One of the main contentions of the framework for Responsible Innovation (RI) is that social and ethical aspects have to be addressed by deliberative engagement with stakeholders and the wider public throughout the innovation process. The aim of this article is to reflect on the question to what extent is deliberative engagement suitable for conducting RI in business. We discuss several tensions that arise when this framework is applied in the business context. Further, we analyse the place of deliberative engagement (...) in several theories of business ethics. We conclude that there remains a tension between the ideal of RI and the way in which the competitive market operates. Hence, RI scholars should reflect more critically on changes that are required in the market in order to make RI possible, modify the ideal of deliberative engagement for RI in business, or attempt to strike a balance between these two responses. (shrink)

Co-authored letter to the APA to take a lead role in the recognition of teaching in the classroom, based on the participation in an interdisciplinary Conference on the Role of Advocacy in the Classroom back in 1995. At the time of this writing, the late Myles Brand was the President of Indiana University and a member of the IU Department of Philosophy.

In order to maintain the existence of the business, it always creates and implements various marketingstrategies to maintain and maintain business operations in the midst of fierce business competition. Allbusinesses have competition so this makes the company must have a strategy to be able to excel incompetition. Companies must be able to know how to retain their customers so as not to turn to competitors.Especially in the field of coffee drinks business which is currently being rife in Surabaya. This research (...) usesa Quantitative Approach is a research approach that uses data in the form of figures from survey answersdistributed to research samples and analyzed using statistical analysis techniques. The partial regressionresults (t-test) showed the results of the brand image proved to have a significant effect on the decision topurchase coffee drinks at Janji Jiwa Royal Plaza Surabaya. Value is proven to have a significant effect oncoffee beverage purchase decisions at Janji Jiwa Royal Surabaya. Simultaneous regression analysis (F-test)proved to have a significant effect on brand image and value on coffee beverage purchase decisions at JanjiJiwa Royal Surabaya. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

This paper addresses the ontological status of the ontological categories as defended within E.J. Lowe’s four-category ontology (kinds, objects, properties/relations, and modes). I consider the arguments in Griffith (2015. “Do Ontological Categories Exist?” Metaphysica 16 (1):25–35) against Lowe’s claim that ontological categories do not exist, and argue that Griffith’s objections to Lowe do not work once we fully take advantage of ontological resources available within Lowe’s four-category ontology. I then argue that the claim that ontological categories do not exist has (...) no undesirable consequences for Lowe’s brand of realism. (shrink)

Every year, the Vietnamese people reportedly burned about 50,000 tons of joss papers, which took the form of not only bank notes, but iPhones, cars, clothes, even housekeepers, in hope of pleasing the dead. The practice was mistakenly attributed to traditional Buddhist teachings but originated in fact from China, which most Vietnamese were not aware of. In other aspects of life, there were many similar examples of Vietnamese so ready and comfortable with adding new norms, values, and beliefs, even contradictory (...) ones, to their culture. This phenomenon, dubbed “cultural additivity”, prompted us to study the co-existence, interaction, and influences among core values and norms of the Three Teachings –Confucianism, Buddhism, and Taoism–as shown through Vietnamese folktales. By applying Bayesian logistic regression, we evaluated the possibility of whether the key message of a story was dominated by a religion (dependent variables), as affected by the appearance of values and anti-values pertaining to the Three Teachings in the story (independent variables). Our main findings included the existence of the cultural additivity of Confucian and Taoist values. More specifically, empirical results showed that the interaction or addition of the values of Taoism and Confucianism in folktales together helped predict whether the key message of a story was about Confucianism, β{VT ⋅ VC} = 0.86. Meanwhile, there was no such statistical tendency for Buddhism. The results lead to a number of important implications. First, this showed the dominance of Confucianism because the fact that Confucian and Taoist values appeared together in a story led to the story’s key message dominated by Confucianism. Thus, it presented the evidence of Confucian dominance and against liberal interpretations of the concept of the Common Roots of Three Religions (“tam giáo đồng nguyên”) as religious unification or unicity. Second, the concept of “cultural additivity” could help explain many interesting socio-cultural phenomena, namely the absence of religious intolerance and extremism in the Vietnamese society, outrageous cases of sophistry in education, the low productivity in creative endeavors like science and technology, the misleading branding strategy in business. We are aware that our results are only preliminary and more studies, both theoretical and empirical, must be carried out to give a full account of the explanatory reach of “cultural additivity”. (shrink)

What words we use, and what meanings they have, is important. We shouldn't use slurs; we should use 'rape' to include spousal rape (for centuries we didn’t); we should have a word which picks out the sexual harassment suffered by people in the workplace and elsewhere (for centuries we didn’t). Sometimes we need to change the word-meaning pairs in circulation, either by getting rid of the pair completely (slurs), changing the meaning (as we did with 'rape'), or adding brand (...) new word-meaning pairs (as with 'sexual harassment'). A problem, though, is how to do this. One might worry that any attempt to change language in this way will lead to widespread miscommunication and confusion. I argue that this is indeed so, but that's a feature, not a bug of attempting to change word-meaning pairs. The miscommunications and confusion such changes cause can lead us, via a process I call transformative communicative disruption, to reflect on our language and its use, and this can be further, rather than hinder, our goal of improving language. (shrink)

