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Funder: Economic and Social Research Council; doi: http://dx.doi.org/10.13039/501100000269, Funder: Corpus Christi College, University of Cambridge; doi: http://dx.doi.org/10.13039/501100000591, The paper examines the impact of trade credit on cyclical fluctuations in international trade. It provides new empirical evidence based on firm-level UK and Irish data showing that exporters use trade credit more actively and intensively than non-exporters. The study introduces inter-firm lending into an open economy general equilibrium model with heterogeneous firms and endogenous entry into the exports market. It demonstrates that trade credit amplifies the impact of macroeconomic shocks on international trade both along the intensive and extensive margins and that it significantly contributes to the high trade income elasticity observed in the data.

Accelerated clean electricity innovation is essential if global climate change targets are to be met by 2050. National innovation policy strategies are identified as key in delivering this, requiring policy makers to develop new approaches to technology funding and market development. At present, the role of politics in the emergence and implementation of innovation policy is not well understood by the innovation systems literature. There is therefore a gap in knowledge in relation to how national institutions shape the development of clean electricity innovation systems and how publicly funded organisations can be designed to accelerate innovation within them. This thesis addresses this gap by analysing how national institutions have affected the design of two publicly funded organisations for accelerated clean electricity innovation- the Energy Technologies Institute (ETI) in the UK and Advanced Research Projects Agency- Energy (ARPA-E) in the US.\ud \ud The thesis opens with a paper that refines a layered institutional framework, demonstrating the effect of multiple institutions on the development of the UK’s clean electricity innovation system 2000- 2018. The second paper builds on this system overview to introduce the case study of the ETI. The ETI’s operation is analysed through a refined framework of ten principles for accelerated innovation organisation design, which explore how the formation and operation of an organisation is affected by the broader institutional conditions introduced in paper one. Paper three further develops the ten principles via a comparative case study of the ETI and ARPA-E. The impact of different national institutional contexts on organisation design is discussed and generalisable approaches for accelerated innovation explored.\ud \ud This thesis offers two main theoretical contributions. Firstly, the refinement of a layered institutional framework for application to a sectoral innovation system, which brings new insights to understanding the role of institutions in shaping innovation system development. Secondly, the refinement and further development of ten principles for accelerated innovation organisation design, which contributes a theoretical link between national institutional conditions and how publicly funded organisations can be designed within this to implement innovation policy.\ud \ud This research also makes three key theoretical contributions. It consists of the first in-depth analysis of the role of institutions in the development of the UK clean electricity innovation system from 2000- 2018. It also provides the first academic analysis of the operation of the ETI, UK since the organisation ceased operation in 2017, adding a detailed study of a public-private partnership in a European setting to the growing literature on innovation organisation design. Finally, the thesis provides the first comparison of the operation of the ETI and ARPA-E, US, providing an international case study of two long-lived accelerated innovation organisations while taking into account the broader national innovation systems in which they have been developed.\ud \ud The policy contributions of the thesis include new insights into the need for policy makers to pay greater attention to institutional context when designing and implementing innovation policy and public organisations for accelerating low carbon innovation. More prescriptive recommendations are also made in relation to the way in which UK policy makers can learn from US clean energy innovation system development.

