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Sociologists have documented how the pharmaceutical industry has corrupted pharmacovigilance (PV), defined as the practices devoted to detecting and preventing adverse drug reactions (ADRs). In this article, I juxtapose the official postmarketing system of PV with firsthand accounts of ADRs as found in 60 YouTube vlogs created by 29 individuals who recount debilitating reactions to fluoroquinolones, a common class of antibiotics. Whereas official PV is said to contribute the banalization of risk, these vlogs exemplify the dramatization of risk. I consider the vlogs as instances of lay PV. They represent lay knowledge claims created in response to perceived failures in the official system of regulation. As such, lay PV shares commonalties with other articulations of lay expertise as a counter to medical authority. At the same time, this case also underscores how the YouTube platform offers new tools for the creation and distribution of lay expertise.

This article examines the cultural politics of defeat in the cinema of Tunisian filmmaker Nouri Bouzid. Taking a lead from Bouzid’s directorial début Man of Ashes, the author focuses on Golden Horseshoes (1989) and Making of (2006), the two films that best dramatize the continuities between the crisis of filiation and the crisis of affiliation, and that deal head-on with left-wing (socialism) and right-wing (religious fundamentalism) ideologies. These two early films paint the broad strokes of Bouzid’s cinematic project, specifically its entwined dramatization of the crisis of filiation ( Man of Ashes) and the crisis of affiliation ( Golden Horseshoes), the profound loss of any discernible project of psychoaffective investiture, intellectual commitment and decolonial resistance, especially in the wake of the spectacular dissolution of international socialism and the ensuing triumphalism of global capitalism and financial imperialism.

Drawing upon Isabelle Stengers’ (2016) notion of an ‘ecology of practices’ this article explores some of the divergent ways in which truths about the violence of Argentina’s last dictatorship period emerge in different forums. We consider how these forums deploy ‘arts of dramatisation’, which is to say, the ways they stage questions about the violence of the last dictatorship period in Argentina in order to propose, explore, confirm and sometimes refute, ‘candidates for truth’. Following Stengers’ provocations we argue that the various modes of staging the past conjure it up its violence in distinct ways, placing different constraints on how it can appear, using different material apparatus and probing it according to different values under different obligations and constraints. Based on observational research and interviews with key personnel – including lawyers, artists, forensic anthropologists, psychologists – we suggest that while each of the forums within this ecology is concerned with truth, how and what emerges as truth necessarily differs. What counts as evidence, what is understood as ‘successful’, what is dismissed as irrelevant, are all dependent upon the concerns of the forum, such that truths about Argentina’s dictatorship are not only ‘situated’ but also necessarily ‘partial’ forms of world-making. In an attempt to propose a shift from over-determined and usually binary lines of debate, we suggest these truths exist within an ‘ecology of practices’, to use Stengers’ term, insofar as these forums are not closed off from each other, but are becoming a web of often highly interdependent connections, wherein personnel, practices, audiences and resultant ‘truths’ travel.

In this article, I argue that Shakespeare’s Merchant of Venice is fundamentally a 16th-century dramatization of religious reading strategies in conflict—allegorism and literalism. In Act 1, Shylock attempts to justify his profession by reading Genesis allegorically. Antonio objects to Shylock’s unwarranted use of the scriptures. Later, Bassanio wins Portia’s hand by refusing to read closely the caskets because he’s racked with love. The readings converge and culminate in Act 4 when Portia discards her appeal to mercy and reads the bond in absurd terms. Through an act of reading, she delivers Antonio’s life and becomes the play’s heroine.

Part 1 of this manuscript is a dramatization of five rhetorical scenes that take the Occupy phenomenon as a moment to explore features of contemporary social protest and change. Drawing on rhetorical field notes collected over the first two weeks of Occupy Lincoln in Nebraska, we identify how historical tensions between activism and deliberation were both complicated and reasserted as the Occupy moment became a movement. The rhetorical scenes partially replicate actual conversations, though they are remediated through three composite figures: Anda, a longtime social activist; John, an advocate of democratic deliberation; and Dajuan, an undergraduate organizer of the local Occupy Movement. The footnotes throughout the dramatization anchor scholarly observations in Part 2 of the manuscript, a “footnote essay” which develops the concept of “networked public screens.”

