Gender, Deities, and the Public Image of Sobekneferu

2021 ◽  
Vol 84 (4) ◽  
pp. 272-280
Author(s):  
Kelly-Anne Diamond
Keyword(s):  
Public Image ◽  
The Public

Conquering the Public Space

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Public Space ◽  
Social Services ◽  
Social Groups ◽  
Public Image ◽  
Working Classes ◽  
The Public ◽  
San Bernardino ◽  
The City

This chapter presents an account of the San Bernardino band as the public facade of that workhouse. The image of children who had been picked up from the streets, disciplined, and taught to play an instrument as they marched across the city in uniform helped broadcast the message that the municipal institutions of social aid were contributing to the regeneration of society. This image contrasted with the regime of discipline and punishment inside the workhouse and thus helped to legitimize the workhouse’s public image. The privatization of social aid from the 1850s meant that the San Bernardino band engaged with a growing range of institutions and social groups and carried out an equally broad range of social services. It was thus able to serve as the extension through which Madrid’s authorities could gain greater intimacy with certain population sectors, particularly with the working classes.

scholarly journals Emancipating the Image: The Beijing Olympics, Regeneration, and the Power of Performance

2013 ◽  
Author(s):  
Carol Mei Barker
Keyword(s):  
Olympic Games ◽  
Public Image ◽  
Beijing Olympics ◽  
The Public ◽  
Susan Sontag ◽  
Counter Narrative ◽  
The Everyday ◽  
The World ◽  
The Government ◽  
Rapid Transformation

“In China, what makes an image true is that it is good for people to see it.” - Susan Sontag, On Photography, 1971 The Olympic Games gave the world an opportunity to read Beijing’s powerful image-text following thirty years of rapid transformation. David Harvey argues that this transformation has turned Beijing from “a closed backwater, to an open centre of capitalist dynamism.” However, in the creation of this image-text, another subtler and altogether very different image-text has been deliberately erased from the public gaze. This more concealed image-text offers a significant counter narrative on the city’s public image and criticises the simulacrum constructed for the 2008 Olympics, both implicitly and explicitly. It is the ‘everyday’ image-text of a disappearing city still in the process of being bulldozed to make way for the neoliberal world’s next megalopolis. It exists most prominently as a filmic image text; in film documentaries about a ‘real’ hidden Beijing just below the surface of the government sponsored ‘optical artefact.’ Film has thus become a key medium through which to understand and preserve a physical city on the verge of erasure.

The Public Image of the Museum in America

1962 ◽  
Vol 5 (1) ◽  
pp. 45-52 ◽  
Author(s):  
Charles Winick
Keyword(s):  
Public Image ◽  
The Public

The public image of cross-infection control

BDJ ◽  
1989 ◽  
Vol 166 (9) ◽  
pp. 318-318
Author(s):  
J Bowden ◽  
C Scully ◽  
S Porter
Keyword(s):  
Infection Control ◽  
Cross Infection ◽  
Public Image ◽  
The Public

Questions of style: notes on Italian hip hop

Popular Music ◽  
1995 ◽  
Vol 14 (3) ◽  
pp. 333-348 ◽  
Author(s):  
Tony Mitchell
Keyword(s):  
Communist Party ◽  
Political Party ◽  
Hip Hop ◽  
Rock Music ◽  
Public Image ◽  
Slow Process ◽  
Explosive Material ◽  
The Public ◽  
Music And Politics ◽  
The Relationship

In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)

YOU ARE WHAT THEY SEE

PEDIATRICS ◽  
1977 ◽  
Vol 60 (3) ◽  
pp. 312-312
Author(s):  
P. H. Rhodes
Keyword(s):  
Education And Training ◽  
Public Image ◽  
Value Judgments ◽  
The Public ◽  
High Level ◽  
And Training ◽  
Better Than

The value judgments about medicine are contributed to by the public image. Formerly this has been one of a devoted, caring, self-sacrificing, somewhat unworldly group of people, dedicated to their work for the suffering and diseased. But the doctors are not separate from society and they are affected by its values. These have been adopted by the profession so that it is coming to be seen as no worse and no better than any other group of comparable education and training. Its status has diminished and this has called into question its compensation at a high level. Status cannot be maintained when its base has been eroded.

The public image of women in post-Taliban Afghanistan

2021 ◽  
pp. 44-49
Author(s):  
Dr Rose Fazli ◽  
Dr Anahita Seifi
Keyword(s):  
World War Ii ◽  
Political Development ◽  
Public Image ◽  
World War ◽  
Afghan Women ◽  
The Public ◽  
The Common ◽  
The One ◽  
The Relationship ◽  
Afghan Woman

The present article is an attempt to offer the concept of political development from a novel perspective and perceive the Afghan Women image in accordance with the aforementioned viewpoint. To do so, first many efforts have been made to elucidate the author’s outlook as it contrasts with the classic stance of the concept of power and political development by reviewing the literature in development and particularly political development during the previous decades. For example Post-World War II approaches to political development which consider political development, from the Hobbesian perspective toward power, as one of the functions of government. However in a different view of power, political development found another place when it has been understood via postmodern approaches, it means power in a network of relationships, not limited to the one-way relationship between ruler and obedient. Therefore newer concept and forces find their way on political development likewise “image” as a considerable social, political and cultural concept and women as the new force. Then, the meaning of “image” as a symbolic one portraying the common universal aspect is explained. The Afghan woman image emphasizing the historic period of 2001 till now is scrutinized both formally and informally and finally the relationship between this reproduced image of Afghan women and Afghanistan political development from a novel perspective of understanding is represented.

The Public Image of Eastern Orthodoxy

2020 ◽  
Author(s):  
Heather L. Bailey
Keyword(s):  
Public Relations ◽  
Public Image ◽  
Russian Orthodox ◽  
Crimean War ◽  
The West ◽  
Eastern Orthodoxy ◽  
Russian Orthodox Church ◽  
The Public ◽  
Vatican Council ◽  
Public Relations Campaign

Focusing on the period between the revolutions of 1848 to 1849 and the First Vatican Council (1869–1870), this book explores the circumstances under which westerners, concerned about the fate of the papacy, the Ottoman Empire, Poland, and Russian imperial power, began to conflate the Russian Orthodox Church with the state and to portray the Church as the political tool of despotic tsars. As the book demonstrates, in response to this reductionist view, Russian Orthodox publicists launched a public relations campaign in the West, especially in France, in the 1850s and 1860s. The linchpin of their campaign was the building of the impressive Saint Alexander Nevsky Church in Paris, consecrated in 1861. The book posits that, as the embodiment of the belief that Russia had a great historical purpose inextricably tied to Orthodoxy, the Paris church both reflected and contributed to the rise of religious nationalism in Russia that followed the Crimean War. At the same time, the confrontation with westerners' negative ideas about the Eastern Church fueled a reformist spirit in Russia while contributing to a better understanding of Eastern Orthodoxy in the West.

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