Academic literature on the topic 'Chas. P Jackson (Firm)'

Plenty of powerful and promising companies have failed in the history of Corporate America. While many factors may have contributed to this outcome, lack of innovation is often one of the factors highlighted. After all, innovation, which can be defined as the successful exploitation of new ideas (Nathan & Lee, 2013), has been found to be a strong predictor of a firm’s future returns. However, what drives the creation of successful corporate innovation is not yet fully understood. On this study, I want to focus on managerial characteristics and how such diversity attributes can drive innovation. Joshi & Jackson (2003) define diversity as “the distribution of personal attributes among interdependent members of a work unit.” The combination of these diversity attributes can generate ideas and fresh perspectives feeding the creativity process which in turn will result in innovation. The diversity attributes at the managerial level are critical as the top management team (TMT) has the ability to define the direction of the firm. The purpose of this study is to assess whether diverse managerial characteristics at the TMT level drives firm innovation. This research question is tested using a sample of S&P 500 firms over the period 2010-2017. Innovation is measured by patent filings and citations. The empirical results show diversity traits such as tenure, culture, education and political affiliation do positively influence innovation. Gender, age and job diversity were found not to be significant.

Abstract Introduction Despite efficacious modern induction combination therapies a subset of myeloma patients have high-risk disease which manifests as either primary refractory disease or early relapse following initial response. The presence of known molecular high-risk lesions explain the majority of these cases but understanding the factors influencing the poor phenotypic outcome for the remainder will help us improve outcomes further. This exploratory analysis of the Myeloma XI+ trial aimed to understand the population of patients with phenotypic high-disease in the context of carfilzomib and lenalidomide induction therapy. Methods The UK NCRI Myeloma XI trial is a phase III randomised controlled trial that recruited 2568 newly diagnosed transplant eligible patients, of which 526 were randomised to receive the induction combination KRdc comprising carfilzomib (K, 36mg/m2 IV d1-2, 8-9,15-16 (20mg/m2 #1d1-2)), lenalidomide (R, 25mg PO d1-21), dexamethasone (d, 40mg PO d1-4,8-9,15-16) and cyclophosphamide (c, 500mg PO d1,8) as part of an adaptive trial design. Induction therapy was planned for a minimum of 4 cycles or to maximum response prior to autologous stem cell transplant (ASCT). There was a subsequent randomisation to lenalidomide maintenance or observation at 3 months post ASCT. Primary refractory disease was defined as not achieving at least a minimal response (MR) at maximum response after at least 4 cycles of induction therapy or progression at any time during induction regardless of initial response. Early relapse (ER) after ASCT was defined as progression within 12 months of ASCT. Molecular risk was defined as the presence of one (high risk) or more than one (ultra-high risk) of the following lesions: del(17p), gain(1q), t(4,14), t(14;16) or t(14;20). Results The incidence of primary refractory disease with the KRdc combination was very low. Only 8/526 (1.5%) patients were primary refractory, all having progression during induction therapy with a median progression free survival of only 126 days. The number of patients is too small to draw any firm conclusions regarding the characteristics associated with primary refractory disease. 401/526 (76%) of patients underwent high dose melphalan and ASCT on trial after KRdc induction. Those that did not proceed to ASCT on trial were either ineligible, mostly due to not completing the minimum required induction therapy, or were deemed not fit to undergo the procedure based on patient/clinician decision. Of those patients who underwent ASCT, 36/401 (9.0%) relapsed within 12 months (ER). These ER patients had both a shorter PFS2 and second PFS suggesting a continued association with adverse outcome beyond first line therapy. Patients in the ER group were compared with those patients not relapsing until beyond 12 months after ASCT (nER). There was no difference in the sex, age or paraprotein or light chain sub-type of patients. There was evidence of a greater impact of bone marrow disease burden in the ER group with a lower haemoglobin (median 99 g/L vs 115, p = 0.0216), lymphocyte count (1.3 x10^9/L vs 1.8, p = 0.0012) and platelet count (187 x10^9/L vs 252, p = 0.0049) at baseline. Median bone marrow aspirate plasma cell infiltration was ER 33% vs nER 23%. There were no significant differences in ISS stage (ER ISS I 19%, II 50%, III 22%, nER ISS I 35%, II 36%, III 22%, p = 0.1434), lactate dehydrogenase, albumin or beta-2 microglobulin. Patients in the ER group were less likely to have received lenalidomide maintenance (ER 12/36 [33%] vs nER 222/365 [61%]). For some (4/36) not receiving lenalidomide was due to relapse occurring prior to reaching the maintenance randomisation point (100 days post-ASCT). For those with available data 75% of patients in the ER group had molecular high (50%) or ultra-high (25%) risk disease, whilst 25% had standard risk using the trial definition. The individual lesions accounting for high-risk status were: gain(1q) in ER 42% vs nER 35%; t(4;14) ER 50% vs nER 10%; del(17p) ER 8% vs nER 7%. Discussion The