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Library administration is a balancing act: leading and managing the library and its employees while simultaneously responding to initiatives and demands of institutional leaders and/or trustees. This chapter provides an overview of emotional self-regulation, its importance to library administrators, and the roles that intentional reflective practice and mindfulness play in adaptive emotional self-regulation. There were few articles exploring the impact of intentional reflective practice or mindfulness in libraries, particularly with respect to emotional self-regulation. Much of the reviewed literature was from other disciplines; however, there was much to be applied to library administrators. There are a variety of techniques for intentional reflective practice that library administrators can use to improve emotional self-regulation (as well as improve other aspects of performance). There are fewer techniques to increase mindfulness, though there is stronger evidence of the benefits of mindfulness meditation on emotional self-regulation. This chapter is the first review applying intentional reflective practice and mindfulness on the emotional self-regulation of library administrators.

In this chapter, we explore to what extent storylines about the internet and social media are absent or marginal in The Archers. In particular, we examine these storylines to better understand how the inhabitants of Ambridge interact online and how their online activities intersect with their real-world experiences. We compare what happens in The Archers with the moral panic that often characterises narratives of technology use and find a striking contrast that we argue supports a broader way of understanding and characterising practices of online safety and security. We analysed four social media-related Archers’ storylines from the last 24 months. Our analysis shows that The Archers storylines enable us to look at human–computer interaction in relief so that instead of only looking at how people use technology we can also see the context in which it is used and the usually unseen support structures. The Archers narratives also provide a rich picture of how the fixed space of the physical world interacts with virtual space. In the broader context, the social media storylines provide us with an understanding of how connecting, care receiving and care giving take place in both fixed space and virtual space, and how these co-connected relationships of care receiving and care giving contribute to a form of security more expansive than technologically enabled data protection.

This chapter explores the role that birdwatching plays in The Archers. It demonstrates some significant similarities between the way that birdwatching is portrayed in present-day Ambridge, and the way it was presented in both fictional and non-fictional literature of the 1940s. These similarities suggest that birdwatching in Ambridge is an activity that tends to perpetuate traditional class and gender divisions. Particularly in terms of gender, this is a surprising discovery, given the many strong female characters in the show, and suggests that cultural assumptions about gender and birdwatching run deep in UK society today. The chapter warns that a failure to recognise these assumptions not only hampers the progress of women who aspire to be taken seriously as ornithologists, but also risks reinforcing dualistic thinking about humans and nature at a time when the environmental crisis makes it more important than ever to recognise the ecological interconnectedness of human and nonhuman worlds. However, the recent development of Kirsty Miller’s storyline, in which she is rediscovering her earlier love of the natural world, not only offers hope of a shift away from this traditional bias but also opens a space for a more nuanced examination of the importance of birds in human–nature relations.

Ambridge residents live with extended kin and non-family members much more often than the population of the United Kingdom as a whole. This chapter explores cultural norms, economic need, and family and health care to explain patterns of coresidence in the village of Ambridge. In landed families, filial obligation and inheritance norms bind multigenerational families to a common dwelling, while scarcity of affordable rural housing inhibits residential independence and forces reliance on access to social networks and chance to find a home among the landless. Across the socioeconomic spectrum, coresidence wards off loneliness among unpartnered adults. Finally, for Archers listeners, extended kin and non-kin coresidence creates a private space where dialogue gives added dimensionality and depth to characters who would otherwise be known only through their interactions in public spaces.

This chapter explores the queasy relationship between food and sex on The Archers. For listeners, food provides an imaginative reference point; consumption of food hints towards characters embodiment and occupation of physical space. To the extent that these characters have boundaries, the way they approach and react to food reveals their rigidity or permeability, and the tones in which characters offer, provide, prepare, coax and force food upon one another tells us a lot about the sexual politics at play in Ambridge. In The Archers, women cook and men eat. Characters who rebel against this norm often subvert traditional masculinity in other ways.

Through close reading (and obsessive listening), this chapter analyses the ways in which food allows the relationships on The Archers to act as foils to one another. It also explores: food as metaphor; food used both to sustain and fortify the boundaries of the self and to besiege the ego boundaries of others; how characters are given weight in acoustic space; female emancipation; male helplessness; the hunger/satiety/aural claustrophobia of listeners.

If you are running a rural business there are associated difficulties in reaching new customers, how can growth be sustained without spending huge amounts of time or money on marketing? Borsetshire needs more social media, and this chapter will illustrate how social media can help rural business. Looking at known online activity in Ambridge, it will highlight the perceived and potential social media practices of a variety of residents to give an example of what can be achieved, touching on the various networks and technology that can enhance the personal and professional lives of all, whether poultry smallholder or publican. The conclusion that social media can help foster feelings of community suggests that the Borsetshire populace should take immediate measures to advance their online activities.

The study explores different types of anti-luxurians on social media (SM), the characteristics of luxury brands, tendencies to disengage and the opposition to them to propose future directions for luxury marketing in the post-pandemic world.

A qualitative approach was employed, wherein 979 posts from SM platforms were analyzed with the text analytics software package KH Coder through word-frequency analysis and an inductive technique.

The analysis identified the presence of eight types of online anti-luxurians: true luxurians, nature-experienced lovers, life simplifiers, anti-haulers, highly expected consumers, natural environment protectors, antidiscrimination consumers and historic-politic antagonists. Their degree of disengagement and opposition were discussed and graphically mapped.

This is the first study to discover various types of anti-luxurians on SM platforms and graphically map their level of disengagement and opposition toward luxury brands. This study fills an existing critical gap in the luxury marketing literature.

The purpose of this paper is to scrutinize how Miley Cyrus’ brand values are projected through the multimodal semiotic structure of the live performance of the song Do my thang (from the Bangerz album (2013)).

Sociosemiotic conceptual framework in conjunction with an interpretive videographic method of analysis, facilitated by the multimodal qualitative discourse analytic software ATLAS.ti.

Four major territories were identified as regards the spectacle’s latent axiology, namely, freeplay, polymorphous sexuality, neo-burlesque, and hyperdifferentiation.

Attending to structural couplings between signs and modes in the context of bespoke artists’ brand languages constitutes a priority for managing an artist as brand, and, concomitantly, for safeguarding relevance for a fandom. A multimodal reading grid is offered to this end.

From a branding point of view, this study constitutes the first one that theorizes the live show spectacle as the manifest discourse whereupon brand image and brand values are edified, with an emphasis on the dance mode, over and above the verbal/visual modes that dominate the advertising/branding literatures.