The dissertation: «De politiske gruppeteatrene i Norge – Estetisk-politiske virkemidler og kollektive praksiser: Svartkatten, Pendlerne, Hålogaland Teater, Perleporten og Tramteatret» has as its main research focus the collectively run political theatre groups in Norway during the 1970s. The four groups analysed are Nationaltheatrets oppsøkende teater, Hålogaland Teater, Perleporten Teatergruppe and Tramteatret. The study is timely due to the lack of research within Norwegian theatre historiography on political group theatre and these particular four groups. It contributes to research in the field by adopting a new perspective on the political group theatres in Norway and by focusing on theatrical strategies within their performances, as well as seeing these strategies as a form of political aesthetics. The political theatre of the 1970s is contextualised through a theatre historiographical lens where the political aesthetics are viewed as recurring in waves. Through my research I have identified three waves of political theatre, the first starting in Soviet Union during the post-1917 revolution, a theatre movement that spread worldwide, and reached Norway in the 1930s. The second wave is connected to the May 1968 student uprising, which unfolded on Norwegian stages in the 1970s. The latest wave, which is currently being staged in Norway, is generally understood to have emerged in the wake of the 2008 financial crisis. However, this last movement truly peeked in Norway in the mid to late 2010s, with the performances Nordting (2014) and Ways of Seeing (2018). I give examples of Norwegian theatre companies and theatre productions in all the three waves of political theatre, both in the article “Dokumentarteater, Hyperteater og hverdags-eksperter: i norsk politisk teater” (2017), and in the last chapter of the kappa. The study is developed around four articles. These four articles are case studies on the performances and the cultural contexts in which the four mentioned theatre groups operated when creating political theatre. The first article, «Norwegian Political Theatre in the 1970s: Breaking Away from the ‘Ibsen Tradition’» (2016), compares the aesthetics of the two independent group theatres Perleporten Teatergruppe and Tramteatret in relation to the dominant aesthetic tradition of Ibsen realism within institutional theatre in Norway. The article demonstrates how Perleporten and Tramteatret broke away from the Ibsen tradition by making theatre which was influenced by the workers’ theatre tradition and the “red revues”, and by using cabaret dramaturgy, montage and bricolage in their performances. The second article, entitled «‘A Good Night Out’: When Political Theatre Aims at Being Popular, or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances» (2017) addresses political theatre in Norway during the 1970s in connection to theories of popular culture, and against the background of the Norwegian socialist-populist movement that was formed as a leadup to the ECC (EU) referendum in 1972. This movement had a concrete impact and influence on Hålogaland Teater (HT). While Tramteatret, only catching the tail wave of this movement, decided to use strategies of popular culture in the sense of pop culture, HTs methods differed because they used a strategy that can be seen more in the line of a didactic and folk cultural theatre. In this article I draw upon various theories on popular culture, with a focus on the theories of Theodor Adorno, Bertolt Brecht and Antonio Gramsci. In the third article, «Dokumentarteater, Hyperteater og hverdags-eksperter – i norsk politisk teater» (2017) (Documentary Theatre, Hyper Theatre and Everyday Experts – in Norwegian Political Theatre), I have widened the historical scope, comparing political theatre in Norway from three distinct periods: the 1930s, 1970s and 2010s. By comparing the performances of Gunvor Sartz and det Sociale Theater – §245 (1930), Nationaltheatrets Oppsøkende Teater – Svartkatten (1971), Pendlerne (1972) and Morten Traavik – Århundrets rettssak (2017), I identify similarities and differences in the adopted methodologies of political documentary theatre in Norway. In this article I draw upon the theories of Derek Paget and Claire Bishop in defining how the political theatre in Norway is a part of a “broken tradition”. This concerns theatre that emerges in connection with specific political crises and revolutionary moments, for example during the Russian Revolution, in connection with the student rebellions in 1968, and in the aftermath of the 2008 economic crisis. In this article I draw upon theories on documentary theatre and relational aesthetics by Derek Paget, Carol Martin, Nicolas Bourriaud and Claire Bishop. The fourth article, «Perleporten – Et post-brechtiansk teater? » (2020) (Perleporten – a post-Brechtian Theatre?), focuses solely on Perleporten’s theatre in relation to their anarchist political approach. The theatrical strategies of combining a fragmented form with a desire for the audience to think for themselves made Perleporten’s political theatre at odds with the majority of the Norwegian political theatre groups at the time. Perleporten’s performative use of fragmented narratives, montage and bricolage, in which the group aimed at connecting the format of their plays with their political ideals, can be seen as a manifestation of Marshall McLuhan’s dictum “the medium is the message”. Due to the seemingly singularity of Perleporten Teatergruppe in the Norwegian context, I have chosen to compare the theatre group with theatre groups and auteurs with similar political ideologies and aesthetic approaches in other nations. In particular I compare Perleporten’s aesthetics with The Living Theatre´s direct acting approach and with Heiner Müller’s post-Brechtian theatre aesthetics. The four articles are contextualized by a summary (kappa), which foregrounds the specific political aesthetic strategies of the four theatre companies. Firstly, I locate the companies in relation to other political group theatres in Scandinavia, Europe and the USA, by comparing their democratic working methods and strategies with the approaches of the Norwegian groups. Secondly, I investigate the companies’ choice of utilizing either cabaret dramaturgy or social realism in their performances, which can be contextualized through the reception of the Brecht-Lukács debate on modernism within the arts in Norway. I show how the debate was differently picked up, utilized and understood by various political theatre groups in Norway during the 1930s and the 1970s. I contextualize Nationaltheatrets oppsøkende teater, Hålogaland Teater, Perleporten Teatergruppe and Tramteatret by looking at the impact of the cultural policies in Norway during the 1970s and 1980s on their work. This approach highlights how the groups’ demise was influenced especially by the cultural policies of the time; how the turn towards visual dramaturgy and “project theatre”, in connection with postmodernism, changed the theatre landscape and how the independent theatre groups were evaluated by the funding bodies in Norway, during the late 1980s and 1990s. Lastly, I connect the two previous movements of political theatre in Norway with the current movement, by making an in-depth analysis of the political aesthetic strategies of two contemporary theatre performances: Nordting (2014) by Amund Sjølie Sveen and Ways of Seeing (2018) by Pia Maria Roll. The study’s main contribution to the field of Norwegian theatre historiography lies in the connection between the political aesthetics of the theatre companies in question, and their aimed impact on society, in what way their aesthetics was influenced by the agitational theatre of the 1930s, in addition to their impact on the current wave of political theatre in Norway. Doktorgradsavhandling

