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This study examines the impact of gender on Facebook campaign strategies and the reception of these strategies during the 2018 Israeli municipal elections.

The authors analyzed all the messages posted on 48 politicians' official Facebook pages during the week leading up to the elections. They analyzed messages posted by 152 candidates running for the position of head of a municipality, 68 of whom were women (48 had an active Facebook account), examining the amount of engagement they had created. The authors also analyzed the candidates' use of rhetoric and use of negative campaigning and the engagement it created.

Analysis of the overall engagement of Facebook users in respect to men versus women politicians showed that men politicians' posts were significantly more engaging in terms of the number of likes and shares they generated, although the multilevel analysis found no significant differences between engagement in the posts of men and women politicians. The Aristotelian rhetoric analysis revealed no significant differences between women and men contenders; however, in line with the role incongruity theory, the engagement analysis found that male candidates' logic-based posts attracted significantly more shares. The negative campaigning analysis found that, contrary to the study’s hypothesis, female candidates posted twice as many messages, attacking their opponents as their men counterparts. However, in line with the hypothesis based on the role incongruity theory, these posts gained significantly less engagement than those of their men counterparts.

The study highlights that female candidates do not conform to their perceived gender role as soft, emotional, and gentle in their social media campaigning. However, in line with role incongruity theory, they were not rewarded for this “unwomanly” behavior because they gained significantly less engagement with their logic-based posts and their attacks against other candidates than their men counterparts. Despite the fact that prior studies have indicated the potential of social networks service (SNS) to empower women leaders, the findings of the study highlight the continued gender discrimination and the validity of role incongruity theory during social media campaigning, particularly at the municipal elections level.

In this article, we feature five students’ initial efforts at developing technological pedagogical content knowledge (TPCK). Five new teachers—four from social studies and one from English/humanities—developed lesson plans that attempt to integrate their own experiences, their evolving teaching skills, and technology expertise (at varying levels) within standards-based content/curriculum requirements. In part, our goal as teacher educators is to begin to consider what kinds of issues our new teachers face as they negotiate their understandings of TPCK. Moreover, we ourselves are negotiating an understanding of how to best debrief them as they reflect on practice and the meaning of technological pedagogical content knowledge in the school context.

Following Bakhtin, organizational discourse scholars have examined ways in which organizational actors draw on and negotiate historical texts, weave them with contemporary ones, and transform them into future discourses. This paper examines how this practice occurs discursively as members in a high‐tech corporation conduct an organizational change.

This paper interprets discourse excerpts from meetings of a project team in the western US. Through participant‐observation and discourse analytic methods, the data gathered consists of field notes, over 33 hours' worth of team meeting conversation and five hours of interview data.

Through the use of represented voice, organizational members work out how an action or practice has sounded in the past as spoken by another member, and they articulate how proposed organizational changes might sound in the future. By making these inferences, members are able to discursively translate between a single situated utterance and organizational practices.

The analysis suggests that organizational change occurs when people temporarily stabilize the organization through the voicing of current practices (as references to what “usually happens” via what is “usually said”) and new practices (as references to what might be said in the future). It is when these practices are solidified and made real through these translations between identity, voice, and organizational practices that members are able to draw comparisons and transformations between “past” and “future” language, and thereby experience and achieve organizational change.

The paper furthers our knowledge of how organizational members discursively negotiate meanings during the process of organizational change through a specific discourse pattern.

The purpose of this paper is to describe an approach to analyzing qualitative data that uses Bakhtin’s concepts of dialogue as a framework.

Polyphonic Analysis (PA) is proposed as a critical approach to qualitative data analysis that emphasizes creating virtual dialogues of participants’ voices, bringing together views that typically do not interplay in order to escalate voices that might otherwise be silenced, reduced, or objectified.

PA, with its emphases on revoicing and dialoguing participants’ words, seeking understanding in the tensions between voices, and striving for hegemony in the development of themes, heightens researchers’ awareness of key principles of qualitative research, suggesting its use as a pedagogical approach for teaching qualitative research as an interpretive paradigm. The authors reference their study on the impact of the No Child Left Behind legislation in the USA to draw examples that illustrate the utility of this research design for pedagogy and practice.

PA creates meaning by recognizing multivocality and dialogism. The authors propose and describe this novel application of a literary analysis tool for use as a tool for pedagogy and research methodology.

The death-positive movement can be described as a de-centralised contemporary social movement originating and operating predominantly in the global West, specifically the United States, connecting death workers, educators, artists, journalists, etc., and geared towards encouraging open dialogue about death and dying. It has succeeded in capturing significant media attention over the last few years and is largely driven by its strong social media presence. This chapter looks at ‘playfulness’ within the death-positive movement. Examining the dimension of ‘playfulness’ addresses the affective aspect of communication that in this movement is inseparable from the message. First, the author investigates the aesthetics of representation through death-positive merchandise, produced and advertised by The Order of the Good Death’s (subsequently – The Order) core members. Second, the author considers some of the cultural output produced under the umbrella of death-positivity, but not by the core movement members, specifically taking the first video game to be explicitly marketed as death-positive – A Mortician’s Tale (Laundry Bear Games, 2017) as a case study. Finally, the author analyses the role of entertainment value in the movement’s leaders’ discourse on death, taking leader of The Order Caitlin Doughty’s playful rhetoric on her YouTube channel, Twitter profile, and Instagram pages. The manifesto, found on the movement’s official website (http://www.orderofthegooddeath.com/) encourages its participants to break the ‘culture of silence’ around death, indicating that the whole premise of the movement is based on the supposed presence of death denial in Western countries. Ultimately, the author argues that by eliciting playfulness, this challenge to the social climate becomes a somewhat jovial and enjoyable endeavour and generates response from outside the movement.

