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This paper aims to examine how and why finance is represented in cultural products. Focussing on an illustration by Norman Rockwell for the cover of The Saturday Evening Post, this analysis suggests that financialization is represented through the technique of visually incongruent humour. Humour relays the cultural value of the separation of work and play, and financialization is a tool to make sense of play as work. Addressing why certain financial representations are produced highlights the influence of finance in determining how and what messages about financialization are made public. This analysis of a single illustration suggests a need for further research into comparative and contextual studies of culture and finance.

This paper is a qualitative analysis of The Expense Account (1957), a cover illustration for The Saturday Evening Post.

In analysing the visually incongruent humour of the illustration, the cultural value of the separation of work and play is muddied by the lack of supervision and undefined organizational space. Freedom of travel and lack of managerial presence suggest that travelling salesmen face anxiety and uncertainty in having to account for their fun activities as work. Accounting is one tool of financialization used to interpret play as work by employees. This illustration was produced in a for-profit context and was therefore influenced by the financial decisions of magazine editors and customers.

Interdisciplinary qualitative analysis of finance and humorous popular cultural images suggests that accounting is a financial tool for making sense of play as work outside fixed organizational spaces. Additional support is given for studying popular culture and finance together, as popular culture is produced within a financial system in which financial decisions determine humorous representations of financialization.

This paper adopts a financial perspective in examining a Norman Rockwell illustration and makes the case for examining how representations of financialization are made by humour and financial influence.

This article explores engaging student learning concerning the Black Experience during the Civil Rights Era through the analysis of Norman Rockwell paintings. Focusing on pedagogy and content, the article highlights an instructional framework to encourage an inclusive view of American History while appealing to a variety of learners. After emphasizing the importance of providing a balanced, representative view of American history that weaves the experiences of marginalized groups throughout the historical fabric, we highlight the highlight the instructional benefits of facilitating arts-based learning in the classroom. While a variety of artists’ work could be selected to portray historical events of this time period, we address the symbolic reasoning behind the selection of Rockwell, as well as the realistic depictions in his paintings that directly relate to historical events. The article concludes with a sample lesson that provides two options for instructional delivery: (1) a technology-focused WebQuest and (2) a visual analysis. The strategies integrate issues of equity and diversity and encourage students to act as critical agents by examining issues of social justice. In addition, both strategies foster reading skills, cultural literacy, and critical thinking.

Increasing industry interest in visual artists and commercial brand collaborations has heightened the need for research on exactly how visual art can add meaning to brands in ways that enhance brand value to existing consumers and potentially reach new consumers. Consumers are known to select brands on the basis of how well these brands reflect their own personalities. The purpose of this research is to understand whether brand alliances with artists exhibiting distinct personalities can make brands more attractive to consumers whose personalities do not currently match the brand.

Two experiments are used to examine the impact of artists’ personality (in)congruence on consumers’ perceptions of the brand and purchase intentions of the brand’s products.

The results show that consumers whose personalities do not match the brand’s current personality are likely to alter their view of a brand when the brand partners with an artist whose personality matches with that of the consumers’. This happens without negatively affecting the brand personality perceptions of current consumers who already identify with the brand.

When seeking to attract a new target segment, brands can ally with visual artists who convey a personality that matches that of the new target segment.

This paper adds to a nascent literature on the power of artist–brand alliances, and demonstrates that these partnerships need not only be between artists and brands with consistent personalities but can also effectively be used to target new consumers.

This article, one of the keynote addresses at the joint ANZHES conference in December 2008, explores a concept that I call the Great Divide, by which I mean the cultural division between principals and teachers, and between principals and students. Drawing on visual imagery, historical reports, and cultural studies of American schools, I argue that the Great Divide is a historical construction of both administrative practices and representational culture that has led to misunderstandings of the complexity of the school principal’s middle managerial work in the school organisation.

We present an instructional strategy in which children utilize critical thinking skills to interpret images related to social studies concepts. To illustrate, we focus on teaching First Amendment freedoms; however, we encourage teachers to apply the strategy with other social studies concepts. Using visual media such as paintings and photographs to teach abstract social studies concepts can be especially helpful for teachers working with English language learners and young children. Suggested resources for locating images for classroom use are provided.

The attacks of 11 September 2001 created a crisis of legitimacy for the U.S. nation state. To overcome a catastrophic event that threatened national identity, the Bush administration evoked fear as the spiritual root of patriotism and the basis of a renewed security state. The modern rhetoric of crisis management was combined with a nostalgic rhetoric of national community. In the new civil defense, all citizens were enlisted to relentlessly examine their fears so that bodies, minds, neighborhoods, and ultimately the nation state could be free of terror. These conditions led to authoritarian efforts to reach deep into citizens’ private lives and purge the body politic of ill-defined invaders, damaging democratic community.

The chapter offers a case-study grounded in a professional development program for middle- and high-school teachers of history and/or social studies. The featured program supported American history teachers integrating the study of Picturing America images into academic subjects. Employing a dynamic Seattle-area academic and teaching partnership with the Seattle Art Museum, the Goodlad Institute for Educational Renewal, and the National Endowment for the Humanities (NEH), the project elaborated on Picturing America’s democracy theme. This theme, combined with visual thinking methods of exploring artworks, helped teacher link Picturing America’s masterpieces to their history curriculum, content standards, and individual responsibilities to promote informed civic participation. The program made innovative use of the Picturing America images to explore such historical concepts as freedom, equality, and inclusion. The purpose of the initiative was to enhance teaching innovation and curriculum and to help participants become influential teacher-leaders who can advocate for greater curricular emphasis on the combination of art and civic concepts. A signature feature of this effort was the focus on dissent as a lens through which to view key curricular concepts such as liberty, community, and informed citizenship.

THE Reference Department of Paisley Central Library today occupies the room which was the original Public Library built in 1870 and opened to the public in April 1871. Since that date two extensions to the building have taken place. The first, in 1882, provided a separate room for both Reference and Lending libraries; the second, opened in 1938, provided a new Children's Department. Together with the original cost of the building, these extensions were entirely financed by Sir Peter Coats, James Coats of Auchendrane and Daniel Coats respectively. The people of Paisley indeed owe much to this one family, whose generosity was great. They not only provided the capital required but continued to donate many useful and often extremely valuable works of reference over the many years that followed. In 1975 Paisley Library was incorporated in the new Renfrew District library service.