International audience; This study examines the role of national culture on the entrepreneurial orientation (EO) rhetoric contained within franchisee recruitment promotional materials, where EO rhetoric is defined as the strategic use of words in organizational narratives to convey the risk taking, innovativeness, proactiveness, autonomy and competitive aggressiveness of the firm. The sample comprised 378 franchise organizations, in five different countries (Australia, France, India, South Africa and the UK). The results indicate that franchise systems operating in high uncertainty avoidance and feminine cultures use less entrepreneurially oriented rhetoric, suggesting that EO rhetoric in franchise organizations varies according to different national cultural contexts.

International audience; Know-how is widely acknowledged as one of the cornerstones of franchising. However, despite its importance, both in the successful management, but also the regulation of the franchise agreement, it remains a somewhat elusive construct. Within this paper, by drawing on both the ex ante literature and the views of 27 expert lawyers from France, Italy, Spain and the United Kingdom, we seek to gain new insights into the concept of know-how, by addressing the following questions: How are know-how requirements understood and interpreted by doctrine and jurisprudence? And, is there consensus in the interpretation of the characteristics of know-how? In this paper, we try to answer these questions. We believe the findings allow us to better understand the concept of know-how and provide a critical insight of the various characteristics of the know-how imposed by the European regulation. The findings further highlight the importance of evaluating the effectiveness of know-how.

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In spite of the acknowledged importance of the franchisee selection process, only a few empirical studies have examined this research area. This paper employs organizational identity theory to explain when the franchisor desires to select specifically franchisees that have the potential for entrepreneurial behavior. A mail questionnaire survey was utilized to collect data from a sample of franchisors in the UK. The results revealed that the systems that select entrepreneurial franchisees are those that have entrepreneurial values as part of their organizational identity, as reflected in the institutionalized support given by the franchisor for entrepreneurial activities. Additionally, we found that the performance of the franchise system is positively affected where the franchisor seeks to select franchisees whose entrepreneurial values are congruent with those of the system.

Triarylpyrroles e.g. 4c and 4s inhibit the MDM2–p53 and MDMX–p53 protein–protein interactions., Screening identified 2-(3-((4,6-dioxo-2-thioxotetrahydropyrimidin-5(2H)-ylidene)methyl)-2,5-dimethyl-1H-pyrrol-1-yl)-4,5,6,7-tetrahydrobenzo[b]thiophene-3-carbonitrile as an MDM2–p53 inhibitor (IC50 = 12.3 μM). MDM2–p53 and MDMX–p53 activity was seen for 5-((1-(4-chlorophenyl)-2,5-diphenyl-1H-pyrrol-3-yl)methylene)-2-thioxodihydropyrimidine-4,6(1H,5H)-dione (MDM2 IC50 = 0.11 μM; MDMX IC50 = 4.2 μM) and 5-((1-(4-nitrophenyl)-2,5-diphenyl-1H-pyrrol-3-yl)methylene)pyrimidine-2,4,6(1H,3H,5H)-trione (MDM2 IC50 = 0.15 μM; MDMX IC50 = 4.2 μM), and cellular activity consistent with p53 activation in MDM2 amplified cells. Further SAR studies demonstrated the requirement for the triarylpyrrole moiety for MDMX–p53 activity but not for MDM2–p53 inhibition.

