Search results

The purpose of this paper is to share two researcher's experience about the challenges associated with shadowing within the health care context.

Institutional ethnography and shadowing.

Shadowing is increasingly being used as a data collection method, however, before proceeding to use this approach in today's health care environment, the researcher must give thoughtful consideration to the context.

This paper provides a reflexive elaboration of the differences between the insider and outsider perspective when using the shadowing data collection method within health care organizations.

Once a taboo subject, death and dying has been considered not only a possible but a healthy topic of discussion since the pioneering work of Dr. Elizabeth Kübler‐Ross with dying patients in Chicago beginning in 1965. Since then, the widely publicized court case of the comatose young Karen Ann Quinlan, the growth of the hospice movement, and the rise of groups asserting a person's right to choose the moment and manner of death rather than undergo the prolonged suffering of terminal illness have fueled public interest. Media attention reflects this increasing public awareness—the popular 60 Minutes televised interviews with both hospice people and supporters of the right‐to‐die; a “Dear Abby” newspaper column drew over 40,000 requests to the Society for the Right to Die for information on living wills.

The purpose of this paper is to explore the adoption of major exhibitions, often called blockbusters, as a sub-branding strategy for art museums. Focusing the experience around one location but drawing on a wide data set for comparative purposes, the authors examine the blockbuster phenomenon as exhibition packages sourced from international institutions, based on an artist or collection of quality and significance. The authors answer the questions: what drives an art museum to adopt an exhibition sub-brand strategy that sees exhibitions become blockbusters? What are the characteristics of the blockbuster sub-brand?

Using extant literature, interviews and content analysis in a comparative case study format, this paper has three aims: first, to embed exhibitions within the marketing and branding literature; second, to identify the drivers of a blockbuster strategy; and third, to explore the key characteristics of blockbuster exhibitions.

The authors present a theoretical model of major exhibitions as a sub-brand. The drivers identified include the entrepreneurial characteristics of pro-activeness, innovation and risk-taking, while the four key characteristics of the blockbuster are celebrity; spectacle; inclusivity; and authenticity.

These exhibitions are used to augment a host art museum’s own collection for its stakeholders and differentiate it in the wider cultural marketplace. While art museum curators seek to develop quality exhibitions, sometimes they become blockbusters. While blockbusters are a household word, the terms is contested and the authors know little about them from a marketing perspective.

Art museums are non-profit, social organisations that serve the community. Art museums therefore meet the needs of multiple stakeholders in a political environment with competing interests. The study draws on the experiences of a major regional art museum, examining the characteristics of exhibition sub-brands and the paradox of the sub-brand being used to differentiate the art museum. This paper fills a gap in both the arts marketing and broader marketing literature.

The use of the identified characteristics develops theory where the literature has been silent on the blockbuster sub-brand from a marketing perspective. It provides an exemplar for institutional learning on how to initiate and manage quality by popular exhibition strategies.

This chapter examines disability rights movement's rejection of a right to physician-assisted suicide (PAS). Supporters of PAS frame the right to enlist a physician's help in determining the nature and timing of one's death as a fundamental liberty interest and as a right to privacy. The disability opposition counters this with disparate impact and slippery slope arguments and stories of disability pride as a rhetorical rejection of a right it deems dangerous and discriminatory. In examining this clash of rights talk, this chapter analyzes the legal and political consequences of anti-rights rhetoric by a movement that is grounded in notions of autonomy and self-determination.

The tradition of medicine has until now been characterized by an aspiration to provide as complete as possible a service of care to the populations to which it owes responsibility. The same holds for nursing and caring practices, but the tradition is loosening. Despite the collective assumption that medical and nursing practice rests on solid grounds of knowledge and is framed by a caring ethos, change in practice not only has typically come about in a complex and diffuse fashion, but has also come along with sacrifices, losses and deficits.

Let us return to Nancy Cruzan's story. Hopeful that Nancy would eventually recover, her parents, Lester and Joyce Cruzan, agreed to have doctors insert a feeding tube to deliver artificial hydration and nutrition – a decision they would one day regret. Although the Cruzans visited frequently, Nancy was unable to respond to their attention. After four years had elapsed, the Cruzans concluded that Nancy would never regain consciousness and should be allowed to die.

The NEA began its ascent as a political force slowly. In the early 1960s, NEA leaders had rejected efforts to create a political role for the Association. In fact, in 1960, NEA leaders – sensitive to members’ desire for an organization focused on professionalism – summarily rejected a suggestion to adopt a theme of “Every Teacher a Politician” (Berube, 1988).

The emphasis of this survey is on motion picture reference material that has been published since 1982. This update does not, for the most part, include titles covered in a prior RSR article (1:4; 1983), written by myself, or in an even earlier article by Leslie Kane (7:1; 1979). In those few instances where titles that have appeared in the earlier RSR film surveys are discussed, it is because they now have a new subject emphasis.