scholarly journals A brief history of contact in fostering and adoption: practice and power, and the coming of the mobile phone

2020 ◽  
Vol 44 (3) ◽  
pp. 272-284
Author(s):  
Jennifer E Simpson ◽  
Gary Clapton
Keyword(s):  
Social Media ◽  
Family Time ◽  
Critical History ◽  
Looked After Children ◽  
The Social ◽  
History Of ◽  
Use Of Social Media ◽  
Birth Family ◽  
The Uk ◽  
Children In Care

This article charts the UK history of contact in fostering and adoption as it relates to looked after children and their birth relatives. It builds on a recent publication in this journal by one of the authors based on her research on the use of social media by children in care. Here we look at previous practices relating to the question of whether or not contact ought to be ‘allowed’ in which words such as ‘access’ were used, betokening the child as object. We also come up to date with reference to contemporary efforts to recast contact as ‘family time’ that is significant in the child’s continuation of understanding of self. Other words in the lexicon are problematised, including ‘contact’ itself. Attention is also devoted to the social work profession's conception and management of contact. We argue that a critical history of contact reveals the various ways that formal and informal power operates to both regulate and discipline those involved, most centrally the child and birth family members. Drawing upon emerging research relating to social media and contact, the article concludes with a discussion of how young people’s access to, and use of, social media has altered, how contact is managed and ‘policed’, and how this has shifted the balance of power in contact towards greater egalitarianism.

On-Air and Online: Social Media and Local Radio Production in the UK

MedienJournal ◽  
2017 ◽  
Vol 39 (2) ◽  
pp. 5-18
Author(s):  
Anna Zoellner ◽  
Stephen Lax
Keyword(s):  
Social Media ◽  
Radio Stations ◽  
Broadcast Media ◽  
Online Social Media ◽  
The Social ◽  
Use Of Social Media ◽  
The Uk ◽  
Media Practices ◽  
The Relationship

Digitalisation and the emergence of online media in particular have led to intense debates about its effects on what is now often called “traditional media” including broadcast media such as radio. Our paper investigates how radio stations’ expansion into online space has transformed radio production. Focusing on the relationship between station and listeners, it discusses the social media practices of radio producers and explores whether these new digital tools contribute to a shift towards a more participatory production culture. The paper draws on data from a multi-method case study investigation of local British radio stations that combined programme analysis, expert interviews and web analysis. The study highlighted a shared belief among producers in the importance and value of social media for achieving audience loyalty and engagement. Nevertheless –not least due to a lack of additional resources –their use of social media is mainly an extension of traditional journalistic and promotional tech niques. Its potential for listener involvement in the production process is not met and exchanges with the audiences remain in the digital realm without impact on the on-air listener experience.  

On-Air and Online: Social Media and Local Radio Production in the UK

MedienJournal ◽  
2017 ◽  
Vol 39 (2) ◽  
pp. 5
Author(s):  
Anna Zoellner ◽  
Stephen Lax
Keyword(s):  
Social Media ◽  
Radio Stations ◽  
Broadcast Media ◽  
Online Social Media ◽  
The Social ◽  
Use Of Social Media ◽  
The Uk ◽  
Media Practices ◽  
The Relationship

Digitalisation and the emergence of online media in particular have led to intense debates about its effects on what is now often called “traditional media” including broadcast media such as radio. Our paper investigates how radio stations’ expansion into online space has transformed radio production. Focusing on the relationship between station and listeners, it discusses the social media practices of radio producers and explores whether these new digital tools contribute to a shift towards a more participatory production culture. The paper draws on data from a multi-method case study investigation of local British radio stations that combined programme analysis, expert interviews and web analysis. The study highlighted a shared belief among producers in the importance and value of social media for achieving audience loyalty and engagement. Nevertheless –not least due to a lack of additional resources –their use of social media is mainly an extension of traditional journalistic and promotional tech niques. Its potential for listener involvement in the production process is not met and exchanges with the audiences remain in the digital realm without impact on the on-air listener experience.  

scholarly journals Exploration Of Contemporary Poetry In The Digital Age Using Rupi Kaur As a Case Study

2021 ◽  
Author(s):  
Lysle Hood
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Digital Age ◽  
Contemporary Poetry ◽  
Future Research ◽  
The Social ◽  
History Of ◽  
Media Platform ◽  
Use Of Social Media

In the digital age, technology and digital media shapes virtually every aspect of our lives. Poetry, which has seen a surprising revival in recent years, is no exception. One of the most popular contemporary poets today is Rupi Kaur, made famous for her verse posted on the social media platform Instagram. This MRP seeks to answer the following research questions: 1) In what ways has the digital age effected contemporary poetry? 2) What role has digital media played in shaping the success and formal elements of Rupi Kaur’s body of work? This MRP begins by offering a brief history of poetry’s relationship with media and an account of how poetry is produced and consumed in the digital age. The core of the MRP is a case study of contemporary Insta-poet Rupi Kaur. Through qualitative visual and textual analysis, the case study considers: 1) Kaur’s poetry, 2) her Instagram content, 3) her readership, and 4) the criticisms of her work. As to the discussion, the analysis of the four categories reveals that Kaur’s rise to Instagram fame is due to three factors: 1) Kaur’s use of social media, 2) her readership’s values, and 3) the publisher’s motives. To conclude, this MRP offers some suggestions for future research, including identifying poets suitable for additional case studies.

