Academic literature on the topic 'American Heritage Trust'

The article is devoted to the image of World War Two in When You Return (Wenn du wiederkommst) (2010) by Anna Mitgutsch, a moving story of love, trust and betrayal, devoted to the protagonist’s response to the sudden death of her Jewish-American ex-husband Jerome. The article discusses the attitude to Jewish roots and the problem of remembering past events, especially memories of World War Two. In her novel the author combines family history with the history of the country, refers to the issue of cultural and collective memory, and especially to the specific Austrian memory of the events of the Holocaust and the long-standing tendency to diminish the guilt and to negate the participation of Austrians in war crimes.

"The Ayatollah in the Cathedral," to borrow the term coined by ThomasKuhn, is a book that opens the gateway to paradigmatic tranformations in thetheory of international relations and the art of effectively handling foreignaffairs. Dr. Kennedy was one of the 50 hostages who went through the 444days' ordeal in Iran. He gives a detailed account of the events witnessed andexperienced by him as a hostage.The traumatic psychological impact of being a hostage in a revolution isnot easy for others fully to understand as outsiders; still the reader is able tosee that there were many occasions when Dr. Kennedy, as a hostage, thoughtthat his death was imminent.A mediocre author would easily have made his story of captivity a "bestseller' by capitalizing on hatred and by saying what the domestic opinionmakers in the United States want to hear. Instead, Dr. Kennedy defies thiscommon heritage of American scholarship on the Middle East. In this book,he emerges as a serious thinker with an outstanding ability to analyze the factswith scientific objectivity. What makes this book a remarkable multidisciplinarymasterpiece is Mr. Kennedy's professionally skillful and scientificanalysis of the process and factors that shape U. S. foreign policy at theState Department; the weaknesses of U. S. foreign policy in the Middle East;the causes of the U. S. failure to understand the Third World in general and theMuslim world in particular; and an alternative to U. S. foreign policy makingthat would ensure mutual respect and trust not only in the Middle East but inthe Third World in general, thereby restoring the effectiveness of the UnitedStates as a world leader.This book is unique and pivotal in the area of international relationsbecause Dr. Kennedy attempts to provide an alternative approach for U. S.foreign policy. This approach would enable policymakers to protect U. S. interestswhile at the same time winning mutual trust in the Muslim world; goalswhich, under present policy, seem to be mutually exclusive.The basic flaw in American foreign policy making, as pointed out by Dr.Kennedy, is that "our analyses of over-seas problems are too often based onabstraction - what the problem should be rather than what really is. We indulgeourselves in the luxury of seeing what we want to see and denying whatwe do not want to see." (p. 196). Elaborating on the dangers of this approachto foreign policy, he says: "The problem is not professional but cultural. And ...

Prof. D. Katsarov was a prominent scholar who worked in the field of Psychology and Pedagogy in Bulgaria during the 20th century. In his rich pedagogical heritage, he defined three basic pedagogical principles - love, freedom and experience.D. Katsarov's humanism is expressed in his deep faith in man, in his conviction that every human being possesses good talents and that every child deserves trust. His humanism manifests itself in his love of both the child and the adult, in his deep faith in their powers and capabilities.He declared this love to be the first basic pedagogical principle, without which upbringing, training or education cannot exist to the full extent of their meaning.The pedagogical principle of love is not perceived as a temporary emotional state but as an active attitude both in the child and the teacher. Love is expressed through concern, attention to the needs and interests of the child, and through active attitude to what is necessary to satisfy these needs and interests.The importance of this basic, according to Prof. D. Katsarov, principle can be seen in its three dimensions: the attitude of the child, of the teacher and of the education system.D. Katsarov formulated several kinds of freedom. Physical freedom, according to him, is expressed in freedom of deeds and actions. Any limitation of the freedom of the child inevitably leads to obstructing of their proper physical development "because this freedom enables the child to come into the widest range of contacts with the things that surround them, which is the only opportunity to get to know them comprehensively".According to Prof. D. Katsarov, it is the American philosopher, pedagogist and psychologist John Dewey that provides the most profound analysis of experience as a pedagogical principle, in its broad sense, as the basis of education.The true educational experience, according to the author, is a social process of sharing. Educational work is a source of social control only when it is a common work involving all individuals and those individuals feel somewhat responsible.

