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Over recent years, public relations (PR) research has diversified in themes and theories. As a result, PR presents itself today as a multi-paradigmatic discipline with competing ideas of progress that mainly circle around questions of ontology and epistemology, i.e. around defining appropriate object and knowledge in PR research.

This conceptual article highlights a third crucial question underlying the debate drawing on a narrative approach: The question of axiology, hence, the normative question how PR research shall develop to contribute to societal progress.

The article presents a model, which describes how normative visions of progress in different PR paradigms – functional, co-creational, social-reflective and critical-cultural – manifest in each distinct combinations of four narrative plots – tragedy, romance, comedy and satire.

These findings complement the current debate on disciplinary progress in PR research by fostering reflection and debate on paradigm development and cross-paradigmatic tensions and exchange from an explicit axiological perspective.

This paper focuses on patterns of film consumption within cultural consumption more broadly to assess trends in consumerism such as eclectic consumption, individualised consumption and omnivorous/univorous consumption and whether economic background and status feature in shaping cultural consumption. We focus on film because it is widely consumed, online and offline, and has many genres that vary in terms of perceived artistic and entertainment value. In broad terms, film is differentiated between mainstream commercially driven film such as Hollywood blockbusters, middlebrow “feel good” movies and independent arthouse and foreign language film. Our empirical statistical analysis shows that film consumers watch a wide range of genres. However, films deemed to hold artistic value such as arthouse and foreign language feature as part of broad and wide-ranging pattern of consumption of film that attracts its own dedicated consumers. Though we found that social and economic factors remain predictors of cultural consumption the overall picture is more complex than a simple direct correspondence and perceptions of other cultural forms also play a role. Those likely to consume arthouse and foreign language film consume other film genres and other cultural forms genres and those who “prefer” arthouse and foreign language film have slightly more constrained socio-economic characteristics. Overall, we find that economic and cultural factors such income, education, and wider consumption of culture are significant in patterns of film consumption.

This paper aims to inform the discussion on why and how non-profit organizations can experience a hybridization process to address the criticism that would assume hybridity as an intrinsic characteristic of all organizations. Specifically, by referring to the academies of intellectuals as the non-profit setting in which investigating the emergence of hybridity takes place, this paper aims at exploring, first, to what extent this emergence could be induced by institutional conditions, and, second, which structural innovations could sustain the academies’ “motion” towards hybridity.

This paper relies on the institutional logics perspective and adopts the case study method applied to a historical context. The case under analysis is the Academy of “the Immobili”, which, in spite of its name, experienced a hybridization process in 1720 because of the decision to involve an impresario in the management of its theatre.

The findings highlight the significant role played by institutional conditions in inducing the emergence of hybridity, even in presence of internal resistance to any “motion” from the non-profit setting. Moreover, the analysis of the innovations associated with this emergence detects the intertwined action of the different decision makers involved in the hybridization process, in spite of their formal separation. These findings strengthen the conceptualization of hybridity within non-profit organizations.

Besides referring to a historical period that is still little explored in terms of hybridity within organizations, the paper focuses on an original context, i.e. academies, representing an ancient typology of cultural organizations. Therefore, the paper also provides the first insights into the hybridization process of cultural organizations from a historical perspective.

Predicting effects of artificial intelligence on service occupations can be supported by a long historical perspective. Historical databases and archaeology help reconstructing the service sector in ancient societies. Here, the purpose of this paper is to analyse occupational specialization within services in cities of ancient Greece and the Roman Empire, as well as how the service sector is reflected in architectural remains, to identify differences and similarities with today’s Europe.

Occupational titles are traced in epigraphical and literary sources, sorted according to ISCO-08. Secondary sources are used for the architectural evidence of service activities, as well as for the role of contests and entertainment in antiquity.

Compared to current European service employment, professionals were fewer in classical Athens and imperial Rome, which had a greater proportion of specialized salespersons. There were few office buildings and no civic hospitals, but heavy investment in facilities for entertainment and well-being. Quality assessments for goods were little developed; contests for cultural and sports activities assessed entertainment service quality.

This study covers two periods in classical antiquity and is restricted to Mediterranean cultures, although findings may help understanding the service sector in poor countries with informal employment.

While particular services provided in ancient cities have been studied, there has been no broad comparative overview of their service occupations. Services in earlier societies with primitive information and communication technologies can provide clues for current developments.

The film was a revelation to me because I was not aware of any visual record of such a culture in pre-independence Brunei. Until I saw the film, my impressions of Bruneian culture came mostly from hearsay and oral history […] to put it bluntly, Gema Dari Menara is not a very good film at all, but is nonetheless a time capsule of Brunei’s lost pop history.

Gema Dari Menara/ Echoes from the Minaret: A Conversation with Mervin Espina about the Lost Cinema of Brunei (Espina, 2013: 70)

According to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.

By focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.

The study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.

Research on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.

To elaborate the nature of fact-checking in the domain of political information by examining how fact-checkers assess the validity of claims concerning the Russo-Ukrainian conflict and how they support their assessments by drawing on evidence acquired from diverse sources of information.

Descriptive quantitative and qualitative content analysis of 128 reports written by the fact-checkers of Snopes – an established fact-checking organisation – during the period of 24 February 2022 – 28 June, 2023. For the analysis, nine evaluation grounds were identified, most of them inductively from the empirical material. It was examined how the fact-checkers employed such grounds while assessing the validity of claims and how the assessments were bolstered by evidence acquired from information sources such as newspapers.

Of the 128 reports, the share of assessments indicative of the invalidity of the claims was 54.7%, while the share of positive ratings was 26.7%. The share of mixed assessments was 15.6%. In the fact-checking, two evaluation grounds, that is, the correctness of information and verifiability of an event presented in a claim formed the basis for the assessment. Depending on the topic of the claim, grounds such as temporal and spatial compatibility, as well as comparison by similarity and difference occupied a central role. Most popular sources of information offering evidence for the assessments include statements of government representatives, videos and photographs shared in social media, newspapers and television programmes.

As the study concentrated on fact-checking dealing with political information about a specific issue, the findings cannot be extended to concern the fact-checking practices in other contexts.

The study is among the first to characterise how fact-checkers employ evaluation grounds of diverse kind while assessing the validity of political information.