that was made for the occasion in Madrid is largely known. However, some years ago I brought to light some furniture designs that seemed to have been made in Mallorca for this event and I was able to identify with some furniture from the royal collection. Fortunately, all the documentation related to this order has appeared and confirms many of the suggestive aspects of this unknown production system, confirming who commissioned it, why in Mallorca, what cabinetmaker, under what conditions, with what deadlines, for what price and even by what criteria some of them were rejected.

In the summer of 2008, French performance artist ORLAN launched a large-scale political, psychoanalytic, and philosophical meditation on the roles of artist and spectator in the installation Suture, Hybridization, Recyclage, bringing together a new kind of biogenetic fusion process; work by young Spanish designer David Delfin (Davidelfin); a text by philosopher Michel Serres; and furniture by designer Philippe Starck.

The fifties were important in Spain for the creation of a modern architecture. The architects, who began working in previous years, created his artistic languages inspired in modern styles. Miguel Fisac was one of the most popular Spanish architects in the second half of the twentieth century. In 1954 he received a request from the Dominican Order to design a theological centre for the youngest members. In view of the particular circumstances surrounding this case, the architect had many preparatory documents (sketches, memories, plans ...) and currently housed in the Miguel Fisac’s documentary archives and Foundation. Everything was done following Fisac’s drawings. In February 1958, Fisac carried out some furniture projects for the building while directing its construction. He wrote some documents where he explicitly detailed the place of each piece of furniture in each space.

Mass superordinates such as clothing, clothes and furniture form a distinct and peculiar class of nouns in languages with an obligatory singular/plural distinction. These nouns often have pluralia-tantum variants as well as count equivalents – both within one linguistic system as well as cross-linguistically. This study is a follow-up of my earlier analysis of Romance superordinates (Mihatsch, 2006). The data are taken from English, German, French and Spanish in order to demonstrate the striking cross-linguistic pattern. The highly variable Spanish ropa(s) ‘clothing/clothes’ is analysed in greater detail. I argue that in most cases the apparently unsystematic synchronic variants arise from partly unidirectional diachronic changes, namely a lexicalisation process leading from collective nouns to object mass nouns, often followed by the appearance of plural forms, which oscillate between a lexical and an inflectional plural.

PurposeThis study examines the triadic approach of value co-creation (VcC) in B2B relationships between the industrial manufacturer, its main supplier and its main client, by validating VcC as antecedent of Trust and Commitment, which, in turn, affect Satisfaction.Design/methodology/approachA model studies the association of VcC to Trust, Commitment and Satisfaction, the latter in its economic and social dimensions. The relationships in the model are empirically contrasted twice (with suppliers and clients) for a sample of 77 firms participating in an industrial panel, the Spanish Furniture Market Observatory.FindingsUsing PLS-SEM, results suggest that, in industrial B2B relationships, VcC acts as antecedent of Trust and, to a minor extent, of Commitment. It also has a positive effect on Social Satisfaction, the latter having a positive effect in turn on Economic Satisfaction.Research limitations/implicationsResults are limited to the Spanish furniture industry with a cross-sectional approach. The linkages between VcC and Commitment, as well as the differences found between Social Satisfaction and Economic Satisfaction, need replications.Practical implicationsThe study suggests that VcC is the core of B2B industrial relationships. VcC may also boost Economic Satisfaction.Originality/valueLiterature on VcC has been extensive in B2C and B2B mostly for service contexts; this paper contributes by bringing evidence from a B2B manufacturing context. At the same time, it depicts a triadic approach of VcC in B2B, by measuring the relationships with both the manufacturer's main supplier and main client. The study also contributes with evidence to the role played by Trust and Commitment in the relationship between VcC and two Satisfactions.

The aim of this paper is to provide an in-depth information of two pedestal tables (named Table du Sacre and Guéridon Mauresque) designed by Leloy, and kept in the royal collections of Patrimonio Nacional (National Heritage). Despite their differences, they both have some elements in common: not only Sèvres porcelain was used as their main decorative material offering painted historical scenes, but also both of them were gifts from French sovereigns to Spanish monarchs. The two pieces were also displayed in the 19th century at the Louvre Royale Manufactures Exhibitions as an example of the high quality that the Sèvres Manufacture achived. Although the Table du Sacre (table of coronation due to its iconography) is of great interest, the decoration of the Guéridon Mauresque is specially remarkable as it provides an interesting insight between courts. It depicts Boabdil leaving the Alhambra, being directly inspired by the Nasrid Palace (15th century): a piece of furniture depicting a scene of the Spanish Moorish past, was made in France and later offered as a gift to the regent of the Spanish Kingdom María Cristina de Borbón.

La representación de los interiores y los muebles en el humor gráfico, ofrece un punto de vista diferente sobre este tema y lo haremos a través del trabajo de Tomás Niembro, uno de los dibujantes más importantes de la década de los sesenta en Asturias. Gracias a estos chistes podremos ver la vida de la clase media, los interiores y los objetos decorativos de sus casas. En este punto, podemos analizar cómo cambian los hábitos y las tendencias. España, en aquella época, tiene una nueva política como el Plan de Estabilización de 1959, fue una ley reguladora de la economía española tras la Autarquía. En otras palabras el consumismo se está estableciendo en nuestro país. Pero no es sólo una cuestión sobre el mueble, sino sobre las personas, sobre la sociedad, y por último, sobre el humor gráfico. A través de los ojos de Tomás Niembro vamos a ver los cambios en la sociedad española.The representation of interior design and furniture in the graphic humour offers a different point of view. We’ll address this subject considering Tomás Niembro’s work, who was one of the most popular cartoonists in the sixties in Asturias. Thanks to these cartoons, we can analyze the lives of people from the middleclass, interior designs and some decorative objects in their homes. At this point, we may study how habits and trends keep changing. At that time, Spain faced new political developments like the Stabilization Plan of 1959, which was a law aimed at regulating the Spanish economy after the Autarchy. In other words, a new consuming culture was being established in our country. However, this was not only a matter of furniture, but also of people, society and, at last, humour. We will study and analyze all these changes in the Spanish society through Tomás Niembro’s eyes.