I begin by criticizing reductionist knowledge-first epistemology according to which knowledge can be used to reductively analyze other epistemic phenomena. My central concern is that proponents of such an approach commit a similar mistake to the one that they charge their opponents with. This is the mistake of seeking to reductively analyze basic epistemic phenomena in terms of other allegedly more fundamental phenomena. I then turn to non-reductionist brands of knowledge-first epistemology. Specifically, I consider the knowledge norms of assertion and (...) contrast them with an alternative that I have developed elsewhere (Gerken 2011, 2012a, 2013b, 2014, 2015a, 2015c, MS). On the basis of the critical discussion, I question whether a knowledge-first program that is both plausible and distinctive has been identified. On a more positive note, I sketch the contours of an alternative that I label ‘equilibristic epistemology.’ According to this approach, there isn’t a single epistemic phenomenon or concept that is “first.” Rather, there are a number of basic epistemic phenomena that are not reductively analyzable although they may be co-elucidated in a non-reductive manner. This approach preserves some grains of truth in knowledge-first epistemology. For example, it preserves the idea that knowledge can be taken to be explanatorily basic and unanalyzable. However, since no single epistemic phenomenon is first, knowledge is not first. (shrink)

The Neo-Moorean response to the radical skeptical challenge boldly maintains that we can know we’re not the victims of radical skeptical hypotheses; accordingly, our everyday knowledge that would otherwise be threatened by our inability to rule out such hypotheses stands unthreatened. Given the leverage such an approach has against the skeptic from the very start, the Neo-Moorean line is an especially popular one; as we shall see, though, it faces several commonly overlooked problems. An initial problem is that this particular (...) brand of anti-skeptical strategy is available only to a theory of knowledge that will compromise itself to especially weak epistemic standards—indeed, standards as weak as our epistemic grounds are for accepting the denials of skeptical hypotheses. With this said, the aim here is to investigate whether the Neo-Moorean line could be advanced against the skeptic in a way that wouldn’t require wholesale lowering of epistemic standards. Unfortunately, as we’ll see, Sosa’s (2007; 2009) view as well as what I argue to be the other two most plausible contender-views for maintaining a Neo-Moorean line—Greco’s and Pritchard’s—run (for similar reasons) into dead ends. The way forward, I’ll argue, is to take on board a unique variety of robust virtue epistemology accord­ing to which knowledge is thought to be situated a certain way within a gradient balance between ability and luck. (shrink)

There are many important dimensions of epistemic evaluation, one of which is justification. We don’t just evaluate beliefs for truth, reliability, accuracy, and knowledge, but also for justification. However, in the epistemological literature, there is much disagreement about the nature of justification and how it should be understood. One of the controversies that has separated the contemporary epistemological discourse into two opposing camps has to do with the internalism-externalism distinction. Whereas internalists defend certain core assumptions about justification from the pre-Gettier (...) tradition, externalists generally think that the traditional conception is untenable and should be replaced. In this compilation thesis, I argue for, defend, and develop a particular brand of internalism, both in general and with respect to specific sources of justification. In papers 1 and 2, I defend a couple of well-known arguments for mentalism and accessibilism. Moreover, I also point out how prominent versions of these theses are vulnerable to serious problems (e.g., about over-intellectualization and vicious regresses). Part of my goal in the first couple of papers is to figure out what commitments the internalist should take on in order to avoid the externalist's objections, while at the same time receiving support from considerations that have motivated internalism in the past. In papers 3 and 4, I start from the assumption that mentalism is true and attempt to answer the following questions: 1) which non-factive mental states can play a justification-conferring role with respect to empirical belief? And 2) why does this set of states play the epistemic role it does? In response to question 1, I argue that all and only one's beliefs and perceptual experiences have justificatory relevance. In response to question 2, I argue that one's beliefs and perceptual experiences are one's strongly representational states, and that strongly representational states necessarily provide support to certain empirical propositions. Having done so, I then defend mentalism about scientific evidence from a couple of prominent objections in the recent literature. Lastly, in papers 5 and 6, I argue for a particular brand of internalism about testimonial and memorial justification and show how that position has a dialectical advantage over its main competitors. (shrink)

