Activist Advertising: Case Studies of United Colors of Benetton\u27s AIDS -Related Company Promotion.

This study explores how advertising and company promotion may be used to address social issues. In particular, I examine how the clothing company United Colors of Benetton attempted to position itself within the AIDS crisis. Specifically, this study investigates through case studies how the Benetton Group used activist advertising and company promotion to bring about social change concerning AIDS-related issues. I also attempt to account for the controversy that the promotion elicited through establishing the anomalous status of the company\u27s promotion within traditional advertising efforts. The study begins with information concerning the AIDS crisis and AIDS activism and then moves to an overview of United Colors of Benetton\u27s promotional activities. I discuss traditional fashion advertising and shock advertising, and also review activist advertising or advertising that addresses social issues. Specific advertisements and campaigns discussed include United Colors of Benetton\u27s 1992 David Kirby AIDS advertisement and the 1993 HIV positive advertising campaign. I begin with a description of the advertisements and then move to interpret the ads, as well as to document and account for the controversy the images inspired. Additional areas discussed include Benetton\u27s use of condom imagery and other AIDS-related company promotion, such as safe sex materials, condom distribution, fundraising, event sponsorship, art shows, and donations. The study concludes with discussion concerning the interrelatedness of Benetton\u27s advertising and the work of AIDS art collectives. Additionally, the final section briefly recognizes the parallels in the company\u27s activist advertising dealing with AIDS and company promotion dealing with racial issues and world peace

The development of conceptual models and frameworks to inform design for co‐design in mass customisation

As mass customisation (MC) grows in both popularity and accessibility, there is an increasing understanding of its practical implementation. Much of the current research in the field of MC is quantitative; driven by the business, engineering and management perspectives crucial in operationalising the process. The customer codesigner is acknowledged as an integral part of the MC product and purchasing process, yet the experience of the customer as a co‐designer remains relatively unexplored in the literature. This thesis stems from the design research disciplines and reports on an investigation of individual customer co‐design experiences. This research study posits that the experience of co‐design consists not only of the specific activities at the ‘product configurator’ (as commonly described in the literature), but instead that a co‐design experience comprises four distinct stages that encompass the entire purchasing experience from the beginning of co‐design activity through to the receipt of the customised product and beyond; these stages being ‘explore’, ‘engage’, ‘anticipate’ and ‘own’. A multi‐method research design is used comprising: literature review; immersive research techniques; customer journey mapping and design probes. From case studies of each customer codesign experience, relatable information and insights can be drawn that inform designing for co‐design. This doctoral study presents series of new relatable models and frameworks that surpass anything currently available in the literature. They conceptualise and visualise the customer co‐design experience, and inform design for co‐design. These reveal not only what is happening now, but also support proposals for what could or should be happening now. The product envelope model brings together the findings from both the MC and customer experience literature to place the solution space within its broader context, highlighting the importance of service and brand within an MC product offering. The customer corridor model characterises the stages and phases of a co‐design experience within the product envelope and choreographs the interplay between co‐designer and producer. The experience matrix provides a visual representation of the placement and duration of key touch points that occur across the customer corridor, and offers a systematic approach to considering the role of enduring touch points throughout a co‐design experience. In concluding this phase of the work, new opportunities have emerged that provide alternative approaches for understanding and designing for customer co‐design experiences

2022-2023 Xavier University Undergraduate and Graduate University Catalog

https://www.exhibit.xavier.edu/coursecatalog/1275/thumbnail.jp

From the Voice to the Violent Act: Language and Violence in Contemporary Drama

Aleks Sierz coined the phrase In-Yer-Face Theatre to categorize a new generation of plays written by a group of upstart playwrights in Britain and America. In addressing these plays, I draw upon recent contributions within the social sciences in order to understand better the interstices of language and violence in this drama. This interdisciplinary approach underscores the social considerations at the heart of these plays. Although frequently criticized for a perceived lack of social consciousness and a seemingly gratuitous use of profanity, prurient sexuality, and graphic violence, these writers in fact continue, and contribute to, a tradition of theater that is serious, ethically based, and socially aware. Specifically, the language represented in these plays is symptomatic of, and complicit in, the violence depicted on stage. I first argue that coercive institutional language subjects the characters in David Mamet\u27s 0leanna to systematic violence long before the infamous moment of violence that concludes the play. The reifying language of consumer capitalism in the plays of Patrick Marber and Mark Ravenhill precipitates violence by rewriting the cultural codes that inform subjectivity and the way that interpersonal relationships are conceived and experienced. Examining the work of David Harrower, Bryony Lavery, David Eldridge, and Tracy Letts, I identify examples of public language and show how they hamper intellectual development and maturity and disengage the cognitive mechanisms that allow individuals to regulate their behavior. I explore the allegiance on the part of those in subcultures of violence to the heavily gendered constructions of identity facilitated by their subcultural languages, and I address the linguistic mechanisms by which the characters in Rebecca Prichard\u27s Fair Game create the sense that violence is necessary. In addition, I interrogate the formal nature of hyper-masculine violence. Finally, in the plays of Martin McDonagh, Judy Upton, and Rebecca Prichard, I discuss the adoption of traditionally male forms of violence by women, focusing on language\u27s role in determining the likelihood and the nature of the violence committed both by and against women