Research Highlights and Abstract The article explores attitudes to New Labour in particular and politics in general through analysing their dramatization on TV. It indicates that such dramatizations are almost wholly negative, focusing on sleaze, spin and betrayal. The article explains the character of such dramas as being the result of the producers' desire to present politics in terms their audiences will accept. It suggests that, as a consequence, popular hostility to politics is reinforced by television drama and so indicates that culture has an independent part to play in this process. Echoing Plato's banishment of artists, mainstream political scientists have excluded serious consideration of art from their discipline. Yet, there are grounds for believing that it can help address what Gerry Stoker suggests is one of social science's greatest failings: understanding ‘what politics means to citizens’. This study of New Labour's television dramatization suggests it can help political scientists better appreciate the dynamics underpinning the much-noted decline of popular trust in representative politics. It looks at the reasons for the narrowing of the public's picture of politics by focusing on the changing production context for television drama during the New Labour period, something that led it to emphasise ‘sleaze’. The article suggests such dramas consequently helped make more credible the public's pre-existing prejudices about what they supposed was the corrupt nature of Britain's political class.

Most of the best-known women writers of anglophone Indian fiction have been Hindu, and in the context of the intensification of communal politics in India, it is important to also consider the voices of their Muslim counterparts. Shama Futehally’s novel Reaching Bombay Central ( 2002 ) engages with both gender and communal politics from a Muslim perspective, and this article examines the ways in which the narrative implicitly challenges a number of popular perceptions about the disadvantaged position of Muslim women in India. The novel dramatizes the environment of inter-communal tension but conspicuously downplays the role of religious ideology and legal disadvantage, both of which have been prominent in public debates about Muslim women in India. In its dramatization of the power dynamics within a middle-class Muslim marriage, the narrative suggests that women’s disempowerment is located above all in the domestic sphere and in interpersonal relationships, and that their subordinate status is not specific to particular religious communities.

Encouraging youth voice, visibility, and active participation in adolescent-related research is strongly advocated in the literature. In this article, we describe how participatory approaches informed by arts-based methods (e.g., reflective writing, dramatization) were used with adolescents to enhance the research process in an exploratory study designed to develop and evaluate prevention resources for sexual risk-taking behaviors.Youth aged 15 to 17 years participated in iterative focus groups conducted over a 1-year period in school settings in Prince Edward Island, Canada. Descriptions of our experiences, strategies, and insights provide evidence for guiding practice to optimize adolescent participation in research.

Participatory Action Research (PAR) involves collaborative construction of knowledge among researchers and local actors. Collaboration is particularly challenging for researchers when working with subaltern populations, as we experienced in a PAR project shared with young people living in extreme poverty in the Greater Buenos Aires area. The objective was to promote educational rights, based on a participatory diagnosis of factors associated with school abandonment. The main challenge was young people’s reluctance to address their school experience, due to stigmatization processes associated with school failure. Video production and dramatization helped us to overcome this blockage and to make youth perspectives visible to other social actors in the educational field. The article discusses how this happened during the PAR process.

This study focuses on the movie Hotel Rwanda (2005), which depicts the Rwandan genocide of 1994, and tries to capture how viewers remember the film and how they interpret the actual events. It aims to reconstruct what (e.g. actors, events, motives, causes) is remembered by whom (e.g. age, sex, education) and in what way (e.g. context, dramatization). One important finding is that it is much less the movie’s narration and pictures that shape the interpretation and knowledge of the event as it is the background and personality of its audience that determines how viewers understand the events, what they remember and how these memories are constructed.