Normal 0 false false false EN-CA X-NONE X-NONE The purpose of this paper is to reconstruct Hilary Kornblith’s argument for excluding conceptual analysis from epistemological inquiry, and then provide three objections to it. More specifically, Kornblith argues that epistemological properties such as ‘knowledge’ reduce to natural kinds which can only be discovered and investigated using the a posteriori methods of the natural sciences. Thus, he continues, conceptual analysis can’t properly illuminate the target domain. The three objections to Kornblith’s argument which (...) I present are as follows: Multiple Realizeability, Psychological Explanation, Starting Points. On strength of these objections, I conclude that Kornblith’s brand of a posteriori epistemology both eliminates our ability to make epistemic evaluations in general, and also implies a strong form of scepticism. /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}. (shrink)

Cartea prezintă modele de afaceri, management, analize și strategii care ajută la dezvoltarea și punerea în valoare a unei organizații, în contexte specifice economice, sociale, culturale sau de altă natură, prin elaborarea și implementarea unor planuri personalizate. Capacitatea unei organizații de a procesa informații este în centrul competențelor organizatorice și manageriale, iar strategiile unei organizații trebuie să fie proiectate pentru a îmbunătăți funcționalitatea și eficiența corporativă și, întrucât sistemele de management care furnizează această capabilitate au devenit formalizate și automatizate, competențele (...) sunt testate dur la mai multe niveluri. Organizațiile trebuie să fie capabile să învețe și să se adapteze în moduri care nu au fost niciodată atât de evidente înainte. Managementul strategic implică formularea și punerea în aplicare a obiectivelor și inițiativelor majore luate de conducerea de vârf a unei companii în numele proprietarilor, luând în considerare resursele și o evaluare a mediilor interne și externe în care organizația evoluează. El implică conceptele conexe de planificare strategică și gândire strategică. Prin analiza afacerii se identifică nevoile de afaceri și se stabilesc soluțiilor la problemele de afaceri. Soluțiile includ adesea o componentă de dezvoltare sisteme-software, dar pot consta și în îmbunătăţirea procesului, schimbarea organizațională sau planificarea strategică și elaborarea politicilor. CUPRINS: Afaceri - Formele de bază de proprietate - Clasificări - Management - - Restructurarea întreprinderilor de stat - Reglementări organizaţionale şi legislative - Evidenţa contabilă - - Procesul - Marketing - - Orientarea spre client - - Orientarea organizaţională - - - Comportamentul de turmă - - - Alte orientări - - Cercetarea în marketing - - - Mediul de marketing - - - Segmentarea pieţei - - - Tipuri de cercetare de piață - Publicitate - - Teoria publicităţii - - - Modele ierarhia-efectelor - - - Marketing mix - - Medii pentru publicitate - - Semiotica - - Efecte de gen în procesarea publicității - Inteligența în afaceri (Business intelligence) - - Componente - - Istorie - - Depozitarea datelor - - Comparație cu inteligența competitivă - - Comparație cu cercetarea analitică de afaceri - - Aplicații într-o întreprindere - - Prioritizarea proiectelor - - Factori de succes în implementare - - - Suportul afacerii - - - Nevoile afacerii - - - Cantitatea și calitatea datelor disponibile - - Aspect utilizator - - Date semistructurate sau nestructurate - - - Date nestructurate vs. date semistructurate - - - Probleme cu date semistructurate sau nestructurate - - - Utilizarea de metadate - Antreprenoriat - - Definiţie - - Decizii antreprenoriale - - - Antreprenoriatul ca o proiectare a relațiilor individuale/oportunități - - - Percepţia antreprenorială - - - Stiluri antreprenoriale - - Aspecte psihologice - Franciza - - Cele mai mari lanțuri de franciză - - Taxe și termeni contractuali - - Justificare și comutarea riscului - - Obligațiile părților - - Francize sociale - - Franciza logistică de la terți - - Franciza de evenimente - - Francize la domiciliu Managementul afacerii - Managementul informațiilor - - Aspecte teoretice - - - Teorii comportamentale și organizaționale - - - Teoria economică - - Managementul informațiilor strategice - - - Alinierea tehnologiilor și strategiilor de afacere cu managementul informațiilor - - - Un model de portofoliu contemporan pentru informații - - - Competențe pentru gestionarea calității informațiilor - - - Rezumat - - Operaționalizarea managementului informațiilor - - - Gestionarea schimbării necesare - - - Opera timpurie a lui Galbraith - - - Organizații matriceale - - Informații în sursă deschisă - - - Surse deschise pentru informații - - - Definiții pentru OSINT - - - Informații competitive - - - OSINT în afaceri - Managementul strategic - - Definiţie - - - Formularea - - - Implementarea - - - Diverse definiții ale strategiei - - Concepte și cadre - - - Analiza SWOT - - - Curba de experiență - - - Strategia corporativă și teoria portofoliului - - - Avantaj competitiv - - - Structura industriei și a rentabilitatea - - - Strategii competitive generice - - - Lanțul valoric - - - Competențe de bază - - - Teoria afacerii - - Gândirea strategică - - Planificarea strategica - - - Analiza mediului - - - Planificarea scenariului - - - Măsurarea și controlul implementării - - - Evaluarea - - Limitări - - Abordări pentru managementul strategic - - - Ierarhia de strategie - Managementul relațiilor de afaceri - - Tendințe în dezvoltarea MRA - - Prezentare generală și obiective - - - Ca disciplină - - - Ca rol organizațional - - - Ca model - - Ciclurile de viață ale MRA - - Principiile MRA - - - Măsurare și analiză - - - Scop - - - Reputație și încredere - - - Guvernare - - - Limite - - - Schimb și reciprocitate - Managementul relațiilor de intreprindere - - Instrumente și metodologii - Software de afaceri - - Tipuri de instrumente de afaceri Analiza afacerii - Tehnici de analiză de afaceri - - PESTLE - - Heptaliza - - MOST - - SWOT - - CATWOE - - Cele şase pălării în gândire ale lui de Bono - - Cinci "De ce" - - MoSCoW - - VPEC-T - - SCRS - Cercetarea analitică - - Cercetarea analitică vs. analiză - - Exemple - - - Optimizarea de marketing - - - Cercetarea analitică de portofoliu - - - Cercetarea analitică de risc - - - Cercetarea analitică digitală - - - Cercetarea analitică de securitate - - - Cercetarea analitică în software - - Provocări - - Riscuri - Evaluarea afacerii - - Standardul și premisa valorii - - Standardele de valoare - - Premise de valoare - - Elemente ale evaluării afacerii - - - Condițiile economice - - - Analize financiare - - - Normalizarea situațiilor financiare - - - Venituri, active și abordări de piață Strategia de afaceri - Cele trei procese ale strategiei în afaceri - - Formularea strategiei - - Implementarea strategiei - - Evaluarea strategiei - - - Adecvarea - - - Fezabilitatea - - - Acceptabilitatea - Planificarea strategică - - Procesul - - - Prezentare generală - - - Intrări - - - Activităţi - - - Ieşiri - - - Rezultate - - Instrumente și abordări - - Planificarea strategică vs planificarea financiară - - Critici - - - Planificarea strategică vs gândirea strategică - Gândirea strategică - - Gândirea strategică vs planificarea strategică - - Competențe de gândire strategică - Modele de afaceri - - Perspective teoretice și empirice ale modelelor de afaceri - - - Logica proiectării și coerență narativă - - - Complementarități ale modelelor de afaceri între firme partenere - - Clasificarea modelelor de afaceri - - - Cadrul V4 BM - - - Trecerea de la conducte la platforme - - - Modele de afaceri platformă - - Aplicații - - Proiectarea modelului de afaceri - - - Definiții ale modelului de afaceri - - Definiții ale proiectării sau dezvoltării modelului de afaceri - - - Evidențierea temelor de proiectare a modelului de afaceri - - - Evidențierea conținutului de proiectare pentru proiectarea modelului de afaceri - - Exemple de modele de afaceri - - - Model de afaceri clasic - - - Modele de afaceri colective - - - Modelul renunțării la intermediari - - - Modelul de vânzări directe - - - Modele de afaceri de distribuție - - - Modelul revânzării cu valoare adăugată - - - Primul plătește, apoi gratuit - - - Franciza - - - Modelul de afaceri în aprovizionare - - - Modelul de afaceri cu gratuități - - - Plătești ce poți - - - Plătești ce dorești - - Cadrele pentru model de afaceri - - Concepte înrudite Documente în afaceri - Planul de afaceri - - Audiența - - Conținut - - Prezentare - - Revizuirea planului de afaceri - - - Depășiri de costuri și scăderi ale veniturilor - - Probleme juridice și de responsabilitate - - - Cerințe de publicare - - - Limitări privind conținutul și audiența - - Planuri de afaceri deschise - - Utilizări - - Planul de afaceri pentru organizațiile non-profit - Elaborarea unui plan de afaceri - - Rezumatul - - Context organizațional - - - Declarația de misiune și modelul de afaceri - - - Statusul curent - - - Istorie - - - Echipa de management - - Planul de marketing - - - Stabilirea prețului - - - Managementul cererii - - - Distribuirea - - - Promovare și dezvoltare de brand - - Planul operațional - - - Planul de cercetare și dezvoltare - - - Planul de fabricație/de implementare - - - Planul de tehnologia informației și comunicațiilor - - - Planul de personal - - - Modelul alocării costurilor - - Planul financiar - - - Finanțarea actuală - - - Nevoile de finanțare - - - Planul de finanțare - - - Istoria financiară - - - Previziuni financiare - - - Evaluarea - - Analiza de risc - - - Evaluarea riscurilor - - - Planul de management al riscului - - Criterii de decizie - Planuri și strategii de marketing - - Procesul de planificare a marketingului - - Scopurile și obiectivele planificării marketingului - - - Planuri și programe detaliate - - Conținutul planului de marketing - - - Firmele mijlocii și mari - - Măsurarea progresului - - Analiza performanței - - - Analiza vânzărilor - - - Analiza cotei de piață - - - Analiza cheltuielilor - - - Analiza financiară - - - Folosirea planurilor de marketing - - Bugetele ca instrumente manageriale - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice - Propuneri de afaceri - - Tipuri de propuneri - - - Propunerea solicitată informal - - - Propunerea nesolicitată - - Componente - - - Propunerea formal solicitată - - - Propunere de afaceri solicitată informal - - Gestionarea propunerilor de afaceri - - - Procesul de management al propunerilor - - Scrierea propunerilor - - - Propunerile interne - - - Contract de sursă unică - - - Format - - - Titlu - - - Rezumat - - - Declarația și Metoda - - - Buget - - - Informații biografice - - - Valori ale sponsorilor - - - Credibilitatea solicitantului - - - Logica propunerii - - - Psihologia propunerii - - Strategia de marketing - - - O parte esențială a strategiei corporative generale - - - Tactici și acțiuni sectoriale - - - Tipuri de strategii - - - Modele strategice Referinţe Despre autor - Nicolae Sfetcu - - De același autor - - Contact Editura - MultiMedia Publishing . 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Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Apparently comedian Russell Brand claims that he is more intelligent than Stephen Hawking (or claimed that he was). Why? In this brief paper, I consider some solutions to this puzzle.

