While most research in public relations and strategic communication concentrates on textual elements, this contribution shifts the focus to the growing importance of visual elements. The theoretical background is based on visual theory and the concept of strategic mediatization. By using a large-scale quantitative survey among 3,387 European communication professionals, this study is the first empirical evidence of communication professionals’ perspectives concerning visual communication. Therefore, the paper empirically demonstrates a visual turn in strategic communication. (...) Although practitioners have been using visual elements since the very beginnings of their trade, only a minority guide these activities through a sound management process. This calls for a deeper consideration of visual communication management in practice and visual public relations research in academia. (shrink)

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: (...) the essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (shrink)

Background: Visual technologies are central to youth culture and are often the preferred communication means of adolescents. Although these tools can be beneficial in fostering relations, adolescents’ use of visual technologies and social media also raises ethical concerns. Aims: We explored how school public health nurses identify and resolve the ethical challenges involved in the use of visual technologies in health dialogues with adolescents. Research design: This is a qualitative study utilizing data from focus group (...) discussions. Participants and research context: We conducted focus group discussions using two semi-structured discussion guides with seven groups of public health nurses (n = 40) working in Norwegian school health services. The data were collected during January and October 2016. Discussions were audio recorded, transcribed, and coded into themes and subthemes using systematic text condensation. Ethical considerations: The leader of the public health nursing service who agreed to provide access for the study and the Norwegian Center for Research Data that reviewed and approved the study. All participants gave informed consent. Findings: In adolescents’ use of visual materials with public health nurses, ethical concerns were raised regarding suicide ideations, socially unacceptable content, violation of privacy, and presentations of possible child neglect. The nurses utilized their professional knowledge and experience when identifying and navigating these ethical dilemmas; they resolved ethical uncertainties through peer discussion and collaboration with fellow nurses and other professionals. Discussion: We discussed the findings in light of Annemarie Mol’s interpretation of the ethics of care. Mol expands the notion of ethical care to include the action of technologies. Conclusion: Although the increasing use of visual technologies offered benefits, school nurses faced ethical challenges in health dialogues with adolescents. To address and navigate these ethical issues, they relied on their experience and caring practices based on their professional ethics. Uncertainties were resolved through peer dialogue and guidance. (shrink)

Incidence and prevalence rates of dengue have increased over the years, and the disease is quickly becoming cause for concern within the public health community. Globally, 128 countries and slightly under four billion people are at risk of contracting dengue. In Sri Lanka, more than half of dengue cases originate in Colombo, which in previous years, used a manual pen-and-paper data management system, which meant that it was not possible to obtain or provide up-to-date information about the severity and (...) spread of dengue. In 2015, two versions of a mobile application called Mo-Buzz Dengue were developed and launched in Colombo, Sri Lanka in order to overcome the challenges of the traditional management system by capitalizing on the rising affordability and ubiquity of mobile phone technology. To keep up with the dynamic nature of disease outbreaks, real-time data need to be visualized in a manner which facilitates discerning and comprehending these patterns. Hence, we used health maps in Mo-Buzz to effectively present this information. The first version of Mo-Buzz was for public health inspectors, digitized data management as well as provided educational materials. The second version of Mo-Buzz was a source of information for the general public, a crowdsourcing platform to provide information relating to dengue transmission, and for health authorities to alert users to dengue-specific developments in their area. This paper illustrates the design considerations of the Mo-Buzz disease surveillance system for the general public. A draft scaled-down version of the PHI system was used to obtain feedback and make incremental design enhancements. Additionally, similar health maps were evaluated in terms of capability and usability. These findings were applied to identify future enhancements to the health map of Mo-Buzz Dengue. (shrink)

Visual turn and replacement of linear sequential communication with visual analogues cause growing variety of scopic regimes and interest in the topic of visuality. This interest is particularly apparent in Lithuanian academic magazines Santalka and Creativity Studies, which are devoted to the topics of philosophy, creative industries and communication within the creative society. The role of images in mass medias, creative industries, advertisement, urban planning, social mapping, various scopic regimes are often analyzed in Lithuanian academic discourse. Traditional university (...) disciplines are replaced by new, unconventional study programs, such as Creative Industries, Entertainment Industries, New Media Art, Visual Communication etc. Students are learning how to generate images and to understand how they function in mass media, advertising, public relations, public show organization, creative project coordination and other creative industries. (shrink)

Now that it has become so commonplace, we rarely blink an eye at camera footage framed by the crosshairs of a sniper’s gun or from the perspective of a descending smart bomb. But how did this weaponized gaze become the norm for depicting war, and how has it influenced public perceptions? _Through the Crosshairs _traces the genealogy of this weapon’s-eye view across a wide range of genres, including news reports, military public relations images, action movies, video games, (...) and social media posts. As he tracks how gun-camera footage has spilled from the battlefield onto the screens of everyday civilian life, Roger Stahl exposes how this raw video is carefully curated and edited to promote identification with military weaponry, rather than with the targeted victims. He reveals how the weaponized gaze is not only a powerful propagandistic frame, but also a prime site of struggle over the representation of state violence. (shrink)

This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with links (...) between Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