Research on Value co-Creation (VcC) has been more extensive in B2C (business-to-consumer) than in B2B (business-to-business) and mainly for service contexts, under dyadic approaches (supplier–client). Moreover, research has paid little attention to the impacts of VcC on Satisfaction in its duality: Social and Economic Satisfaction. As a novelty, this study examines VcC in B2B industrial relationships in the triad of supplier–manufacturer–client. A model proposes VcC as an antecedent of manufacturer’s Economic Satisfaction, with the mediating role of Social Satisfaction. The model is empirically contrasted for a sample of 77 firms from an industrial panel—the Spanish Furniture Market Observatory. The triadic approach is depicted with bi-directional relationships of the manufacturer with its main supplier and main client). Results evidence that VcC and Economic Satisfaction are greater in the manufacturer–main client relationship. Moreover, the manufacturer’s Satisfaction relies on its social dimension, which has a key role to produce Economic Satisfaction. Results also show asymmetry in the supply chain, different from those with the main supplier. Implications for managers invite to achieve a long-term VcC chain with all business partners, the focus being on manufacturer’s social dimension, so the triad supplier–manufacturer–client could be better aligned.

At the beginning of June 1904, the Hungarian capital was in a state of frenzy. The bullfights, starring Pouly fils—a toreador from Nîmes, France—as the matador, and scheduled to take place in a recently built 15,000-seat bullring in the Budapest City Park, attracted everyone's attention. Reporting a wave of “Spanish fever” spreading among inhabitants of the city, the newspapers highlighted the fact that a large percentage of the population was talking about “toreadors, picadors, matadors, and bulls.” The toreadors dressed in their “exotic costumes” caused a stir everywhere they went (Figure 1). As the toreadors visited Budapest's tourist attractions many female passersby noticed their “suntanned faces and muscular bodies.” The matador's collar ornament, consisting of two studs representing two “miniature diamond bulls,” was a subject of conversation on everyone's lips. Local tailors proposed “Spanish collars” replicating those worn by Pouly as the ne plus ultra of fashion to their customers. Furniture makers and carpenters witnessed their sales of Spanish dressing-screens skyrocket. Surfing the wave of public interest, the Uránia, a local association for the popularization of science, scheduled slide shows about Spain. The Budapest Orpheum hired Tortajada, a well known Spanish female dancer, for several appearances on its stage. Parodic plays, mimicking a bullfight, were staged throughout June both on the site of Ős Budavára (Ancient Buda Castle), a historical theme park that opened in the City Park in 1896, and on an improvised outdoor stage on the Margaret Island. Theaters also claimed their share by scheduling operas such as Carmen, the Marriage of Figaro, and the Barber of Seville. Restaurants offered a new cocktail drink called “Krampumpouly.” Journalists turned into impromtu poets and wrote poems dedicated to the bulls. Even politicians joined in the popular enthusiasm for the bullfights, declaring in the Budapest parliament, as a journalist sarcastically remarked, that for the local political body from that moment on: “Vox popouly” is “vox dei.”

Learning outcomes Identify how value is created through a product-service system (PSS). Recognize the different types of PSS and their characteristics at an economic and environmental level. Design a business model for a PSS that allows to generate economic and environmental value in a sustainable way. Case overview/synopsis On October 15th of 2014, Javier Ramirez, Chief Executive Officer of Famoc Depanel, was in his office in Bogotá, Colombia, thinking about a decision he had to take. Either Famoc Depanel continued in the traditional office furniture market generating new lower-cost products, and continued facing the informal competition or the company risked accepting a new business that the National Tax and Customs Direction of Colombia (DIAN, the acronym according to its name in Spanish) had proposed and give its business a complete turnaround. Either way, he would keep his commitment to innovation and environmental care. Complexity academic level This case is appropriate for use in sustainability and entrepreneurship courses with contents about business models based on PSS. This case can be used at undergraduate and graduate levels. It is recommended that students have prior knowledge about business models and the Canvas Business Model methodology. Supplementary materials Teaching Notes are available for educators only. Subject code CSS 11: Strategy.

Inspired by Michael Billig’s Banal Nationalism, social scientists have begun to study the impact of nationalism on everyday life. However, Billig’s concept is far from clear. Actually, banal can refer to ‘mundane’ expressions of nationalism, to their ‘unconscious’ consumption or their ‘cold’ temperature. Moreover, on many occasions Billig referred to the state instead of the nation, thus in fact analysing ‘banal statism’. For historians it is often difficult to ascertain whether people consciously perceived certain expressions of nationalism or not. However, we can analyze when certain mundane forms of nationalism were invented, while looking for clues as to how they cooled down and slowly became taken for granted. In this article, I will analyze how the nationalization of the domestic sphere manifested itself in Spain. In fact, this transnational trend has been largely ignored by architectural historians and scholars dealing with gender, food, design and animal–human relations, because they primarily focused on processes of modernization. In this way, the intensification of the nation-building process, which now also actively implies housewives, has remained largely invisible. Using evidence from a broad array of books, lectures and magazines, I will show that during the belle époque – when Spanish nationalism was quite hot – all kinds of spaces, objects and practices associated with the private sphere and the home were consciously nationalized by writers, architects and cooks. The focus will be on the nationalization of domestic architecture, food and dishes, but I will also pay attention to the nationalization of furniture, pets, gardening and cleaning. There are clear indications that over time many new national forms, objects and spaces slowly became banal stereotypes, thus further naturalizing existing national identities.

The article draws on the materials of the National Archive of the Republic of Bashkortostan to discuss problems which had to face the orphanages financed from state budget in Bashkiria (one of the regions of the RSFSR) during the Great Patriotic War. To this day, the issue remains insufficiently studied, on national, as well as on regional scale. The documents preserved in the archive allow us to investigate the activities of the orphanages during the said period. As shown, 23 orphanages (including 4 Spanish ones) were evacuated from the Western regions of the country to Bashkiria in 1941–42. Some of them merged with local institutions. Most detailed information is given on the orphanages evacuated from Moscow. However, the article focuses on local institutions. It notes that from early 1941 to 1945, the number of orphanages increased by 4,7 times, number of pupils increased by 4,1 times . 90 orphanages were opened in the republic in 1943–1944. From early 1941 to November 1944, more than 24,000 children were placed in orphanages of the republic. Some children were adopted, taken under guardianship and patronage, employed by enterprises and institutions. Funds to support the increasing number of orphanages (including livestock, land, premises, equipment, food, etc.) were allocated from republican and district (city) budgets. The article shows the difficulties encountered in provision of material needs, organization of subsidiary farms, solving problems with the premises, arrangements for feeding. Pupils mainly worked on the plots themselves. Sometimes they were helped by kolkhozes and sovkhozes, in return the children participated in collective farm work. Various workshops were organized for labor training and self-maintaining, clubs were formed. The children organized amateur performances, the earnings was transferred to the fund of the Red Army. Malnutrition, lack of clothing and shoes, furniture and equipment affected the health of children and various diseases were spreading. The authors conclude that, in general, despite many difficulties, orphanages played an important role in saving the children's lives during the war.

