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Raymond Friedman approaches labor negotiations with a conviction that negotiators are situated in a social network that greatly influences bargaining styles. In this carefully detailed and rigorous study of the social processes of labor negotiations, he uncovers the pressures and motivations felt by negotiators, showing why the bargaining process persists largely in its traditional form despite frequent calls for change. Friedman first focuses on the social structure of labor negotiations and the logic of the traditional negotiation process. He then looks at cases where the traditional rituals of negotiation were set aside and new forms emerged and, in the light of these examples, addresses the options for and obstacles to change.

In an unusual twist Friedman describes the persistence of the traditional negotiation process by developing a dramaturgical theory in which negotiators are seen as actors who perform for teammates, constituents, and opponents. They try to convince others of their skill, loyalty, and dedication, while others expect them to play the role of opponent, representative, and leader. Friedman shows that the front-stage drama fulfills these needs and expectations, while backstage contacts between lead bargainers allow the two sides to communicate in private. The traditional labor negotiation process, he reveals, is an integrated system that allows for both private understanding and public conflict. Current efforts to change how labor and management negotiate are limited by the persistence of these roles, and are bound to fail if they do not account for the benefits as well as the flaws of the traditional rituals of negotiation.

For negotiation scholars, Friedman's perspective provides an alternative to the rational-actor models that dominate the field; his dramaturgical theory is applicable to any negotiations done by groups, especially ones that face political pressures from constituents. For labor scholars, this is the first integrated theory of the negotiation process since Walton and McKersies's classic text, and one that helps unite the four elements of their model. For sociologists, the book provides an example of how a dramaturgical perspective can be used to explain the logic and persistence of a social institution. And practitioners will appreciate this explanation of why change is so difficult.

Organization Studies series.
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"Fashion shows have become a kind of performance art. It is a case of be there or be square as models, clothes, music, and light make new ideas come to life in front of one of the most discerning and critical audiences for any art form. In his new book Front Row/Backstage acclaimed Vogue photographer Mario Testino has captured the excitement and drama of the international shows in Paris, London, and Milan. Testino has conjured a collage of images from these intense, hectic, beautiful events, contrasting the chaos and reality behind the scenes with the moment on the catwalk when a woman is transformed into an icon of chic. Testino invites you to share his coveted seat in the front row to witness the fleeting moments of fashion as it happens. Then he celebrates the hidden world behind the scenes as the worlds most beautiful women are unceremoniously hurled into their next outfit from Lacroix, St. Laurent, Gucci, Chanel, Dior, and Givenchy. Front Row/Backstage is a chance for us to witness firsthand the most exclusive fashion moments through the eyes of the world's hottest fashion photographer." .
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"Until 1958 the law in Britain forbade the public performance of any play that dealt openly with homosexuality " "Not in Front of the Audience" is a pioneering study of a neglected terrain; examining the way in which the theatres of London and New York have reflected contemporary social and cultural attitudes to homosexuals and homosexuality. In the 1920s and 30s the theatre sought to represent homosexuals as either essentially corrupt, or else morally pitiful. Paradoxically however, de Jongh argues, no matter how much homosexual characters were derided and despised, by refusing to conform they subverted conventional sexual expectations. The woman with a past, who inspired many late Victorian melodramas, sought happiness through social acceptance. The homosexual looked to a future outside the confines of a conservative heterosexual society. During the Cold War, under the influence of McCarthysism, homosexuality became perceived as not only morally reprehensible, but also politically dangerous. Only, briefly, in the late 60s did the theatres of London and New York dare to confront the issue of heterosexual prejudice and its devastating impact upon the lives of gay men and lesbians. This book should be of interest to students and teachers of theatre history, gay and lesbian studies, cultural studies and general readers..
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This digital document is an article from Scholastic Choices, published by Scholastic, Inc. on May 1, 2002. The length of the article is 7603 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: 10 tips: scared of giving a speech in front of your classmates? These tips will have you standing proud and speaking confidently before you know it.(beating stage fright)
Publication:Scholastic Choices (Magazine/Journal)
Date: May 1, 2002
Publisher: Scholastic, Inc.
Volume: 17 Issue: 8 Page: 26(1)

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