Joanne L. Keeling and Catherine McQuarrie
A Promoting Mental Health and Well-Being Working Model (subsequently “the model”) was developed in response to recognition through teaching undergraduate nursing students that…
Abstract
Purpose
A Promoting Mental Health and Well-Being Working Model (subsequently “the model”) was developed in response to recognition through teaching undergraduate nursing students that interventions aimed at enhancing mental health and well-being are often hidden or cloaked in traditional professional specific working interventions. The model was developed with the purpose of making the elements of mental health and well-being promotion visible and structuring them into a framework to aid working practice and personal development. The purpose of this paper is to evaluate the effectiveness from the participant perspective of using the model to enhance clients’ mental health and well-being in community settings (Keeling and McQuarrie, 2014).
Design/methodology/approach
A total of 14 participants were interviewed within two focus groups. Five questions were posed to the participants structured around their experiences of using the model when working with clients in the community. The responses were recorded and transcribed and then categorised using a thematic analysis approach.
Findings
Three key themes were derived from the analysis in equal measure: “Reconciling a Non-traditional approach”, “Promoting a holistic approach” and “Developing creativity and sense of empowerment to promote mental health and well-being”. The findings suggest that using the model enabled participants to engage with clients in meaningful ways that in turn developed their self-confidence in helping clients develop creative strategies to promote their own mental health and well-being.
Originality/value
This paper shows that using a structured model to promote well-being and mental health has benefits in enhancing creativity, therapeutic relationships and knowledge base. Further research is needed in terms of the utility of the model from the client’s perspective.
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The purpose of this paper is to outline the historical and political broadcasting conditions that hindered the success of British professional wrestling and allowed the rise to…
Abstract
Purpose
The purpose of this paper is to outline the historical and political broadcasting conditions that hindered the success of British professional wrestling and allowed the rise to dominance of the American World Wrestling Federation.
Design/methodology/approach
Because of the nature of professional wrestling, the paper utilises a range of secondary sources (audience research conducted by the Independent Broadcasting Authority, and interviews with retired wrestlers) and primary research (government papers, magazines, newspapers).
Findings
The paper finds that the World Wrestling Federation benefited from neo‐liberal television policies, but also created a product that attracted a new generation of fans.
Originality/value
The paper examines an under‐researched area of study (British professional wrestling) to explore and complicate existing debates about sports marketing and British media institutions in the 1980s and 1990s.
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Ashleigh McFarlane, Kathy Hamilton and Paul Hewer
This study aims to explore passionate labour in the fashion blogosphere and addresses two research questions: How does passion animate passionate labour? How does the emotion of…
Abstract
Purpose
This study aims to explore passionate labour in the fashion blogosphere and addresses two research questions: How does passion animate passionate labour? How does the emotion of passions and the discipline of labour fuse within passionate labour?
Design/methodology/approach
This study presents a three-year netnographic fieldwork of replikate fashion blogger-preneurs. Data are based on in-depth interviews, blogs, social media posts and informed by the relationships developed across these platforms.
Findings
Throughout the findings, this study unpacks the “little passions” that animate the passionate labour of blogger-preneurs. Passions include: passion for performing the royal lifestyle, the mobilisation of passion within strategic sociality and transformation and self-renewal through blogging. Lastly, the cycle of passion illustrates how passions can be recycled into new passionate projects.
Research limitations/implications
This study offers insight on how passionate labour requires the negotiation and mobilisation of emotion alongside a calculated understanding of market logics.
Practical implications
This study raises implications for aspiring blogger-preneurs, luxury brand managers and organisations beyond the blogging context.
Originality/value
The contribution of this study lies in the cultural understanding of passion as a form of labour where passion has become a way of life. The theorisation of passionate labour contributes to existing research in three ways. First, this study identifies social mimesis as a driver of passionate labour and its links to class distinction. Second, it offers insight on how passionate labour requires the negotiation and mobilisation of emotion alongside a calculated understanding of market logics. Third, it advances critical debate around exploitation and inequality within digital labour by demonstrating how passion is unequally distributed.