The article reviews the developing studies of visuality with respect to their own focus on cultural and political fields in which visual communication unfolds. I found that that some of the academic interests related to visuality can be located within the broader or intersecting field of cultural and political studies and provide successful tools of analysing and describing the communicational interactions within local communities situated in broader contexts of mobility. Some light is shed on the visualisations of the current (...) condition of the nation-state with respect to globalizing or Europeanising tendencies. Also, I discuss a more general impact of mobility and novel visualisations of the public and cultural sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Children in the Visual Arts of Imperial RomeJenifer NeilsJeannine Diddle Uzzi. Children in the Visual Arts of Imperial Rome. Cambridge: Cambridge University Press, 2005. xiv + 252 pp. 75 black-and-white ills. Cloth, $80.As anyone who has looked at images of the Christ Child in early medieval art or Baroque portraits of young royalty knows, the imagery of children is highly constructed and a minefield of interpretive (...) challenges. In classical art, [End Page 289] representations of children are never as straightforward as they might at first seem. A girl on a swing painted on an Athenian vase, for instance, is not an innocent child at play but an expiation rite for Erigone, the daughter of Ikarios, who after her father's murder committed suicide by hanging herself. Except for funerary memorials, children are rare in classical art, and their presence usually connotes a special event or situation, often one with dire consequences. The earliest images of children in Greek art are those shown on Geometric funerary vases mourning a dead parent or the slaughter of the innocents at Troy. Likewise, in Roman art children appear not as principal players but as adjuncts to ceremonial events or military exploits.Although ancient Roman childhood has been thoroughly investigated of late, most notably by the social historian Beryl Rawson, studies of the depictions of children in Roman art are not numerous. By its title, Uzzi's book might seem to fill the void, but its contents are limited to children depicted on coins, historical reliefs, sarcophagi, and one silver vessel—some one hundred thirty in all. Chronologically it covers the reign of Augustus to the Severan dynasty, and it excludes as much it includes, namely, mythological children, slaves, camilli/ae, and, perhaps most surprisingly since the author claims to examine only official art, children who can be identified as members of the imperial family. A more apt title might be something like Narratives of Roman Identity: Roman and Non-Roman Children on Historical Reliefs.The basic premise of this book is the visual distinction between Roman and non-Roman children, which Uzzi relates to narratives of inclusion and exclusion—or, what it means to be Roman. In brief, Roman children are generally shown with their fathers in public rituals such as those of imperial largesse (congiarium, alimenta, liberalitas), adlocutiones, processions, games, and sacrifices. By contrast non-Roman children are depicted in rites of submission, as captives in triumphal processions, and in scenes of military activity often with their mothers (e.g., on the two helic columns in Rome). These distinctions are particularly evident on the Column of Trajan because it includes scenes of both Roman and non-Roman children. Scene XCI uniquely shows both together in a scene of sacrifice made upon the arrival of the emperor: three children in Roman dress are accompanied by male figures at the front, nearest to Trajan, while the three provincial children, in non-Roman attire, are farther back with women. While it is not surprising among the Dacians to find only mothers tending their children (all the able-bodied fathers presumably being actively engaged in combat), it is noteworthy that Roman children, both boys and girls, make public appearances with their fathers in Dacian territory. Are they simply led out to see the emperor (as we line up our children to see the presidential motorcade) or is there another agenda here, a process of Romanization, as Uzzi suggests?In the introductory chapter, Uzzi considers modern theories and definitions of nationhood, setting the background for her inquiry into Roman identity. In the next chapter, entitled "Primary Sources," she in fact surveys the secondary literature on Roman children and their imagery (Rawson, Currie, Kleiner), [End Page 290] various methodological approaches to Roman art (Zanker, Evans, Gregory, Hannestad, Brilliant, Beard), and definitions of childhood (Carp, Eyben, Pleket, Locke, Foucault). She then goes on to identify markers of ethnicity, namely, hairstyle and costume. For the purposes of this study she identifies children as "those figures who are approximately one-half to two-thirds the size of adults of the same gender (if known), with round faces and bodies (again, if possible to determine), and without... (shrink)

This article examines three cases of mid-20th-century oil media—oil-related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil-themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th-century United (...) States, the material discussed shows that, by the mid-20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context-specific depictions of living within petro-modernity or petro-culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media-based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro-culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy-dependent lifestyles, which is one of the biggest drivers of climate change. (shrink)

The use of images in education has received little attention despite the dual role of images in school textbooks, one aimed at the acquisition of knowledge and the other at the transmission of attitudes, values and norms, that constitute a valuable source of historical, educational and communicative research. We will study, through the analysis of content, the characteristics of the catechisms, the legislation of the time related to the publication of school textbooks, the presence of images, types, the didactic function (...) and the transmission of social models and ideology. The research suggests that the images of school catechisms are not simply reflections of a reality that facilitates the learning of the contents taught in schools, but that they also become an effective tool in the transformation of the values and ideological thinking of the social context in which they are produced. (shrink)