Paper 3 This paper discusses how patriarchy made the name 'man' their Brand. It would guarantee their entitlement to rule and control the masses by repeating man in so many names. Partial lists are shown.

Religion is an organized collection of beliefs, cultural systems and world view that relate humanity to spirituality and sometimes also with moral values. It may be said that it is a belief in and reverence for a supernatural power or powers regarded as creator and governor of the universe. Many religions have narratives, symbols and sacred history and traditions that are intended to give a meaning of life or to explain the origin of the life and the universe. They tend (...) to drive morality, ethics, faith and religious laws and or preferred a lifestyle from their ideas about the cosmos and human nature. But in the present world religious faiths are treated like a brand. The process of branding involved in creating a unique name and image for a product in the consumers' mind, mainly through advertising campaigns with a consistent theme. Branding aims to establish a significant and differentiated presence in the market that attracts and retains loyal customers. In a society overrun by commercial clutter, religion has become yet another product sold in the consumer marketplace, and faiths of all kinds must compete with a myriad of more entertaining and more convenient leisure activities. (shrink)

This paper offers a brand storytelling, that is a narratological account of Covid-19 pandemic’s emergence phase. By adopting a fictional ontological standpoint, the virus’ deploying media story-world is identified with a process of narrative spacing. Subsequently, the brand’s personality is analyzed as a narrative place brand. The narrative model that is put forward aims at outlining the main episodes that make up the virus’ brand personality as process and structural components (actors, settings, actions, relationships). A series (...) of deep or ontological metaphors are singled out as the core DNA of this place brand, by applying metaphorical modeling to the tropical articulation of Covid-19’s narrative. The virus’ kernel is identified with terror, as a menacing force that wipes out existing regimes of signification due to its uncertain motives, origins and operational mode. In this context, familiar urban spaces, cultural practices and intersubjective communications are redefined, repurposed and reprogrammed. This process is called terrorealization, as the desertification and metaphorical sublation of all prior territorial significations. This study contributes to the narrative sub-stream of place branding by approaching a globally relevant sociocultural phenomenon from a brand storytelling perspective. (shrink)

Brand Equity Planning with Structuralist Rhetorical Semiotics furnishes an innovative conceptual model and methodology for brand equity planning, with view to addressing a crucial gap in the marketing and semiotic literatures concerning how advertising multimodal textual elements may be transformed into brand associations, with an emphasis on rhetorical relata as modes of connectivity between a brand’s surface and depth grammar. The scope of this project is inter-disciplinary, spanning research areas such as brand equity, structuralist semiotics, (...) textual semiotics, visual and film semiotics, multimodal rhetoric, film theory, psychoanalysis. The proposed connectionist conceptual model of the brand trajectory of signification is operationalized through a methodological framework that encompasses a structuralist semiotic interpretative approach to the textual formation of brand equity, supported by quantitative content analysis with the aid of the software Atlas.ti and the application of multivariate mapping techniques. (shrink)