combination of a second-generation immunomodulatory agent and proteasome inhibitor in the KRdc induction regimen is associated with deep responses and only a very small proportion of patients have primary refractory disease. Early relapse after KRdc and ASCT occurred in 9% of patients and was associated with high bone marrow disease burden and molecular high-risk features. Disclosures Pawlyn: Amgen: Honoraria; Janssen: Honoraria, Membership on an entity's Board of Directors or advisory committees; Celgene / BMS: Honoraria, Membership on an entity's Board of Directors or advisory committees; Sanofi: Honoraria, Membership on an entity's Board of Directors or advisory committees. Davies: Amgen: Consultancy, Honoraria; Abbvie: Consultancy, Honoraria; Janssen: Consultancy, Honoraria; Takeda: Consultancy, Honoraria; BMS: Consultancy, Honoraria; Roche: Consultancy, Honoraria. Menzies: Celgene / BMS: Research Funding; Amgen: Research Funding; Merck Sharpe and Dohme: Research Funding. Henderson: BMS / Celgene: Research Funding; Merck Sharpe and Dohme: Research Funding; Amgen: Research Funding; Takeda: Research Funding. Cook: Roche: Consultancy, Honoraria; Pfizer: Consultancy, Honoraria; Karyopharm: Consultancy, Honoraria; Oncopeptides: Consultancy, Honoraria; Sanofi: Consultancy, Honoraria; BMS: Consultancy, Honoraria, Research Funding; Amgen: Consultancy, Honoraria, Research Funding; Takeda: Consultancy, Honoraria, Research Funding; Janssen: Consultancy, Honoraria, Research Funding. Jenner: BMS/Celgene: Consultancy, Honoraria, Speakers Bureau; Janssen: Consultancy, Honoraria, Speakers Bureau; Pfizer: Consultancy; Takeda: Consultancy. Jones: Janssen: Honoraria; BMS/Celgene: Other: Conference fees. Kaiser: AbbVie: Consultancy; Takeda: Consultancy, Other: Educational support; Seattle Genetics: Consultancy; Amgen: Honoraria; Pfizer: Consultancy; Karyopharm: Consultancy, Research Funding; GSK: Consultancy; Janssen: Consultancy, Other: Educational support, Research Funding; BMS/Celgene: Consultancy, Other: Travel support, Research Funding. Drayson: Abingdon Health: Current holder of individual stocks in a privately-held company. Cairns: Merck Sharpe and Dohme: Research Funding; Amgen: Research Funding; Takeda: Research Funding; Celgene / BMS: Other: travel support, Research Funding. Morgan: BMS: Membership on an entity's Board of Directors or advisory committees; Jansen: Membership on an entity's Board of Directors or advisory committees; Karyopharm: Membership on an entity's Board of Directors or advisory committees; Oncopeptides: Membership on an entity's Board of Directors or advisory committees; GSK: Membership on an entity's Board of Directors or advisory committees. Jackson: celgene BMS: Consultancy, Honoraria, Research Funding, Speakers Bureau; amgen: Consultancy, Honoraria, Speakers Bureau; takeda: Consultancy, Honoraria, Research Funding, Speakers Bureau; GSK: Consultancy, Honoraria, Speakers Bureau; J and J: Consultancy, Honoraria, Speakers Bureau; oncopeptides: Consultancy; Sanofi: Honoraria, Speakers Bureau. OffLabel Disclosure: The KRdc combination is off label

Penelitian ini dilakukan untuk menguji dan menganalisis implikasi dari praktek sumber daya manusia yang terdiri dari perencanaan karir, pelatihan dan penilaian kinerja terhadap kepuasan kerja dan kinerja karyawan pada Kantor Distrik Navigasi Kelas III Pontianak. Penelitian ini menggunakan metode kuantitatif dengan pendekatan korelasi, atau juga penelitian yang dirancang untuk menentukan tingkat hubungan variabel-variabel yang berbeda dalam suatu populasi. Sampel dari penelitian ini berjumlah 130 responden dari karyawan pada Kantor Distrik Navigasi Kelas III Pontianak. Metode pengambilan sampel dalam penelitian ini dilakukan dengan sampel jenuh. Data diperoleh melalui kuesioner, kemudian dianalisis dengan menggunakan model jalur (path) dengan menggunakan software SPSS versi 20.0 untuk windows. Berdasarkan temuan ini, disarankan kepada pimpinan untuk meningkatkan kepuasan kerja atau secara langsung dapat meningkatkan kinerja karyawan. Pimpinan dapat meningkatkan kepuasan kerja dan kinerja karyawan dengan memberikan peluang kepada pegawai dalam promosi karir dan pelatihan, selain itu dalam penilaian kinerja pimpinan dapat memberikan umpan balik dan informasi mengenai perubahan yang positif yang terjadi pada para pegawai. Kata kunci : praktek sumber daya manusia, perencanaan karir, pelatihan, penilaian kinerja, kepuasan kerja, kinerja karyawan.DAFTAR PUSTAKAA.A. Anwar Prabu Mangkunegara, 2013. Manajemen Sumber Daya Manusia Perusahaan. Bandung: PT. Remaja Rosda Karya. Ardana. 2012. Manajemen Sumber Daya Manusia. Yogyakarta : Graha Ilmu. Alina lleana Petrescu, Rob Simmons (2008) “Human resource management practices and workers’ job satisfaction”, International Journal of Manpower, Vol.29 Issue:7, pp.651-667; Amirullah. 2015. Pengantar Manajemen. Jakarta: Mitra Wacana Media. Amin, Muslim, (2011) “The impact of human resource management practices on performance”, The TQM Journal, Vol. 26 No. 2, pp.125-142; Anastasios Palaiologos (2011) “Organizational justice and employee satisfaction in performance appraisal”, Journal of European Industrial Training, Vol. 35 Issue:8,pp.826-840; Arif Hassan, Junaidah Hashim, Ahmad Zaki Hj Ismail, (2006) “Human Resource Development Practices As Determinant of HRD Climate and Quality Orientation”, Journal of European Industrial Training, Vol. 30 Issue : 1, pp.4-18; Deddy Wibowo Adhinugroho, (2015) “Praktek pengelolaan sumber daya manusia terhadpa kinerja pelayanan melalui kepuasan kerja pada maskapai penerbangan komersia di Indonesia”, Jurnal Manajemen dan Pemasaran Jasa, Vol. 8, No. 2; Dessler, Gary. 2015. Manajemen Sumber Daya Manusia Edisi 14. Jakarta: Salemba Empat. Fauzan, Rizki. 