The visual public record of the early West represents a site of national, continental, hemispheric, and global configurations of territory, power, and imagination. The early photograph reproduces the contradictory encounters between industry, settlers, and Indigenous communities as a particular future is envisioned and contested. The transformative value of a photograph was quickly recognized for nation building and soon served a political purpose as its uses expanded from surveying lands to promoting population growth and tourism and to artistic expression. (...) The early uses on the frontier, however, created a secondary history: an alteric and alternative history of Indigenous Peoples through an oral storytelling with a perspective of difference in assimilation, disidentification, and resistance. Transcultural photography, however, is never neutral as participants come from different worlds to participate in a contested exchange. This article looks at photographic encounters between Red Cloud, Mathew Brady, and Alexander Gardener as they enact a mediation in international relations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A City of Brick":Visual Rhetoric in Roman Rhetorical Theory and PracticeKathleen S. LampPerhaps none of the words Augustus, the first sole ruler of Rome who reigned from 27 BCE to 14 CE, actually said are quite as memorable as the ones Cassius Dio has attributed to him: "I found Rome built of clay and I leave it to you in marble" (1987, 56.30).1 Suetonius too discusses Augustus's building (...) program, offering an alleged quote along with an explanation of his motivation: "Since the city was not adorned as the dignity of the empire demanded, and was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble" (1998, Aug.28.3). Though Suetonius's explanation is practical, Dio argues Augustus's "city of brick" had a more metaphoric or symbolic meaning: "In saying this he was not referring literally to the state of the buildings, but rather to the strength of the empire" (1987, 56.30).Both historians, then, perceive a connection between the physical appearance of the city and Rome's place at the head of the (Roman) world. Maecenas, Augustus's right-hand man who was essentially the minister of culture, explicitly draws attention to this strategy in a speech fabricated by Dio. Maecenas advises Augustus, "Make this capital beautiful, spare no expense in doing so, and enhance its magnificence with festivals of every kind. It is right for us who rule over so many peoples to excel all others in every field of endeavor, and even display of this kind tends to implant [End Page 171] respect for us in our allies and to strike terror into our enemies" (1987, 52.30). Here Dio suggests, albeit in hindsight, that Augustus's building program was a conscious "display" of Rome's supremacy meant to elicit a reaction, particularly from those who dwelled outside the city.Though from this passage of Dio's it is possible to argue that the physical appearance of the city of Rome was meant to persuade, or at least elicit some response, the passage does not provide support for the claim that architecture, monuments, and city planning functioned rhetorically in ancient Rome. After all, Quintilian reminds us that "many other things have the power of persuasion" (1970, 2.15.6-9). Nonetheless, this passage does generate questions about the relationship between the Augustan building program, or more broadly the Augustan cultural campaigns, and rhetoric in the principate—specifically about the way in which the cultural campaigns functioned rhetorically to help Augustus gain and maintain power.Recently, I have argued that the Ara pacis Augustae, an Augustan monument commissioned in 13 BCE, functioned as a visual example of a rhetorical text, meant not only to celebrate Augustus's successful campaigns is Spain and Gaul but also to garner public support for Augustus's heir and the process of dynastic succession. Because specific rhetorical techniques often associated with the epideictic genre clearly function on the altar, the Ara pacis demonstrates that Augustus and/or his ministers were thinking rhetorically when constructing at least some Augustan monuments (Lamp 2009). Similarly, architectural historian Diana Favro has argued that certain aspects of Augustan architecture made use of rhetorical techniques related to the canon of memory (1996). These findings are perhaps not surprising given that George Kennedy, writing nearly forty years ago, acknowledged that Augustus, a figure he called "the greatest rhetorician of antiquity, " "developed new techniques of verbal and visual persuasion which took over some of the functions and adapted some of the methods of traditional oratory" (1972, 378, 382).Still, very little attention has been paid to Augustus as a rhetorical figure, which is not to say that scholars of rhetoric have paid no attention to Roman rhetoric. While the classicist Theodore Mommsen, writing in the latter half of the nineteenth century, went as far as to refer to the principate as the "end to the entire discipline of rhetoric" (1992, 125), the decline narrative in regards to Roman rhetoric is shifting. Traditionally, this decline narrative suggested that following the assassination of Cicero, traditional oratory retreated into... (shrink)

The purpose of this study was to evaluate the international scientific output on postpartum depression research during 2000–2020 through a bibliometric analysis and to explore research hotspots, frontiers, and trends in the field of postpartum depression. We searched the Web of Science Core Collection for publications on postpartum depression published between 2000 and 2020. CiteSpace, gCluto, and other software applications were used to analyze the data by year, journal, and country. A total of 2,963 publications were retrieved and 96 countries (...) or regions published related papers. The United States had the largest number of published papers and the highest betweenness centrality, which is the dominant position in the field of postpartum depression. A total of 717 journals published papers, with the Archives of Womens Mental Health ranked first in terms of volume and betweenness centrality. In this study, 31 high-frequency main MeSH terms/subheadings were selected. The high-frequency MeSH terms were clustered into six categories: an overview of depression-related research, diagnostic and screening scales for postpartum depression, epidemiological investigation into postpartum depression, treatment and drug selection for postpartum depression, psychological research on postpartum depression, and etiology, physiopathology, complications, genetics of postpartum depression. Finally, we used strategic diagram to analyze research trends in postpartum depression. This study has identified a continuous significant increase in the publication of PPD articles. Currently, the etiology, physiological pathology, intervention and treatment of complications on PPD are immature, which provides reference for the trend of obstetric psychology. (shrink)

This article illustrates the ways in which visual representations construct the meanings of norms governing the spaces we commonly inhabit. I argue that norms regulating public spaces such as streets, parks, plazas, and beaches arise within the process of conceiving tourist representations of space that benefit hegemonic groups in society. My argument is empirically grounded on evidence from a case study on public space regulation in Acapulco, Mexico. By means of a semiotic analysis of tourist materials such (...) as maps and postcards, I show that images related to tourism represent urban space in a way that includes some elements and excludes others. By doing so, they portray a very specific image of the city and its public spaces. Because representations of space are performed upon the entire society, the imagery reproduced by tourist materials is part of the expectations that surround social actors’ actions. This is one of the mechanisms through which the tourism industry influences the regulation of public spaces. (shrink)

This paper revisits some early applications of audio-visual imaging technologies used in physiology in a dialogue with reflections on Henri Bergson’s philosophy. It focuses on the aspects of time and memory in relation to spatial representations of movement measurements and critically discusses them from the perspective of the observing participant and the public exhibitions of scientific films. Departing from an audio-visual example, this paper is informed by a thick description of the philosophical implications and contemporary discourses surrounding (...) the scientific inventions, technologies and theories of moving image technologies, representations of time, and the measurement of bodies in motion such as those by the French physiologist Étienne-Jules Marey. The application of Bergson’s thinking will show how the scientific graphing and representations of the body through technologies inevitably stand in tension with the limits and potentials of the ‘human apparatus’ and its abilities, filters and internalised processes of perception, memory and consciousness. It proposes an ontological approach to scientific imaging technologies and a critical engagement with the ‘realism’ debate in the discourse of audio-visual media. (shrink)