This article examines how the global traumas of resource-driven conflicts and acts of terrorism are mapped in 21st-century US and UK narrative cinema, and suggests that guilt, elicited in the implied Western viewer, is displaced in the films onto images of Western women. Revisiting Mulvey’s influential theory of ‘visual pleasure’ through the ‘male gaze’, this article analyses the films Traffic (2000), a depiction of US complicity with global drug cartels, Babel (2006), the story of a global media frenzy surrounding American tourists victimized in Morocco, and three films about crises in Africa: Shooting Dogs (2005), a dramatization of Western apathy during the 1994 Rwandan genocide, The Constant Gardener (2005), about pharmaceutical testing in Kenya, and Lord of War (2005), based upon the life of an arms dealer. A theoretical re-engagement with feminist film theory is followed by analyses of the films to illustrate how the guilt elicited by each of the films’ traumatic contexts conjoins with the primal psychological experience of lack. Viewers’ and their screen surrogates’ combined sense of helplessness in the face of others’ trauma is displaced ‘hysterically’ onto images of women, exposing a troubling new looking relation in our traumatic age.

At the heart of Hebrews' exordium (1.3ab), Jesus is said to be `the radiance of God's glory, the express image of his being, and upholding all things by his powerful word'. These three predications have not as yet been meaningfully connected to the rest of the epistle. This article emphasizes the nuanced shifts from passive to active imagery in 1.3ab and argues that they forecast the reciprocal pronouncements of family relatedness that the Father and the Son exchange in the author's dramatization of Jesus' exaltation (1.5; 2.12-13). Furthermore, they locate within the very being of the Son an orientation towards family identification that will be paradigmatic for the author's hortatory agenda, as the recipients are called to respond to the Son's conferral of family membership (2.12-13) with reciprocative confessions of Jesus' sonship (4.14-16; 10.19-23).

This descriptive study investigated the current status of ethics instruction in Turkish nursing education programs. The sample for this study comprised 39 nursing schools, which represented 51% of all nursing schools in Turkey. Data were collected through a postal questionnaire. The results revealed that 18 of these nursing schools incorporated an ethics course into undergraduate and three into graduate level programs. Most of the educators focused on the basic concepts of ethics, deontological theory, ethical principles, ethical problems in health care, patient rights and codes of ethics for nurses. More than half of the educators believed that students' theoretical knowledge of ethics is applied to their clinical experiences. The teaching methods used included discussion in class, lectures, case studies, small group discussion, dramatization and demonstration. Assessment was carried out by means of written essays and written examinations.

Vivian Gussin Paley’s ‘storytelling curriculum’ consists of two interdependent activities, dictation and dramatization. It has long been recognized for its impact on young children’s psychosocial, language, and narrative development. As a result of the Bush administration’s educational polices, holistic, play-based curricula like storytelling are rapidly being replaced in early childhood classrooms across America by curricula aimed at specific sub-skills of the reading and writing process. This article provides a structural analysis of what happens when children dictate and dramatize original stories in the pre-kindergarten and kindergarten classroom. It highlights the opportunities for literacy learning around specific literacy sub-skills that are available in this holistic, play-based activity as well as the teacher’s role in the process. It also looks at the storytelling curriculum’s relationship to the goals of a ‘balanced’ approach to early literacy instruction, including oral language development, narrative form, and word study.

This essay explores Shakespeare's Richard II as a dramatic case study for the political methodologies of Machiavelli and Castiglione, as well as Pico della Mirandola's Oration on the Dignity of Man, which are examined as intersecting paradigms for self-fashioning and political dominance. Shakespeare's Richard is presented as a prince who, in addition to making serious strategic mistakes, fails to project a virtù sufficient to overcome the devastating peripheral conditions of his reign. Though the usurper of the throne, Richard's cousin Harry Bolingbroke, emerges as a consummate Machiavellian prince, his position is troubled by his inability to entirely disregard the spiritual nature of power which he has rejected with his bid for the crown. The public display of power necessitates ritual manifestation, which is utterly at odds with a utilitarian characterization of power, but quite consistent with a numinous or spiritually endowed basis for kingship. Bolingbroke, however, skillfully glosses his utilitarian approach with traditionally popular elements – bis “common touch” combined with his understanding of civic ritual, and authorized by humanist ideals of man as a self-realizing creature he ultimately prevails as a ruler.

