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This paper aims to explore and investigate the maintenance or (re)construction of (South) Korean identity during turbulent times of rapid social and economic change, especially since the 2008 financial crisis.

This study explores how the Korean media responded to financial events over the period between 2008 and 2013, and the ways in which iconographies of yin-yang were incorporated into Korean financial magazine cover images were investigated. Semiotic analysis of 20 magazine front covers was performed based on adapted Barthesian semiotics, which included front-cover background color, text color and vowel-structure interpretation following yin-yang principles. Findings were validated through semi-structured interviews with designers employed by the magazines.

Results show that Korean identity remains loyal to the traditional symbolic uses of yin-yang harmony to illustrate positive and negative sides of financial events, although there is some degree of following Western thinking in the use of symbols. This mirrors the modern Korean identity, which intertwines Western thinking with traditional values.

This paper provides an extended evaluation of the articulation of yin-yang principles by Koreans as elements of a worldview combining both Confucian and Western values. Yin-yang provides an inflexion to the ways in which events are depicted and denoted in “Confucian capitalistic” Korea. The suggested methodology triangulating semiotic interpretation with verification through interviews with designers can be extrapolated in other studies investigating the representation of events within a specific population or society.

The purpose of the paper is to expand existing qualitative parameters in current marketing research discourse by integrating Barthesian theory into the study of subcultural marketplaces.

While essentially conceptual in nature, this paper adopts a comprehensive intertextual, semiotic approach which argues for the substantive investigation of the marketing text as a foundation for understanding consumption in a subcultural context.

To date, the integration of Barthesian intertextual theory has proved to be an effective method of interrogating subculturally‐oriented materials.

Marketers, in commercial contexts, will access a greater depth of insight into the subcultural market by applying an intertextual, semiotic framework as demonstrated in this paper.

While marketing discourse has taken interest in semiotics, this has typically occurred via the work of US semiologists, rather than the French school in their organic form. This is one of the first papers to locate Barthes within the marketing paradigm as a potential analytical framework. The paper suggests ways in which his influential theories may be applied as a viable analytical tool in qualitative research.

This paper examines virtual organizations, operating in global cyberspace. This paper uses Armstrong’s (2005) conceptual orientation that mythmaking is fundamental to humanity and Warner's (1994) Neo-Barthesian (Barthes, 1957) methodology of distinguishing between “monster myths” which conceal political motives and secretly circulate ideological positions and her contrasting notion of “educative” myths which are not always delusions but are vigorous ways of leading one to "make sense of universal matters" (Warner, 1994, p. xiii) to recover the purposeful illusions behind the beguiling spells cast by the “modern myths” of virtual organizations. This paper finds that virtual organizations are impractical organizations involving a visible myth that masks the invisible purposes of the hegemonic (Torfing, 1999) control narratives of elites and global corporate capital.

This paper aims to study the use of photos in corporate sustainability reports (CSRs) as a means to gain legitimacy concerning Colombian post-conflict representations.

From a critical perspective based on legitimacy theory and political economy theory, and using visual semiotics and critical discourse analysis, this paper examines the use of photographs in sustainability reports as a mechanism to account for corporate actions regarding peace in Colombia. This paper relies on 121 pictures from 30 CSRs.

The analysis shows that companies are gaining legitimacy by referring to post-conflict through visual forms. Nonetheless, the structural conditions that caused the Colombian conflict are still present. Sustainability reporting that includes peace action representations becomes a control and subordination mechanism to reproduce existing power relations in the Colombian social order. Indeed, the generation of opportunities for civilians and ex-combatants, victims reparation, security and reconciliation remains unresolved structural issues. Hence, the use of corporate economic resources and their strategic visual representation in reports is just one business way of representing firms as aligned with government initiatives to obtain tax incentives.

This study is centered on Colombian CSRs for the period 2016-2017; however, 2017 reports by some companies have not yet been published. This study also explored the messages contained in the images that include people. Images that do not depict persons were not examined.

This study provides evidence on visual representations of corporate peace actions aimed at gaining corporate legitimacy. Furthermore, this research examines a unique scenario that promoted more significant corporate social participation, following the signing of the peace agreements between the Colombian government and the Revolutionary Armed Forces of Colombia (Fuerzas Armadas Revolucionarias de Colombia, Ejército del Pueblo).