Sacred texts are important sources for all religions. These resources have a variety of social functions, either implicit or explicit. Therefore, it is important to protect and transfer sacred texts in many cultures. For this reason, in many societies, it has become necessary to memorize these texts after they have been written down and to transfer them orally to the next generations. Thus, over time, various structures related to the memorization of these sacred texts have emerged. Being Ḥāfiẓ is an (...) important activity that emerged for the purpose of memorizing the Qur'an and transferring it in this way when necessary and gained historical and social qualities. People who are Ḥāfiẓ are respected Islamic societies. For this reason, many people make an effort to become a Ḥāfiẓ. In this process, reasons contributed to the spread of becoming Ḥāfiẓ, such as the Prophet Muhammed’s encouragement, and the accepting the memorization of the Qur’an as a virtuous activity for Muslims. The research is based on the lives and experiences of visually impaired Ḥāfiẓes. First of all, it aims to contribute to the relevant scientific literature. In addition to its academic contribution, it also aims to be a source for various social policies in order to reveal new options in line with the inclusion of visually impaired individuals in social life. The research is a qualitative descriptive study. It was conducted on the basis of the phenomenology design, which is one of the qualitative research designs. In this direction, it has been tried to understand how visually impaired hafizes ascribe meaning to their lives and how they evaluate the world, society and relationships. The study group of the research consists of twelve visually impaired Ḥāfiẓ residing in the provinces of Bingöl, Elazig, Diyarbakir and Mardin. During the interviews, it was concluded that the sample reached the saturation point due to the repetition of the data, and so the number of participants was limited to twelve. Snowball sampling technique was used in the research. The interviews were conducted with a semi-structured interview form created within the scope of the research. The interviews were conducted in places such as houses, parks, association offices and mosques. The study was carried out with the permission of Bingöl University Scientific Research and Publication Ethics Committee. Various results were obtained by analyzing the data obtained during the research process. Becoming Ḥāfiẓ is accepted as an important element that directly affects the lives of visually impaired participants. For the participants, it has features that make them at peace with themselves, the world and society, illuminate their dark world, and take them out of living within four walls and include them into life. Being an Ḥāfiẓ, playing role in condolences, reciting hymns in mawlids and similar religious ceremonies, giving voluntary Qur'an trainings in mosques or courses are important examples of social activities provided by the Ḥāfiẓes. The participants stated that being a Ḥāfiẓ provided them an important status in the social context and thus they gained respectability. It has been determined that some visually impaired Ḥāfiẓes are employed informally. Many of the participants earn income by reciting mawlids, hymns and eulogies in various religious ceremonies. They also recite the Qur'an in condolences and on some special days. Being Ḥāfiẓ is an important resource for visually impaired individuals to be included in social life. For this reason, the achievements of the visually impaired due to being a Ḥāfiẓ are an example of a model life for both the disabled and the parents with disabled children. In this direction, the visually impaired individuals should be supported in religious music-supported organizations, religious music associations should be established, and courses like mawlidhan, etc. should be organized. (shrink)

Most conceptions of public and private life within political and social theory do not adequately consider the networks or fluidities involved in contemporary social relations. The distinction of public and private is often conceived of as statically `regional' in character. This article, following an extensive analysis of the multiple meanings of the `public' and `private', criticizes such a static conception and maintains that massive changes are occurring in the nature of both public and private life (...) and especially of the relations between them. We consider flows and networks that enable mobility between and across apparent publics and privates. These mobilities are both physical (in the form of mobile people, objects and hybrids of humans-in-machines) and informational (in the form of electronic communication via data, visual images and texts). We consider the transformations of public and private life that have arisen from `complex' configurations of place and space: the dominant system of car-centred automobility whose spatial fluidities are simultaneously private and public; and various globalizations through the exposure of `private' lives on public screens and the public screening of mediatized events. These mobile, machinic examples demonstrate the limitations of the static, regional conceptualizations of public and private life developed within much social and political theory, and suggest that this divide may need relegation to the dustbin of history. (shrink)

There can be little doubt, from the enduring contemporary popularity of art galleries and museums, that such visual arts as painting and sculpture are sources of perceptual and emotional satisfaction and pleasure to a large viewing public. Still, given the contemporary unfamiliarity of much of the subject matter of past art and the absence of any clearly comprehensible subject matter in much modern (abstract and other) art, it may be less clear what younger or older viewers might come (...) to learn from their viewing of much or any educational value. This paper first offers an overview of the complex history of development of visual art from past to present in light of the shifting standards of artistic and aesthetic evaluation that have variously guided such development. However, it is argued that, while any educated appreciation of visual art cannot be had without some understanding of such history, it also requires a clear grasp of conceptual relations between the artistic and the aesthetic and of the significant interplay of diverse criteria of evaluation in any and all serious artworks past or present. Given this, visual arts may provide a unique route to educational understanding of the broadest liberal character. (shrink)

Public Square is one of the main pillars in social life that has effects on the social quality of the urban public space, and improving the level of social interactions of the citizens. Considering the effect of public space in quality of social life, in many modern cities, the public squares that have recently designed and constructed aren’t responsive for social needs, improvement of communications and the social relations of citizens. This matter appears because of (...) poor conditions of cities during modernization and lack of attention to cultural, sociological and psychological needs, therefore analysing the contributing factors on urban quality of successful historical public squares for improving citizens’ quality of life can introduce a guideline for designers and planners to solve contemporary urban problems. In this research, that has been developed based on descriptive procedure, the characteristics of Naghshe-Jahan Square as an active and vibrant historical public square has been examined to realize the effective factors on improving the quality of citizens’ urban life. The results of research indicate that quality of citizen's urban life indicators in historical public square included visual aesthetic (Spatial continuity and hierarchy, emphasis on the axis of symmetry, balance and visual contrast, Sense of closure and introspection,. (shrink)

This Special Issue collects five articles that are located in the present global context, and draw on methods from across critical discourse studies (CDS) to examine the interaction between material realities of climate change and discursive communication between different Parties and non-Party stakeholders in multimodal ways and on multiple platforms. To this end, it draws on discourses such as the UN speeches, UN documents, EU green deal policy, official documents submitted by African countries to the United Nations Framework Convention on (...) Climate Change (UNFCCC), and news reports in China and Australia. In these studies, diverse social and linguistic concepts were utilized and revisited to better inform the use of linguistic and/or visual symbols in different types of public discourse. This Special Issue aims to take the field a step further by showing the importance of carrying out more international research to expand our knowledge of the global, regional, and local discourse and ideologies that shape what we come to know and understand as climate change and how it is to be addressed. We envisage it will bring significant theoretical, methodological, and empirical insights into the relations between language use, discursive practice, and social practice. (shrink)