2012. “Pengaruh Efektifitas Pelatihan, Kompensasi, dan Karakteristik Pekerjaan Terhadap Kepuasan Kerja dan Komitmen Organisasional Serta Kinerja Karyawan PT. BANK KALBAR”. Disertasi. Universitas Airlangga. Surabaya. Frank Nana Kweku Otoo (2018) “Measuring the impact of human resource development (HRD) practices on employee performance in small and medium scale enterprises”, European Journal of Training and Development, Vol.42 Issue:7/8, pp.517-534; Ghozali dan Fuad. 2016. Structural Equation Modeling Teori Konsep & Aplikasi Dengan Program Lisrel 9.10. Semarang: Badan Penerbit UNDIP. Gould-Williams, J (2007) “HR Practices, organizational climate and employee outcomes: evaluating social exchange relationship in local government”, The International Journal of Human Resource Management, 18(9):1627:1647. Hasibuan, Malayu. 2014. Manajemen Sumber Daya Manusia (Edisi Revisi). PT. Bumi Aksara. Jakarta Horwitz, F.M (2013) “Analysis of skills development in a transitional economy: the case of the south african labour market”, Journal of Human Resources Management, 24(12):2435-2451. Husein Umar. 2013. Metode Penelitian Untuk Skripsi dan Tesis. Jakarta: Rajawali. John Delery, Nina Gupta, (2016) “Human Resource Management Practices and Organizational Effectiveness: Internal Fit Matters”, Journal of Organizaitonal Effectiveness: People and Performance, Vol. 3 Issue: 2, pp.139-163. Kasmir. 2016. Analisis Laporan Keuangan. Jakarta: Raja Grafindo Persada. Larasati. Peran Mediasi Kepuasan Kerja Dalam Hubungan Pelatihan, Penilaian Kinerja, Dan Kompensasi Terhadap Loyalitas Di PT. Aseli Dagadu Djokdja, Yogyakarta, Indonesia. Univ. Islam Indonesia Mathis, R.L. & J.H. Jackson. 2010. Manajemen Sumber Daya Manusia. Jakarta. PT. Salemba Empat. Masood Ul Hassan et al (2013) “Impact of high performance work practices on employee loyalty and financial performance through mediation of employee satisfaction: an empirical evidence from financial sector of pakistan”, Middle-East Journal of Scientific Research 16(8):1037-1046. Meng-Long Huo, Peter Boxall, (2018) “Instrumental work values and responses to HR practices: A study of job satisfaction in a Chinese manufacturer”, Personnel Review, Vol. 47 Issued: 1, pp.60-73; Mudrajad, Kuncoro, 2013. Metode Riset untuk Bisnis dan Ekonomi Edisi 4. Jakarta: Erlangga. Munandar, S.C. Utami. 2012. Pengembangan Kreativitas Anak Berbakat. Jakarta: Rineka Cipta. Muhammad Habib Rana, Muhammad Shaukat Malik, (2017) “Impact Of Human Resource (HR) Practices on Organizational Performance: Moderating Role of Islamic Principles”, International Journal of Islamic and Middle Eastern Finance and Management, Vol. 10 Issue : 2, pp.186-207. Nadeem Iqbal et al, (2013) “Impact of performance appraisal on employee’s performance involving the moderating role of motivation”, Arabian Journal of Business and Management Review (OMAN Chapter), Vol. 3 No. 1.Nawawi, 2011. Manajemen Sumber Daya Manusia: Untuk Bisnis Yang Kompetitif. Gajahmada University Press, Yogyakarta. Neni Triana Siregar & Suryalena. Pengaruh Penilaian Kinerja Karyawan dan Rewar Terhadap Prestasi Kerja Karyawan Pada Hotel Sapadia Pasir Pengaraian. Univ. Riau Noe, Raymond A., et.al. 2010. Human Resource Management, Gaining Competitive Advantage 3rd Edition. McGraw-Hill. Nurgiyantoro, B. (2010). Penilaian Pembelajaran Bahasa. Yogyakarta. BPFE. P. Siagian, Sondang. 2012. Teori Motivasi dan Aplikasinya. Jakarta. Rineka Cipta. Rajib Mulyadi, Tetra Hidayati, Siti Maria. (2018). Pengaruh perencanaan karir, pelatihan dan pengembangan karir terhadap kinerja karyawan. Samarinda. Journal.feb.unmul.ac.id Rivai, Veitzal dan Ella Sagala. 2013. Manajemen Sumber Daya Manusia Untuk Perusahaan, Rajawali Pers. Jakarta. Riduwan dan Sunarto. (2012). Pengantar Statistika: Untuk Penelitian Pendidikan, Sosial, Ekonomi, Komunikasi dan Bisnis. Bandung: Alfabeta. Robbins, Stephen P. & A. Judge, Timothy (2015). Perilaku Organisasi. Salemba Empat, Jakarta. Santoso, Singgih. 2012. Panduan Lengkap SPSS Versi 20. Jakarta: PT. Elex Media Komputindo. Sedarmayanti, 2013. Manajemen Sumber Daya Manusia. Bandung: Pustaka Setia. Shay S. Tzafrir, (2006) “A universalistic perspective for explaining the relationship between HRM pracices and firm performance at different points in time”, Journal of Managerial Psychology, Vol. 21 Issue:2, pp.109-130. Simon C.H. Chan, Wai-ming Mak, (2012) “High performance human resource practices and organizational performance: The mediating role of occupational safety and health”, Journal of Chinese Human Resources Management, Vol. 3 Issue: 2, pp.136-150. Sukmadinata, N.S. 2011. Metode Penelitian Pendidikan. Bandung: Remaja Rosadakarya.Sununta Siengthai, Patarakhuan Pila-Ngram, (2016) “The interaction effect of job redesign and job satisfaction on employee performance”, Evidence-based HRM: a Global Forum for Empirical Scholarship, Vol. 4 Issue: 2, pp. 162-180. Sugiyono, 2017. Metode Penelitian Kuantitatif Kualitatif dan R&D. Bandung: Alfabeta. Tanoli, Mubashar Farooq, (2016) “Understanding Caree Planning: A Literature Review”, MPRA Paper No. 74730. Very Mahmudhitya Rudhaliawan, Hamidah Nayati Utami, Mehammad Soe’oed Hakam. 2012. Pengaruh Pelatihan Terhadap Kemampuan Kerja dan Kinerja Karyawan. Univ. Brawijaya Malang Zhang, B. and J.L. Morris (2013) “High-performance work systems and organizational performance:testing the mediating role of employee outcomes using evidence from PR china”, The International Journal of Human Resources Management, (ahead-of-print):pp:1-23.

