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This paper aims to discuss the significance of teacher authorship (jissen kiroku) developed during jugyo kenkyu. Specifically, it explores the structural conditions of jugyo kenkyu that enabled the flourishing of jissen kiroku.

To find how jissen kiroku developed in jugyo kenkyu, this paper settled triad of authors-text-readers as the analytical perspective. Disputes through 1960s–1980s are adequate to inquire because it can elucidate how readers read jissen kiroku, which is typically challenging to observe.

Jissen kiroku is a powerful tool for semantically preserving, reconstructing and consolidating professional values and knowledge in jugyo kenkyu with deepening connoisseurship. Voluntary educational research associations (VERAs) encourage teachers to write and read jissen kiroku to develop their professionalism, which also helped develop exclusive semantics within the field. These developments were possible due to the public nature of jissen kiroku, disseminated to lesson study (LS) actors, thereby strengthening discussions both inside and outside VERAs.

The paper proposes shift in views on educational science and emphasizes authorship as authority in that professionalism of teaching can be protected and elevated through authoring.

The significant roles of writing practice have not been explored enough. This paper finds the value of authorship in terms of public nature and openness to all teachers which enable the enhancement of professionalism of the LS field.

This chapter proposes selected cultural values and worldviews of cosmopolitan individual cultural identity as an ideal and model for international and transnational higher education, in teaching and learning, benefitting individuals and institutions. As a “metacultural position” and interactive engagement with the “Other,” cosmopolitan teaching and learning could impact national and global higher education. Such reflection of timeless educational values and ideals could benefit the development higher education systems in our ever more globalizing world.

Conceptually, cosmopolitan identity is defined via a complex literature matrix of key issues and concerns of world citizenship, substantiated and enriched by considerable critical thinking. Empirically, an investigation of highly multilingual students for revelations of their global identity strengthens and furthers this framework. Overall, interdisciplinary insights from literary, social, media and gender studies complement contributions to higher education's universality and values, so as to suit individual, institutional, and international needs.

Cosmopolitan features and values could harmonize global knowledge systems yet without cultural hegemonies, by building cross-cultural standards via best identity notions and practices. Recognizing equally valuable cultural contributions would also improve institutions' diversity, equity, and inclusion, raising educational quality, motivations, and expectations. Cosmopolitan identity could thus educationally enrich and institutionally empower for global complexity and uncertainty.

Educational stakeholders could shape institutions for cosmopolitan cultural values and increased diversity, with transnational norms and practices grounded in local realities, such as improved linguistic competences, or increased cultural understanding and engagement. Individual internationalization could therefore develop parallel to cultural and educational worldviews, expandable and improvable on an open-ended scale.

The purpose of this study is to empirically examine the impact of cosmopolitan consumer orientation (CCO) on sustainable apparel consumer behavior.

A total of 469 US responses collected using MTurk were retained for the analysis after screening for unengaged responses. Structural equation modeling was used to confirm the factor structure of the measurement model and to analyze the structural model. A two-step cluster analysis using log-likelihood distance measure and Akaike's Information Criterion was conducted to explore consumer profiles and past behavior.

Based on the model results, CCO positively impacts apparel sustainability knowledge, attitude toward purchasing sustainable apparel, perceived norm and sustainable apparel purchase intention. Attitude and perceived norm also impact sustainable purchase intention. The two-step cluster analysis, based mainly on sustainable past behavior, reveals that the group of sustainability engaged consumers knows more about apparel sustainability, has a stronger intention to purchase sustainable apparel, is more cosmopolitan and shows a higher tendency to follow social norms. Consumers in this group also tend to live in metropolitan areas and are slightly younger than unengaged consumers.

This study expands CCO research linking two major trends in society and industry: cosmopolitanism and sustainable apparel consumer behavior. The study reveals that CCO uplifts consumers' sustainable behavior and provides evidence in support of CCO as a driver of sustainable consumer behavior. Moreover, results imply a positive future outlook for the diffusion of sustainable apparel, as well as a much-needed mainstream consumer adhesion to more sustainable lifestyles. Given the repercussions of the findings, this research has numerous theoretical as well practical implications.

This chapter explores the development of social science visualizations as cultural objects within art worlds. The research examines artworks as social science visualizations to show the importance of conducting analysis within distinctive social, institutional, and cultural environments. To make these arguments, the chapter outlines some of the key features of art worlds as they have been analyzed by cultural sociologists and anthropologists. We point out how cultures of reception and institutional intermediaries, such as museums, have historically shaped the construction of artworks, which are never produced or interpreted in a vacuum. The chapter closes with a call to expand both the application of social science visualizations and our understanding of such visualizations as subject to similar art world dynamics. Such visualizations, it is argued, constitute key components of social research practice increasingly oriented toward a digitally connected public hungry for visual interpretations of contemporary social developments.

The interpretation of any emerging form or period in art history was never a trivial task. However, in the case of digital art, technology, becoming an integral part, multiplied the complexity of describing, systematizing and evaluating it. This article investigates the most common metadata standards for the documentation of art as a broad category and suggests possible next steps toward an extended metadata standard for digital art.