Danto's discussion of site‐related and site‐specific art opens up perspectives on both his conception of the ethics and politics of public art and on his ultimately idealistic ontology of art. Danto's analysis of the Vietnam Veterans Memorial involves an important distinction between monuments and memorials that is highly relevant to current controversies, like those about Confederate statues. His differing responses to two site‐related public art works by Richard Serra exhibit a nuanced sensibility to the taste of the (...) class='Hi'>public audience and the aesthetics of genius loci. Danto's enthusiastic account of several site‐specific works involving minimal interventions on the ground (some of which remained in the planning stage) disclose his inclination to reduce art to its idea, prescinding from its material presence. (shrink)

ExcerptThis article compares two fairly recent autobiographical works about the experiences of two highly publicized global disasters: Josef Haslinger's Phi Phi Island: Ein Bericht (2004) and Kathrin Röggla's really ground zero: 11. september und folgendes (2001). Röggla was in lower Manhattan on September 11, 2001. Haslinger was a victim of the 2004 tsunami in Thailand, where he vacationed with his family. Both tell stories that are at once intensely personal, relating threats to the narrator's very existence, and decidedly public, (...) as the events in question were broadcast around the world and subject to prolific media commentary and overwhelming visual representation. (shrink)

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the (...) diplomatic arena. Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teacher as Public ArtSheila Wright (bio)I entered the public art arena as an idealist optimist. Now, two decades later, I am a pragmatist realist. How did my dream of a populist marketplace turn into a nightmare?—Richard Posner, Artist vs. PublicLike Posner, many faculty members enter the academy as idealists, optimistic that their goals for and the promise of higher education will be fulfilled and their quest for (...) knowledge inspired, only to discover years later that they have become pragmatist realists.1 For many, change is necessary for survival, career success, and fulfilling dreams. At what point, however, might otherwise idealistic, visionary, and highly capable people become oppressed, disillusioned, and/or marginalized as professors? Under what conditions do professional dreams of transforming education and critical pedagogy become frustrated by rigid adherence to the status quo? How might initial aspirations of achieving a higher education become politicized and racialized as seemingly inescapable nightmares?For some faculty—particularly those of color and, especially, women working in historically white institutions—the assault on dreams occurs not only in nightmares during sleep but as monochrome, white-mares while awake.2 So, what does it mean just to be a professor in an environment where the simple quest to teach, conduct research, and serve can be frustrated by faulty, stereotypical, and often hostile assumptions, attitudes, and reactions to gender and skin? How might professors in these circumstances [End Page 83] respond to social constructions that manifest as body politics and racialized consciousness while simultaneously celebrating their identity, inner spirit, and cultural self—their ideals and visions? How do professors in these situations respond to institutional policies and practices and the social, cultural, and political nuances of place? Further, how can professors learn from their experiences and strive for meaningful transformation without the risk of being viewed as an "other," "unorthodox," an "activist," or worse?In this article "teacher as public art" is used as a metaphor to describe and explain the all-too-common perceptions and experiences of professors of color, especially women, within the academy. More specifically, this article reports findings from a qualitative study focused on what it means to be a woman of color in the academy. The findings presented are consistent with those encountered in a growing body of literature on the topic. Like other work in this area, an analysis of historical contexts can provide a critical link to understanding the cultural nuances framing the formation of professors' work identities. Triangulated data for this study included a visual art exhibition, personal reflections on the experiences of teaching in higher education, and formal research involving women faculty of color. Data were analyzed and interpreted based on literature defining the three worlds of professorship (scholarship, teaching, and service). The presentation of results and findings included here is intended to encourage further conversation regarding the retention, promotion, and tenure of faculty of color.Information and PerspectiveHighlighted throughout this discussion are (1) the relevance of locating self within the context of people and place; and (2) the importance of bringing meaning, authenticity, and credibility to teaching and research through continued reflection, self-assessment, and inquiry. The case presented is essentially a first attempt to accomplish these goals using self-study, personal experience, and public knowledge as an integrated vehicle for professional transformation. As both the researcher and a participant, the process required that I be simultaneously subjective and objective in order to examine the multiplicity of dialogues related to the professional self. In other words, the process required that I honor the voice of the person within—for example, artist, professor, woman, person of color—while, as a researcher, at the same time honoring the voices of those who participated in the study. As someone who came late to the academy (I was forty when I received my first tenure-track position), I drew for this study not only upon my prior experience and identity as a professor and educational researcher but also upon a myriad of pre-academy experiences and identities as, for example, an artist, art educator, administrator, and aspiring social reformer. The dynamic relationship [End Page 84] between those various identities facilitated and sustained a more cohesive... (shrink)

Animal Suffering and Public Relations conducts an ethical assessment of public relations, mainly persuasive communication and lobbying, as deployed by some of the main businesses involved in the animal industrial complex - the industries participating in the systematic and institutionalized exploitation of animals. Society has been experiencing a growing ethical concern regarding humans' (ab)use of other animals. This is a trend first promoted by the development of animal ethics - which claims any sentient being, because of (...) sentience, deserves moral consideration - and more recently by other approaches from the social sciences, including critical animal studies. In this volume, we aim to start an entirely unaddressed discussion within the field of public relations: the need to problematize the ethics of persuasion when nonhuman animal suffering is involved, particularly the impact of persuasion and lobbying on compassion towards other animals in the cases of food, experimentation, entertainment and environment management. The books provides an interdisciplinary, theoretical discussion illustrated with international case studies from experts in strategic communication, public relations, lobbying and advocacy, animal ethics, philosophy of law, political philosophy and social psychology. This unique book merges the fields of critical public relations, animal ethics and critical animal studies and will be of direct appeal to a wide range of researchers, academics and doctoral students across related fields. (shrink)

When the International Atomic Energy Agency (IAEA) began operations in 1958, one of its first routine tasks was to create and circulate a brief non-technical periodical. This article analyses the creation of theIAEA Bulletinand its circulation during its first years. It finds that diplomatic imperatives both in IAEA leadership circles and in the networks outside them shaped the form and appearance of the bulletin. In the hands of the IAEA's Division of Public Information, the bulletin became an instrument of (...) science diplomacy, its imagery conveying the motivations for member states to strengthen ties with the IAEA, while simultaneously persuading them to accept the hierarchies and geopolitical logics implicit in those relations, as well as to endorse the central position of the IAEA as a clearing house and authority of globally circulating nuclear objects and information. (shrink)

