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The recent influence of the mass media communication emphasized the visionary image of the music and eventually the close relationship between the music and fashion industries was formed. Consumers who share a similar taste in music could relate to each other more actively, and as a result, they began to develop similar aesthetic views and emotions. From this matter, the aim of this research is to conduct a survey that would go over a variety of music and fashion preferences of the consumers in order to analyze the relationship between the two. The main objective was to investigate how strongly the preference styles of music and fashion match each other and find similarity of their sensibility.

The participants were directed to choose their preference styles of music and fashion, grade their interest in music and fashion and evaluate their sensibilities by grading their feelings about ten polar paired adjectives.

There indeed is a close relationship between music and fashion. People who are more interested in music and fashion tend to have a stronger correlation between their preferences.

Through the analysis of variance it was found that the sensibility associated with different music and fashion styles are not the same. Furthermore, the authors could group the sensibility words into three common factors. Here it was found that music requires more diverse expressional adjectives as representatives compared to fashion.

The close relationship between preference styles of the two artistic elements and the similarity or their sensibility could be visualized through the distance of each style and adjectives in a correspondence map.

The purpose of this paper is to explore the notion of decolonizing interpretive research in ways that respect and integrate the qualitative sensibilities of subaltern voices in the knowledge production of anti-colonial possibilities.

The paper draws from the decolonizing and post-colonial theoretical tradition, with a specific reference to Gayatri Chakravorty Spivak’s contribution to this analysis.

Through a critical discussion of decolonizing concerns tied to qualitative interpretive interrogations, the paper points to the key assumptions that support and reinforce the sensibilities of subaltern voices in efforts to move western research approaches toward anti-colonial possibilities. In the process, this discussion supports the emergence of an itinerant epistemological lens that opens the field to decolonizing inquiry.

Its practical implications are tied to discursive transformations, which can impact social and material transformations within the context of research and society.

Moreover, the paper provides an innovative rethinking of interpretive research, in an effort to extend the analysis of decolonizing methodology to the construction of subaltern inspired intellectual labor.

This study aims to understand the characteristics and formation of artists’ production sensibilities and relations with other actors within an emerging hybrid art market structure.

To unravel senses and map out relationships and structures in the context of this study, qualitative methods, including in-depth interviews and analysis of secondary data sources, were applied.

The authors describe three art production sensibilities and market-based relationship logics rooted in the artist and the artwork’s diverse role in the market.

The findings suggest that artistic sensibilities motivate managers working in the hybrid art market to develop a more nuanced positioning of artists and their creative outputs to improve harmony and collaboration.

This study demonstrates that the hybrid structure of art markets allows for the harmonious separation and collaboration of non-market (artistic) and market logics. This study uncovers how artists combine their non-market creative position with market needs in the process of marketization and hybridization.

The purpose of this paper is to analyze the post type of the official account of the Korean fashion brands on Instagram and to analyze the images and keywords according to the use of the hashtag in it. This study also will provide data of how fashion brands use the new media of Instagram and how they promote it.

This study investigated the types of postings and keywords of hashtag(#) of fashion brand’s official Instagram account in order to analyze the post type and keyword. In total, six apparel brand companies were selected, with two in each of three categories (classic casual brand, outdoor sports brand and designer character brand), and seven types of postings were classified (lookbook and product, collection, broadcasting ads, brand issue, sensibility pictures, sponsorship and event). The frequencies were collected according to their types that were confirmed by four fashion major specialists.

First, the proportion of the types of postings varied according to the characteristics of the brand. Second, the six brands used keywords of a symbol because it is important to convey brand identity. Third, the sensibility keywords of each brand were investigated, and one of the designer character brands used only practical keywords without sensibility keywords. Fourth, this study examined the number of Instagram hashtags and hearts to determine if the reaction was in alignment with the marketing trends of the company’s official Instagram account and consumers. One of the classic casual brands, one of the outdoor sports brands and both designer character brands showed a high proportion of types of posts on Instagram that well matched with consumer response. As a hypothesis of this study, it was supported that the posting types of images and hashtags will be different according to the characteristics of brand.

Instagram is the fastest growing social network service (SNS) globally, especially among young adults. Instagram is noted for its strong SNS marketing but it has not been well researched in the apparel industry. The study results will help improve the brand image and promotion by using official Instagram account in the apparel industry.

This article discusses how certain sensibilities and techniques from a network perspective can facilitate different levels of thinking about symbolic interaction in mediated contexts. The concept of network implies emergent structures that shift along with the people whose connections construct these webs of significance. A network sensibility resonates with contemporary social media contexts in that it focuses less on discrete objects and more on the entanglements among elements that may create meaning. From a methodological stance, this involves greater sensitivity to movement and connection, both in the phenomenon and in the researcher’s relationship to this flow. The goal is to embody the perspective of moving with and through the data, rather than standing outside it as if it can be observed, captured, isolated, and scrutinized outside the flow. Rather than reducing the scope, the practice of moving through and analyzing various elements of networks generates more data, more directions, and more layers of meaning. We describe various ways a network sensibility might engender more creative and ethically grounded approaches to studying contemporary cultures of information flow.