The following contribution attempts to develop a charisma model in the context of business organizations, based on a social-cognitive information processing approach in the perception of leadership. It tries to operationalize charisma, departing from prototypical attributes that are inherent in the cognitive category of leadership. In contrast to the 'New Leadership Approach', we depart from a 'polymorphous phenotype' of charisma. This position is derived from the concept of charisma as Max Weber understands it. Based on the concept of 'archetypes' of leadership, four different phenotypes are then defined: the hero ('heroic charisma'), the father ('paternalistic charisma'), the saviour ('missionary charisma') and the king ('majestic charisma'). The main idea of this model is the correlation that is brought out clearly between charisma and stigma, and thus also the idea that both 'hyper-representativity' and 'anti-representativity' as well as 'social dramatization' and 'social reversion' can occasion the allocation of charisma.

This article introduces symbolic constructivism, a qualitative research approach that uses artlike, nonroutine portrayal (e.g., sculpture, photographs, drawings, dramatization, etc.) to elicit, challenge, and shift existing sense-making frameworks. Unlike art-based methods that rely on expert interpretation, symbolic constructivism stresses the development of intersubjective understanding; researcher and respondent interpretations interact to create multiple forms of meaning. After introducing the approach and discussing its connections to other informing frameworks (notably symbolist thought, constructivism, hermeneutics, art therapy, and visual sociology), some methodological guidelines are developed that revolve around the kinds and degrees of change sought by inquiring parties.

The process of identity formation is approached from the multilevel perspective of symbiotic, distributed units (dyads, groups of consciousness, communities) that follows from a sociocultural interpretation of the issue of identity. According to that view, objects in general, and consumer goods in particular, are seen as psychological tools that are directed towards oneself as much as towards others. The process of socio-economic change that has replaced the socially mediated identification of goods by an instrumental and visual identification seems to be extending to personal identities. The effect of consumption and mass communication processes would seem to point to the fragmentation of the different units into separate and even confronting identities, as well as to the dramatization of objects in the symbolic narratives of postmodern identities constructed through advertising.

To what extent does routine television news supply citizens with essential political information? To what extent are routine stories sensationalized so that their informational content is diluted or obscured? How do television news directors frame routine news stories and rationalize the mix of factual reporting and dramatization that they present? To answer these questions, television news producers were presented with hypothetical routine news events and asked to construct news presentations and explain their framing rationales. The content of actual routine news stories was also analyzed for comparisons with the hypothetical accounts. The data indicate that both actual and hypothetical routine television news stories are designed and executed to answer the who, what, where and when questions that provide essential information to citizens. But they slight the why and how questions that would assist viewers in placing the facts into a more meaningful perspective. Framing is deliberately dramatic so that the policy-relevant aspects of news are often overshadowed by entertainment features.

The original diaries of 13 members of British polar expeditions of the Heroic Age (mid-19th to early 20th century) were subjected to content analysis. Entries were categorized into 5 areas: the physical and social environments and their effects, positive and negative affective appraisals of the experience, and altered states of consciousness. Individual words were rated on pleasantness and arousal. Antarctic explorers showed more negative responses than did Arctic expeditioners, but there were many positive as well as negative experiences in both polar regions. Surprisingly, the least stressful phase of the journeys was the polar midwinter. Arousal and tension were high during the trip from home port to the polar base, and just before beginning the voyage home. The authors conclude that the polar experience was not generally aversive or stressful, and that the popular bias to the contrary is at least partly a result of overgeneralization, dramatization, and cognitive assimilation.

Szrmmary.-Two cases of allegoricdl elaboration of traumatic events were scrutinized. The described observations suggcsr that elaboration of real events and the possibhty of their subsequent distor~lonb sllould be considered when interpceting natratives pertaining to issues viewed by society as undesirable. When society prohibits critique of some historical events or makes such critique socially unacceptable, it is hkely that remembrance of these events may take the form of an allegory. With the passage of time, further &stortions of real events may take place to conform the story to the contemporary niueau of a society. Attending a school event in which his daughters participated, the first author observed the children's dramatization of the classical story of the Pied Piper of Hamelm. The script appeared to follow the familiar version of the story: The Pied Piper appeared when the town was infested with rats. For a fee, he played his magic pipe and lured the rats into a river. When the townspeople reneged on the payment, the Pied Piper played his pipe again and led the children of the townspeople away. So far, the school play followed the original story faithfully. However, the conclusion of the play was altered: after being paid by the repenting mayor, the Pied Piper of Hamelin brought the children back.