Despite an increasing number of studies focusing on leadership at Vietnamese small and medium sized enteprises (SMEs), there is a lack of empirical research on collective leadership and development of effective top management team (TMT). The purpose of this paper is to review the literature with a view of characteristics forming an effective TMT. Taking the team effectiveness theory, upper echelons theory and behavioral theory of the firm, theoretical characteristics of effective TMT was created, and then an empirical research was conducted on a sample of 141 SMEs. The common characteristics of an effective TMT are identified, including shared vision, optimal team size, role clarity, age diversity, functional background diversity, regular communication, solidarity and collective decision making. The study makes several contributions to the existing literature on effective TMT development at SMEs. 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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memories.Design and ConstructionIn February 1878, the Colonial Secretary’s Office announced that “it is intended to hold under the supervision of the Agricultural Society of New South Wales an international Exhibition in Sydney in August 1879” (Official Record ix). By December the same year it had become clear that the Agricultural Society lacked the resources to complete the project and control passed to the state government. Colonial Architect James Barnet was directed to prepare “plans for a building suitable for an international exhibition, proposed to be built in the Inner Domain” (Official Record xx). Within three days he had submitted a set of drawings for approval. From this point on there was a great sense of urgency to complete the building in less than 10 months for the exhibition opening the following September.The successful contractor was John Young, a highly experienced building contractor who had worked on the Crystal Palace for the 1851 London International Exhibition and locally on the General Post Office and Exhibition Building at Prince Alfred Park (Kent 6). Young was confident, procuring electric lights from London so that work could be carried out 24 hours a day, to ensure that the building was delivered on time. The structure was built, as detailed in the Colonial Record (1881), using over 1 million metres of timber, 2.5 million bricks and 220 tonnes of galvanised corrugated iron. Remarkably the building was designed as a temporary structure to house the Exhibition. At the end of the Exhibition the building was not dismantled as originally planned and was instead repurposed for government office space and served to house, among other things, records and objects of historical significance. Ultimately the provisional building materials used for the Garden Palace were more suited to a temporary structure, in contrast with those used for the more permanent structures built at the same time which are still standing today.The building was an architectural and engineering wonder set in a cathedral-like cruciform design, showcasing a stained-glass skylight in the largest dome in the southern hemisphere (64 metres high and 30 metres in diameter). The total floor space of the exhibition building was three and half hectares, and the area occupied by the Garden Palace and related buildings—including the Fine Arts Gallery, Agricultural Hall, Machinery Hall and 10 restaurants and places of refreshment—was an astounding 14 hectares (Official Record xxxvi). To put the scale of the Garden Palace into contemporary perspective it was approximately twice the size of the Queen Victoria Building that stands on Sydney’s George Street today.Several innovative features set the building apart from other Sydney structures of the day. The rainwater downpipes were enclosed in hollow columns of pine along the aisles, ventilation was provided through the floors and louvered windows (Official Record xxi) while a Whittier’s Steam Elevator enabled visitors to ascend the north tower and take in the harbour views (“Among the Machinery” 70-71). The building dominated the Sydney skyline, serving as a visual anchor point that welcomed visitors arriving in the city by boat:one of the first objects that met our view as, after 12 o’clock, we proceeded up Port Jackson, was the shell of the Exhibition Building which is so rapidly rising on the Domain, and which next September, is to dazzle the eyes of the world with its splendours. (“A ‘Bohemian’s’ Holiday Notes” 2)The DomeThe dome of the Garden Palace was directly above the intersection of the nave and transept and rested on a drum, approximately 30 metres in diameter. The drum featured 36 oval windows which flooded the space below with light. The dome was made of wood covered with corrugated galvanised iron featuring 12 large lattice ribs and 24 smaller ribs bound together with purlins of wood strengthened with iron. At the top of the dome was a lantern and stained glass skylight designed by Messrs. Lyon and Cottier. It was light blue, powdered with golden stars with wooden ribs in red, buff and gold (Notes 6). The painting and decorating of the dome commenced just one month before the exhibition was due to open. The dome was the sixth largest dome in the world at the time. During construction, contractor Mr Young allowed visitors be lifted in a cage to view the building’s progress.During the construction of the Lantern which surmounts the Dome of the Exhibition, visitors have been permitted, through the courtesy of Mr. Young, to ascend in the cage conveying materials for work. This cage is lifted by a single cable, which was constructed specially of picked Manilla hemp, for hoisting into position the heavy timbers used in the construction. The sensation whilst ascending is a most novel one, and must resemble that experienced in ballooning. To see the building sinking slowly beneath you as you successively reach the levels of the galleries, and the roofs of the transept and aisles is an experience never to be forgotten, and it seems a pity that no provision can be made for visitors, on paying a small fee, going up to the dome. (“View from the Lantern of the Dome Exhibition” 8)The ExhibitionInternational Exhibitions presented the opportunity for countries to express their national identities and demonstrate their economic and technological achievements. They allowed countries to showcase the very best examples of contemporary art, handicrafts and the latest technologies particularly in manufacturing (Pont and Proudfoot 231).The Sydney International Exhibition was the ninth International Exhibition and the colony’s first, and was responsible for bringing the world to Sydney at a time when the colony was prosperous and full of potential. The Exhibition—opening on 17 September 1879 and closing on 20 April 1880—had an enormous impact on the community, it boosted the economy and was the catalyst for improving the city’s infrastructure. It was a great source of civic pride.Image 1: The International Exhibition Sydney, 1879-1880, supplement to the Illustrated Sydney News Jan. 1880. Image credit: Mitchell Library, State Library of NSW (call no.: DL X8/3)This bird’s eye view of the Garden Palace shows how impressive the main structure was and how much of the Gardens and Domain were occupied by ancillary buildings for the Exhibition. Based on an original drawing by John Thomas Richardson, chief engraver at the Illustrated Sydney News, this lithograph features a key