This thesis explores the gendered symbolism of women’s music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women’s music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment’ was a means to differentiate women in the ‘marriage market’, and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal’ for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot’s Daniel Deronda (1876) and Jessie Fothergill’s The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall’s Alma (1888) and Israel Zangwill’s Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier’s Trilby (1894) alongside Elizabeth Godfrey’s Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women’s musical performance through depicting female music pupils as ‘New Women’ in conflict with the people around them: Sarah Grand’s The Beth Book (1895), D. H. Lawrence’s The Trespasser (1912) and Compton Mackenzie’s Sinister Street (1913). I conclude by looking forward to representations of women’s music lessons in the modernist period and beyond, with a reading of Katherine Mansfield’s ‘The Wind Blows’ (1920) as well as Rebecca West’s The Fountain Overflows (1956).

Corrected spelling and citation errors, 05.01.2011. This thesis aims to discuss the conditions of british devising theatre from 1945 to 2010. Looking at how devising theatre aimed at changing society through their egalitarian working metods and in tur how society and cultural politics have influneced devising theatre. I denne oppgaven skisserer jeg forholdene til teatergrupper som benytter seg av devising theatre i Storbritania fra 1945 til 2010. Jeg ser på hvordan kulturpolitikk har hat tinnvirkning på devising theatre og hvordan aktørene innen det alternative teateret har ønsket å påvirke samfunnet med vekt på deres egalitære arbeidsformer. Master i Teatervitenskap MAHF-TEAT TEAT350

Acacia trees are an important source of pollen and nectar to a wide range of savannah insects. Identifying Acacia-visiting insects and the herb pollens they also carry is essential for pollination studies but problematic as expert entomologists and palynologists are overworked. Automated identification offers a solution to this problem. The DAISY automated identification system can identify insects accurately but the pattern selection methodology has been time consuming and impractical for large applications. Two new methodological approaches are investigated that allow quicker processing or avoid wing removal. They showed great promise, identifying species with more than 90% accuracy. Pollens provide very different challenges to computer vision, they are three dimensional, often vary substantially within a single species and have complex shapes. In the initial DAISY identification of pollens accuracy was low (34% at best) so several methodological means to improve accuracy were investigated. The processing regime recommended for greatest accuracy is clean pollens, imaged with dark field microscopy and which had their relative sizes maintained. Cleaned and sized pollens were identified with 100% accuracy when only 5 pollens were considered but this fell to around 50% accuracy when 50+ pollens were considered. As most applications will require many pollens to be considered at once this is not yet a useful system for pollens. Network analysis is a recent technique in pollination ecology, well suited to pollen load analysis. The most important insects to the pollination network were all bees: Apis mellifera, Megachile and the small halictids Lipotriches and Patellapis. The damage from removing a single insect genus was generally below 5% and never more than 10% of network integrity. Removal of combinations of insects showed great tolerance to extinction, this is likely to be due to functional redundancy and nestedness of the network, with specialists visiting plants that are also visited by generalists.

In spite of the acknowledged importance of the franchisee selection process, only a few empirical studies have examined this research area. This paper employs organizational identity theory to explain when the franchisor desires to select specifically franchisees that have the potential for entrepreneurial behavior. A mail questionnaire survey was utilized to collect data from a sample of franchisors in the UK. The results revealed that the systems that select entrepreneurial franchisees are those that have entrepreneurial values as part of their organizational identity, as reflected in the institutionalized support given by the franchisor for entrepreneurial activities. Additionally, we found that the performance of the franchise system is positively affected where the franchisor seeks to select franchisees whose entrepreneurial values are congruent with those of the system.

This study examines the disclosure of ratios in published financial statements by UK companies. It reviews the extent to which ratios are disclosed and interpreted in annual corporate reports, considers whether disclosure is consistent over time and examines the relationship between company characteristics such as accounting performance and financial strength, and the disclosure of different accounting ratios.