Purpose
The sound leadership style can be indicative of organizational success and explanatory of quality performance. Besides this, there are various factors that can impact organizational performance. To this end, this study aims to investigate the effect of ethical leadership on organizational performance, with the mediating role of corporate social responsibility (CSR) and organizational culture.
Design/methodology/approach
The service sector in Jordan was targeted by this research, and data were collected from 371 middle-level and top-level managers working in service companies. These responses were analyzed by using analysis of a moment structure.
Findings
The result conveyed that ethical leadership does not only influence organizational performance, but it also, and positively so, affects the organizational culture and CSR. In addition, CSR and organizational culture significantly mediate the relationship between ethical leadership and organizational performance.
Practical implications
The findings of this study are a guide for managers and owners of service companies who are aiming to enhance organizational performance. If they follow the ethical leadership approach and emphasize CSR initiatives and organizational culture, they can attain, and naturally so, the maximum level of organizational performance.
Originality/value
To the best of the authors’ knowledge, this research paper is the first to analyze ethical leadership in the context of the service sector in Jordan and highlight its influence on organizational culture, CSR and ultimately organizational performance. Moreover, it examined the mediating effects of organizational culture and CSR between ethical leadership and organizational performance.
This article argues that Emile Habiby’s The Pessoptimist (1974) reinvented the Palestinian novel within a new literary genre, post-realism. Habiby’s masterpiece employs a complex, noncommittal narrative that in many ways defies, even eludes understanding, and this is its strength. In order to make the narrative more approachable, this paper attempts to contextualise the novel within a postmodern sub-genre, post-realism, making its more subtle and hidden meanings and dimensions reveal themselves. To this end, the article begins by defining realism and post-realism as literary terms and then pinpoints several key post-realist moments in this highly elusive novel. To deepen the analysis, narrative strategies employed in the novel are compared and contrasted to a similar postmodernist novel, Ralph Waldo Ellison’s Invisible Man (1952). Ultimately, the article contributes to developing a new sub-genre, post-realism, within the main, mother genre of postmodernism, which can not only be seen as a reinvention of the Palestinian novel, but also be used widely in literary studies.
This study is an attempt to examine how France 24 and Al-Jazeera represented the Algerian Hirak movement. The study at hand draws on Fairclough's (1995) three-dimensional framework and Van Dijk's ideological square to compare and contrast the depiction of both media outlets at the textual and discursive levels. The sample consisted of 24 articles taken form the two media outlets. In order to analyse the aforementioned news articles, the researchers opted for Van Dijk's Ideological Square (1998) and Fairclough's Three-Dimensional Model (1989, 1995. The findings revealed that both media outlets recognised the Algerian protestors as "the ingroup" and the regime's figures as "the outgroup". This was evident in the absence of any negative predications or reported speech that may delineate the protest or the protestors as illegal. However, while Al-Jazeera highlighted the peacefulness of the Algerian movement, France 24 kept focusing on the presence of the police and the protestors' detention. Moreover, Al-Jazeera depicted the Algerian movement explicitly and held a relatively more objective stance than France 24. The latter tended to manipulate the events, such as exaggerating the reaction of the police particularly in the first three months of the Hirak movement. The hidden ideology of France 24 was evident and it could be seen in the foregrounded elements in the passivized constructions, the repetition of sensitive topics, such as the Amazigh flag and the extensive use ABOUT THE AUTHOR
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