Panagiotis Tsigaris and Jaime A. Teixeira da Silva
The intersection between academia and social media is gradually overlapping. The ability to vent personal and professional discord online, either through blogs or social media, has had both positive and negative consequences on academic communication, with the public and/or in the public domain. ResearchGate (RG) is one of the most popular academic social media sites that allows commenting, either in response to published papers or to questions that are posed on that platform. This paper explores an important aspect of a high-profile, topical and controversial 2017 paper (Derek Pyne; Journal of Scholarly Publishing; DOI: 10.3138/jsp.48.3.137) that had based itself on a flawed blacklist created by Jeffrey Beall. In that paper, unfounded claims were made regarding financial rewards as remuneration schemes at a “small business school” in Canada related to publishing papers in “predatory” journals, i.e., in open access journals that were blacklisted by Beall. Based on those claims, Pyne used RG as a platform to target academics at his research institute. Pyne could have, but did not, use the scholarly platform to engage with his colleagues in an academic debate about his controversial findings, causing personal disrepute on three occasions. Consequently, RG was contacted with a claim of defamation on each occasion. Within hours of each claim, Pyne’s comments were deleted. In early May, RG also erased his social media account. The issue of actual or potential insults in the public domain, such as on blogs, is rarely discussed, much less related to academic social media sites like RG. This case study, and the issues discussed herein related to social media more broadly, will be useful for academics to better navigate increasingly challenging publishing waters.
Although LinkedIn is the world’s largest professional networking site, the research concerning self-presentation on the platform is limited and fragmented. The main goal of the study was to explore the self-presentation of Polish football managers on LinkedIn in four dimensions: completeness and attractiveness of the profile, network-embeddedness, and activity. Using quantitative content analysis of managers’ profiles (N=319), the research shows that the managers exploit the potential of LinkedIn to build their personal professional brand only in a very limited and mostly static way. In addition, the self-presentation in LinkedIn is the best among managers working in Polish Football Association, improves with the length of professional experience, and shows only slight differences between women and men.
The Estonian child helpline service launched in 2009 uses a free nationwide 24h Child Helpline phone number. The purpose of the service is to enable everyone to report on children in need, forward the information to specialists and, if necessary, get primary social counselling and crisis counselling for children and other people. The service is provided in accordance with the Estonian Child Protection Act that prescribes that all citizens are required to immediately notify the social services, police or other assistanceproviding authorities about children in need of protection or assistance. This article is based on studies conducted between 2013 and 2015. In the course of the research, data were collected for increasing the effectiveness of the hotline’s communication campaigns. In addition to the general objective of the article, the data collected includes quantitative research mixed with qualitative data that helps to understand the factors that encourage and inhibit the use of the hotline service. The focus is on indicators that illustrate the effectiveness of the diffusion of innovation, and special attention is paid to the results that highlight risk, the existence of mental barriers and trust. Finally, the study analyses the weaknesses of past hotline campaigns and makes some suggestions for future.
The article describes the idea of creation and development of Polish biweekly magazine “Biały Orzeł” (“White Eagle”), originated in Boston in 2002/2003 by the White Eagle Media LLC publishing house. The periodical, which has been published until today, was at the time one of the largest projects in the segment of so-called ethnic media in the United States. The work’s aim is to present the title’s history, identify factors affecting on creation of the Polish diaspora press, diagnose components determining the success/failure of the project, as well as local conditions that had a direct impact on decision to launch described press title. The methodology used in the implementation of this material includes in-depth interviews with project co-founders (publishers and journalists) carried out over 2017 and 2018, executed jointly on a group of 9 people, providing quality data from staff directly involved in described publishing project from its very beginnings. A valuable source of data was also open access to archives of the “White Eagle” hard copies, dated between 2003 and 2008.
The article argues that Wojtek Smarzowski’s film Rose (Róża, Poland, 2011) undermines the dominant bigendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse.
Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. Then the author looks more closely at this experience and discusses the film’s representation of the suffering female body to argue that it subverts the national narrative of the war experience that privileges male suffering. A close analysis of the relationship between sound and image in the scenes of bodily violence reveals how the film reclaims the female body from the abstract domain of national allegory and returns it to the realm of individual embodied experience. The article concludes that Rose presents the female body as resisting the singular ideological inscription, and instead, portrays it as simultaneously submitting to and resisting the gendered violence of war.
The article presents the use of social media in the corporate communication processes between the company and the internal and external environment and the role that the relatively new social network LinkedIn plays in this act of communication. Secondary data analysis, with the subject literature and available research as the source of information, allowed to draw conclusions about the growing importance of social media in corporate communication and the significant role that LinkedIn fulfills in the act of communication with the stakeholders. It seems that along with the growth of communication needs, companies are constantly looking for new, integrated channels of communication with stakeholders, and recently their activities have moved to social media, where Facebook is the leader. Other social media, mainly LinkedIn, are overlooked, which may result in less effective corporate communication in social media by the companies.
Drawing on a few concepts of postcolonialism, including Edward Said’s idea of Orientalism and Stuart Hall’s theory on representation, this article explores the representations of Estonian culture and language in two films by Ingmar Bergman, This Can’t Happen Here (Sånt händer inte här, Sweden, 1950; also known as High Tension) and The Silence (Tystnaden, Sweden, 1963). Through a descriptive textual analysis of the Estonian representational elements in these films, the article suggests that Bergman uses Estonian language and culture to establish a certain kind of Otherness, marking a cultural hegemony and exotifying a new foreign element in post-war Sweden. An additional aim of the article is to present and contextualise the exiled Estonian actors that starred in This Can’t Happen Here, as this has not been done in a scholarly context, and since the film ended up being their only cinematic appearance in their new adopted country.
Dariusz Tworzydło, Przemysław Szuba and Marek Zajic
The way of conducting communication during the image crisis is a special type of challenge for the company. Lack of preparation of the company for proper communication management may be crucial in averting and/or reducing the effects of crises. The paper presents the results of research conducted among experts from the PR industry and representatives of the largest Polish enterprises from the 500 List compiled by “Rzeczpospolita” daily newspaper. The vast majority of Polish enterprises show an open-minded approach to crisis communication. Companies from oppressive industries, where crises occur more often, are better prepared for crisis communication. The determinants of effective communication in the situation of image threats are, according to the leaders of public relations agencies, anti-crisis preparation, presence of procedures, openness and honesty in communication processes as well as quick response time.