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The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.

This paper aims to present a novel pedagogical model that aims at bridging creativity with computational thinking (CT) and new media literacy skills at low-technology, information-rich learning environments. As creativity, problem solving and collaboration are among the targeted skills in twenty-first century, this model promotes the acquisition of these skills towards a holistic development of students in primary and secondary school settings. In this direction, teaching students to think like a computer scientist, an economist, a physicist or an artist can be achieved through CT practices, as well as media arts practices. The interface between these practices is imagination, a fundamental concept in the model. Imaginative teaching methods, computer science unplugged approach and low-technology prototyping method are used to develop creativity, CT, collaboration and new media literacy skills in students. Furthermore, cognitive, emotional, physical and social abilities are fostered. Principles and guidelines for the implementation of the model in classrooms are provided by following the design thinking process as a methodological tool, and a real example implemented in a primary school classroom is described. The added value of this paper is that it proposes a pedagogical model that can serve as a pool of pedagogical approaches implemented in various disciplines and grades, as CT curriculum frameworks for K-6 are still in their infancy. Further research is needed to define the point at which unplugged approach should be replaced or even combined with plugged-in approach and how this proposed model can be enriched.

This paper presents a pedagogical model that aims at bridging creativity with CT, collaboration and new media literacy skills.

The proposed model follows a pedagogy-driven approach rather a technology-driven one as the authors suggest its implementation in low-tech, information-rich learning environments without computers. The added value of this paper is that it proposes a novel pedagogical model that can serve as a pool of pedagogical approaches and as a framework implemented in various disciplines and grades. A CT curriculum framework for K-6 is an area of research that is still in its infancy (Angeli et al., 2016), so this model is intended to provide a holistic perspective over this area by focusing how to approach the convergence among CT, collaboration and creativity skills in practice rather than what to teach. Based on literature, the authors explained how multiple moments impact on CT, creativity and collaboration development and presented the linkages among them. Successful implementation of CT requires not only computer science and mathematics but also imaginative capacities involving innovation and curiosity (The College Board, 2012). It is necessary to understand the CT implications for teaching and learning beyond the traditional applications on computer science and mathematics (Kotsopoulos et al., 2017) and start paying more attention to CT implications on social sciences and non-cognitive skills. Though the presented example (case study) seems to exploit the proposed multiple moments model at optimal level, empirical evidence is needed to show its practical applicability in a variety of contexts and not only in primary school settings. Future studies can extend, enrich or even alter some of its elements through experimental applications on how all these macro/micromoments work in practice in terms of easiness in implementation, flexibility, social orientation and skills improvement.

The added value of this paper is that it joins learning theories, pedagogical methods and necessary skills acquisition in an integrated manner by proposing a pedagogical model that can orient activities and educational scenarios by giving principles and guidelines for teaching practice.

The research discussed in this paper aims to study the impact of video footages on the academic performance of students. Video footages are usually inserted into video lectures — in addition to the verbal narration of any examples by the teachers — to explain and simplify concepts. Similarly, in conventional classrooms, teachers verbally narrate examples to clarify concepts — but, in this case, students have to rely on their imagination and previous exposure to similar situations to develop an understanding of the concepts.

A two-phase experiment was designed to compare these two teaching methods. A sample of 70 participants was drawn from non-psychology students in the Virtual University of Pakistan; and two groups, Group A and Group B, each with 35 participants, were formed through random assignment of the students. In the first phase of the experiment, members of Group A were taught through a 24-minute video lecture on psychology, which had four chunks of video footage in it. After the lecture, the students' academic learning was measured through a multiple-choice test with 27 items, which was developed by incorporating an equal number of questions on three levels of Bloom's taxonomy (viz. understanding, comprehension and application). The item levels were decided after agreement by three examiners who had at least three years of experience of developing such questions. In the second phase, a lecture with similar content was taught to Group B. The only difference was in the mode of delivery: in this case, the content was conveyed verbally and no video footages were used. The same test of students' learning was employed to get the scores of Group B. In addition, a qualitative study, involving data gathered through participants' feedback on the performance of the learning facilitators and weaknesses in both teaching modes was collected in order to explore the participants' perceptions and experiences of the phenomenon being studied. The results indicated that the two groups were significantly different in terms of academic achievement. The mean values suggested that those who were taught through video footages showed a higher level of academic learning than those who received a traditional verbal narration lecture. In addition, the students reported that the video footages and examples facilitated their learning, and helped them to remain focused and motivated in class. The findings have broad implications for teachers, content developers, academic policy-makers and producers involved in the production of academic content.