Previous literature in cognitive psychology has provided data involving differences in language processing between men and women. It has been found that women are usually more proficient with certain semantic categories such as fruit, vegetables and furniture. Men are reported to be better at other categories semantic, e.g. tools and transport. The aim of this article is to provide an inquiry about possible differences in semantic category processing of living things (LT) and inanimate objects (IO) by Argentinian Spanish-speakers school-aged children. The group of 86 children between 8 and 12 years old (51.16% boys) has been assessed on a semantic fluency task. Six semantic categories have been tested, three of them from the LT domain (animals, fruit/vegetables, and body parts) and three from the IO domain (transport, clothes and musical instruments). Results showed differences in semantic processing between boys and girls. Girls retrieved more items from the LT domain and activated more animals and fruit/vegetables. These findings appear to support an innate conceptual organization of the mind, which is presumably influenced by cultural factors and/or schooling. References Albanese, E., Capitani, E., Barbarotto, R., & Laiacona, M. (2000). Semantic categorydissociations, familiarity and gender. Cortex, 36, 733–746. Barbarotto, R., Laiacona, M., & Capitani, E. (2008). Does sex influence the age of acquisitionof common names? A contrast of different semantic categories. Cortex, 44(9), 1161–1170. doi:http://dx.doi.org/10.1016/j.cortex.2007.08.016 Capitani, E., Laiacona, M., & Barbarotto, R. (1999). Gender affects Word retrieval of certaincategories in semantic fluency tasks. Cortex, 35, 273–278. doi:http://dx.doi.org/10.1016/S0010-9452(08)70800-1 Capitani, E., Laiacona, M., Mahon, B. Z., & Caramazza, A. (2003). What are the facts ofsemantic category-specific deficits? A critical review of the clinical evidence. CognitiveNeuropsychology, 20, 213–261. doi: http://dx.doi.org/10.1080/02643290244000266 Caramazza, A., & Mahon, B. Z. (2003). The organization of conceptual knowledge: Theevidence from category-specific semantic deficits. Trends in Cognitive Sciences, 7, 354–361. Caramazza, A., & Mahon, B. Z. (2006). The organisation of conceptual knowledge in thebrain: the future’s past and some future directions. Cognitive Neuropsychology, 23, 13–38 Caramazza, A., & Shelton, J. R. (1998). Domain-specific knowledge systems in the brain: Theanimate-inanimate distinction Journal of Cognitive Neuroscience, 10, 1–34. doi:http://dx.doi.org/10.1162/089892998563752 Casals-Coll, M., Sánchez-Benavides, G., Quintana, M., Manero, R. M., Rognoni, T., Calvo, L.,& Peña-Casanova, J. (2013). Estudios normativos españoles en población adulta joven(proyecto NEURONORMA jóvenes): normas para los test de fluencia verbal. Neurología,28(1), 33–40. Fumagalli, J.; Sorinano, F.; Shalom, D.; Barreyro, J.P; Martinez Cuitiño, M.M (In press).Phonological and semantic verbal fluency task in a sample of Argentinean children. Temas emPsychologia, 25(3). Gainotti, G. (2005). The influence of gender and lesion location on naming disorders foranimals, plants and artefacts. Neuropsychologia, 43, 1633–1644. doi:http://dx.doi.org/10.1016/j.neuropsychologia.2005.01.016 Gainotti, G., Ciaraffa, F., Silveri, M. C., & Marra, C. (2010). Different views about the natureof gender-related asymmetries in task based on biological or artefact categories. BehaviouralNeurology, 22(3–4), 81–90. doi: http://dx.doi.org/10.1155/2010/410858 Gainotti, G., Spinelli, P., Scaricamazza, E., & Marra, C. (2012). Asymmetries in genderrelated familiarity with different semantic categories. Data from normal adults. BehaviouralNeurology, 27(2), 175–181. doi: http://dx.doi.org/10.1155/2013/138646 Gerlach, C., & Gainotti, G. (2016). Gender differences in category-specificity do not reflectinnate dispositions. Cortex 85, 46–53.doi: http://dx.doi.org/10.1016/j.cortex.2016.09.022 Hurks, P., Vles, J., Hendriksen, J., Kalff, A., Feron, F., Kroes, M., . . . Jolles, J. (2006).Category Fluency Versus Initial Letter Fluency Over 60 Seconds as a Measure of Automatic and Controlled Processing in Healthy School-aged Children. Journal of Clinical andExperimental Neuropsychology, 28, 284–295. doi: 10.1080/13803390590954191 John, S., & Rajashekhar, B. (2014). Word retrieval ability on fluency task in typicallydeveloping Malayalam-speaking children. Child Neuropsychology: A Journal on Normal andAbnormal Development in Childhood and Adolescence, 20(2), 182–195. doi:http://dx.doi.org/10.1080/09297049.2012.760538 Koren, R., Kofman, O., & Berger, A. (2005). Analysis of word clustering in verbal fluency ofschool-aged children. Archives of Clinical Neuropsychology, 20, 1087–1104. doi:http://dx.doi.org/10.1016/j.acn.2005.06.012 Laiacona, M., Barbarotto, R., & Capitani, E. (2006). Human evolution and the brainrepresentation of semantic knowledge: Is there a role for sex differences? Evol. Hum. Behav,27, 158-168. doi: http://dx.doi.org/10.1016/j.evolhumbehav.2005.08.002 Laws, K. R. (1999). Gender afects latencies for naming living and nonliving things:implications for familiarity. Cortex, 35, 729–733. Laws, K. R. (2000). Category-specificity naming errors in normal subjects: the influence ofevolution and experience. Brain and Language, 75, 123–133. doi:http://dx.doi.org/10.1006/brln.2000.2348 Laws, K. R. (2004). Sex differences in lexical size across semantic categories. Personality andinvidual differences, 36, 23–32. doi: http://dx.doi.org/10.1016/S0191-8869(03)00048-5 Leite, G., Pires, I., Aragão, L., Lemos, P., Gomes, E., Garcia, D., Barros, P., Alencar, J.,Fichman, H. & Oliveira, R. (2016). Performance of Children in Phonemic and SemanticVerbal Fluency Tasks. Psico-USF, 21(2), 293–304. https://dx.doi.org/10.1590/1413-82712016210207 Lozano Guitiérrez, A., & Ostrosky-Solís, F. (2006). Efecto de la edad y la escolaridad en lafluidez verbal semántica: datos normativos en población hispanohablante. Revista Mexicanade Psicología, 23(1), 37–44. Mahon, B. Z., & Caramazza, A. (2003). Constraining questions about the organization andrepresentation of conceptual knowledge. Cognitive Neuropsychology, 20, 433–450. Marino, J., Acosta Mesas, A., & Zorza, J. (2011). Control ejecutivo y fluidez verbal enpoblación infantil: medidas cuantitativas,cualitativas y temporales. Interdisciplinaria, 28(2),245–260. Marino, J., & Díaz-Fajreldines, H. (2011). Pruebas de fluidez verbal categoriales, fonológicasy gramaticales en la infancia: factores ejecutivos y semánticos. Revista Chilena deNeuropsicología, 6(1), 49–56. Marra, C., Ferraccioli, M., & Gainotti, G. (2007). Gender-Related Dissociations of CategoricalFluency in Normal Subjects and in Subjects With Alzheimer’s Disease. Neuropsychology,21(2), 207–211. doi: http://dx.doi.org/10.1037/0894-4105.21.2.207 Martínez-Cuitiño, M.; Shalóm, D.; Borovinsky, G.; Szenkman, D. & Fumagalli, J. (2014)¿Diferencias en el procesamiento semántico en niños en edad escolar? (77). Memorias delVI Congreso Internacional de Investigación y Práctica Profesional en Psicología, XXIJornadas de Investigación, décimo encuentro de investigadores en Psicología del Mercosur.Adicciones: Desafíos y perspectivas para la investigación. McKenna, P., & Parry, R. (1994). Category-specificity in the naming of natural and man-madeobjects. Neuropsychological Rehabilitation, 4, 255–281. doi: 10.1080/09602019408401461 Moreno-Martínez, F. J., & Montoro, P. R. (2008). The impact of dementia , age and sex oncategory fluency: Greater deficits in women with Alzheimer’s disease. Cortex, 44,1256–1264. Moreno-Martínez, F. J. & Moratilla-Pérez, I. (2016). Naming and Categorization in HealthyParticipants: Crowded Domains and Blurred Effects of Gender. The Spanish Journal ofPsychology 19, 49, 1–15. doi:10.1017/sjp.2016.59 Nieto, A., Galtier, I., Barroso, J., & Espinosa, G. (2008). Fluencia verbal en niños españoles enedad escolar: estudio normativo piloto y análisis de las estrategias organizativas. Revista deNeurología, 46(1), 2–6. Olabarrieta Landa, L., Benito Sanchez, I., Landa Torre, E., López Mugartza Iriarte, J., Alegret,M., Arango-Lasprilla, J. (2015) The Effect of Specific Language on Performance on VerbalFluency Tasks in Basque-Spanish Bilinguals. Arch ClinNeuropsychol, 30(6), 565. doi:10.1093/arclin/acv047.208 Pekkala, S., Goral, M., Hyun, J., Obler, L. K., Erkinjuntti, T., & & Albert, M. (2009).Semantic verbal fluency in two contrasting languages. Clin Linguist Phon., 23(6), 431–445.doihttp://dx.doi.org/10.1080/02699200902839800 Riva, D., Nichelli, F., & Devoti, M. (2000). Developmental Aspects of Verbal FluencyConfrontation Naming in Children. Brain and Language, 71, 267–284. doi:http://dx.doi.org/10.1006/brln.1999.2166 Soriano, F., Fumagalli, J., Shalóm, D., Carden, J., Borovinsky, G., Manes, F., & MartínezCuitiño, M. (2015). Sex differences in a semantic fluency task. East European Journal ofPsycholinguistics, 2(1), 134–140. Spreen, O., & Strauss, E. A. (1998). Compendium of neuropsychological tests (2nd ed.). NewYork, NY: Oxford Univesity Press. Tulving, E. (1972). Episodic and semantic memory. In E. Tulving & W. Donaldson (Eds.),Organization Memory. New York: Academic Press.