21116 Background: Most studies of hereditary breast cancer report that BRCA1 associated tumors are characterized by high grade and hormone receptor negativity, while those associated with BRCA2 are more similar to sporadic cases. Several groups have demonstrated that BRCA1 mutations, but not BRCA2 mutations, are associated with reduced survival in women with breast cancer. These studies have primarily included women of European and Ashkenazi Jewish heritage. No study to date has assessed outcomes in an ethnically diverse cohort of high-risk individuals. Methods: High-risk individuals were identified through the University of Chicago Cancer Risk Clinic (UCCRC). Clinicopathologic data was collected on all patients with breast cancer who had undergone genetic testing and consented to inclusion in research protocols. Recurrence-free survival (RFS) and overall survival (OS) for BRCA1, BRCA2 and non-carriers was compared using the log-rank test. Hazard ratios (HR) and 95% Confidence Intervals (95% CI) were calculated from Cox proportional hazard models. Results: 280 patients from 258 families were studied. 67 were BRCA1 mutation positive, 36 were BRCA2 positive and 177 were non-carriers. 65% of patients were non-Hispanic non-Jewish whites, 15% African American, 15% Ashkanazi Jewish, 3% Hispanic and 2% Asian. At a median follow up of 5 years, 40 patients had relapsed and 22 had died. HRs (95% CI) for RFS of the BRCA1 and BRCA2 carriers relative to non-carriers were 1.6 (0.77–3.33) and 1.3 (0.55–3.09) respectively, when adjusted for year at diagnosis. The adjusted HRs (95% CI) for OS for the BRCA1 and BRCA2 carriers relative to non-carriers were 1.82 (0.48–3.02) and 0.67 (0.15–3.04), respectively. Conclusions: In this study of an ethnically diverse cohort of high-risk individuals, BRCA1 mutation carriers had a poorer outcome as compared to those with BRCA2 mutations or those without identifiable mutations in either gene, although this difference was not statistically significant. This observation is consistent with previous studies of women of predominantly Ashkenzi Jewish and European ancestry. This study was funded by the Falk Medical Research Trust, the Breast Cancer Research Foundation and the Entertainment Industry Fund. No significant financial relationships to disclose.

Purpose This paper aims to examine three recent papers on psychosis and social inclusion in relation to people of Black African and African Caribbean heritage in the UK and the USA. Design/methodology/approach A search was carried out for recent papers on psychosis and social inclusion in relation to people of Black African and African Caribbean heritage in the UK and the USA. I selected three papers addressing this theme from different angles. Findings The first paper extends previous findings (that psychosis can follow traumatic events) to Black Americans and includes the contribution of societal inequalities and racism. The second paper illustrates Black men’s experiences of mental health services for psychosis in the UK. It finds, not surprisingly, that a lack of listening combined with coercive use of medication reduces trust in services. The third paper offers hope in reporting collaborative work with people of Black African Caribbean heritage in the UK to culturally adapt family intervention for psychosis. The first and third papers both place importance on valuing people’s spiritual beliefs. Originality/value All three papers highlight the on-going need for increased equity and social inclusion in mental health services for people of Black African and African Caribbean heritage, in terms of recognising the role of childhood trauma and later stresses, addressing the potential harm of over-reliance on medication, offering therapy that is collaborative and culturally adapted and respecting valued spiritual beliefs.

The author evokes Nicolae Titulescu’ personality, thought and actions in favor of strengthening the multilateral cooperation for peace and security during the interwar period.To him – a profound democratic and visionary spirit with a solid legal, philosophical, and political background, and a considerable international experience – the long-lasting Peacemeans nothing if not built on the only foundation suited to support it – Security. But in his view, security has always been closely linked to the manifestation of sovereignty of independent states and national identity. In conclusion, Titulescu’s political stance, his remarkable diplomatic work aiming at setting up a solid European and international security system able to deter the aggressor, bring peace and raise trust among nations, continue to be a stimulative example and an appeal still valid in its fundamental nature for the necessary and constructive steps to be taken in order to give meaning and continuity to our lives in the Third Millennium when we have to face so many crucial existential challenges.Keywords: Nicolae Titulescu, Romania, Europe, Great Powers, Latin America, League of Nations, peace, European and International Security, alliances, The Little Entente, The BalkanPact.