This study aims to examine the role of authenticity in tourists’ destination selection, analyze the factors that influence tourists to form their initial opinions and explore how tourists construct the authenticity of traditional villages. The authors selected Chengkan village in Huizhou district, Huangshan city, as a case. In the study, the authors constructed an attribute-hardware-software research framework and analyzed tourists’ authentic emic experiences from the perspective of constructivism. The findings of this study suggest that tourists’ destination selection is influenced by authenticity. The destination culture brokers who interact with tourists play an essential role in forming authentic experiences. According to differences in how tourists construct authenticity, the study divided tourists into three types: primitive imagination, aesthetic reality and rational cognition. The results of this study provide a deeper understanding of various viewpoints about authenticity research and contribute to the academic discussion on how to understand the authenticity of unique cultural heritage sites such as traditional villages in the context of tourism development.

The purpose of this paper is to deal with the role of the human metaphor (anthropomorphism) and consumers’ liking for the humanized version of the brand as antecedents of three key components of brand love: self-brand integration, positive emotional connection and feelings of anticipated separation distress.

A sample of 399 consumers provided information about a brand from a stated list of 16 brands of clothing.

Both anthropomorphism and consumers’ liking for the humanized brand have positive effects on specific components of brand love. The results confirm that brand anthropomorphism is only desirable when the humanized version of the brand is attractive for consumers.

A potential shortcoming is the qualitative technique employed to observe anthropomorphic thought. Collecting ratings of anthropomorphic and non-anthropomorphic traits could be viewed as a method more easily applied in market research surveys.

Managers have to control how consumers imagine the brand as a human entity because it affects brand love. For example, by tracking consumers’ opinions and traits of those people associated with the brand and brand user stereotypes can condition consumers’ imagination of the humanized brand.

Compared to the limited number of studies about the relationship between anthropomorphism and brand love, this study focuses on the effects of anthropomorphism as a process, and not as a personal trait, on brand love. It also relies on consumers’ imagination instead of brand personification strategies to stimulate anthropomorphism.

The production of the ‘good life’ or the ‘less bad-life’ (Berlant, 2007, 2011), especially among generations of the Marcos dictatorship and the Epifanio de los Santos Avenue revolutions (henceforth, EDSA revolutions) in the Philippines, is animated by the ‘mobility imperative’ (Farrugia, 2016). The mobility imperative includes processes that encourage or demand mobility (Farrugia, 2016) for individuals and institutions. It figures in various ‘systems of practice’ (Levitt, 1998, 2001) among families in migrant-sending communities, government and corporations that magnify how migration is the ticket to better life (McKay, 2012) or its glorification as a heroic act (de los Reyes, 2013, 2014). Among the generations of the Martial Law and the EDSA revolutions, therefore, the ‘good life’ is hinged upon departure as professionals (e.g. nurses and engineers), workers in elementary occupations (e.g. construction and domestic workers) or mail-order brides or pen pals. Put simply, the good life in these generations is a function of remittances.

This chapter examines how the contemporary generation of young people construct the ‘good life’ in differential and new terms (de los Reyes, 2023; McKay & Brady, 2005) from previous generations. Using interviews and vision boards of left-behind children (15–18 years old), it argues that left-behind children critically appraise the ‘mobility imperative’. The chapter shows that there is a growing imagination of alternatives to the migration-induced good life among left-behind children, and therefore, they gradually refuse the ‘mobility imperative’. For them, the aspired good life consists of potentially being employees or entrepreneurs in their own villages and living a life with their own families (de los Reyes, 2019, 2020).

The primary purpose of this study is to determine if the main character is a shapeshifter and, if so, how does the tale contribute to shapeshifting lore.

The focus of the study is confined to a version of the tale that appears in Jane Yolen's Folktales From Around the World (1986) and on summaries of other versions of shapeshifting tales when needed. Support for the findings is provided by an examination of the observations and rhetorical techniques employed by what appears to be an unreliable narrator and selected knowledge and practices from a variety of academic disciplines.

The research findings neither confirm nor deny that the main character is or is not a shapeshifter.

Instead, the critical reading confirms the traditional characterization of folktales as coming from diverse folk roots and disappearing or changing as they circulate through geographical space and narrative time.

It also implies that the tale has outgrown its practical and social folk roots and now extends far beyond that of traditional shapeshifting or literary folktales.

By bringing to light the racial and gender fears, ignorance and emotional and physical violence that lurk just below the surface of the society from which serpent-woman emerges, the study creates a haunting vision of the embedded biases that lurk just below the surface of many societies.