Culture and history harbor the beauty of one’s society. In view, the study of artifacts could best explain our cultural and historical background. The study aimed to examine the personal furniture in the museums of Silay City to preserve the culture and tradition of the old society in Silay through material culture analysis. The study is a qualitative research conducted within the context of descriptive and historical research. Interview method was used in gathering information. McClung Fleming’s two conceptual tools of artifact analysis were utilized to help distinguish precise information about its five properties. Personal furniture in Manuel Severino Hofileña Ancestral House and Bernardino-Ysabel Jalandoni Museum were examined and analyze. The result showed that the personal furniture in two museums have significant influence in the culture and tradition of every Filipino-Spanish family in Silay. The study concludes that material culture analysis on the personal furniture could help preserve the culture and tradition of the past. The study further recommends that teachers and students can utilize the result of the study as material for understanding literature, culture, and history. Also, the government could use the study as basis for their cultural and historical preservation programs. Keywords— Archaeology, material culture analysis, personal furniture, cultural and historical preservation, qualitative research design, Bacolod City, Philippines

Purpose This study aims to suggest an integrative model to investigate design orientation by analyzing its links with market orientation and its ability to generate and maintain a competitive advantage and improve effectiveness. Design/methodology/approach The structural equation technique is used to test the research hypotheses based on data from the Spanish furniture and lighting industries. The data are obtained from the responses of 209 companies to a questionnaire targeted at design and marketing managers. Findings The results suggest that design orientation helps companies to gain competitive advantages in product differentiation and improve business effectiveness. The design orientation is stimulated by proactive market orientation and by marketing-design integration during the development of new products. The design orientation fully mediates the effect of proactive marketing orientation on perceived effectiveness. Originality/value This study uses a quantitative research approach to propose and test an integrative model that relates design orientation with the generation of competitive advantage in product differentiation and perceived effectiveness.

Abstract In Europe, from the fifteenth to the eighteenth century, intarsia and marquetry woodworks relied heavily on the use of spalted wood (wood colored by fungi) especially the blue-green stained wood from the Chlorociboria species. Although the use of spalted wood is well documented in Italy, Germany, Switzerland, and England, little is known about how guild traditions migrated from Spain during European colonization. This research sought to determine if the techniques or woodworks of the time moved to the viceroyalty of Peru. While numerous examples of spalted marquetry have previously been found in Spain, all were made by German artisans and imported to the country. For this research, only one piece of spalted furniture was found in Peru, and it was of English origin. Noting Spain’s lack of production of spalted woodworks and the few pieces found in Peru, it is likely that this niche product did not move to Peru with Spanish colonists and may have instead come over later with English colonists in the 1800s when spalted wood was popular in that region.