Background:Ehlers-Danlos Syndromes are heritable connective tissue disorders.They are multisystemic and patients can present with several symptoms such as joint pain and instability, visceral and autonomic dysfunction, as well as significant psychosocial sequela. Managing this cohort of young patients is usually challenging as many patients present late due to delayed diagnosis, often with several complications, problems with mobility and opioid use. Furthermore, there is often a prolonged lack of coordinated healthcare and access to social care services. A recent parliamentary debate in the U.K. highlighted that hEDS services are excluded from specialist Rheumatology commissioning services. In order to ascertain the relevance and utility of specialist services in this population, we conducted this study.Objectives:The objective of this study was to map the patient experience following a referral to the specialist clinic in order to assess the need for an integrated, multidisciplinary approach to treating patients with hypermobility EDS.Methods:We retrospectively reviewed the records of 50 patients with the diagnosis of hypermobility EDS who were seen in a specialist hypermobility clinic at University College Hospital UCLH between January 2016 and March 2016. Relevant data was collected regarding their medical care in our hospital up to October 2019.Results:The median age was 37 (range 21-59). We had 10 males and 40 females. The diagnosis of hypermobility EDS was based on the 1997 criteria as these patients were seen prior to the 2017 classification. Overall, the study yielded 6 key themes: 1. All patients experienced chronic pain, with 36% reporting use of opioids for pain management. 2. Patients were referred to multiple medical specialities within the same hospital trust, (22% patients were referred to ≥5 specialities). 3. Patients required a high number of follow up appointments (28% of patients required ≥20 follow-up visits). 4. Failed discharges were common; patients were often referred back to the Rheumatology Clinic despite being discharged to primary care. 5. Patients had a significant number of comorbidities, reflected by polypharmacy. (36% of patients were prescribed ≥5 medications). 6. Disability was high (20% of patients reported severe mobility problems).Conclusion:This study shows that patients with hEDS referred to UCLH have significant levels of disability, opioids use and polypharmacy especially for a relatively young population of patients. They need a complex interdisciplinary approach in a timely manner. In order to minimise delays and allow earlier diagnosis and intervention, we have recently adopted a multidisciplinary team approach, including pain specialists, rheumatologists, psychologists, physiotherapists, nurse specialists, urogynaecologists and neurogastroenterologists. This allows more coordinated and efficient care and incorporates an EDS-specific pain management programme. Specialised services for complex hEDS cases should be established and adequately resourced. Moreover, it would be cost effective to commission a patient-centred “one-stop-shop” service, where patients, who often travel from long distances with severe disabilities, can be seen by multiple specialities in a single visit.References:[1]Bennett, S., Walsh, N., Moss, T. and Palmer, S. (2019). Understanding the psychosocial impact of joint hypermobility syndrome and Ehlers–Danlos syndrome hypermobility type: a qualitative interview study. Disability and Rehabilitation, pp.1-10. Healthwatch Calderdale. (2019). Hypermobility Syndromes Project - Healthwatch Calderdale.[2]Tinkle, B., Castori, M., Berglund, B., Cohen, H., Grahame, R., Kazkaz, H. and Levy, H. (2017). Hypermobile Ehlers-Danlos syndrome (a.k.a. Ehlers-Danlos syndrome Type III and Ehlers-Danlos syndrome hypermobility type): Clinical description and natural history. American Journal of Medical Genetics Part C: Seminars in Medical Genetics, 175(1), pp.48-69.Disclosure of Interests:None declared

The White Mountain Apache Tribe Cultural Heritage Resource Best Management Practices (WMATCHRBMPs) present and delineate in guideline form cultural heritage resource definitions, management, and necessary steps before, during, and after project implementation for any ground-disturbing projects potentially adversely affecting cultural heritage resources on Ndee (Apache) trust lands. However, since the tribe’s adoption of the practices, the application of Ndee tenets found within the guidelines to real-world cultural and archaeological methods and practices remains scant. Embedded in the Ndee cultural tenets is the tenet of “respect,” which I will argue can be used as a tool by non- Ndee researchers to critically reflect on their own research agendas and to guide research projects with Ndee communities. By foregrounding respect within various ongoing archaeological project-related occurrences, contemporary Ndee experiences, defining Ndee material trait lists, superiority statements, archaeological categorizations, and stereotypical underpinnings, better paths forward for collaborative research with Ndee and other Native American communities can be highlighted.

