This article investigates the configuration of cognition-and affect-based trust in managers' professional networks, examining how these two types of trust are associated with relational content and structure. Results indicate that cognition-based trust is positively associated with economic resource, task advice, and career guidance ties, whereas affect-based trust is positively associated with friendship and career guidance ties but negatively associated with economic resource ties. The extent of embeddedness in a network through positive ties increases affect-based trust, whereas that through negative ties decreases cognition-based trust. These findings illuminate how trust arises in networks and inform network research that invokes trust to explain managerial outcomes.

This research investigates hypotheses about differences between Chinese and American managers in the configuration of trusting relationships within their professional networks. Consistent with hypotheses about Chinese familial collectivism, an egocentric network survey found that affect- and cognition-based trust were more intertwined for Chinese than for American managers. In addition, the effect of economic exchange on affect-based trust was more positive for Chinese than for Americans, whereas the effect of friendship was more positive for Americans than for Chinese. Finally, the extent to which a given relationship was highly embedded in ties to third parties increased cognition-based trust for Chinese but not for Americans. Implications for cultural research and international business practices are discussed. Journal of International Business Studies (2009) 40, 490–508. doi:10.1057/palgrave.jibs.8400422

We conduct a 3-y study involving 11,662 respondents to map cultural tightness—the degree to which a society is characterized by rules and norms and the extent to which people are punished or sanctioned when they deviate from these rules and norms—across 31 provinces in China. Consistent with prior research, we find that culturally tight provinces are associated with increased governmental control, constraints in daily life, religious practices, and exposure to threats. Departing from previous findings that tighter states are more rural, conservative, less creative, and less happy, cultural tightness in China is associated with urbanization, economic growth, better health, greater tolerance toward the LGBT (lesbian, gay, bisexual, and transgender) community, and gender equality. Further, analyzing about 3.85 million granted patents in China (1990–2013), we find that provinces with tighter cultures have lower rates of substantive/radical innovations yet higher rates of incremental innovations; individuals from culturally tighter provinces reported higher levels of experienced happiness.

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This paper advances a new theoretical model to understand the effect of culture on creativity in a global context. We theorize that creativity engagement and success depend on the cultural tightness-the extent to which a country is characterized by strong social norms and low tolerance for deviant behaviorsof both an innovator's country and the audience's country, as well as the cultural distance between these two countries. Using field data from a global online crowdsourcing platform that organizes creative contests for consumerproduct brands, supplemented by interviews with marketing experts, we found that individuals from tight cultures are less likely than counterparts from loose cultures to engage in and succeed at foreign creative tasks; this effect is intensified as the cultural distance between the innovator's and the audience's country increases. Additionally, tight cultures are less receptive to foreign creative ideas. But we also found that in certain circumstances-when members of a tight culture do creative work in their own or culturally close countriescultural tightness can actually promote creativity success. This finding implies that some degree of convergent thinking as engendered by tight cultures could be beneficial for creativity, challenging the dominant view in creativity research that divergent thinking is a prerequisite for creative performance.