Across different research fields, it is increasingly acknowledged that gender is not a binary variable and goes beyond the male–female dichotomy. At the same time, gender is a prominent social cue that affects evaluations and interactions among individuals. Thus, gender can impact social processes on many levels in complex ways. Meetings provide arenas where key social processes unfold that are relevant to the organization. Understanding which role gender takes in this context is therefore central to organizations as well as meeting research. This chapter provides a critical review of research to date on social influence in meetings, specifically zooming in on the role of gender. The authors conducted a multi-step systematic literature review and identified 43 studies across a wide area of disciplines (e.g., psychology, communication, and management). The authors put special emphasis on the methodologies employed across this work since a comprehensive understanding of the applied methods is core for a synthesis of research results. Through the analysis, the authors pinpoint six variables – individual gender, sex role orientation, gender composition, gender salience, contextual factors such as task type and organizational settings, and the construction of gender as a social concept – that are directly related to gender and which represent factors that are critical for the role of gender in the meeting context. Thereby, this chapter aims to provide a roadmap for researchers and practitioners interested in the role of gender during workplace meetings. The authors conclude by highlighting methodological and managerial recommendations and suggest avenues for future research.

The purpose of this paper is to pursue the themes of feminine identity, doubling and (in)visibility; first in terms of “signifyin(g)” as a cultural and literary strategy, and second, in terms of quilting seen from the fiction of Alice Walker to the quilting of Gee's Bend. In the background, there plays the relationship between art and commodification.

The paper examines “commodification” and “doubling” in the case of the Gee's Bend quilt makers. The quilts foreshadow the modernist aesthetic and are of the highest aesthetic quality. They were made in a traditional rural society by very poor uneducated black women. The quilts were not made to be sold, but were dedicated to familial remembrance and to immediate aesthetic pleasure.

Commodification doubles self and work, life and object, uniqueness and standardization, art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works.” Making art is intimate, personal and individual; selling art requires public display, pleasing the all‐important customer(s) and dealing with many sorts of in‐betweens. What “commodification” is on the artist/art work level, is “doubling” on the I/me, self/persona, private/public, and in‐group/out‐group level.

The author proposes, from the example of quilt‐making, a wide‐ranging interrogation: “Is escape from commodification possible?”

The purpose of this paper is to examine the contribution by the Russian social philosopher and cultural theoretician M.M. Bakhtin to the development of social sciences and, particularly, the author's relevance for the issue of agency.

The article provides some details about Bakhtin and discusses his theories and their influence.

Agency is always directed towards the other axiological position, in which the Self‐Other relationship is always a cross‐over or a transgredient relation. The active role of the Other in the act of communication is the very reason why “the utterance of the Other” is not only the topic of speech but also why it enters speech and its syntactic construct as a particular constructive element.

In this way, Bakhtin's philosophy of language can find an equally constructive use in the interdisciplinary theoretical discourse within the context of the development of post‐Cartesian human sciences as well as in the new practical determination of human agency in an era of globality.

Bakhtin's theory of speech as human agency provides a tool for constructing new mental models, the realization of which relies on the assumption of the organizing culture.

Commodification doubles self and work, life and object, uniqueness and standardization and art and management. For the artist, the unicity, beauty, inspiration and creativity of art is doubled in the sale, marketing, display, distribution and mass production of “art works”. Making art is intimate, personal and individual; selling art requires public display, pleasing the all important customer(s) and dealing with many sorts of in-betweens. What commodification is on the artist/art work level is doubling on the I/me, self/persona, private/public and in-group/out-group level. This paper aims to examine the commodification and doubling in the case of the Gee’s Bend quilt makers. The quilts foreshadowed the modernist aesthetic and are of the highest aesthetic quality. But, they were made in a traditional rural society by very poor, uneducated black women. The quilts were not made to be sold but were dedicated to familial remembrance and to immediate aesthetic pleasure. But now that they are on display: is escape from commodification possible?

Reprint for special issue.

Doubling, in the original article below, was tendentious but artistically and politically to be overcome; doubling currently seems much more ominous, omnipresent and out of control. Signifyin(g) has become bomb throwing. Present day doubling apparently produces terror and not just commodification.

Invited for publication.

The accounts of moral reform that nineteenth-century convicts offered the officials in charge were frequently characterized by such uniformity that it caused Dickens to mistrust their sincerity and to brand them scornfully as “pattern penitence.” Unlike Dickens, however, prison officials were more willing to credit the questionable authenticity of “patterned” repentance. The paper argues that rather than an effect of personal gullibility, reformers’ attitudes can be seen as an outcome of specific interpretative strategies which, in turn, constituted a response to several institutional challenges facing the nineteenth-century Penitentiary.