Since the mid-20th century, there has been a noticeable shift of interest in topics related to disability, illness, old age and the discourse of exclusion, both in practice and theory. Numerous artists, who often employed diverse strategies and aesthetics in their works, would confront similar themes, engaging in activities aimed at counteracting various forms and manifestations of social ostracism. This article describes and analyzes selected projects by Polish representatives of critical art and independent theatre which address these issues. The primary (...) aim of this text is not to catalogue as many artistic undertakings as possible but to highlight a certain trend and demonstrate the significance and purpose of art that boldly explores disability, illness, and deteriorating, ageing and dying bodies. Such themes are often taboo in consumer culture, while the task of art is to expose the mechanisms of exclusion and stigmatization and to draw public attention—often in a highly debatable manner—to topics that are omitted in the official discourse. The artistic projects discussed in the text demonstrate that persons with disabilities can be successful artists, dancers, performers, and actors. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and Capitalism:Rhetorical Agency as Communicative LaborRonald Walter GreeneIt is a commonplace to describe rhetorical agency as political action. From such a starting point, rhetorical agency describes a communicative process of inquiry and advocacy on issues of public importance. As political action, rhetorical agency often takes on the characteristics of a normative theory of citizenship; a good citizen persuades and is persuaded by the gentle force of the (...) better argument. More radical visions of argument might include strikes, sit-ins, and boycotts in the rhetorical arsenal of good citizenship, and some might even flirt with violence as rhetorical action. This model of rhetorical agency requires a translation of the conceptual apparatus of rhetoric and its alignment with the problematics of democratic theory and actually existing democratic regimes. Classical models that hoped to harness rhetorical agency to the making of the "orator-statesman" (sic) must reimagine political participation in terms of publics and counterpublics, social movements, electoral campaigns, communication media and technologies, as well as supra- and sub-national institutional settings. As the classical norms of citizenship rub against (post) modern realities, a permanent anxiety over the meaning and potential of rhetorical agency seems destined to be lodged in the critical imagination of rhetorical studies. If politics today is, in Jodi Dean's words, "a domain of financially mediated and professionalized practices centered on advertising, public relations, and the means of mass communication," then actually existing rhetorical agency manifests itself in efforts to "raise the money, buy the television time, register the domain names, build the website, and craft the accessible, user-friendly, spectacular message" (2003, 96).If we recognize Dean's description of the political as an accurate description of the rhetorical situation today, rhetorical studies is left with three strategies: It can refashion a deliberative vision of rhetorical agency into a normative ideal for critiquing the structural conditions (capital, media [End Page 188] concentration) of political participation. Second, it can enlarge the field of normatively acceptable ways and means of political participation, for example, by embracing the more spectacular politics associated with visual and body rhetorics. Finally, rhetorical studies can work on the "demand" side and design new strategies and tactics for activating the rhetorical participation of citizens, for example, by encouraging the creation of communicative norms necessary for reinvigorating voluntary and civic organizations. However, while each of these approaches provides a research agenda, none of them gets at the root cause of the anxiety over agency: the attachment of rhetorical agency to a vision of political change. The anxiety over agency pushes rhetorical critics and theorists into becoming moral entrepreneurs scolding, correcting, and encouraging the body politic to improve the quality and quantity of political participation.The purpose of this paper is to offer an escape route from theorizing rhetorical agency as a model of political communication.1 In opposition to a political-communicative vision of rhetorical agency, this paper suggests a different materialist ontology, one that imagines rhetorical agency as a form of living labor. I will argue that rhetorical agency belongs to the domain of communicative labor, a form of labor increasingly necessary to the workings of contemporary capitalist production. In other words, I want to replace a political-communicative model of rhetorical agency with a materialist-communicative model. To highlight the similarities and differences between the two models, I will focus on how the interface between politics, communication, and economics plays out in the Marxist tradition of rhetorical studies. I will organize this tradition into two sections: the first, represented by James Aune, advocates a hermeneutic approach to rhetorical agency, and the second, represented by Dana Cloud, argues for imagining rhetorical agency as a class-based social movement. By focusing on the work of my comrades, the paper risks being received as a "left sectarian" polemic.2 As I will demonstrate in each section, the problem with these two approaches has less to do with Marxism and more to do with how they turn to hermeneutics and social movements to imagine rhetorical agency in the idiom of communication theory. In the third section of the paper I will resituate rhetorical agency into a materialist ontology of labor and capitalist production. In so... (shrink)

Many of the negative connotations of corporate social responsibility (CSR) are linked to its perceived role as a public relations exercise. Following on calls for more positive engagement by public relations professionals in organisational strategic planning and given the rapidly increasing interest in CSR as a business strategy, this article addresses the question of how the theory and practice of public relations can provide direction and support for CSR. To this end, this article explores (...) leadership styles and motivations of a sample of corporate leaden from prominent Australian-based corporations in relation to their chosen CSR activities to examine the current position of, and potential for, professional communicators' impact in shaping CSR-driven policies at a strategic level. We find that while public relations theory has evolved, many leaders still see public relations professionals only as a source of positive publicity. Our findings suggest that the model of distributive leadership has more relevance to an emerging idea of public relations involvement in CSR than more traditional understandings of leadership. We conclude that the public relations profession needs to develop a greater understanding of senior management approaches to the development and dissemination of CSR activities to support organisational leadership as it currently operates with respect to CSR. (shrink)

The 2017 Commission on Public Relations Education report found new professionals are not meeting employers’ expectations regarding ethics knowledge, skills and abilities. This mixed-method s...