Describing several techno-cultural phenomena formed in the last decade, manifesting the extendibility of digital art (its ability to be easily extended across multiple modalities), the article, at first, points to the long overdue need to re-evaluate the standards around it. Then it suggests a deeper analysis through a comparative study. In the scope of the study three artworks, The Arnolfini Portrait (Jan van Eyck), an iconic example of the early Renaissance, The World's First Collaborative Sentence (Douglas Davis), a classic example of early Internet art and Fake It Till You Make It (Maya Man), a prominent example of the blockchain art, are examined following the structure of the VRA Core 4.0 standard.

The comparative study demonstrates that digital art is more multi-semantic than traditional physical art, and requires new taxonomies as well as approaches for data acquisition.

Acknowledging that digital art simply has not yet evolved to the stage of being systematically collected by cultural institutions for documentation, curation and preservation, but otherwise, in the past few years, it has been at the front-center of social, economic and technological trends, the article suggests looking for hints on the future-proof extended metadata standard in some of those trends.

Do luxury consumers negatively evaluate digital interactions (website and social media) by international luxury brands? The topic has received much debate. The authors argue that luxury brand personality (modern vs. traditional), which encompasses a more stable form of brand identity in global markets, affects evaluations of digital interactions. They further investigate the role of self-brand connection in this process.

Three experiments on Prolific use a European sample and manipulate a single factor between subjects (modernity: less vs. more; traditionality: less vs. more) of French luxury brands and measure evaluations as the dependent variable. Two studies assesses self-brand connection (continuous) as a moderator (studies 2a, 2b). Study 2b rules out some alternative explanations, with culture (independent vs. collectivist) as an independent variable. A fourth study, using a North American sample on CloudResearch, assesses the effect of personality manipulation (more modernity vs. more traditionality) on consumer evaluations of an Italian brand, and assesses ubiquity perceptions as a mediator.

Consumers evaluate digital interactions of international luxury brands less favorably when luxury brand personality exhibits more (vs. less) modernity or less (vs. more) traditionality. Perceptions of ubiquity mediate these relationships. When self-brand connection is high, this effect is attenuated.

The research sheds light on the debate on whether luxury brands should create digital interactions in international markets, given that these global brands operate in multiple channels. Findings show that luxury brands can develop strategies based on aspects of their brand identity, a less malleable feature of brand identity within global markets. Additionally, the research contributes to the conversation about a global luxury market. In short, the findings offer evidence in favor of brand identity (personality) influencing the digital channel strategy a brand should undertake in international markets, first, followed by consumer needs.

Consumer perception of corporate brand equity has primarily focused on product brand dimensions, neglecting considerations at the firm analysis level. Assessing corporate brands requires different criteria relevant to the competitiveness of companies, such as their prominence, management and meeting society’s demands. In this sense, this study aims to develop and validate a scale of corporate brand equity founded on consumer perceptions, transcending industry boundaries and comparing its relationship with companies' market share.

The authors used an integrative approach to clarify the construct’s domain, building on previous measures. They took several steps to select appropriate items, refine the measure, validate it through reliability tests and convergent and discriminant analyses, test the validity of the second-order formative structure of corporate brand equity and assess associations between first-order factors, the second-order factor and market share.

The model identifies three first-order dimensions of corporate brands (presence, outstanding management and responsible) that shape the second-order factor (corporate brand equity). They are directly related, but not proportionally, to market share, contributing to the general and joint assessment of the company’s competitive performance considering the consumer.

To the best of the authors’ knowledge, this study is the first attempt to develop a comprehensive measurement model of corporate brand equity that considers the firm level of analysis, combines metrics from previous research on corporate brand evaluation criteria and includes consumer perceptions of the company’s competitiveness, unifying branding theory with the theory of the marketing firm.

The brand identity–image gap is a well-known marketing field. However, very little academic work has been done within the wine industry regarding collective brands. With the aim of filling this gap, this paper analyzes and describes the relationship between identity and the image of Bordeaux wines. It is intended as a collective wine brand.

From a positivist–functionalist perspective, a 45-question survey has been administered online to N = 53 internal brand operators (winery owners or managers) and to N = 655 external consumers (mainly focusing on 18–25 year-old segment). Nonprobabilistic sampling techniques have been used. Questions were structured within a semantic opposition.

Data analysis has shown that the nine-dimension model (physical, personality, culture, self-image, reflection, relationship, positioning, vision and heritage) is capable of collecting a richer and more pertinent set of information concerning the brand identity; statistically significant gaps have been found in 25 out of 45 items; counterintuitively, the consumers have a very different opinion about the brand compared with existing ideas. Direct implications are that internal brand operators may suffer from imposter syndrome; information asymmetry may play a central role in brand perception; and the brand lacks symbolic and inspirational functions.

Providing an original model to analyze and evaluate the brand identity–image gap, specifically adapted for collective wine brands, this work contributes to the literature by increasing the knowledge about brand identity issues.