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The purpose of this study is to prove that narratives can be a adequate foundation for human behavior in general and economic behavior in particular using the Donald Duck universe as an example.

By using a content analysis, the authors examine 208 stories of the Donald Duck universe to prove that economic behavior is already embedded in modern narratives of the 20th century.

This analysis shows that behavioral finance effects are identified in a total of 52.4% of the analyzed comics. This study furthermore distinguishes the main comic characters Donald Duck and Scrooge McDuck and finds that eight of the nine considered behavioral finance biases can be detected in both. The most striking effect for Donald Duck is overconfidence and for Uncle Scrooge loss aversion.

Collectively, these comics provide potential exemplars for behavioral finance. Regardless of whether these comics depict human nature or merely reflect human behavior during that time, they inevitably contribute to the understanding that psychological and sociological influences determine behavior in addition to economic factors that can be used for academic teaching.

In summary, comics, such as the Donald Duck universe, are suitable narratives for behavioral finance.

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.

In order to explore the impact of the recent wave of a technological revolution on global culture and society, the purpose of this paper is to re-read the two most outstanding dystopian novels of the mid-twentieth century. George Orwell and Aldous Huxley observe and anticipate technological development in relation to questions of human nature and culture, individual identity and close relationships, matters of care, privacy and private life. The totalitarian regimes both authors experienced in their time have disappeared, yet today the two fields of high technology that fueled their fantasy are reaching levels of development to surpass Orwell’s and Huxley’s daunting visions.

This paper approaches the recent innovations in the information and communication technology as well as the upsurge of life sciences and bio-technology from a philosophical perspective, considering their impact on the social structure (division of labor, distribution of wealth) as well as on the symbolic order of advanced industrial societies (the sign and the body, life and death).

Taking up Michel Foucault’s distinction between ancient sovereign rule and modern biopolitics, the author suggests discerning a third stage of domination: bio economics plus culture industries. In contrast to the two previous forms of domination, this new regime does not endeavor to suppress but to foster and unleash life. Therefore, it instigates less resistance and opposition but meets with more approval and compliance. Domination in this neoliberal-libertarian guise may prove not less dangerous than the former totalitarian variant. It forces the author to re-think ways of resistance and critique.

This paper makes a theoretical contribution to the analysis of care, society and democracy.

Scholars in information science have recently become interested in “information experience,” but it remains largely unclear why this research is important and how it fits within the broader disciplinary structure of information science. The purpose of this paper is to clarify this issue.

The discussion unfolds in the form of a philosophical dialogue between the Epistemologist, who represents the traditional and majority epistemological viewpoint of information science, and the Aestheticist, representing the emerging paradigm of experiential information inquiry.

A framework emerges that recognizes dual conceptualizations of truth (veritas and aletheia) and consequently information and knowledge (gnostic and pathic). The epistemic aim of understanding is revealed as the common ground between epistemology and aesthetics.

The value of studying human experiences of information is grounded in work spanning philosophy, psychology and a number of social science methodologies, and it is contextualized within information science generally. Moreover, the dialogic format of this paper presents an opportunity for disciplinary self-reflection and offers a touch of heart to the field.