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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The involvement of governments and public institutions in entrepreneurial activity has grown considerably in the last years. Public governance has begun to pay more attention to the fact that, in order to achieve the goal of economic development in a country, it is necessary to increase entrepreneurship both qualitatively and quantitatively. Most governments have created significant actions that encouraged and supported the entrepreneurial activity and also they have contributed to supporting the private sector in the economy. The present (...) paper analyses the scientific works related to entrepreneurship and public governance, as well as to investigate the connection between these topics. The study presents a bibliometric analysis of the importance of the nexus public governance and entrepreneurship. The proposed research studies 201 references collected from the Clarivate Analytics, Web of Science Core Collection database. The research methodology performed to graphically map the literature is bibliometric analysis. The analysis is carried out on three distinct levels, namely the analysis of the co-occurrence of keywords, co-citation and co-author by means of viewer program. This approach allows us to highlight the main results presented in journals, magazines, documents, subjects, authors, institutions but also results recorded at the country level. The study also evidence the main trends and impact of research in the form of a visual and schematic research framework on the relationship between public governance and entrepreneurship and its related elements, namely innovation and development. (shrink)

Public relations is often perceived as unethical, yet professional associations and educators position the industry as an ethical profession. The aim of this paper is to investigate the perceptions of public relations students in a communication school in Australia towards ethics. Research involving a survey and a focus group found that students perceived public relations ethics depended on a negotiation between practitioners’ responsibilities to stakeholders and theirclient or employer organisation, and broader societal expectations. They (...) perceived professional codes of ethics to be of limited value and the development of ethical understanding as incremental over the course of their studies. The findings suggest ethics should be scaffolded in public relations education, the social impact of public relations activity should be emphasised and the limitations of professional codes highlighted. (shrink)

The public interest statement contained in the PRSA Code of Professional Standards is unduly vague and provides neither a working definition of public interest nor any guidance for the performance of what most professions consider to be a primary value. This paper addresses the question of what might constitute public relations service in the public interest, and calls for more stringent guidelines to be developed whereby the profession may advance its service goals more clearly.

As the public relations (PR) field becomes more and more concerned about ethics, attention turns to ethics instruction in university public relations programs. Analysis of six leading public relations texts shows a wide disparity in coverage of the topic, ranging from sparse philosophical to primarily anecdotal. According to the author, no basic conceptual framework has emerged to suggest common ground for studying public relations ethics and the default position seems to be to (...) teach social responsibility / professionalism. (shrink)

Guided by theories of moral psychology and social identity, one hundred and fifty-three public relations practitioners working in the United States participated in an online experiment that tested...

This article investigates the factors affecting how public relations autonomy, legal dominance, and strategic orientation affect crisis communicative response in corporate contexts. Communication managers, crisis managers, public affairs managers, and/or public relations managers were solicited from Taiwan’s top 500 companies to participate in a survey. The results revealed that, in contrast to public relations autonomy being the strongest and sole predictor of concession strategy, legal dominance could predict defensive and diversionary responses in crisis (...) events. The article concludes with a discussion of practical applications and theoretical implications. (shrink)

Four primary ethical behaviors are explored in five situations among 258 undergraduate students, mostly in public relations (PR), in two mid?Atlantic public universities. Student self?reported ethical beliefs are found to be multidimensional, with data suggesting interpretations based on theories of reasoned action.

Van Dijk argues that it is from news that the majority of people obtain most of their social and political knowledge. Therefore, it should concern us that current research evidence suggests that the discourse of public relations is growing in influence over the discourse of journalism to an extent that journalists are relinquishing their agenda-setting function. Using the concepts of intertextuality and genre, the form and content of examples of public relations material and the news stories (...) which resulted from them are discussed. Erjavec’s method of comparative analysis is employed to examine the texts as well as discuss the discourse processes. Fairclough’s argument that texts are a set of options is used to show that the options journalists are choosing are not necessarily based on the accepted rules of news values. (shrink)

In this study the author argues that public relations practitioners must not ignore the public interest even though the term has been the subject of vigorous debate within both academic and professional circles. The author maintains - not-withstanding the controversy - that the public interest is intrinsic to the very definition of what it is public relations people do. He suggests the solution to the definitional problem rests in first formulating an abstract (general) definition, (...) then moving to the operational level. (shrink)

How Propaganda Became Public Relations pulls back the curtain on propaganda: how it was born, how it works, and how it has masked the bulk of its operations by rebranding itself as public relations. Cory Wimberly uses archival materials and wide variety of sources — Foucault’s work on governmentality, political economy, liberalism, mass psychology, and history — to mount a genealogical challenge to two commonplaces about propaganda. First, modern propaganda did not originate in the state and (...) was never primarily located in the state; instead, it began and flourished as a for-profit service for businesses. Further, propaganda is not focused on public beliefs and does not operate mainly through lies and deceit; propaganda is an apparatus of government that aims to create the publics that will freely undertake the conduct its clients’ desire. Businesses have used propaganda since the early twentieth century to construct the laboring, consuming, and voting publics that they needed to secure and grow their operations. Over that time, corporations have become the most numerous and well-funded apparatuses of government in the West, operating privately and without democratic accountability. Wimberly explains why liberal strategies of resistance have failed and a new focus on creating mass subjectivity through democratic means is essential to countering propaganda. This book offers a sophisticated analysis that will be of interest to scholars and advanced students working in social and political philosophy, Continental philosophy, political communication, the history of capitalism, and the history of public relations. (shrink)

Using material from the Pfizer sponsored website providing health information on erectile dysfunction to potential Swedish Viagra customers (www.potenslinjen.se), this article explores the public image of masculinity in relation to sexual health and the cultural techniques for creating pharmaceutical appeal. We zoom in on the targeted ideal users of Viagra, and the nationalized, racialized and sexualized identities they are assigned. As part of Pfizer’s marketing strategy of adjustments to fit the local consumer base, the ways in which Viagra is (...) promoted for the Swedish setting is telling of what concepts of masculinity are so stable and unassailable that they can withstand the association with a drug that is, in essence, an acknowledgement of ‘failed’ masculinity and ‘dysfunctional’ sexuality. With comparative national examples, this study presents an interdisciplinary take on the ‘glocalized’ cultural imaginary of Viagra, and the masculine subject positions it engenders. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the aesthetic (...) and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

