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This chapter examines three kinds of relational bonds (trust-based commitments, forbearance-based commitments, and apprehension-based commitments) on which parties rely in the processes employed in negotiating, committing, and executing their cooperative inter-organizational relationships (CIORs). It also considers three different societal contexts with strong, moderately strong, and weak exogenous governance safeguards in which these relational bonds are employed. The authors propose a process theory of relational bonds that fit different contexts. Specifically, our central proposition is that parties to CIORs are more likely to achieve their goals when they rely on relational bonds that fit their societal contexts in which they engage in economic exchanges.

The socializing of hate and its saturation on platforms as a resonant and emotional connection online reveal the networked nature of convergent platforms which pump hate as a mechanism of connection and fracture in society in the post-digital age. The violence of hate and negative sentiments online morph to appropriate a multitude of manifestations from cyberbullying and revenge porn to trolling and memes as subversive, denigrative humour. Social media, designed through an architecture for sharing and transaction, distributes hate as a popular sentiment, building connections with disparate communities through the articulation of hate for fellow humans and humanity at large. Trauma induced through hatred and bullying as an active aspect of social media platforms and interactivity distribute sentiments through its excess and disproportionality. This chapter interrogates the sentiment of hate and its workings on social media as a technology of trauma in distributing hate as a form of communion.

The chapters in the Nationalism and Identity in Metal Medievalism section consider a range of historical figures and practices as presented in metal music. Amaranta Saguar García’s analysis of references to El Cid in ‘The Return of El Cid: The Topicality of Rodrigo Díaz in Spanish Heavy Metal’ focusses on issues of nationalism and the varying representations of El Cid in a range of songs. In a similar manner, Annika Christensen’s ‘Making Heritage Metal: Faroese KvæÐi and Viking Metal’ looks at the interplay of medieval ballads and modern folk metal as part of the group Tyr’s investment in celebrating and articulating Faroese identity. While these two essays work with specific examples of national identities, Shamma Boyarin’s ‘The Prophet Himself Had Knowledge of Him: Nile’s “Iskander D’hul Kharnon” and a Different Kind of Metal Medievalism’ uses the figure of Alexander the Great to address the broader question of the ways that representations of classical and medieval figures define civilisations. Dean Swinford’s ‘Black Metal’s Medieval King: The Apotheosis of Euronymous through Album Dedications’ examines the medievalisation of Euronymous and its relation to black metal’s medievalist self-representation. Within this collaborative chapter, the authors explore the areas of greatest overlap in our explorations of metal music and medieval culture: nationalism and identities, neofascism, the whitewashed Middle Ages, and issues of historical authenticity in neomedievalism.