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Claudio Dell'Era, Tommaso Buganza and Roberto Verganti
Product functionalities aim to satisfy the operative needs of the customer, while product meanings (i.e. the emotion and the symbolic values represented by the product) aim to…
Abstract
Purpose
Product functionalities aim to satisfy the operative needs of the customer, while product meanings (i.e. the emotion and the symbolic values represented by the product) aim to satisfy the emotional and socio‐cultural needs of the customer. What consumers are increasingly looking for in consumer products are new forms of psychological satisfaction that go beyond normal and simple consumption; today, more than ever, products define their own presence not only through their attributes, but also through the meanings that they assume, through the dialogue that they establish with the user, and also through the symbolic nature that they emanate. Figures of speech can be exploited to emphasise a message or a meaning. The purpose of this paper is to propose an application of rhetorical figures to product design that will make them more communicative.
Design/methodology/approach
Specifically, the authors propose the “Rhetorical Innovation Process” as a methodology that foresees the application of figures of speech as semantic operators. First, the authors discuss several product innovations that can be interpreted according to the “Rhetorical Innovation Process”. Then, a brief workshop assignment in the strategic design course at the Faculty of Industrial Design of Politecnico di Milano explored the potentialities of the method in relation to different product typologies: 40 Italian master students were divided into eight groups (five industrial design students each) in order to develop five products per group.
Findings
The results obtained by design students demonstrated as figures of speech can stimulate associations with other contexts and modifications to existing architecture. The exploration of the “rhetorical innovation process” in collaboration with eight design student teams has shown that this method can support and enrich the concept generation phase. Moreover, four configurations proposed by the “rhetorical innovation process” allow one to generate different alternatives supporting the creative process and allowing the identification of strengths and weaknesses associated to each solution.
Originality/value
The method described in the paper elucidates the structure and process adopted by several designers and also illustrates an effective framework for communicating choices to their clients. In particular, the cross‐context associations proposed in the “rhetorical innovation process” provide additional insights and incentives during the concept generation.
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Heejin Lim and Michelle Childs
The new focus of brand communication in social media has driven firms to develop the effective visual content strategy. In light of narrative transportation theory, this study…
Abstract
Purpose
The new focus of brand communication in social media has driven firms to develop the effective visual content strategy. In light of narrative transportation theory, this study aims to investigate the impact of a photo’s narrative elements on self-brand connection through viewers’ transportation and emotional responses. Additionally, this study tests the role of telepresence on Instagram in this psychological mechanism.
Design/methodology/approach
Using between-subjects experimental design, two experimental studies test the effect of implied movement (Study 1) and diverse narrative elements such as a character, implied motion for chronology and the relevant background (Study 2).
Findings
Results demonstrate that a single narrative element, i.e. implied motion, does not induce a viewer’s transportation to the presented image. Rather, the viewer’s transportation occurs as a function of complex and diverse narrative elements, such as implied motion and the background as a context.
Practical implications
Findings suggest that the concept of photo narrative should be taken into consideration in a visually-oriented social media environment. To increase self-brand connection, social media communication should be designed with diverse elements to promote viewers’ active simulation and create meaning to the branded photo story.
Originality/value
This study expands the theory of narrative transportation by applying it to a visual form. Additionally, this research investigates the effect of social media communication on self-brand connection; the findings of this study demonstrate that a major goal of social media communication is not to sell products but to strengthen consumer-brand relationships through branded storytelling.
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Chloe Preece, Finola Kerrigan and Daragh O’Reilly
This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of…
Abstract
Purpose
This paper aims to contribute to the literature on value creation by examining value within the visual arts market and arguing for a broader, socio-culturally informed view of value creation.
Design/methodology/approach
The authors develop an original conceptual framework to model the value co-creation process through which art is legitimised. An illustrative case study of artist Damien Hirst demonstrates the application of this framework.
Findings
The findings illustrate how value is co-constructed in the visual arts market, demonstrating a need to understand social relationships as value is dispersed, situational and in-flux.
Research limitations/implications
The authors problematise the view that value emerges as a result of operant resources “producing effects” through working on operand resources. Rather, adopting the socio-cultural approach, the authors demonstrate how value emerges and is co-constructed, negotiated and circulated. The authors establish the need to reconceptualise value as created collaboratively with other actors within industry sectors. The locus of control is, therefore, dispersed. Moreover, power dynamics at play mean that “consumers” are not homogenous; some are more important than others in the valuation process.
Practical implications
This more distributed notion of value blurs boundaries between product and service, producer and consumer, offering a more unified perspective on value co-creation, which can be used in strategic decision-making.
Originality/value
This paper illustrates that value co-creation must be understood in relation to understanding patterns of hierarchy that influence this process.