identifying buildings including the Art Gallery, Machinery Hall, and Agricultural Hall. Pens and sheds for livestock can also be seen. The parade ground was used throughout the Exhibition for displays of animals. The first notable display was the International Show of Sheep featuring Australian, French and English sheep; not surprisingly the shearing demonstrations proved to be particularly popular with the community.Approximately 34 countries and their colonies participated in the Exhibition, displaying the very best examples of technology, industry and art laid out in densely packed courts (Barnet n.p.). There were approximately 14,000 exhibits (Official Record c) which included displays of Bohemian glass, tapestries, fine porcelain, fabrics, pyramids of gold, metals, minerals, wood carvings, watches, ethnographic specimens, and heavy machinery. Image 2: “Meet Me under the Dome.” Illustrated Sydney News 1 Nov. 1879: 4. Official records cite that between 19,853 and 24,000 visitors attended the Exhibition on the opening day of 17 September 1879, and over 1.1 million people visited during its seven months of operation. Sizeable numbers considering the population of the colony, at the time, was just over 700,000 (New South Wales Census).The Exhibition helped to create a sense of place and community and was a popular destination for visitors. On crowded days the base of the dome became a favourite meeting place for visitors, so much so that “meet me under the dome” became a common expression in Sydney during the Exhibition (Official Record lxxxiii).Attendance was steady and continuous throughout the course of the Exhibition and, despite exceeding the predicted cost by almost four times, the Exhibition was deemed a resounding success. The Executive Commissioner Mr P.A. Jennings remarked at the closing ceremony:this great undertaking […] marks perhaps the most important epoch that has occurred in our history. In holding this exhibition we have entered into a new arena and a race of progress among the nations of the earth, and have placed ourselves in kindly competition with the most ancient States of the old and new world. (Official Record ciii)Initially the cost of admission was set at 5 shillings and later dropped to 1 shilling. Season tickets for the Exhibition were also available for £3 3s which entitled the holder to unlimited entry during all hours of general admission. Throughout the Exhibition, season ticket holders accounted for 76,278 admissions. The Exhibition boosted the economy and encouraged authorities to improve the city’s services and facilities which helped to build a sense of community as well as pride in the achievement of such a fantastic structure. A steam-powered tramway was installed to transport exhibition-goers around the city, after the Exhibition, the tramway network was expanded and by 1905–1906 the trams were converted to electric traction (Freestone 32).After the exhibition closed, the imposing Garden Palace building was used as office space and storage for various government departments.An Icon DestroyedIn the early hours of 22 September 1882 tragedy struck when the Palace was engulfed by fire (“Destruction of the Garden Palace” 7). The building – and all its contents – destroyed.Image 3: Burning of the Garden Palace from Eaglesfield, Darlinghurst, sketched at 5.55am, Sep 22/82. Image credit: Mitchell Library, State Library of NSW (call no.: SSV/137) Many accounts and illustrations of the Garden Palace fire can be found in contemporary newspapers and artworks. A rudimentary drawing by an unknown artist held by the State Library of New South Wales appears to have been created as the Palace was burning. The precise time and location is recorded on the painting, suggesting it was painted from Eaglesfield, a school on Darlinghurst Road. It purveys a sense of immediacy giving some insight into the chaos and heat of the tragedy. A French artist living in Sydney, Lucien Henry, was among those who attempted to capture the fire. His assistant, G.H. Aurousseau, described the event in the Technical Gazette in 1912:Mister Henry went out onto the balcony and watched until the Great Dome toppled in; it was then early morning; he went back to his studio procured a canvas, sat down and painted the whole scene in a most realistic manner, showing the fig trees in the Domain, the flames rising through the towers, the dome falling in and the reflected light of the flames all around. (Technical Gazette 33-35)The painting Henry produced is not the watercolour held by the State Library of New South Wales, however it is interesting to see how people were moved to document the destruction of such an iconic building in the city’s history.What Was Destroyed?The NSW Legislative Assembly debate of 26 September 1882, together with newspapers of the day, documented what was lost in the fire. The Garden Palace housed the foundation collection of the Technological and Sanitary Museum (the precursor to the Powerhouse Museum, now the Museum of Applied Arts and Sciences), due to open on 1 December 1882. This collection included significant ethnological specimens such as Australian Indigenous artefacts, many of which were acquired from the Sydney International Exhibition. The Art Society of New South Wales had hung 300 paintings in preparation for their annual art exhibition due to open on 2 October of that year, all of these paintings consumed by fire.The Records of the Crown Lands Occupation Office were lost along with the 1881 Census (though the summary survived). Numerous railway surveys were lost, as were: £7,000 worth of statues, between 20,000 and 30,000 plants and the holdings of the Linnean Society offices and museum housed on the ground floor. The Eastern Suburbs Brass Band performed the day before at the opening of the Eastern Suburbs Horticultural Society Flower show; all the instruments were stored in the Garden Palace and were destroyed. Several Government Departments also lost significant records, including the: Fisheries Office; Mining Department; Harbour and Rivers Department; and, as mentioned, the Census Department.The fire was so ferocious that the windows in the terraces along Macquarie Street cracked with the heat and sheets of corrugated iron were blown as far away as Elizabeth Bay. How Did The Fire Start?No one knows how the fire started on that fateful September morning, and despite an official enquiry no explanation was ever delivered. One theory blamed the wealthy residents of Macquarie Street, disgruntled at losing their harbour views. Another was that it was burnt to destroy records stored in the basement of the building that contained embarrassing details about the convict heritage of many distinguished families. Margaret Lyon, daughter of the Garden Palace decorator John Lyon, wrote in her diary:a gentleman who says a boy told him when he was putting out the domain lights, that he saw a man jump out of the window and immediately after observed smoke, they are advertising for the boy […]. Everyone seems to agree on his point that it has been done on purpose – Today a safe has been found with diamonds, sapphires and emeralds, there were also some papers in it but they were considerably charred. The statue of her majesty or at least what remains of it, for it is completely ruined – the census papers were also ruined, they were ready almost to be sent to the printers, the work of 30 men for 14 months. Valuable government documents, railway and other plans all gone. (MLMSS 