To this author's knowledge, this is the first study of this tale to appear in publication. The findings need further investigation.

This study used a visual research approach to investigate how small business (SB) entrepreneurs in Nigeria, a low-income country, perceive digital transformation (DT). The study aims to improve and broaden the understanding of DT by uncovering its metaphors. Making metaphorical sense of DT will increase its knowledge among populations who are unfamiliar with digital technology concepts, as well as communicating and collaborating with them to develop future research and strategies on the subject of DT. This study is significant because scholars have paid little attention to social imaginations of DT depicted through metaphors, more so when considered from a worldview of SBs in low-income countries.

The uniqueness of the research objective motivated the use of social theory to frame the research approach, and picture-elicitation techniques to drive data collection through in-depth interviews with 17 SB entrepreneurs and business owners in Nigeria. Data were analyzed using a content analysis procedure known as metaphor analysis.

The study revealed three metaphors of DT: a drama, a war and a pregnant elephant. A triangulation of the metaphors with English lexicon, extant literature and interview excerpts supported the war and drama perceptions of DT but opposed “DT as a pregnant elephant.”

It argued that the social perception of DT can improve the sustainable, purposeful and successful execution of DT strategies for SB DT. As a result, this study pushes the boundaries of DT, particularly for SB entrepreneurs in low-income countries.

Metaphors pervade our daily lives, not only in our language and communications, but also in how we think and act; as such, they can play an important role in understanding and implementing DT, a concept that has received little attention in the SB settings.

This is one of the first empirical studies to figuratively explain DT and its implications for literature and practice in SB entrepreneurship and information systems domains.

This study aims at investigating the impact of using Lego Serious Play (LSP) on the effectiveness of teaching supply chain (SC) 4.0 in higher education by going from a traditional 2D approach to a 3D one. LSP in this study is explored as a gamification pedagogical approach that taps into the connection between hands and brain to inspire and engage students to build 3D models using metaphors and storytelling.

An empirical study was conducted among 50 students (over two terms) who were enrolled in a SC 4.0 course and used LSP in their final project that focused on digital SC design. Two questionnaires were designed (one after the standard LSP workshop and the other upon completion of the project) to solicit feedback with respect to how LSP helped students to better understand SC 4.0 topics and fulfill their project. The results were analyzed using Bloom’s taxonomy as well as other pedagogical framework to understand the positive impact of LSP at the cognitive, motivation and social levels.

Results showed that using LSP can enhance the teaching of various SC principles and technologies beyond the abstract point of view (2D) through offering the students an opportunity to apply these principles and technologies in a futuristic project using a hands-on 3D approach. The LSP approach demonstrated its ability to help students navigate through both lower order thinking skills (LOTS) and higher order thinking skills (HOTS) in a meaningful and playful manner. Finally, improving the design skills for students was clear using LSP as it unleashes imagination and taps into internal knowledge together with collective inputs.

The reliance on one case study can be a limitation regarding the generalization of the proposed results. This limitation is attenuated by the representativeness of the case study analyzed. Furthermore, the presented work should encourage future analyses as well as expanding the implementation of LSP to other SC 4.0 teaching contexts and applications.

This paper contributes to the very few literatures regarding using gamification in SC education and specifically how LSP methodology can be adopted in teaching SCM 4.0.

This paper aims to shed light on how children's literature in Africa deserves to be studied because African writers “decolonize” the minds of African children and children and adults around the world.

This paper defines children's literature from an African perspective and the “decolonization of the mind.” This is done to examine how two African writers provide narratives for children inspired by their cultures. They deal with themes, characters and symbols that interest children and adults.

Achebe and Youssef crossed many borders: the world of children and adults, animals and humans, vice and virtue, supernatural and real. Their stories take the reader on journeys that involve enriching, engaging and inspiring adventures.

Youssef and Achebe are prolific writers. Providing a survey of what is available in Arabic and Nigerian literature for children, is beyond the scope of this paper.

This paper sends a message to those in charge of the curriculum in schools in Egypt, the Arab countries, Africa and the world at large: decolonize the syllabi in schools because the world is not black and white. Literature for children that encourages critical thinking is available by African writers in Egypt, Nigeria and elsewhere.

The works discussed show that African writers are creative, and their works inspire the African child with pride in his/her identity, culture and heritage.

To the best of the author’s knowledge, no one has compared Egyptian and Nigerian literature for children before. Youssef and Achebe provide evidence that “Good literature gives the child a place in the world … and the world a place in the child.” – Astrid Lindgren.