Examining the Evolution of Urban Multipurpose Facilities: Applying the Ideal-Type to the Facilities of the National Hockey League and National Basketball Association

The standardized versions of ice hockey and basketball emerged during the last quarter of the 19thcentury. In short order both ice hockey and basketball evolved from amateur, recreational activities to professional sport and entertainment businesses. This study analyzes, contextualizes, and discusses the layout of the urban multipurpose facilities that emerged to house both professional hockey and professional basketball, with particular attention paid to the facilities of the National Hockey League and National Basketball Association. The study uses the lens of modernization and the ideal-type heuristic device to extend Bale’s and Seifried’s facility evolution models. In addition to providing an account of the evolution of urban multipurpose facilities, this project also proposes future recommendations for managers of those facilities to consider. This investigation concludes six stages of urban multipurpose facility evolution occurred over time. Stage One and Stage Two primarily appear prior to the 20thcentury and notably rely on naturally cold temperatures to create skating surfaces. Stage Three emerges as semi-permanent constructions that embraced artificial ice-making technology and increased spectator amenities. Stage Four represents an increased professionalization of both sport and society as facilities were built from steel and concrete to a size and scale not previously possible. Furthermore, Stage Four facilities were designed to be attractive locations for legitimate entertainment. Stage Five demonstrates an increasing desire of sport managers to satisfy the expectations of a service-oriented society by providing ample space for parking, unobstructed views, improved in-facility services such as concession stands, limited upper deck luxury suites, and television broadcasts in suburban facilities. Finally, Stage Six demonstrates the managerial recognition of the importance of commodifying space, particularly through lower bowl luxury suites, as well as including improved amenities for in-facility and remote customers. This project suggests urban multipurpose facilities were purposefully designed to attract the public’s leisure and recreational dollars by embracing new technologies and practices in response to changing social and economic realities. Therefore, urban multipurpose facilities served, and continue to serve, as centers of entrepreneurial sport activity. Resultantly, sport facilities will likely continue to evolve in response to changing leisure and recreational expectations within society

2020-2021 Xavier University Undergraduate and Graduate University Catalog

https://www.exhibit.xavier.edu/coursecatalog/1273/thumbnail.jp

Discourses We Live By

"What are the influences that govern how people view their worlds? What are the embedded values and practices that underpin the ways people think and act? Discourses We Live By approaches these questions through narrative research, in a process that uses words, images, activities or artefacts to ask people – either individually or collectively within social groupings – to examine, discuss, portray or otherwise make public their place in the world, their sense of belonging to (and identity within) the physical and cultural space they inhabit. This book is a rich and multifaceted collection of twenty-eight chapters that use varied lenses to examine the discourses that shape people’s lives. The contributors are themselves from many backgrounds – different academic disciplines within the humanities and social sciences, diverse professional practices and a range of countries and cultures. They represent a broad spectrum of age, status and outlook, and variously apply their research methods – but share a common interest in people, their lives, thoughts and actions. Gathering such eclectic experiences as those of student-teachers in Kenya, a released prisoner in Denmark, academics in Colombia, a group of migrants learning English, and gambling addiction support-workers in Italy, alongside more mainstream educational themes, the book presents a fascinating array of insights. Discourses We Live By will be essential reading for adult educators and practitioners, those involved with educational and professional practice, narrative researchers, and many sociologists. It will appeal to all who want to know how narratives shape the way we live and the way we talk about our lives.

Values of Higher Popular Music Education: Perspectives from the UK

In the 23 years since the first undergraduate popular music degree programme opened in the United Kingdom, the academic discipline of popular music has burgeoned to encompass over 160 programmes delivered across the higher education sector, by private institutions, Royal-chartered conservatoires, post-92 universities and Russell Group universities. This doctoral research project seeks to understand the values underpinning and informing educational practice in this growing academic discipline. It proceeds from an understanding of higher education and popular music as two highly complex domains in their own right, and from the proposition that values inhering at their nexus- Higher Popular Music Education- derive from and are borne by multiple human, institutional and disciplinary sources, and bear the trace of socio-cultural, economic and historical contexts related to each domain. It takes an inductive approach to a multiple-case study of four popular music degree programmes at different higher education institutions across the United Kingdom. Acknowledging from the outset the impossibility of identifying a conclusive ‘roster’ of itemisable values, this study draws on a combination of institutional literature, semi-structured interview and field observation data to explore the interplay of musical, educational and other values within the educational message systems of pedagogy, curriculum, institution, assessment, lifestyle and market. Analysis of the data suggested that seemingly unrelated values such as, for example, those relating to musical aesthetics and social justice, could in fact be oppositional in practice, resulting in surprising tensions and impacting on such areas as curricula and student lifestyles. Moreover, values enshrined in policy, or perceived by interviewees to be dominant within the higher education sector, appeared often to be at odds with individuals’ personal opinions regarding the value of knowledge and education, or with what they saw to be the core values of popular music as an art form. This interdisciplinary study sits across the research fields of music education, the sociology of higher education and popular music studies, and makes original contributions to knowledge in each of these fields