1381/Box 1/Item 2) There are many eyewitness accounts of the fire that day. From nightwatchman Mr Frederick Kirchen and his replacement Mr John McKnight, to an emotional description by 14-year-old student Ethel Pockley. Although there were conflicting accounts as to where the fire may have started, it seems likely that the fire started in the basement with flames rising around the statue of Queen Victoria, situated directly under the dome. The coroner did not make a conclusive finding on the cause of the fire but was scathing of the lack of diligence by the authorities in housing such important items in a building that was not well-secured a was a potential fire hazard.Building a ReputationA number of safes were known to have been in the building storing valuables and records. One such safe, a fireproof safe manufactured by Milner and Son of Liverpool, was in the southern corner of the building near the southern tower. The contents of this safe were unscathed in contrast with the contents of other safes, the contents of which were destroyed. The Milner safe was a little discoloured and blistered on the outside but otherwise intact. “The contents included three ledgers, or journals, a few memoranda and a plan of the exhibition”—the glue was slightly melted—the plan was a little discoloured and a few loose papers were a little charred but overall the contents were “sound and unhurt”—what better advertising could one ask for! (“The Garden Palace Fire” 5).barrangal dyara (skin and bones): Rebuilding CommunityThe positive developments for Sydney and the colony that stemmed from the building and its exhibition, such as public transport and community spirit, grew and took new forms. Yet, in the years since 1882 the memory of the Garden Palace and its disaster faded from the consciousness of the Sydney community. The great loss felt by Indigenous communities went unresolved.Image 4: barrangal dyara (skin and bones). Image credit: Sarah Morley.In September 2016 artist Jonathan Jones presented barrangal dyara (skin and bones), a large scale sculptural installation on the site of the Garden Palace Building in Sydney’s Royal Botanic Garden. The installation was Jones’s response to the immense loss felt throughout Australia with the destruction of countless Aboriginal objects in the fire. The installation featured thousands of bleached white shields made of gypsum that were laid out to show the footprint of the Garden Palace and represent the rubble left after the fire.Based on four typical designs from Aboriginal nations of the south-east, these shields not only raise the chalky bones of the building, but speak to the thousands of shields that would have had cultural presence in this landscape over generations. (Pike 33)ConclusionSydney’s Garden Palace was a stunning addition to the skyline of colonial Sydney. A massive undertaking, the Palace opened, to great acclaim, in 1879 and its effect on the community of Sydney and indeed the colony of New South Wales was sizeable. There were brief discussions, just after the fire, about rebuilding this great structure in a more permanent fashion for the centenary Exhibition in 1888 (“[From Our Own Correspondents] New South Wales” 5). Ultimately, it was decided that this achievement of the colony of New South Wales would be recorded in history, gifting a legacy of national pride and positivity on the one hand, but on the other an example of the destructive colonial impact on Indigenous communities. For many Sydney-siders today this history is as obscured as the original foundations of the physical building. What we build—iconic structures, civic pride, a sense of community—require maintenance and remembering. 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Introduction Many examinations of magic and witchcraft in film and television focus on the gender dynamics depicted and what these can reveal about attitudes to women and power in the eras in which they were made. For example, Campbell, in Cheerfully Empowered: The Witch-Wife in Twentieth Century Literature, Television and Film draws from scholarship such as Greene's Bell, Book and Camera, Gibson's Witchcraft Myths in American Culture, and Murphy's The Suburban Gothic in American Popular Culture to suggest connections between witch-wife narratives and societal responses to feminism. Campbell explores both the allure and fear of powerful women, who are often tamed (or partially tamed) by marriage in these stories. These perspectives provide important insights into cultural imaginings of witches, and this paper aims to use anthropological perspectives to further analyse rituals, spells, and cosmologies of screen stories of magic and witchcraft, asking how these narratives have engaged with witchcraft trials, symbols of women as witches, and rituals and myths invoking goddesses. Buffy the Vampire Slayer, a television series that ran for seven seasons (1997-2003), focusses on a young woman, The Slayer, who vanquishes vampires. As Abbott (1) explains, the vampires in seasons one and two are ruled by a particularly old and powerful vampire, The Master, and use prophetic language and ancient rituals. When Buffy kills The Master, the vampiric threat evolves with the character of Spike, a much younger vampire who kills The Master's successor, The Anointed One, calling for “a little less ritual and a little more fun” ('School Hard'). This scene is important to Abbott's thesis that what makes Buffy the Vampire Slayer such an effective television program is that the evil that she battles is not a product of an ancient world but the product of the real world itself. Buffy has used the past four years to painstakingly dismantle and rebuild the conventions of the vampire genre and work toward gradually disembedding the vampire/slayer dichotomy from religious ritual and superstition … what we describe as ‘evil’ is a natural product of the modern world. (Abbott 5) While distinguishing the series from earlier books and films is important, I suggest that, nonetheless, ritual and magic remain central to numerous plots in the series. Moreover, Child argues that Buffy the Vampire Slayer disrupts the male gaze of classical Hollywood films as theorised by Mulvey, not only by making the central action hero a young woman, but by offering rich, complex, and developmental narrative arcs for other characters such as Willow: a quiet fellow student at Buffy's school who initially uses her research skills with books, computers, and science to help the group. Willow’s access to knowledge about magic through Buffy's Watcher, Giles, and his library, together with her growing experience fighting with demons, leads her to teach herself witchcraft, and she and her growing magical powers, including the ability to conjure Greek goddesses such as Hecate and Diana, become central to multiple storylines in the series (Krzywinska). Corcoran, who explores teen witches in American popular culture in some depth, reflects on Willow's changes and developments in the context of problematic 'post-feminist' films of 1990s. Corcoran suggests these films offer viewers tropes of empowerment in the form of the 'makeover' of witch characters, who transform, but often in individualised ways that elude more fundamental questions of societal structures of race, class, and gender. Offering one of the most fluid and hybrid examples, Willow not only embraces magic as a conduit for power and self-expression but, as the seasons progress, she occupies a host of