Introduction Tiffany and Co. is an American luxury jewellery and specialty retailer with its headquarters in New York City. Each piece of jewellery, symbolically packaged in a blue box and tied with a white bow, encapsulates the brand’s unique diamond pieces, symbolic origin story, branded historical contributions and representations in culture. Cultural brands are those that live and thrive in the minds of consumers (Holt). Their brand promise inspires loyalty and trust. These brands offer experiences, products, and personalities and spark emotional connotations within consumers (Arvidsson). This case study uses Tiffany & Co. as a successful example to reveal the importance of understanding consumers, the influential nature of media culture, and the efficacy of strategic branding, advertising, and marketing over time (Holt). It also reveals how Tiffany & Co. earned and maintained its place as an iconic cultural brand within consumer culture, through its strong association with New York and products from abroad. Through its trademarked logo and authentic luxury jewellery, encompassed in the globally recognised “Tiffany Blue” boxes, Tiffany & Co.’s cultural significance stems from its embodiment of the expected makings of a brand (Chernatony et al.). However, what propels this brand into what Douglas Holt terms “iconic territory” is that in its one hundred and seventy-nine years of existence, Tiffany’s has lived exclusively in the minds of its consumers.Tiffany & Co.’s intuitive prowess in reaching its target audience is what allows it to dominate the luxury jewellery market (Halasz et al.). This is not only a result of product value, but the alluring nature of the “Tiffany's from New York” brand imagery and experience (Holt et al.), circulated and celebrated in consumer culture through influential depictions in music, film and literature over time (Knight). Tiffany’s faithfully participates in the magnetic identity myth embodied by the brand and city, and has become globally sought after by consumers near and far, and recognised for its romantic connotations of love, luxury, and New York (Holt). An American Dream: New York Affiliation & Diamond OriginsIt was Truman Capote’s characterisation of Holly Golightly in his book (1958) and film adaption, Breakfast at Tiffany’s (1961) that introduced the world to New York as the infatuating “setting,” upon which the Tiffany’s diamond rested. It was a place, that enabled the iconic Holly Golightly to personify the feeling of being abroad in New York and to demonstrate the seductive nature of a Tiffany’s store experience, further shaping the identity myth encompassed by the brand and the city for their global audience (Holt). Essentially, New York was the influential cultural instigator that propelled Tiffany & Co. from a consumer product, to a cultural icon. It did this by circulating its iconography via celebrity affiliations and representations in music, film, and literature (Knight), and by guiding strong brand associations in the minds of consumers (Arvidsson). However, before Tiffany’s became culturally iconic, it established its place in American heritage through historical contributions (Tiffany & Co.) and pledged an association to New York by personifying the American Dream (Mae). To help achieve his dream in a rapidly evolving economy (Elliott), Charles Lewis Tiffany purportedly brought the first substantial gemstones into America from overseas, and established the first American jewellery store to sell them to the public (Halasz et al.). The Tiffany & Co. origin story personifies the alluring nature of products from abroad, and their influence on individuals seeking an image of affluence for themselves. The ties between New York, Tiffany’s, and its consumers were further strengthened through the established, invaluable and emblematic nature of the diamond, historically launched and controlled by South African Diamond Cartel of De Beers (Twitchell). De Beers manipulated the demand for diamonds and instigated it as a status symbol. It then became a commoditised measurement of an individual’s worth and potential to love (Twitchell), a philosophy, also infused in the Tiffany & Co. brand ideology (Holt). Building on this, Tiffany’s further ritualised the justification of the material symbolisation of love through the idealistic connotations surrounding its assorted diamond ring experiences (Lee). This was projected through a strategic product placement and targeted advertising scheme, evident in dominant culture throughout the brand’s existence (Twitchell). Idealistically discussed by Purinton, this is also what exemplified, for consumers, the enticing cultural symbolism of the crystal rock from New York (Halasz et al.). Brand Essence: Experience & Iconography Prior to pop culture portraying the charming Tiffany’s brand imagery in mainstream media (Balmer et al.), Charles Tiffany directed the company’s ascent into luxury jewellery (Phillips et al.), fashioned the enticing Tiffany’s “store experience”, and initiated the experiential process of purchasing a diamond product. This immediately intertwined the