PurposeThis paper addresses both conceptual and empirical value co-creation and relationship quality in a triadic approach for a B2B industrial context by 1) reviewing the relationship quality concept when social and economic satisfaction are addressed separately and 2) testing alternative models of relationship quality and economic satisfaction when value co-creation is introduced.Design/methodology/approachTwo alternative models are developed where relationship quality is conceptualized as a higher-order multi-dimensional construct with three sub-factors: trust, commitment and social satisfaction. Data on the B2B relationship were collected from 77 partaking firms in the Spanish Furniture Market Observatory business panel, covering the manufacturer-retailer and manufacturer-supplier relationships for control and comparison purposes.FindingsUsing PLS-SEM, results reflect that social and economic satisfaction act differently in the B2B relationship. The effect of relationship quality on economic satisfaction is greater when value co-creation is introduced as a mediating variable, although this mediation is partial. Moreover, the mediating effect is greater in the manufacturer-supplier relationship than in the manufacturer-retailer one.Originality/valueThe paper reduces the conceptual gap between value exchanges in B2C and B2B contexts. It also introduces a less-common triadic approach along the supply chain for B2B industrial relationships. Evidence is provided on the importance of social satisfaction as an affective dimension of relationship quality and on the mediating role of value co-creation between relationship quality and economic satisfaction.

Based on the fact that most of factories/manufacturers failed to comply with foreign customers’ requirements for Corporate Social Responsibility (CSR) practices from the first audits, the present study aims to explore SME exporters’ understanding of CSR requirements from foreign clients, motivations and obstacles for them to practice and implement CSR. In order to tackle the research objectives, qualitative approach is chosen and in-depth interview with owners, HR/CSR managers and production managers is employed to collect data. The research scope is firms/suppliers in hardlines (non-furniture and non-apparel) section. Thematic analysis is used to analyse and categorise data from interviews. The research findings show some crucial points. Firstly, CSR requirements from clients are not correctly understood. Secondly, there are seven drivers for CSR practices which match with previous studies. Lastly, six per ten obstacles to implement CSR are new findings in the present research context. From these findings, some recommendations are proposed to improve CSR practices in SMEs. Keywords Corporate social responsibility (CSR), motivations (motives), obstacles, SMEs References Albareda, L., Lozano, J. M., Tencati, A., Midtun, A., & Perrini, F. (2008). The changing roles of governments in corporate social responsibility: drivers and responses. Business Ethics: A European Review, 17(4), 347-363. Arevalo, J. A., & Aravind, D. (2011). Corporate Social Responsibility practices in India: approaches, drivers and barriers. Corporate Governance, 11(4), 399-414. Baden, D. A., Harwood, I. A., & Woodward, D. G. (2009). The effect of buyer pressure on suppliers in SMEs to demonstrate CSR practices: An added incentive or counter productive? European Management Journal, 27(6), 429-441. doi:https://doi.org/10.1016/j.emj.2008.10.004Bondy, K., Matten, D., & Moon, J. (2008). Multinational Corporation Codes of Conduct: Governance Tools for Corporate Social Responsibility? Corporate Governance: An International Review, 16(4), 294-311. doi:10.1111/j.1467-8683.2008.00694.xCambra-Fierro, J., Wilson, A., Polo-Redondo, Y., Fuster-Mur, A., & Lopez-Perez, M. E. (2013). When do firms implement corporate social responsibility? A study of the Spanish construction and real-estate sector. Journal of Management & Organization, 19(02), 150-166. doi:doi:10.1017/jmo.2013.12Carroll, A. B. (1991). The pyramid of corporate social responsibility: toward the moral management of organizational stakeholders. Business Horizons, 34, 39-48. Carroll, A. B. (1999). Corporate social responsibility: evolution of a definitional construct. Business & Society, 38(3), 268-295. Cochran, P. L., & Wood, R. A. (1984). Corporate Social Responsibility and Financial Performance. Academy of Management Journal, 27(1), 42-56. Creswell, J. W. (2007). Qualitative inquiry & research design - choosing among five approaches (2nd ed.). the U.S: Sage Publications, Inc.Faisal, M. N. (2010). Analysing the barriers to corporate social responsibility in supply chains: an interpretive structural modelling approach. International Journal of Logistics Research and Applications, 13(3), 179-195. doi:10.1080/13675560903264968Ghasemi, S., & Nejati, M. (2013). Corporate Social Responsibility: Opportunities, Drivers and Barriers. International Journal of Entrepreuneurial Knowledge, 1(1), 33-37. Gibson, W. J., & Andrew, B. (2009). Working with qualitative data London: SAGE.Graafland, J., & Mazereeuw-Van der Duijn Schouten, C. (2012). Motives for Corporate Social Responsibility. De Economist, 160(4), 377-396. doi:10.1007/s10645-012-9198-5Hamm, B. (2012). Corporate Social Responsibility in Vietnam: Integration or Mere Adaptation? Pacific News, 38, 4-8. Hemingway, C. A., & Maclagan, P. W. (2004). Managers' Personal Values as Drivers of Corporate Social Responsibility. Journal of Business Ethics, 50(1), 33-44. Kang, B. (2014). Corporate Social Responsibility Perceptions and Corporate Performances. Journal of Applied Sciences, 14(21), 2662-2673. Lantos, G. P. (2001). The boundaries of strategic corporate social responsibility. Journal of Consumer Marketing, 18(7), 595-630. Lin, C.-H., Yang, H.-L., & Liou, D.-Y. (2009). The impact of corporate social responsibility on financial performance: Evidence from business in Taiwan. Technology in Society, 31, 56-63. McWilliams, A., & Siegel, D. (2001). Corporate Social Responsibility: A theory of the firm perspective. Academy of Management Review, 26(1), 117-127. Mishra, S., & Suar, D. (2010). Does Corporate Social Responsibility influence firm performance of Indian companies? Journal of Business Ethics, 95, 571-601. Moon, J. (2004). Government as Driver of CSR. ICCSR Research Series Papers, 24. Pedersen, E. R., & Neergaard, P. (2009). What matters to managers? The whats, whys and hows of corporate social responsibility in a multinational corporation. Management Decision, 47(8), 1261-1280. Visser, W. (2008). Corporate social responsibility in developing countries. In A. Crane, A. McWilliams, D. Matten, J. Moon, & D. Siegel (Eds.), The Oxford Handbook of Corporate Social Responsibility (pp. 473-499). Oxford: Oxford University Press.Xuan, L. T. T. (2013). Managers' preceptions of Corporate Social Responsibility: The construction industry in Vietnam. (Doctoral), Western Sydney University, Xuan, L. T. T., & Khoa, T. T. (2015). Drivers of Corporate Social Respobsibility Practices-A comparative analysis between Spanish and Vietnamese Construction Industry. Paper presented at the The International Conference on Business 2015, Hochiminh city.Xuan, L. T. T., & Teal, G. (2011). A development in defining Corporate Social Responsibility. Journal of Science and Technology Development, 14(2), 106-115. http://baocongthuong.com.vn/viet-nam-sau-10-nam-gia-nhap-wto-nhung-thanh-tuu-kha-quan.htmlhttp://www.unido.org/en/what-we-do/trade/csr/what-is-csr.html#pp1[g1]/0/

Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical content, the visual elements of sheet music were important and thus far have been under-acknowledged. Sheet music diffused the imagery connecting ‘country’ to music, to particular landscapes, and masculinities. In the literature on country music much emphasis has been placed on film, radio and television (Tichi; Peterson). Yet, sheet music was for several decades the most common way people bought personal copies of songs they liked and intended to play at home on piano, guitar or ukulele. This was particularly the case in Australia – geographically distant, and rarely included in international tours by American country music stars. Sheet music is thus a rich text to reveal the historical contours of ‘country’. My second and related argument is that that the possibilities for the globalising of ‘country’ were first explored in music. The idea of transnational discourses associated with ‘country’ and ‘rurality’ is relatively new (Cloke et al; Gorman-Murray et al; McCarthy), but in music we see early evidence of a globalising discourse of ‘country’ well ahead of the time period usually analysed. Accordingly, my focus is on the sheet music of country songs in Australia in the first half of the twentieth century and on how visual representations hybridised travelling themes to create a new vernacular ‘country’ in Australia. Creating ‘Country’ Music Country music, as its name suggests, is perceived as the music of rural areas, “defined in contrast to metropolitan norms” (Smith 301). However, the ‘naturalness’ of associations between country music and rurality belies a history of urban capitalism and the refinement of deliberate methods of marketing music through associated visual imagery. Early groups wore suits and dressed for urban audiences – but then altered appearances later, on the insistence of urban record companies, to emphasise rurality and cowboy heritage. Post-1950, ‘country’ came to replace ‘folk’ music as a marketing label, as the latter was considered to have too many communistic references (Hemphill 5), and the ethnic mixing of earlier folk styles was conveniently forgotten in the marketing of ‘country’ music as distinct from African American ‘race’ and ‘r and b’ music. Now an industry of its own with multinational headquarters in Nashville, country music is a ‘cash cow’ for entertainment corporations, with lower average production costs, considerable profit margins, and marketing advantages that stem from tropes of working class identity and ‘rural’ honesty (see Lewis; Arango). Another of country music’s associations is with American geography – and an imagined heartland in the colonial frontier of the American West. Slippages between ‘country’ and ‘western’ in music, film and dress enhance this. But historical fictions are masked: ‘purists’ argue that western dress and music have nothing to do with ‘country’ (see truewesternmusic.com), while recognition of the Spanish-Mexican, Native American and Hawaiian origins of ‘cowboy’ mythology is meagre (George-Warren and Freedman). Similarly, the highly international diffusion and adaptation of country music as it rose to prominence in the 1940s is frequently downplayed (Connell and Gibson), as are the destructive elements of colonialism and dispossession of indigenous peoples in frontier America (though Johnny Cash’s 1964 album The Ballads Of The American Indian: Bitter Tears was an exception). Adding to the above is the way ‘country’ operates discursively in music as a means to construct particular masculinities. Again, linked to rural imagery and the American frontier, the dominant masculinity is of rugged men wrestling nature, negotiating hardships and the pressures of family life. Country music valorises ‘heroic masculinities’ (Holt and Thompson), with echoes of earlier cowboy identities reverberating into contemporary performance through dress style, lyrical content and marketing imagery. The men of country music mythology live an isolated existence, working hard to earn an income for dependent families. Their music speaks to the triumph of hard work, honest values (meaning in this context a musical style, and lyrical concerns that are ‘down to earth’, ‘straightforward’ and ‘without pretence’) and physical strength, in spite of neglect from national governments and uncaring urban leaders. Country music has often come to be associated with conservative politics, heteronormativity, and whiteness (Gibson and Davidson), echoing the wider politics of ‘country’ – it is no coincidence, for example, that the slogan for the 2008 Republican National Convention in America was ‘country first’. And yet, throughout its history, country music has also enabled more diverse gender performances to emerge – from those emphasising (or bemoaning) domesticity; assertive femininity; creative negotiation of ‘country’ norms by gay men; and ‘alternative’ culture (captured in the marketing tag, ‘alt.country’); to those acknowledging white male victimhood, criminality (‘the outlaw’), vulnerability and cruelty (see Johnson; McCusker and Pecknold; Saucier). Despite dominant tropes of ‘honesty’, country music is far from transparent, standing for certain values and identities, and yet enabling the construction of diverse and contradictory others. Historical analysis is therefore required to trace the emergence of ‘country’ in music, as it travelled beyond America. A Note on Sheet Music as Media Source Sheet music was one of the main modes of distribution of music from the 1930s through to the 1950s – a formative period in which an eclectic group of otherwise distinct ‘hillbilly’ and ‘folk’ styles moved into a single genre identity, and after which vinyl singles and LP records with picture covers dominated. Sheet music was prevalent in everyday life: beyond radio, a hit song was one that was widely purchased as sheet music, while pianos and sheet music collections (stored in a piece of furniture called a ‘music canterbury’) in family homes were commonplace. Sheet music is in many respects preferable to recorded music as a form of evidence for historical analysis of country music. Picture LP covers did not arrive until the late 1950s (by which time rock and roll had surpassed country music). Until then, 78 rpm shellac discs, the main form of pre-recorded music, featured generic brown paper sleeves from the individual record companies, or city retail stores. Also, while radio was clearly central to the consumption of music in this period, it obviously also lacked the pictorial element that sheet music could provide. Sheet music bridged the music and printing industries – the latter already well-equipped with colour printing, graphic design and marketing tools. Sheet music was often literally crammed with information, providing the researcher with musical notation, lyrics, cover art and embedded advertisements – aural and visual texts combined. These multiple dimensions of sheet music proved useful here, for clues to the context of the music/media industries and geography of distribution (for instance, in addresses for publishers and sheet music retail shops). Moreover, most sheet music of the time used rich, sometimes exaggerated, images to convince passing shoppers to buy songs that they had possibly never heard. As sheet music required caricature rather than detail or historical accuracy, it enabled fantasy without distraction. In terms of representations of ‘country’, then, sheet music is perhaps even more evocative than film or television. Hundreds of sheet music items were collected for this research over several years, through deliberate searching (for instance, in library archives and specialist sheet music stores) and with some serendipity (for instance, when buying second hand sheet music in charity shops or garage sales). The collected material is probably not representative of all music available at the time – it is as much a specialised personal collection as a comprehensive survey. However, at least some material from all the major Australian country music performers of the time were found, and the resulting collection appears to be several times larger than that held currently by the National Library of Australia (from which some entries were sourced). All examples here are of songs written by, or cover art designed for Australian country music performers. For brevity’s sake, the following analysis of the sheet music follows a crudely chronological framework. Country Music in Australia Before ‘Country’ Country music did not ‘arrive’ in Australia from America as a fully-finished genre category; nor was Australia at the time without rural mythology or its own folk music traditions. Associations between Australian national identity, rurality and popular culture were entrenched in a period of intense creativity and renewed national pride in the decades prior to and after Federation in 1901. This period saw an outpouring of art, poetry, music and writing in new nationalist idiom, rooted in ‘the bush’ (though drawing heavily on Celtic expressions), and celebrating themes of mateship, rural adversity and ‘battlers’. By the turn of the twentieth century, such myths, invoked through memory and nostalgia, had already been popularised. Australia had a fully-established system of colonies, capital cities and state governments, and was highly urbanised. Yet the poetry, folk music and art, invariably set in rural locales, looked back to the early 1800s, romanticising bush characters and frontier events. The ‘bush ballad’ was a central and recurring motif, one that commentators have argued was distinctly, and essentially ‘Australian’ (Watson; Smith). Sheet music from this early period reflects the nationalistic, bush-orientated popular culture of the time: iconic Australian fauna and flora are prominent, and Australian folk culture is emphasised as ‘native’ (being the first era of cultural expressions from Australian-born residents). Pioneer life and achievements are celebrated. ‘Along the road to Gundagai’, for instance, was about an iconic Australian country town and depicted sheep droving along rustic trails with overhanging eucalypts. Male figures are either absent, or are depicted in situ as lone drovers in the archetypal ‘shepherd’ image, behind their flocks of sheep (Figure 1). Figure 1: No. 1 Magpie Ballads – The Pioneer (c1900) and Along the road to Gundagai (1923). Further colonial ruralities developed in Australia from the 1910s to 1940s, when agrarian values grew in the promotion of Australian agricultural exports. Australia ‘rode on the sheep’s back’ to industrialisation, and governments promoted rural development and inland migration. It was a period in which rural lifestyles were seen as superior to those in the crowded inner city, and government strategies sought to create a landed proletariat through post-war land settlement and farm allotment schemes. National security was said to rely on populating the inland with those of European descent, developing rural industries, and breeding a healthier and yet compliant population (Dufty), from which armies of war-ready men could be recruited in times of conflict. Popular culture served these national interests, and thus during these decades, when ‘hillbilly’ and other North American music forms were imported, they were transformed, adapted and reworked (as in other places such as Canada – see Lehr). There were definite parallels in the frontier narratives of the United States (Whiteoak), and several local adaptations followed: Tex Morton became Australia’s ‘Yodelling boundary rider’ and Gordon Parsons became ‘Australia’s yodelling bushman’. American songs were re-recorded and performed, and new original songs written with Australian lyrics, titles and themes. Visual imagery in sheet music built upon earlier folk/bush frontier themes to re-cast Australian pastoralism in a more settled, modernist and nationalist aesthetic; farms were places for the production of a robust nation. Where male figures were present on sheet music covers in the early twentieth century, they became more prominent in this period, and wore Akubras (Figure 2). The lyrics to John Ashe’s Growin’ the Golden Fleece (1952) exemplify this mix of Australian frontier imagery, new pastoralist/nationalist rhetoric, and the importation of American cowboy masculinity: Go west and take up sheep, man, North Queensland is the shot But if you don’t get rich, man, you’re sure to get dry rot Oh! Growin’ the golden fleece, battlin’ a-way out west Is bound to break your flamin’ heart, or else expand your chest… We westerners are handy, we can’t afford to crack Not while the whole darn’d country is riding on our back Figure 2: Eric Tutin’s Shearers’ Jamboree (1946). As in America, country music struck a chord because it emerged “at a point in history when the project of the creation and settlement of a new society was underway but had been neither completed nor abandoned” (Dyer 33). Governments pressed on with the colonial project of inland expansion in Australia, despite the theft of indigenous country this entailed, and popular culture such as music became a means to normalise and naturalise the process. Again, mutations of American western imagery, and particular iconic male figures were important, as in Roy Darling’s (1945) Overlander Trail (Figure 3): Wagon wheels are rolling on, and the days seem mighty long Clouds of heat-dust in the air, bawling cattle everywhere They’re on the overlander trail Where only sheer determination will prevail Men of Aussie with a job to do, they’ll stick and drive the cattle through And though they sweat they know they surely must Keep on the trail that winds a-head thro’ heat and dust All sons of Aussie and they will not fail. Sheet music depicted silhouetted men in cowboy hats on horses (either riding solo or in small groups), riding into sunsets or before looming mountain ranges. Music – an important part of popular culture in the 1940s – furthered the colonial project of invading, securing and transforming the Australian interior by normalising its agendas and providing it with heroic male characters, stirring tales and catchy tunes. Figure 3: ‘Roy Darling’s (1945) Overlander Trail and Smoky Dawson’s The Overlander’s Song (1946). ‘Country Music’ Becomes a (Globalised) Genre Further growth in Australian country music followed waves of popularity in the United States in the 1940s and 1950s, and was heavily influenced by new cross-media publicity opportunities. Radio shows expanded, and western TV shows such as Bonanza and On the Range fuelled a ‘golden age’. Australian performers such as Slim Dusty and Smokey Dawson rose to fame (see Fitzgerald and Hayward) in an era when rural-urban migration peaked. Sheet music reflected the further diffusion and adoption of American visual imagery: where male figures were present on sheet music covers, they became more prominent than