Brand image constitutes one of the most salient, over-defined, heavily explored and multifariously operationalized conceptual constructs in marketing theory and practice. In this Chapter, definitions of brand image that have been offered by marketing scholars will be critically addressed in the context of a culturally oriented discussion, informed by the semiotic notion of iconicity. This cultural bend, in conjunction with the concept’s semiotic contextualization, are expected both to dispel terminological confusions in the either inter-changeable or fuzzily differentiated employment (...) of such terms as brand image, symbol, icon, as well as to address the function of brand image at a deeper level than a mere construct to be operationalized in quantitative studies of purchase drivers. This shift in focus is coupled with a critical turn from the cogito-centric view of the consuming subject through the cognitivist lens of the AI metaphor as decision-making centre at the origin of largely conscious meaning-making, in favor of a psychoanalytically informed approach that considers figurativity as an essential process whereby brand image is formed. In these terms, brand image will be intimately linked to brand images as figurative multimodal expressive units and rhetorical tropes, as figurative syntax, that are responsible for shaping an idiolectal brand language, as well as to distinctive levels of iconicity as textual condition of possibility of a brand language. In order to understand the role of iconicity as fundamental condition of brand textuality, rather than just a procedure for spawning brand images, the discussion is contextualized in a wider framework involving the culturally situated source of brand images, how they become correlated with brand image concepts and how correlations between brand images and brand image result in brand knowledge structures (Keller 1998). This opening up of the discussion on iconicity is enacted against the background of what I call the Brand Imaginarium which involves: (i) a critical engagement with the dominant cognitivist perspective in branding research that prioritizes individual memory in brand knowledge formation, through a cultural branding lens that involves two additional types of memory, viz. communicative and cultural (ii) a critical engagement with the cognitivist perspective on brand knowledge formation that prioritizes conscious processing of stimuli (as ‘brute facts’, rather than as already semiotized expressive units) in a cognitive mechanism from which the faculty of imagination has been expelled, by restoring the importance of imagination in brand knowledge formation, and, concomitantly, by showing that the highly figurative language of brands may not be researched thoroughly unless imagination is posited anew as processing correlate (iii) the adoption of an expansionist approach to the role of the imaginary in brand knowledge formation, from cognitive (or psychic) faculty, to a more sociologically inclined process of inter-subjective mirroring, and concomitantly as imaginary social significations (Castoriades 1985) that are shared by culturally conditioned and habituated subjects that engage in meaningful cultural practices, rather than individual processing monads. (shrink)

The ontology of marketing, particularly the question of what products and brands are, is still largely unexplored. The ontological status of brands hinges on their relationship with products. Idealists about brands see perceptual or cognitive acts of consumers grouped under the heading ‘brand awareness’ or ‘brand image’ as constitutive for the existence of brands so that, in their view, tools of the marketing mix can influence relevant mental dispositions and attitudes. Brand realists, on the other hand, reject (...) the view of brands as mere marks or names and interpret them as emergent products with properties that afford branding in the sense of Gibson’s ecological psychology. Brand strength is a function of the degree to which brands occupy defensible niches in product space. Branding as a process involves changing external or internal boundaries of products. Several arguments are proposed in favor of brand realism. The fragments of an ontology of marketing are developed in a broadly Aristotelian framework. Brand realism has significant implications for a new understanding of issues ranging from the effects of advertising to financial brand valuation, the nature of trademarks, and marketing strategy in general. It permits one to treat brand equity as a real phenomenon not dependent on associations, attitudinal states such as brand loyalty, or spurious constructs such as brand character or personality. (shrink)

Sensation should be understood globally: some infant behaviors do not make sense on the model of separate senses; neonates of all species lack time to learn about the world by triangulating among different senses. Considerations of natural selection favor a global understanding; and the global interpretation is not as opposed to traditional work on sensation as might seem.

Over the last few decades, virtue has become increasingly important in philosophy, psychology, cognitive science, and education. However, as each of these disciplines approaches virtue from a decidedly different perspective, it has proven difficult to come up with an understanding of virtue that satisfies the standards of all four disciplines. In their book, Jennifer Wright, Michael Warren, and Nancy Snow attempt to put forward such an understanding.

According to classical theism, impassibility is said to be systematically connected to divine attributes like timelessness, immutability, simplicity, aseity, and self-sufficiency. In some interesting way, these attributes are meant to explain why the impassible God cannot suffer. I shall argue that these attributes do not explain why the impassible God cannot suffer. In order to understand why the impassible God cannot suffer, one must examine the emotional life of the impassible God. I shall argue that the necessarily happy emotional life (...) of the classical God explains why the impassible God cannot suffer. (shrink)

This paper introduces post-place branding in the context of the post-representationalist turn in marketing research by drawing on Deleuze and Guattari’s (A thousand plateaus: capitalism and schizophrenia, University of Minnesota Press, Minneapolis, 1987) theory of nomadology. By engaging critically with fundamental concepts in the place and destination branding literature, post-place branding offers an alternative perspective to entrenched definitions of subjectivity, place, and event experiencing, by effecting a paradigmatic shift from processing monad to nomad, from event as symbolic structure to micro-events, (...) from pre-constituted place to spacing in the process of deand reterritorializations. Post-place branding is illustrated by re-imagining the brand architectural components of the experiential events of 70,000 Tons of Metal and The Boiler Room. The analysis culminates in a metaphorical modeling exercise that draws nomadological guidelines for brandcomms’ message strategy. (shrink)