imagery of Tiffany’s with New York, instigating the exclusivity of the experience for consumers (Holt). Tiffany’s provided customers with the opportunity to participate in an intricately branded journey, resulting in the diamond embodiment which declared their love most accurately; a token, packaged and presented within an iconic “Tiffany Blue” box (Klara). Aligning with Keller’s branding blueprint (7), this interactive process enabled Tiffany & Co. to build brand loyalty by consistently connecting with each of its consumers, regardless of their location in the world. The iconography of the coveted “blue box” was crafted when Charles Tiffany trademarked the shade Pantone No. 1837 (Osborne), which he coined for the year of Tiffany’s founding (Klara). Along with the brand promise of containing quality luxury jewellery, the box and that particular shade of blue instantly became a symbol of exclusivity, sophistication, and elegance, as it could only be acquired by purchasing jewellery from a Tiffany’s store (Rawlings). The exclusive packaging began to shape Tiffany’s global brand image, becoming a signifier of style and superiority (Phillips et al.), and eventually just as iconic as the jewellery itself. The blue box is still the strongest signifier of the brand today (Osborne). Ultimately, individuals want to participate in the myth of love, perfection and wealth (Arvidsson), encompassed exclusively by every Tiffany’s “blue box”. Furthermore, Tiffany’s has remained artistically significant within the luxury jewellery landscape since introducing its one-of-a-kind Tiffany Setting in 1886. It was the first jewellery store to fully maximise the potential of the natural beauty possessed of diamonds, while connotatively reflecting the natural beauty of every wearer (Phillips et al.). According to Jeffrey Bennett, the current Vice President of Tiffany & Co. New York, by precisely perching the “Tiffany Diamond” upon six intricately crafted silver prongs, the ring shines to its maximum capacity in a lit environment, while being closely secured to the wearer’s finger (Lee). Hence, the “Tiffany Setting” has become a universally sought after icon of extravagance and intricacy (Knight), and, as Bennett further describes, even today, the setting represents uncompromising quality and is a standard image of true love (Lee). Alluring Brand Imagery & Influential Representations in CultureEmpirical consumer research, involving two focus groups of married and unmarried, ethnically diverse Australian women and conducted in 2015, revealed that even today, individuals accredit their desire for Tiffany’s to the inspirational imagery portrayed in music, movies and television. Through participating in the Tiffany's from New York store experience, consumers are able to indulge in their fantasies of what it would feel like to be abroad and the endless potential a city such as New York could hold for them. Tiffany’s successfully disseminated its brand ideology into consumer culture (Purinton) and extended the brand’s significance for consumers beyond the 1960s through constant representation of the expensive business of love, lust and marriage within media culture. This is demonstrated in such films as Gentlemen Prefer Blondes (1953), Breakfast at Tiffany’s (1961), Sleepless in Seattle (1993), Legally Blonde (2001), Sweet Home Alabama (2002), The Great Gatsby (2013), and in the influential television shows, Gossip Girl (2007—2012), and Glee (2009—2015).The most important of these was the film Breakfast at Tiffany’s (1961), and the iconic embodiment of Capote’s (1958) Holly Golightly by actress Audrey Hepburn (Wasson). Hepburn’s (1961) portrayal of the emotionally evocative connotations of experiencing Tiffany’s in New York, as personified by her romantic dialogue throughout the film (Mae), produced the image that nothing bad could ever happen at a Tiffany’s store. Thus began the Tiffany’s from New York cultural phenomenon, which has been consistently reiterated in popular media culture ever since.Breakfast at Tiffany’s also represented a greater struggle faced by women in the 1960s (Dutt); that of gender roles, women’s place in society, and their desire for stability and freedom simultaneously (Sheehan). Due to Hepburn’s accurate characterisation of this struggle, the film enabled Tiffany & Co. to become more than just jewellery and a symbol of support (Torelli). Tiffany’s also allowed filming to take place inside its New York flagship store to which Capote’s narrative so idealistically alludes, further demonstrating its support for the 1960s women’s movement at an opportune moment in history (Torelli). Hence, Tiffany’s from New York became a symbol for the independent materialistic modern woman (Wasson), an ideal, which has become a repeated motif, re-imagined and embodied by popular icons (Knight) such as, Madonna in Material Girl (1985), and the characterisations of Carrie Bradshaw by Sarah Jessica Parker, Charlotte York by Kristin Davis (Sex and the City), and Donna Paulsen by Sarah Rafferty (Suits). The iconic television series Sex and the City, set in New York, boldly represented