identificatory categories. Moving from shy high school 'geek' to trainee witch, from empowered sorceress to dark avenger, Willow regularly makes herself over in accordance with her fluctuating selfhood (Corcoran). Corcoran also notes how Willow's character brings together skills in both science and witchcraft in ways that echo world views of early modern Europe. This connects her apparently distinct selves and, I suggest, also demonstrates how the show engages with magic as real within its internal cosmology. Fairy Tale Witches This liberating, fluid, and transformative depiction of witches is not, however, the only one. Early in season one, the show reflects tropes of witchcraft found in fairy tale and fantasy films such as Snow White and The Wizard of Oz. Both films are deeply ambivalent in their portraits of fascinating powerful witches, who are, however, also defined by being old, ugly, and/or deeply jealous of and threatening towards younger women (Zipes). The episode “Witch” reproduces these patriarchal rivalries, as the witch of the episode title is the mother of a classmate of Buffy, called Amy, who has used magic to swap bodies with her daughter in an attempt to recapture her lost glory as a famous cheerleader. There are debates around the symbolism of witches and crones, especially those in fairytales, and whether they can be re-purposed. For example, Rountree in 'The New Witch of the West' and Embracing the Witch and the Goddess has conducted interviews and participant observation with feminist witches in New Zealand who use both goddess and witch symbols in their ritual practice and feminist understandings of themselves and society. By embracing both the witch and the goddess, feminist witches disrupt what they regard as false divisions and dichotomies between these symbols and the pressures of the divided self that they argue have been imposed upon women by patriarchy. In these conceptions, the crone is not only a negative symbol, but can be re-evaluated as one of three aspects of the goddess (maiden, mother, and crone), depicting the cycles of all life and also enabling women to embrace the darker aspects of their own natures and emotions (Greenwood; Rountree 'New Witch'; Walker). Witch Trials That said, Germaine, examining witches in folk horror films such as The Witch and The Wicker Man, advises caution about witch images. Drawing from Hutton's The Witch, she explores grotesque images of the witch from the early modern witch trials, arguing that horror cinema can subvert older ideas about witches, but it also reveals their continued power. Indeed, horror cinema has forged the witch into a deeply ambiguous figure that proves problematic for feminism and its project to subvert or otherwise destabilize misogynist symbols. (Germaine 22) Purkiss's examination of early modern witchcraft trials in The Witch in History also questions many assumptions about the period. Contrary to Rountree's 'The New Witch of the West' (222), Purkiss argues that there is no evidence to suggest that healing and midwifery were central concerns of witch hunters, nor were those accused of witchcraft in this period regarded as particularly sexually liberated or lesbian. Moreover, the famous Malleus Maleficarum, a text that is “still the main source for the view that witch-hunting was woman-hunting” was, in fact, disdained by many early modern authorities (Purkiss 7-8). Rather, rivalries and social tensions in communities combined with broader societal politics to generate accusations: a picture that is more in line with Stewart and Strathern's cross-cultural study, Witchcraft, Sorcery, Rumors and Gossip, of the relationship between witchcraft and gossip. In the Buffy the Vampire Slayer episode “Gingerbread”, Amy has matured and has begun to engage with magic herself, as has Willow. The witch trial of the episode is not, however, triggered by this, but is rather initiated by Buffy and her mother finding the bodies of two dead children. Buffy's mother Joyce quickly escalates from understandable concern to a full-on assault on magical practice and knowledge as she founds MOO (Mothers Opposed to the Occult), who raid school lockers, confiscate books from the school library, and eventually try to burn them and Buffy, Willow, and Amy. The episode evokes fairy tales because the 'big bad' is a monster who disguises itself as Hansel and Gretel. As Giles explains, fairy tales can sometimes be real, and in this case, the monster feeds a community its worst fears and thrives off the hatred and chaos that ensues. However, his references to European Wicca covens are somewhat misleading. Hutton, in The Triumph of the Moon, explains that Wicca was founded in the 1950s in England by Gerald Gardner, and claims it to be a continuation of older pagan witch traditions that have largely been discredited. The episode therefore tries to combine a comment on the irrationality and dangers of witch hunts while also suggesting that (within the cosmology of the show) magic is real. Buffy's confrontation with her mother illustrates this. Furious about the confiscation of the library's occult collection, Buffy argues that without the knowledge they contain, young people are not more protected, but rather rendered defenceless, arguing that “maybe next time the world gets sucked into hell, I won't be able to stop it because the anti-hell-sucking book isn't on the approved reading list!” Thus, she simultaneously makes a general point about knowledge as a defence against the evils of the world, while also emphasising how magic is not merely symbolic for her and her friends, but a real, practical, problem and a combatant tool. Spells Spells take considerable skill and practice to master as they are linked to strong emotions but also need mental focus and clarity. Willow's learning curve as a witch is an important illustrator of this principle, as her spells do not always do what she had intended, or rather, she is not always wise to her own intentions. These ideas are also found in anthropological examples (Greenwood). Malinowski, an anthropologist of the Trobriand Islands, theorised that spells and magical objects have their origins in gestures and words that express the emotional states and intentions of the spellcaster. Over time, these became refined and codified in a society, becoming traditional spells that can amplify, focus, and direct the magician's will (Malinowski). In the episode “Witch”, Giles demonstrates the relationship between spells and intention as, casting a spell to reverse Amy's mother's switching of their bodies, he shouts in a commanding voice 'Release!' Willow also hones skills of concentration and directing her will through the practice of pencil floating, a seemingly small magical technique that nonetheless saves her life when she is captured by enemies and narrowly escapes being bitten by a vampire by floating a pencil and staking him with it in the episode “Choices”. The pencil is also used in another episode to illustrate the importance of focus and emotional balance. Willow explains to Buffy that she is honing these skills as she gently spins a pencil in the air, but as the conversation turns to Faith (a rogue Slayer who has hurt Willow's friends), she is distracted and the pencil spins wildly out of control before flying into a tree (“Dopplegangland”). In another example, Willow tries to conjure lights that will guide her out of difficulty in a haunted house, but, unable to make up her mind about where