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

This article explains that and how Robert S. Hartman and Brand Blanshard, two of the most insightful philosophers of the 20th Century, were complete rationalists in their approach to philosophical problems, especially those in value theory. They both rejected emotive, subjectivist, and relativistic approaches to ethical values. Both were convinced that “intrinsic goodness” is the most important, meaningful, and basic of all ethical or moral concepts. Just how they understood reasonableness and the task of philosophers is explored. Significant differences (...) between the two on the meaning of “good” are examined. Blanshard’s equating of “intrinsically good” with “fulfillment and pleasure” is critiqued, and Hartman’s alternative to this is presented and defended. (shrink)

There has been an important artist in our midst. Her work is about gender, race, and the internal structures of the artworld, and it predated the current popularity of those topics in theoretical circles by three decades.... Piper's volumes serve two functions. Volume I, Selected writings in Meta-Art, 1968-1992, provides an intimate history of the development of her own creative art making, while Volume 2, Selected writings in Art Criticism, 1967-1992, chronicles her more public responses to art-critical writings. Together they (...) form an intense document of a practicing, successful artist who is exceptionally articulate and hence interesting to read. It is no coincidence that her deep commitment to making political art--in which the artist is an agent of social change--functions in tandem with her scholarly pursuits in Kantian ethics. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; Introduction by Peg Brand. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available here). (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

ABSTRACT:Many companies engage in dialogue with nongovernmental organizations about societal issues. The question is what a regulative ideal for such dialogues should be. In the literature on corporate social responsibility, the Habermasian notion of communicative action is often presented as a regulative ideal for stakeholder dialogue, implying that actors should aim at consensus and set strategic considerations aside. In this article, we argue that in many cases, communicative action is not a suitable regulative ideal for dialogue between companies and NGOs. (...) We contend that there is often an adversarial element in the relation between companies and NGOs, and that an orientation towards consensus can be in tension with this adversarial relation. We develop an alternative approach to stakeholder dialogue called ‘agonistic deliberation.’ In this approach, conflict and strategic considerations play a legitimate and, up to a certain point, desirable role. (shrink)

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...) from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on (...) the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

The growing importance of Social Networking Sites (SNS) in today's information economy has generated significant interest for understanding and managing shared fake news about brands on social media among academia and industry worldwide. In this context, we consider it is important to discuss the role of flow, also called optimal experience, in sharing fake news about brands on social media. Firstly, we will critically analyze the conceptualizations of the umbrella term „fake news‟ in the so-called „post-truth‟ era and assume a (...) narrow definition from literature. Secondly, we will review different theories from literature (i.e., selective exposure theory, uses and gratifications theory, social comparison theory, rational choice theory and self- determination theory) in order to explain why users share fake news. Furthermore, we will refer to flow theory proposed by Csikszentmihalyi (1975), which could be used as a framework to better the understanding of the user‟s behavior regarding the sharing of fake news about brands on social media. Flow is a hedonistic construct whose importance is widely recognized as having a major impact on the user's behavior in relation to information systems. According to Csikszentmihalyi (1975, 1988), flow is a “crucial component of enjoyment” and is “the holistic sensation that people feel when they act with total involvement”. In a flow state, the consumer perceives an effortless action, loss of time and a sense that the experience stands out as being exceptional compared to daily activities (Csikszentmihalyi 1997). Flow is a continuous variable that can occur on different levels, ranging from none to an intense (or complete) state (Csikszentmihalyi & Csikszentmihalyi 1988). Flow experience has been studied as an independent variable, as a dependent variable, and lately, as a mediator variable. In this paper we propose a new conceptual model containing 3 variables: (1) fake news spread about brands in SNS, (2) flow state experienced by SNS human users (i.e., optimal experience) and (3) sharing fake news about brands on social media by SNS human users (i.e., social media behavior). We conclude by outlining the need to empirically test the new conceptual model proposed in this paper. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist aesthetics" particularly his (...) focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

The aim of this paper is to demonstrate the applicability of multivariate mapping techniques to the exploration of the rhetorical semiotic brand image structure of ad films. By drawing on correspondence analysis and multidimensional scaling, two techniques that are amply used in corpus linguistics and in marketing research, but also on the data reduction technique of factor analysis, it will be displayed how a set of nuclear semes and classemes or an intended semic structure that underlies ad filmic discursive (...) structures may be projected alongside rhetorical figures by its internal stakeholders (i.e., a brand management team, an account planning team or a marketing research team) with view to attaining differential brand associations. The illustration of the exploratory analytical methods takes place by recourse to a corpus of 62 ad filmic texts from 13 sub-brands of the 3 major brands in the UK cereals market and 321 ad filmic segments that resulted from the segmentation procedure. This paper seeks to contribute to advancements in the brand image and advertising rhetoric research streams by addressing distinctive modes of advertising rhetorical configuration at the level of the ad filmic text (as against print ads where the bulk of research on advertising rhetoric has concentrated), and moreover on a segment-by-segment level, rather than treating the ad film as a standalone unit of analysis, by adopting a multimodal outlook to advertising configurations that takes into account not only the verbal or the visual mode, but also interactions among modes, by adopting a product category-specific approach to advertising/brand textuality that draws on rhetorical semiotics and by employing exploratory statistical methods against the background of content analytic output. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...) well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.