scholarly journals Exploration Of Contemporary Poetry In The Digital Age Using Rupi Kaur As a Case Study

2021 ◽  
Author(s):  
Lysle Hood
Keyword(s):  
Social Media ◽  
Digital Media ◽  
Digital Age ◽  
Contemporary Poetry ◽  
Future Research ◽  
The Social ◽  
History Of ◽  
Media Platform ◽  
Use Of Social Media

In the digital age, technology and digital media shapes virtually every aspect of our lives. Poetry, which has seen a surprising revival in recent years, is no exception. One of the most popular contemporary poets today is Rupi Kaur, made famous for her verse posted on the social media platform Instagram. This MRP seeks to answer the following research questions: 1) In what ways has the digital age effected contemporary poetry? 2) What role has digital media played in shaping the success and formal elements of Rupi Kaur’s body of work? This MRP begins by offering a brief history of poetry’s relationship with media and an account of how poetry is produced and consumed in the digital age. The core of the MRP is a case study of contemporary Insta-poet Rupi Kaur. Through qualitative visual and textual analysis, the case study considers: 1) Kaur’s poetry, 2) her Instagram content, 3) her readership, and 4) the criticisms of her work. As to the discussion, the analysis of the four categories reveals that Kaur’s rise to Instagram fame is due to three factors: 1) Kaur’s use of social media, 2) her readership’s values, and 3) the publisher’s motives. To conclude, this MRP offers some suggestions for future research, including identifying poets suitable for additional case studies.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne

2020 ◽  
Vol 2 ◽  
pp. 1-18
Author(s):  
Tuncay Şur ◽  
Betül Yarar
Keyword(s):  
Social Media ◽  
Visual Representation ◽  
Human Beings ◽  
The Public ◽  
Photographic Images ◽  
War Photography ◽  
New Wars ◽  
The Social ◽  
History Of ◽  
The Impact

This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence.  Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.

scholarly journals Effects of Social Media on Firm Performance and Customer Relations-Evidence from Ghana

2019 ◽  
Vol 10 (1) ◽  
pp. 101
Author(s):  
Asare Evans Kwabena ◽  
Kaodui Li ◽  
Osei-Assibey Mandella Bonsu ◽  
Obeng Belinda Faamaa ◽  
Baah Alexander
Keyword(s):  
Social Media ◽  
Firm Performance ◽  
Social Science ◽  
Customer Relations ◽  
Improve Performance ◽  
The Social ◽  
Use Of Social Media

The possibilities for companies to reach out more people to get in-depth understanding about brand, products, and services is through social media pages. We examined effects of social media on performance and customer relations of companies in Ghana. We obtained data from 390 respondents through structured questionnaires, and was analyzed with statistical package for social science (SPSS). The findings indicate increased awareness and usage of social media by companies in Ghana. However, customer’s desire for a products could be influence by company’s advertisement through social media post. We established that, managers are expectant with the use of social media enhancing customer’s relationship. Therefore, managers should modify their website to complement the social media strategies, identify the actions, wants and demands of customers to improve performance. We discussed several managerial recommendations.

Social media participatory CPD for nursing revalidation, professional development and beyond

2019 ◽  
Vol 28 (13) ◽  
pp. 870-877
Author(s):  
Calvin Moorley ◽  
Theresa Chinn
Keyword(s):  
Professional Development ◽  
Social Media ◽  
Thematic Analysis ◽  
Design Data ◽  
The Social ◽  
Reflective Design ◽  
Professional Requirements ◽  
Social Media Tools ◽  
The Uk ◽  
Media Applications

Background: In 2016 the Nursing and Midwifery Council in the UK introduced revalidation, which is the process nurses are required to follow to renew their registration. This provides an opportunity for nurses to shape, develop and evolve social media to meet their professional requirements. Aims: to examine different ways nurses can use social media tools for continuous professional development (CPD) and revalidation. Methods: using a qualitative reflective design, data were gathered from content on the @WeNurses platform and activities organised with other leading health organisations in England. These data were analysed using the social media relationship triangle developed by the authors with a thematic analysis approach. Findings: analysis revealed that social media was used in six categories: publishing, sharing, messaging, discussing, collaborating, and networking. Organised social media events such as: blogs, tweetchats, Twitter storms, webinars, infographics, podcasts, videos and virtual book clubs can support nurses with revalidation and professional development. Conclusion: Through using a participatory CPD approach and embracing professional social media applications nurses have moved social media from the concept of a revolution to an evolution.

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