Prelude - Sally S Simpson Introductory Chapter - Don C Gibbons Criminology, Criminologists, and Criminological Theory PART ONE: ACCOUNTING FOR GENDER, RACE AND CLASS DIFFERENCES IN CRIMINALITY AND CRIME CONTROL Differential Association Theory and Female Crime - Peggy C Giordana and Sharon Mohler Rockwell Feminist Theories of Women's Crime - Jody Miller Robbery as a Case Study Racial Hoaxes - Katheryn K Russell Applied Critical Race Theory The War on Crime as Hegemonic Strategy - Katherine Beckett and Theodore Sasson A Neo-Marxian Theory of New Punitiveness in U.S. Criminal Justice Policy PART TWO: TRADITIONAL CRIMINOLOGICAL THEORY UPDATED The Systematic Theory of Neighborhood Crime Rates - Robert J Bursik Jr Strain Theory and School Crime - Robert Agnew The Dramatization of Evil - Ruth Triplett Reacting to Juvenile Delinquency During the 1990's PART THREE: NEW DIRECTIONS IN THEORY - NEW IDEAS, APPLICATION, AND ISSUES The Social Control of Corporate Criminals - Sally S Simpson, M Lyn Exum, and N Craig Smith Shame and Informal Sanction Threats Whither the Beast? - Jeffrey Bouffard, M Lyn Exum, and Raymond Paternoster The Role of Emotions as a Rational Choice Theory of Crime Understanding Illicit Drug Use - Paul Maxerolle Lessons from Developmental Theory The Routine Activity Approach as a General Crime Theory - Marcus Felson

Crime, television and social anxiety moral tales and social theory entertaining the crisis? television and moral enterprise television, dramatization and the fear of crime a piece of the action - approaches to content in television crime drama the moral world of television crime stories a long goodbye.

lfT IS CLEAR that Plato thinks that philosophy is the best way of life. He does not, however, give us a direct account of the meaning of philosophy, its starting point, its methods, or its goals. For the most part, we must understand what Plato means by philosophy only indirectly-through his dramatization of the life and activities of Socrates.' In the Republic, Socrates does give an account of the philosophers who are to rule in the city he is founding in speech (see 484a and 485a).2 There he describes the philosophers' nature (485a), the objects that they pursue (509c ff.), and the studies that comprise their education (521c ff.). The Republic thus provides us with two ways of understanding the meaning of philosophy: Like the other Platonic dialogues in which Socrates appears, it presents the activities of Socrates, but it also contains an account of philosophers. Oddly enough, however, Socrates' description of philosophers in the Republic does not apply to himself. In that dialogue Plato offers two different ways of engaging in philosophy-one exemplified by Socrates and one by the philosophers who rule the city in the Republic. I shall contrast the philosophy pursued by the philosopher-kings with the more familiar philosophy that Socrates practices. Philosophy in the city founded in the Republic, like everything else in that city, I shall argue, is made to conform to the city's needs. It derives its force from an element of the soul Plato calls "spiritedness," a passion that craves the security of absolute knowledge and control, and attacks whatever threatens that security. It even blinds men to what they cannot know and manipulate. Mathematics is at the heart of the city's philosophy, for mathematics promises the intelligibility and power that men seek through politics. Socrates' philosophy, in contrast, is erotic.3 It depends on his love for particular human beings, whose passions and opinions illustrate the problems and tensions that his political philosophy

The 'East/West conflict' lacks content, their economies being complementary rather than competing, but its ritualized dramatization is useful for the superpowers to control their allies. USA is no longer able to combine the — mutually dependent — roles of world banker and world policeman, having lost out in the growth race to Japan and Western Europe and therefore having a 'national' interest in curbing free trade. Since this would harm global capitalism, there are dilemmas on both sides of the Atlantic. At the same time, corporate growth is stripping the states of powers, and capital needs superstates to guarantee growth in social harmony. The intra-West conflicts are illustrated by, e. g., oil, money and defence industry, and the only way out is seen as a radical social transformation to cancel the law of 'survival of the fastest'. The reviewer takes some issue with the analysis of state-corpora tion relations.