This essay aims to address a lack of recognition on the part of aestheticians, feminist scholars in the visual arts, as well as Simone de Beauvoir scholars by studying Beauvoir's The Ethics of Ambiguity (1948) for what it has to offer on the topic of art and aesthetics: (1) the important role of the visual arts in society and the political legacy artists can contribute to the world; (2) the traditionally revered philosophical concept of the aesthetic attitude; and (30 the (...) use of the aesthetic attitude to improperly justify controversial works of art. It will also point out that Beauvoir's Ethics is distinct in the history of aesthetics for its atypical (proto-feminist) stand against the popular notion of the aesthetic attitude. Her promotion of political (feminist) art presages the feminist art movement of the 1970s. Ahead of her time, Beauvoir recognized the vital interplay between art and ethics. (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

Semiotics has been making progressively inroads into marketing research over the past thirty years. Despite the amply demonstrated conceptual appeal and empirical pertinence of semiotic perspectives in various marketing research streams, spanning consumer research, brand communications, branding and consumer cultural studies, there has been a marked deficit in terms of consolidating semiotic brand-related research under a coherent disciplinary umbrella with identifiable boundaries and research agenda. -/- The Handbook of Brand Semiotics furnishes a compass for the perplexed, a (...) set of anchors for the inquisitive and a solid corpus for scholars, while highlighting the conceptual richness and methodological diversity of semiotic perspectives. -/- Written by a team of expert scholars in various semiotics and branding related fields, such as John A. Bateman, David Machin, Xavier Ruiz Collantes, Kay L. O’Halloran, Dario Mangano, George Rossolatos, Merce Oliva, Per Ledin, Gianfranco Marrone, Francesco Mangiapane, Jennie Mazur, Carlos Scolari, Ilaria Ventura, and edited by George Rossolatos, Chief Editor of the International Journal of Marketing Semiotics, the Handbook is intended as a point of reference for researchers who wish to enter the ‘House of Brand Semiotics’ and explore its marvels. -/- The Handbook of Brand Semiotics, actively geared towards an inter-disciplinary dialogue between perspectives from marketing and semiotics, features the state-of-the-art, but also offers directions for future research in key streams, such as: -/- · Analyzing and designing brand language across media · Brand image, brand symbols, brand icons vs. iconicity · The contribution of semiotics to transmedia storytelling · Narrativity and rhetorical approaches to branding · Semiotic roadmap for designing brand identity · Semiotic roadmap for designing logos and packaging · Sociosemiotic accounts of building brand identity online · Multimodality and Multimodal critical discourse analysis · Challenging the omnipotence of cognitivism in brand- related research · Semiotics and (inter)cultural branding · Brand equity semiotics Comparative readings of structuralist, Peircean and sociosemiotic approaches to brandcomms . (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...) Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

Looks at the development of the sacred after the Sumerians' named the phallus Supreme Creator in 9000 B.C.E. Lists names invented creating belief in Sacred Phallus and names the part male genitals played in supporting the phallus as sacred.

Introduction. The development of online marketing in social networks creates unique opportunities for personal selling. Especially these opportunities are manifested in online education when they buy a brand of an expert with experience in a particular field. That is why a competitive space is being formed in the Instagram social network, where a personal brand acts as a product or service. -/- Materials and methods. Studying the effectiveness of promoting a personal brand in social networks based on (...) the Instagram platform was chosen to have great visual opportunities for self-presentation. As part of the collection of empirical material, two methods were used: a survey (N-200) and content analysis of three blogger accounts with high rates of activity and popularity. -/- Results and discussion. Content analysis of bloggers showed that an algorithmic feed on a social network allows bloggers to control the content. To help them, Instagram provides statistical data on user reach, thereby capturing trends in the movement of the blogger’s audience. The main task of a blogger is to combine real and “virtual” images so as not to lose consumer confidence. A survey of social network users confirmed the importance of a personal brand for them. The survey also made it possible to identify the most popular audience requests that they expect from bloggers and their accounts: valuable reviews and recommendations, case studies and author’s solutions, storytelling, blogger’s reflections and motivating messages, live broadcasts, and stories are important. -/- Conclusions. The results obtained underline followers’ high level of interest in the bloggers’ personal brand on Instagram. The study results show that the most significant number of those involved (those who give feedback and are constantly involved in interaction with the account) is where the formation of a personal brand is built to a greater extent on the emotional level of perception of the individual. (shrink)

Davies presents the reader with a sterling review of the literature on the definition of "art" and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art.

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Available here is the List of Contributors; see "Introduction" by Peg Brand Weiser below. (shrink)

Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)