Tiffany’s as a symbol of friendship when a fellow female protagonist parted with her lavish Tiffany’s engagement ring to help her friend financially (Sex and the City). This was similarly reimagined in the popular television series Suits, also set in New York, where a protagonist is gifted two Tiffany Boxes from her female friend, as a token of congratulations on her engagement. This allowed Tiffany & Co. to add friendship to its symbolic repertoire (Manning), whilst still personifying a symbol of love in the minds of its consumers who were tactically also the target audiences of these television shows (Wharton).The alluring Tiffany’s image was presented specifically to a male audience through the first iconic Bond Girl named Tiffany Case in the novel Diamonds Are Forever (Fleming). The film adaption made its cultural imprint in 1971 with Sean Connery portraying James Bond, and paired the exaggerated brand of “007” with the evocative imagery of Tiffany’s (Spilski et al.). This served as a reminder to existing audiences about the powerful and seductive connotations of the blue box with the white ribbon (Osborne), as depicted by the enticing Tiffany Case in 1956.Furthermore, the Tiffany’s image was similarly established as a lyrical status symbol of wealth and indulgence (Knight). Portrayed most memorably by Marilyn Monroe’s iconic performance of Diamonds Are a Girl’s Best Friend (Gentlemen Prefer Blondes). Even though the song only mentions Tiffany’s lyrically twice (Vito et al.), through the celebrity affiliation, Monroe was introduced as a credible embodiment of Tiffany’s brand essence (Davis). Consequently, she permanently attached her image to that of the alluring Tiffany Diamonds for the target audience, male and female, past and present (Vito et al.). Exactly thirty-two years later, Monroe’s 1953 depiction was reinforced in consumer culture (Wharton) through an uncanny aesthetic and lyrical reimagining of the original performance by Madonna in her music video Material Girl (1985). This further preserved and familiarised the Tiffany’s image of glamour, luxury and beauty by implanting it in the minds of a new generation (Knight). Despite the shift in celebrity affiliation to a current cultural communicator (Arvidsson), the influential image of the Tiffany Diamond remains constant and Tiffany’s has maintained its place as a popular signifier of affluence and elegance in mainstream consumer culture (Jansson). The main difference, however, between Monroe’s and Madonna’s depictions is that Madonna aspired to be associated with the Tiffany’s brand image because of her appreciation for Marilyn Monroe and her brand image, which also intrinsically exuded beauty, money and glamour (Vito et al.). This suggests that even a musical icon like Madonna was influenced by Tiffany & Co.’s hold on consumer culture (Spilski et al.), and was able to inject the same ideals into her own loyal fan base (Fill). It is evident that Tiffany & Co. is thoroughly in tune with its target market and understands the relevant routes into the minds of its consumers. Kotler (113) identifies that the brand has demonstrated the ability to reach its separate audiences simultaneously, with an image that resonates with them on different levels (Manning). For example, Tiffany & Co. created the jewellery that featured in Baz Luhrmann’s 2013 cinematic adaption of F. Scott Fitzgerald’s novel, The Great Gatsby (1925). Through representing a signifier of love and lust induced by monetary possessions (Fitzgerald), Tiffany’s truthfully portrayed its own brand image and persuaded audiences to associate the brand with these ideals (Holt). By illustrating the romantic, alluring and powerful symbolism of giving or obtaining love, armed with a Tiffany’s Diamond (Mae), Tiffany’s validated its timeless, historical and cultural contemporary relevance (Greene).This was also most recently depicted through Tiffany & Co.’s Will You (2015) advertising campaign. The brand demonstrated its support for marriage equality, by featuring a real life same-sex couple to symbolise that love is not conditional and that Tiffany’s has something that signifies every relationship (Dicker). Thus, because of the brand’s rooted place in central media culture and the ability to appeal to the belief system of its target market while evolving with, and understanding its consumers on a level of metonymy (Manning), Tiffany & Co. has transitioned from a consumer product to a culturally relevant and globally sought-after iconic brand (Holt). ConclusionTiffany & Co.’s place-based association and representational reflection in music, film, and literature, assisted in the formation of loyal global communities that thrive on the identity building side effects associated with luxury brand affiliation (Banet-Weiser et al.). Tiffany’s enables its global target market to revel in the shared meanings surrounding the brand, by signifying a symbolic construct that resonates with consumers (Hall). Tiffany’s inspires consumers to eagerly exercise their brand trust and loyalty by independently ritualising the Tiffany’s from New York brand experience