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A great deal of research focusing on organizational diversity has explored dynamics that exclude women and minorities from positions of leadership in sport organizations. The relatively little change in diversity in these positions suggests a need to employ ways of engaging in diversity research that do not center on identity categories and primarily focus on practices. Drawing on notions of subtexts and on queer theory, this critical narrative review aims to make visible and to question organizational practices and processes that may contribute to the diversity "problem" within sport organizations. A subtextual analysis of 32 articles published in leading sport management journals reveals how dynamics of organizational culture, such as an uncritical use of the concept of diversity, the invisibility of practices sustaining gender binaries and heteronormativity, and the intersection of heteronormativity and White normativity, contribute to sustaining the status quo in sport organizations. The authors build on these findings to challenge scholars to further explore and address these practices and processes in sport organizations and in their own research by employing queered intersectional approaches. [ABSTRACT FROM AUTHOR]

During the first few months of the pandemic, professional sport around the globe stopped, as competitions and leagues were cancelled, postponed, or went into hiatus while sport administrators scrambled to work out ways to reboot their product in a COVID-19 world. Sport media outlets were faced with the task of reporting on sport and filling the void for fans in the absence of any live content. This article is concerned with the content, both in quantity and quality that fans of women's sport could consume in those first months. In the context of the current "boom" in women's professional sports, we draw on the analysis of two online sport media sites to consider the narratives of female athletes that fans had access to. The findings suggest that during the beginning of the pandemic sport stories about women were largely erased and replaced by those appealing to a very different fan market. [ABSTRACT FROM AUTHOR]

Glazed ceramic cladding is a material with a very long history of use in the built environment, whether as roof tiles, wall tiles, or more recently, as part of a rainscreen cladding system. A key factor in the resurgence of interest in ceramic as a cladding material—in addition to its inherent qualities of sustainability, malleability, durability, and fire resistance—is as a means of incorporating color into the facade. Although polychromatic facades are commonly achieved using tessellation of a range of single‐colored elements, this article will focus on complex layered and variegated color and texture within a single component. Historical glazes, such as the blue‐red of Chinese Jun ware pottery from the 12th century CE were produced through carefully controlled reduction kiln processes, yet retained an element of uncertainty in the resultant patterns and remain an inspiration for contemporary ceramic artists. Drawing on historical research, literature review and interviews with ceramic artists and industrial manufacturers, six case studies from the United Kingdom and China are discussed that show collaborative processes at different scales of operation. These combine unique artisan and artistic glazes, with standardized, rigorously tested, and internationally manufactured products. These "fusion glazes" refer to historic hand‐made practices to bring an element of unpredictability, and a layer of complexity in terms of color, texture and luster. [ABSTRACT FROM AUTHOR]