Storytelling and dramatization activities are described for language- learning-disabled children which highly motivate them to write, listen to, and dramatize stories. The work of the Soviet psychologist L. S. Vygotsky, and other recent research in mediated learning, demonstrates that when children participate in such activities that challenge them, they gradually become aware of the skills necessary to carry out the tasks, and internalize the means for doing so based on the help they are receiving from teachers and peers. Thus children become literate by mastering skills in the context of an activity that has a purpose which makes sense to them.

Organizational decay is a condition of generalized and systemic ineffective- ness. It develops when an organization shifts its activities from coping with reality to presenting a dramatization of its own ideal character. In the decadent organization, flawed decision making of the sort that leads to disaster is normal activity, not an aberration. Three aspects of the development of organizational decay are illustrated in the case of the US National Aeronautics and Space Administration. They are (1) the institutionalization of the fiction, (2) per sonnel changes in parallel with the institutionalization of the fiction, and (3) the narcissistic loss of reality among management.

Early programs by Fred Smith of WLW led to the first national dramatization of news and later experimentation.

Shakespeare's dramatization of Hamlet's verbal assault upon his guilty mother, and his efforts to bring her to repentance, are a fine example of how the ‘priesthood of all believers’ was expected to operate at the end of the first Protestant century. Elizabethan audiences would have agreed with Hamlet's own assessment of his behavior, that he was being “cruel only to be kind.” This much-misunderstood scene is thus, in addition to its poetic and dramatic greatness, interesting for the insight it provides into the “pastoral” psychology recommended for the laity by leaders of the English Reformation.

The farm vote is an independent one. Although there are many farm organizations—The American Farm Bu reau Federation, The National Farmers Union, The National Grange, many different commodity groups, and co-operative or ganizations—and a farmer might belong to one or more groups, nevertheless his political inclination remains an individual de cision. Although the farm population is shrinking signifi cantly, the farm vote has determined a national election as re cently as 1948, and with skillful dramatization, it can quite easily determine the results of Congressional elections—the question of price support was a significant factor in the 1954 Congressional elections. In the 1952 Presidential campaign, even though the election did not hinge on the farm vote, both parties tried to woo it. And, after the election, both the Demo cratic and Republican party established a farm division. With the aid of appeals to consumers as against producers, there is reason to believe that something which might be called "the food vote" may determine the next Presidential election, if not subsequent ones.

Much of the history of the modern German city has been written in the style of Kulturund Sittengeschichte, weaving 'symphonic images' from the customs and events of entire historical epochs, or it has taken the form of narrative chronicles devoutly put together by local Heimatforscher. To English-speaking readers, the former approach can be irritating because of the subjectivity of its sweeping conclusions. Local histories, on the other hand, have the disadvantage of being antiquarian records too obviously intended for home consumption. This generalization certainly applies to the historiography of Berlin. There have been some very bold interpretations of Berlin's changing personality over the centuries (among them notably Werner Hegemann's provocative study Das steinerne Berlin, I930), and any number of anecdotal compilations centred on its older quarters. Only in recent years have we been given monographs that are neither impressionistic nor trivial. The works commissioned by the Berliner Historische Kommission since the end of the second world war show that well-selected topics in the history of one city can lay the basis for a fresh look at the social history of modern Germany.1 Such reinterpretation has been much in demand in our own decade.2 For conventional studies of Germany's political and economic condition since 1918 seem inadequate today either to convey the nature of the Hitler regime or the confusion and indecision that led up to it. Playwrights have tried to fill the need through dramatization, while academic historians have turned to