During early childhood, Indians and non-Indians learn a definition of “Indianness” (Merskin, 1998, p. 159). Around 18 months of age, human beings begin to recognize themselves as distinct and separate from their mothers and others (Lacan, 1977). By age 6, most attributes of personality formation are already established (Biber, 1984). The content of the information that consciously and unconsciously reaches children is critical for the formation of a healthy, grounded sense of self and respect for others. Today, in the absence of personal interaction with an indigenous person, non-Indian perceptions inevitably come from other sources. These mental images, the “pictures in our heads” as Lippmann (1922/1961, p. 33) calls them, come from parents, teachers, textbooks, movies, television programs, cartoons, songs, commercials, art, and product logos. American Indian images, music, and names have, since the beginning of the 20th century, been incorporated into many American advertising campaigns and marketing efforts, demarcating and consuming Indian as exotic “Other” in the popular imagination (Merskin, 1998). Whereas a century ago sheet music covers and patent medicine bottles featured “coppery, feather-topped visage of the Indian” (Larson, 1937, p. 338), today's Land O’ Lake's butter boxes display a doe-eyed, buckskin-clad Indian “princess.” The fact that there never were Indian “princesses” (a European concept), and most Indians do not have the kind of European features and social “availability” that trade characters do, goes largely unquestioned. These stereotypes are pervasive, but not necessarily consistent, varying over time and place from the “artificially idealistic” (noble savage) to images of “mystical environmentalists or uneducated, alcoholic bingo-players confined to reservations” (Mihesuah, 1996, p. 9). Today, a trip down the grocery store aisle still reveals ice cream bars, beef jerky, corn meal, baking powder, malt liquor, butter, honey, sugar, sour cream, chewing tobacco packages, and a plethora of other products emblazoned with images of American Indians. To discern how labels on products and brand names reinforce long-held stereotypical beliefs, we must consider embedded ideological beliefs that perpetuate and reinforce this process.

This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken’s meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers.

This research uses an interpretive case study of the photographic exhibition “Facing Mirrors” hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records.

The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience.

The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management.

Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form.

The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences.

This chapter presents two cases in which the coupling between products and destinations generates distinct variations of possibilities for on-site consumption of mythologies of product implacement. Product–place dyads represent significant enabling potential to convey experiential authenticity in the form of enacted narratives, which are in turn based on product myths and the role of a place on the continuum of a productionscape–consumptionscape. Through the illustrative use of cases, a symbolic order of product geography is revealed. Destinations that leverage product associations are invariably engaged in a struggle to claim symbolic authority produce an authentic product–origin narrative. This chapter bridges critical tourism and international marketing literatures and proposes product geography as the mythomoteur of worldmaking.

In job advertisements, companies present claims about their organizational identity. My study explores how employers use multimodality in visuals and verbal text to construct organizational identity claims and address potential future employees. Drawing on a multimodal analysis of job advertisements used by German fashion companies between 1968 and 2013, I identify three types of job advertisements and analyze their content and latent meanings. I find three specific relationships between identity claims’ verbal and visual dimensions that also influence viewers’ attraction to, perception of the legitimacy of, and identification with organizations. My study contributes to research on multimodality and on organizational identity claims.

This paper aims to explore the entangling of economic, social and cultural values which circulate in visual branding, reflect business practice and add intangibles to organisations.

The study is placed in the context of the difficulties and shortcomings of accounting for brands. A conceptual framework is constructed, based in critical theory from arts disciplines, notably from the thought of Barthes, Panofsky and Peirce. The icon is a primary denotation or representation. Iconography is a secondary level of coded meaning. Iconology is an interpretation that calls on the unconscious. Intermingling of the icon and the logos is considered. This accounting context and arts framework are used to compare the financial statements of the Bradford & Bingley Bank with its visual branding.

The financial statements are almost silent regarding brands, in line with regulation. In response to the greater competition that accompanied deregulation and globalisation, the Bank's lending and funding practices become more innovative. The visual framework reveals a changing iconography and iconology where class, detectives, music hall and the bowler‐object may be discerned. An iconology is suggested of dreamlike connotations and magical powers in the collective unconscious. The Bradford & Bingley have actively managed their visual branding to reflect and appeal to a changing society, and a more competitive business environment.

The study provides a model which may be applied to visual aspects of financial reporting and branding. It would benefit from an assessment of readership impact.

The analysis is of interest to accounting researchers, practitioners, trainees and auditors. It illuminates the ways in which visual branding interacts with business practices and conveys intangible values that are not reflected in the accounts.

The paper augments theoretical and empirical work on visual images in accounting.