for themselves and the ones they love (Fill). Essentially, Tiffany & Co. successfully established its place in society and strengthened its ties to New York, through targeted promotions and iconographic brand dissemination (Nita).Furthermore, by ritualistically positioning the brand (Holt), surrounding and saturating it in existing cultural practices, supporting significant cultural actions and becoming a symbol of wealth, luxury, commitment, love and exclusivity (Phillips et al.), Tiffany’s has steadily built a positive brand association and desire in the minds of consumers near and far (Keller). As a direct result, Tiffany’s earned and kept its place as a culturally progressive brand in New York and around the world, sustaining its influence and ensuring its survival in today’s contemporary consumer society (Holt).Most importantly, however, although New York has become the anchor in every geographically exemplified Tiffany’s store experience in literature, New York has also become the allegorical anchor in the minds of consumers in actuality (Arvidsson). Hence, Tiffany & Co. has catered to the needs of its global target audience by providing it with convenient local stores abroad, where their love can be personified by purchasing a Tiffany Diamond, the ultimate symbol of authentic commitment, and where they can always experience an allusive piece of New York. ReferencesArvidsson, Adam. Brands: Meaning and Value in Media Culture. New York: Routledge, 2006.Balmer, John M.T., Stephen A. 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The brand began, quite literally, as a method for ranchers to identify their cattle. By burning a distinct symbol into the hide of a baby calf, the owner could insure that if it one day wandered off his property or was stolen by a competitor, he’d be able to point to that logo and claim the animal as his rightful property. When the manufacturers of products adopted the brand as a way of guaranteeing the quality of their goods, its function remained pretty much the same. Buying a package of oats with the Quaker label meant the customer could trace back these otherwise generic oats to their source. If there was a problem, he knew where he could turn. More important, if the oats were of satisfactory or superior quality, he knew where he could get them again. Trademarking a brand meant that no one else could call his oats Quaker. Advertising in this innocent age simply meant publicizing the existence of one’s brand. The sole objective was to increase consumers awareness of the product or company that made it. Those who even thought to employ specialists for the exclusive purpose of writing ad copy hired newspaper reporters and travelling salesmen, who knew how to explain the attributes of an item in words that people tended to remember. It wasn’t until 1922 that a preacher and travelling “medicine show” salesman-turned-copywriter named Claude Hopkins decided that advertising should be systematized into a science. His short but groundbreaking book Scientific Advertising proposed that the advertisement is merely a printed extension of the salesman¹s pitch and should follow the same rules. Hopkins believed in using hard descriptions over hype, and text over image: “The more you tell, the more you sell” and “White space is wasted space” were his mantras. Hopkins believed that any illustrations used in an ad should be directly relevant to the product itself, not just a loose or emotional association. He insisted on avoiding “frivolity” at all costs, arguing that “no one ever bought from a clown.” Although some images did appear in advertisements and on packaging as early as the 1800s - the Quaker Oats man showed up in 1877 - these weren¹t consciously crafted to induce psychological states in customers. They were meant just to help people remember one brand over another. How better to recall the brand Quaker than to see a picture of one? It wasn’t until the 1930s, 1940s, and 1950s, as Americans turned toward movies and television and away from newspapers and radio, that advertisers’ focus shifted away from describing their brands and to creating images for them. During these decades, Midwestern adman Leo Burnett concocted what is often called the Chicago school of advertising, in which lovable characters are used to represent products. Green Giant, which was originally just the Minnesota Valley Canning Company’s code name for an experimental pea, became the Jolly Green Giant in young Burnett’s world of animated characters. He understood that the figure would make a perfect and enticing brand image for an otherwise boring product and could also serve as a mnemonic device for consumers. As he watched his character grow in popularity, Burnett discovered that the mythical figure of a green giant had resonance in many different cultures around the world. It became a kind of archetype and managed to penetrate the psyche in more ways than one. Burnett was responsible for dozens of character-based brand images, including Tony the Tiger, Charlie the Tuna, Morris the Cat, and the Marlboro Man. In each case, the character creates a sense of