before and wore Stetsons. Some were depicted as chiselled-faced but simple men, with plain clothing and square jaws. Others began to more enthusiastically embrace cowboy looks, with bandana neckerchiefs, rawhide waistcoats, embellished and harnessed tall shaft boots, pipe-edged western shirts with wide collars, smile pockets, snap fasteners and shotgun cuffs, and fringed leather jackets (Figure 4). Landscapes altered further too: cacti replaced eucalypts, and iconic ‘western’ imagery of dusty towns, deserts, mesas and buttes appeared (Figure 5). Any semblance of folk music’s appeal to rustic authenticity was jettisoned in favour of showmanship, as cowboy personas were constructed to maximise cinematic appeal. Figure 4: Al Dexter’s Pistol Packin’ Mama (1943) and Reg Lindsay’s (1954) Country and Western Song Album. Figure 5: Tim McNamara’s Hitching Post (1948) and Smoky Dawson’s Golden West Album (1951). Far from slavish mimicry of American culture, however, hybridisations were common. According to Australian music historian Graeme Smith (300): “Australian place names appear, seeking the same mythological resonance that American localisation evoked: hobos became bagmen […] cowboys become boundary riders.” Thus alongside reproductions of the musical notations of American songs by Lefty Frizzel, Roy Carter and Jimmie Rodgers were songs with localised themes by new Australian stars such as Reg Lindsay and Smoky Dawson: My curlyheaded buckaroo, My home way out back, and On the Murray Valley. On the cover of The square dance by the billabong (Figure 6) – the title of which itself was a conjunction of archetypal ‘country’ images from both America and Australia – a background of eucalypts and windmills frames dancers in classic 1940s western (American) garb. In the case of Tex Morton’s Beautiful Queensland (Figure 7), itself mutated from W. Lee O’Daniel’s Beautiful Texas (c1945), the sheet music instructed those playing the music that the ‘names of other states may be substituted for Queensland’. ‘Country’ music had become an established genre, with normative values, standardised images and themes and yet constituted a stylistic formula with enough polysemy to enable local adaptations and variations. Figure 6: The Square dance by the billabong, Vernon Lisle, 1951. Figure 7: Beautiful Queensland, Tex Morton, c1945 source: http://nla.gov.au/nla.mus-vn1793930. Conclusions In country music images of place and masculinity combine. In music, frontier landscapes are populated by rugged men living ‘on the range’ in neo-colonial attempts to tame the land and convert it to productive uses. This article has considered only one media – sheet music – in only one country (Australia) and in only one time period (1900-1950s). There is much more to say than was possible here about country music, place and gender – particularly recently, since ‘country’ has fragmented into several niches, and marketing of country music via cable television and the internet has ensued (see McCusker and Pecknold). My purpose here has been instead to explore the early origins of ‘country’ mythology in popular culture, through a media source rarely analysed. Images associated with ‘country’ travelled internationally via sheet music, immensely popular in the 1930s and 1940s before the advent of television. The visual elements of sheet music contributed to the popularisation and standardisation of genre expectations and appearances, and yet these too travelled and were adapted and varied in places like Australia which had their own colonial histories and folk music heritages. Evidenced here is how combinations of geographical and gender imagery embraced imported American cowboy imagery and adapted it to local markets and concerns. Australia saw itself as a modern rural utopia with export aspirations and a desire to secure permanence through taming and populating its inland. Sheet music reflected all this. So too, sheet music reveals the historical contours of ‘country’ as a transnational discourse – and the extent to which ‘country’ brought with it a clearly defined set of normative values, a somewhat exaggerated cowboy masculinity, and a remarkable capacity to be moulded to local circumstances. Well before later and more supposedly ‘global’ media such as the internet and television, the humble printed sheet of notated music was steadily shaping ‘country’ imagery, and an emergent international geography of cultural flows. References Arango, Tim. “Cashville USA.” Fortune, Jan 29, 2007. Sept 3, 2008, http://money.cnn.com/magazines/fortune/fortune_archive/2007/01/22/8397980/index.htm. Cloke, Paul, Marsden, Terry and Mooney, Patrick, eds. Handbook of Rural Studies, London: Sage, 2006. Connell, John and Gibson, Chris. Sound Tracks: Popular Music, Identity and Place, London: Routledge, 2003. Dufty, Rae. Rethinking the politics of distribution: the geographies and governmentalities of housing assistance in rural New South Wales, Australia, PhD thesis, UNSW, 2008. Dyer, Richard. White: Essays on Race and Culture, London: Routledge, 1997. George-Warren, Holly and Freedman, Michelle. How the West was Worn: a History of Western Wear, New York: Abrams, 2000. Fitzgerald, Jon and Hayward, Phil. “At the confluence: Slim Dusty and Australian country music.” Outback and Urban: Australian Country Music. Ed. Phil Hayward. Gympie: Australian Institute of Country Music Press, 2003. 29-54. Gibson, Chris and Davidson, Deborah. “Tamworth, Australia’s ‘country music capital’: place marketing, rural narratives and resident reactions.” Journal of Rural Studies 20 (2004): 387-404. Gorman-Murray, Andrew, Darian-Smith, Kate and Gibson, Chris. “Scaling the rural: reflections on rural cultural studies.” Australian Humanities Review 45 (2008): in press. Hemphill, Paul. The Nashville Sound: Bright Lights and Country Music, New York: Simon and Schuster, 1970. Holt, Douglas B. and Thompson, Craig J. “Man-of-action heroes: the pursuit of heroic masculinity in everyday consumption.” Journal of Consumer Research 31 (2004). Johnson, Corey W. “‘The first step is the two-step’: hegemonic masculinity and dancing in a country western gay bar.” International Journal of Qualitative Studies in Education 18 (2004): 445-464. Lehr, John C. “‘Texas (When I die)’: national identity and images of place in Canadian country music broadcasts.” The Canadian Geographer 27 (1983): 361-370. Lewis, George H. “Lap dancer or hillbilly deluxe? The cultural construction of modern country music.” Journal of Popular Culture, 31 (1997): 163-173. McCarthy, James. “Rural geography: globalizing the countryside.” Progress in Human Geography 32 (2008): 132-137. McCusker, Kristine M. and Pecknold, Diane. Eds. A Boy Named Sue: Gender and Country Music. UP of Mississippi, 2004. Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago: U of Chicago P, 1997. Saucier, Karen A. “Healers and heartbreakers: images of women and men in country music.” Journal of Popular Culture 20 (1986): 147-166. Smith, Graeme. “Australian country music and the hillbilly yodel.” Popular Music 13 (1994): 297-311. Tichi, Cecelia. Readin’ Country Music. Durham: Duke UP, 1998. truewesternmusic.com “True western music.”, Sept 3, 2008, http://truewesternmusic.com/. Watson, Eric. Country Music in Australia. Sydney: Rodeo Publications, 1984. Whiteoak, John. “Two frontiers: early cowboy music and Australian popular culture.” Outback and Urban: Australian Country Music. Ed. P. Hayward. Gympie: AICMP: 2003. 1-28.