the lights should take her, she is plagued by them multiplying and spinning in multiple directions like a swarm of insects, thereby acting as an illustrator of her refracted metal state (“Fear Itself”). The series also explores the often comical consequences when love spells are cast with unclear motives. In the episode “Bewitched Bothered and Bewildered”, Buffy's friend Xander persuades Amy to cast a love spell on Cordelia who has just broken up with him. Amy warns him that for love spells, the intention should be pure, and is worried that Xander only wants revenge on Cordelia. Predictably, the spell goes wrong, as Cordelia is immune to Xander but every other woman that comes into proximity with him is overcome with obsession for him. Fleeing hordes of women, Xander and Cordelia have the space to talk, and impressed with his efforts to try to win her back, Cordelia rekindles the relationship, defying her traditional friendship circle. In this way, the spell both does not and does work, perhaps because, although Xander thinks he wants Cordelia to be enchanted, in fact what he really wants is her genuine affection and respect. Another example of spells going amiss is in the episode “Something Blue”, when Willow responds to a break-up by reverting to magic. Despondent over her boyfriend Oz leaving town, she wants to accelerate her grieving process and heal more quickly, and casts a spell to have her will be done in order to try to make that happen. The spell, however, does not work as expected but manifests her words about other things when she speaks with passion, rendering Giles blind when she says he does not see (meaning he does not understand her plight), and in another instance of the literal interpretation of Willow’s word choices causes Buffy and the vampire Spike to stop fighting, fall in love, and become an engaged couple. The episode therefore suggests the power of words to manifest unconscious intentions. Words may also, in the Buffyverse, have power in themselves. Overbey and Preston-Matto explore the power of words in the series, using the episode “Superstar” in which Xander speaks some Latin words in front of an open book that responds by spontaneously bursting into flames. They argue that the materiality of language in Buffy the Vampire Slayer [means that] words and utterances have palpable power and their rules must be respected if they are to be wielded as weapons in the fight against evil. (Overbey and Preston Matto 73) However, in drawing upon Searle's Speech Acts they emphasise the relationship between speech acts and meaning, but there are also examples that the sounds in themselves are efficacious, even if the speaker does not understand them – for example, when Willow tries to do the ritual to restore Angel’s soul to him and explains to Oz that it does not matter if he understands the related chant as long as he says it (“Becoming part 2”). The idea that words in themselves have power is also present in the work of Stoller, an ethnographer and magical apprentice to Songhay sorcerers living in the Republic of Niger. He documents a complex and very personal engagement with magic that he found fascinating but dangerous, giving him new powers but also subjecting him to magical attacks (Stoller and Olkes). This experience helped to cultivate his interest in the often under-reported sensuous aspects of anthropology, including the power of sound in spells, which he argues has an energy that goes beyond what the word represents. Moreover, skilled magicians can 'hear' things happening to the subtle essence of a person during rituals (Stoller). Seeing Other Realities Sight is also key to numerous magical practices. Greenwood, for example, has done participant observation with UK witches, including training in the arts of visualisation. Linked to general health benefits of meditation and imaginative play, such practices are also thought to connect adepts to 'other worlds' and their associated powers (Greenwood). Later seasons of Buffy the Vampire Slayer also depict skills in meditation and concentration, such as in the episode “No Place Like Home”, in which Buffy, worried about her sick mother, uses a spell supposedly created by a French sixteenth-century sorcerer called 'pull the curtain back' to try to see if her mother’s illness is caused by a spell. She uses incense and a ritual circle of sand to put herself into a trance and in that altered state of consciousness sees that her sister, Dawn, was not born to her mother, but has been placed into her family by magic. In another example, in the episode “Who are You?”, Willow has begun a relationship with fellow witch Tara and wants to introduce her to Buffy. However, the rogue Slayer, Faith, has escaped and switched bodies with Buffy, and Tara realises that something is wrong. She suggests doing a spell with Willow to investigate by seeing beyond the physical world and travelling to the nether realm using astral projection. This rather beautiful scene has been interpreted as a symbolic depiction of their sexual relationship (Gibson), but it is also suggesting that, within the context of the series, alternate dimensions, and spells to transport practitioners there, are not purely symbolic. Conclusion The idea that magic, monsters, and demons in the series Buffy the Vampire Slayer act to some extent as metaphors for the challenges that young people face growing up in America is well known (Little). While this is certainly true, at least some of the multiple examples of magic in the series have clear resemblances to witchcraft in numerous social worlds. This depth is potentially exciting for viewers, but it also makes the show's more negative and ambiguous tropes more troubling. Willow and Tara's relationship can be interpreted as showing their independence and rejection of patriarchy, but Willow identifying as lesbian later in the series obscures her earlier relationships with men and her potential identification as bi-sexual, suggesting a need on the part of the show's writers to “contain her metamorphic selfhood” (Corcoran 158-159). Moreover, the identity of lesbians as witches in a vampire narrative is fraught with potentially homophobic associations and stereotypes (Wilts), and one of the few positive depictions of a lesbian relationship on television was ruined by the brutal murder of the Tara character and Willow's subsequent out-of-control magical rampage, bringing the storyline back in line with murderous clichés (Wilts; Gibson). Furthermore, storylines where Willow cannot control her powers, or they are seen as an addiction to evil, make an uncomfortable comment on women and power more generally: a point which Corcoran highlights in relation to Nancy's story in The Craft. Ultimately, representations of magic and witchcraft are representations of power, and this makes them highly significant for societal understandings of power relations, particularly given the complex relationships between witch-hunting and misogyny. The symbols of woman-as-witch have been re-appropriated by fans of witch narratives and feminists, and perhaps most intriguingly, by people who regard magical power as not only symbolic power but as a way to tap into subtle forces and other worlds. Buffy the Vampire Slayer offers something to all of these groups, but all too often reverts to patriarchal tropes. Audiences (some of whom may be magicians) await what film and television witches come next. 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