BackgroundDepression is common psychiatric morbidity in breast cancer survivors, seriously affecting patients’ quality of life and mental health. A growing body of research has investigated depression in breast cancer. However, no visual bibliometric analysis was conducted in this field. This study aimed to visualize the literature to identify hotspots and frontiers in research on breast cancer and depression.MethodsThe publications related to depression in breast cancer were retrieved in the Web of Science Core Collection between 1 January 2002 and 17 (...) March 2022. VOSviewer was used to identify co-occurrences and collaborations among countries, institutions, and keywords. CiteSpace was used to detect keyword bursts.ResultsA total of 7,350 articles and reviews related to depression in breast cancer were identified. From 2002 to 2022, the United States and the People’s Republic of China were the most productive countries in this field. The University of California, Los Angeles, and the University of Toronto were the most productive institutions in this field. The Journal of Psycho-oncology, followed by Supportive Care in Cancer and the Journal of Clinical Oncology, had the most publications on depression in breast cancer. Of the top 10 journals, seven were from the United States, two were from England, and one was from Germany. Five research hotspots of depression in breast cancer were identified by co-word analysis. Research on post-traumatic growth, spiritual interventions, cognitive-behavioral therapy, physical activity, and symptom cluster management of depression in breast cancer was relatively mature in the core hotspots. Burst detection of keywords on depression in breast cancer showed the latest hotspots, such as mental health, cancer survivor mortality, and activity.ConclusionThe research on depression in breast cancer is growing. Attention should be paid to the latest hotspots, such as mental health, cancer survivor, mortality, exercise, and physical activity. (shrink)

Advocates of dialogic communication have promoted two-way symmetrical communication as the most effective and ethical model for public relations. This article uses John Durham Peters's critique of dialogic communication to reconsider this infatuation with dialogue. In this article, we argue that dialogue's potential for selectivity and tyranny poses moral problems for public relations. Dialogue's emphasis on reciprocal communication also saddles public relations with ethically questionable quid pro quo relationships. We contend that dissemination can be (...) more just than dialogue because it demands more integrity of the source and recognizes the freedom and individuality of the source. The type of communication, such as dialogue or dissemination, is less important than the mutual discovery of truth. Reconciliation, a new model of public relations, is proposed as an alternative to pure dialogue. Reconciliation recognizes and values individuality and differences, and integrity is no longer sacrificed at the altar of agreement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 2. © 2018 by Feminist Studies, Inc. 333 Michelle V. Rowley, Elora Halim Chowdhury, and Isis Nusair Refusing to Account: Toward a Pedagogy of Tectonic Instability The increasing commoditization of knowledge and corporatization of the academy have led to a drastic restructuring of higher education, and in particular, of public institutions of learning. There is a striking similarity to the strategies enacted across institutions, (...) each governed by modes of efficiency and profitability. These moves have included a preference for larger classes, curriculum decisions that are governed by seats rather than pedagogical possibilities, an expansion of online offerings, tuition increases, and ramped-up bureaucratization, with the latter being accompanied by fewer faculty hires, a greater dependence on contingent faculty, and a swell in the ranks of senior administrative staff. This restructuring has held very specific consequences for women ’s studies programs. While larger classes are not inherently at odds with a student-centered feminist pedagogy, they do require adjustments in order to achieve similar results with our students, and they do exact greater physical and emotional labor from us as instructors. These restructuring strategies have also positioned the field in a Catch22 in that a number of issues that we have lobbied to have valued within the academy have now come into the university’s line of vision only to be redeployed as part of the university’s public relations branding agenda. There are numerous examples if we would but look: campuses that are spotted with banners portraying faculty and students of color —a visual map to the institution’s “embrace of diversity”; committees 334 Michelle V. Rowley, Elora Halim Chowdhury, and Isis Nusair that are convened to review the institution’s sexual harassment policy while simultaneously refusing the involvement of women’s studies academics in the process, for whom these are scholarly and intellectual areas of study; the introduction of multicultural general education curricula, where the study of “difference” amounts to a banal presence of one or more categories of “otherness” in syllabi. This list is not exhaustive but the similarity that threads through is the commodification and the PR-ization of issues that sit at the heart of the field of women’s studies. Such cooptation notwithstanding, in this economic climate of profit maximization, small, interdisciplinary programs and departments such as women’s studies, ethnic studies, and LGBT studies have become woefully vulnerable to mergers, downsizing, and elimination.1 Our own program, now defunct, attests to this growing reality.2 So what then is the story to be told for a program that no longer exists? As alumna of Clark University’s now defunct women’s studies doctoral program, we consider the ways in which Clark, under the guidance of Cynthia Enloe, worked to move the field toward a more transnational bent. While we begin with an engagement with Clark’s specific institutional vulnerabilities, we use Clark’s commitment to a transnational praxis as our comparative point of departure to note the ways in which the importance and acuity of a transnational feminist critique have seeped away from the field. At various points in the article, we discuss how our individual trajectories emerged out of a transnational feminist sensibility. We interrogate the ways that the dominant logics of the field continue to be complicit with the very inequities and modes of representation critiqued within transnational feminist discourses. We point to the role that our scholarly pursuits play in an ongoing effort to hold the field accountable to a transnational feminist critique. Finally, 1. See Miranda Joseph, Debt to Society: Accounting for Life under Capitalism (Minneapolis, MN: University of Minnesota Press, 2014); and Chandra Talpade Mohanty, “Privatized Citizens, Corporate Academies, and Feminist Projects,” in Feminism without Borders: Decolonizing Theory, Practicing Solidarity (Durham, NC: Duke University Press, 2003). 2. The doctoral program at Clark began in 1992 and closed in 2008, graduating twenty-six PhDs and training many more who have gone on to make significant contributions at NGOs among other locations. For example, Parissara Liewkeat and Barbara Schulman have held positions with the International Labor Organization and Amnesty International, respectively. Michelle V. Rowley, Elora Halim Chowdhury, and Isis Nusair 335 we look back at our own training... (shrink)