This chapter aims to demonstrate that the fundamental human rights principle that no one should be subjected to (grossly) disproportionate punishment should be interpreted to take into account terminal illness of the offender. It should be applied both during imposition of the sentences and also during execution of already imposed sentences.

In order to reveal whether this principle takes into account serious medical conditions, including terminal illness of the offender in the calculus of the proportionality of punishment and whether it is applicable at the execution stage of sentences, this chapter examined the roots of the fundamental human rights principle of proportionality of punishment by briefly surveying the penal theory, jurisprudence, court cases, laws, and legislative history from the U.S. federal and state jurisdictions and from Europe.

There is a consensus among surveyed theories that terminal illness of the offender is an element of the principle of proportionality of punishment. Thus the fundamental human rights principle must be interpreted to take it into account. The principle should be observed not only at the imposition stage, but also at the execution stage of already imposed sentences.

This chapter re-examines the roots of the fundamental human right to not being subjected to (grossly) disproportionate punishment. It does so in order to demonstrate that the right should be interpreted to take into account terminal illness of the offender and that it should be observed not only at the imposition stage, but also at the execution stage of already imposed sentences.

The PRCA December 2020 census tells us that, in the United Kingdom, the public relations (PR) industry continues to be predominantly female, with 68% of respondents ticking that box. It also highlights a ‘gender pay gap’ of 21%, an increase of 7% from March 2020 and states that ‘this can be explained by the fact that the respondents … are largely in senior roles which tend to be more male dominated’ (PRCA, 2020), thus demonstrating a leadership gap as well as a pay one. Both of the leading PR professional membership bodies in the United Kingdom – the PRCA and CIPR – acknowledge the gender pay and leadership gaps, made starker in an industry dominated by women, and have committed to tackle the disparity.

In this chapter, I build on Liz Yeomans' (2020) work, in which she suggests ‘new avenues for researching neoliberalism and postfeminism in PR’ (p. 44) to examine the ‘apparently progressive moves’ (Yeomans', 2020) by women's networking organisations. I analyse website texts from two women-only PR networking organisations – Women in PR and Global Women in PR – to explore the ways in which they construct their function, purpose and role, and to examine their position vis-à-vis the contemporary postfeminist media culture (Gill, 2007). The research takes a feminist, discourse analytic approach and sheds light on the reality of women in PR as constructed by organisations whose stated goal is to: ‘improve equality and diversity across the industry by increasing the number and diversity of women in leadership roles’ (Women in PR, 2022).

Using the theory of sensibility and McClelland et al.’s (2013) metaphorical analysis, this study aims to analyse the accounting metaphors and meta-metaphor of The Hollow Men, a poem written by T. S. Eliot.

The analysis uses McClelland et al.’s (2013) five-step procedure to ascertain the poem’s metaphor use.

The Hollow Men depicts accountants as ritualistic and accounting voices as quiet and meaningless while its meta-metaphor conveys accounting as rites and shadows.

Although The Hollow Men’s use of Form 4 metaphors, where neither figurative nor literal source term is named, places an onus on the reader to infer meaning from accounting metaphor use, the analysis provides readers with a valuable structure for evincing accounting metaphors that present pervasive accounting issues facing the modern world.

Accountants, according to The Hollow Men, are hollow, devotees to plunderers and property and rain dancers. The Hollow Men situates the quest for accounting as a ritual for order and the preservation of the status quo.

The Hollow Men’s mages of accounting immersion in rites and shadows accord with the conceptual metaphors of accounting as magic and accounting as history.

The originality of this study rests in its introduction to McClelland et al.’s (2013) metaphorical analysis of accounting research.

The objective of this research is to understand how children develop their aesthetic sensibility. This question will be examined using modern art pictures and logos.

The study refers to a qualitative method based on interviews with children aged 7 to 12. A total of 24 children were questioned. In order to reinforce the corpus, the authors tried to even out the proportion of girls and boys and to vary their social origins. The study was conducted during the summer of 2007 in three activity centers situated in the west of France.

The paper indicates clearly a strong aesthetic sensibility in children. Visual beauty is the first criterion used for ranking in the scale of preference. The research also brings to light three individual characteristics that can be taken into account to understand how children develop their aesthetic judgment: involvement, age, and gender.

The study confirms the need to combine the methods of gathering data when dealing with children. The interviews raised a number of interesting points. However, an obstacle presented itself in the shape of the silence of a few children who were apparently troubled by the difficulty of the questions they were asked or by their lack of verbal skills to formulate their preferences clearly.

Concerning the managerial aspect, the three individual characteristics of a child aesthetic sensibility (involvement, age, and sex) could bring important indications to manufacturers who trade on the markets for children.

Regarding the academic aspect, it is the first research that deals with the influence of aesthetic judgment of a child on the choice of products.