drama, which engages the audience in the pitch. This was Burnett’s great insight. He still wanted to sell a product based on its attributes, but he knew he had to draw in his audience using characters. Brand images were also based on places, like Hidden Valley Ranch salad dressing, or on recognizable situations, such as the significant childhood memories labelled “Kodak moments” or a mother nurturing her son on a cold day, a defining image for Campbell’s soup. In all these cases, however, the moment, location, or character went only so far as to draw the audience into the ad, after which they would be subjected to a standard pitch: ‘Soup is good food’, or ‘Sorry, Charlie, only the best tuna get to be Starkist’. Burnett saw himself as a homespun Midwesterner who was contributing to American folklore while speaking in the plain language of the people. He took pride in the fact that his ads used words like “ain’t”; not because they had some calculated psychological effect on the audience, but because they communicated in a natural, plainspoken style. As these methods found their way to Madison Avenue and came to be practiced much more self-consciously, Burnett¹s love for American values and his focus on brand attributes were left behind. Branding became much more ethereal and image-based, and ads only occasionally nodded to a product’s attributes. In the 1960s, advertising gurus like David Ogilvy came up with rules about television advertising that would have made Claude Hopkins shudder. “Food in motion” dictated that food should always be shot by a moving camera. “Open with fire” meant that ads should start in a very exciting and captivating way. Ogilvy told his creatives to use supers - text superimposed on the screen to emphasize important phrases and taglines. All these techniques were devised to promote brand image, not the product. Ogilvy didn’t believe consumers could distinguish between products were it not for their images. In Ogilvy on Advertising, he explains that most people cannot tell the difference between their own “favourite” whiskey and the closest two competitors’: ‘Have they tried all three and compared the taste? Don¹t make me laugh. The reality is that these three brands have different images which appeal to different kinds of people. It isn¹t the whiskey they choose, it’s the image. The brand image is ninety percent of what the distiller has to sell.’ (Ogilvy, 1993). Thus, we learned to “trust our car to the man who wears the star” not because Texaco had better gasoline than Shell, but because the company’s advertisers had created a better brand image. While Burnett and his disciples were building brand myths, another school of advertisers was busy learning about its audience. Back in the 1920s, Raymond Rubicam, who eventually founded the agency Young and Rubicam, thought it might be interesting to hire a pollster named Dr. Gallup from Northwestern University to see what could be gleaned about consumers from a little market research. The advertising industry’s version of cultural anthropology, or demographics, was born. Like the public-relations experts who study their target populations in order to manipulate them later, marketers began conducting polls, market surveys, and focus groups on the segments of the population they hoped to influence. And to draw clear, clean lines between demographic groups, researchers must almost always base distinctions on four factors: race, age, sex, and wages. Demographic research is reductionist by design. I once consulted to an FM radio station whose station manager wanted to know, “Who is our listener?” Asking such a question reduces an entire listenership down to one fictional person. It’s possible that no single individual will ever match the “customer profile” meant to apply to all customers, which is why so much targeted marketing often borders on classist, racist, and sexist pandering. Billboards for most menthol cigarettes, for example, picture African-Americans because, according to demographic research, black people prefer them to regular cigarettes. Microsoft chose Rolling Stones songs to launch Windows 95, a product targeted at wealthy baby boomers. “The Women’s Global Challenge” was an advertising-industry-created Olympics for women, with no purpose other than to market to active females. By the 1970s, the two strands of advertising theory - demographic research and brand image - were combined to develop campaigns that work on both levels. To this day, we know to associate Volvos with safety, Dr. Pepper with individuality, and Harley-Davidson with American heritage. Each of these brand images is crafted to appeal to the target consumer’s underlying psychological needs: Volvo ads are aimed at upper-middle-class white parents who fear for their children’s health and security, Dr. Pepper is directed to young nonconformists, and the Harley-Davidson image supports its riders’ self-perception as renegades. Today’s modern (or perhaps postmodern) brands don’t invent a corporate image on their own; they appropriate one from the media itself, such as MetLife did with Snoopy, Butterfinger did with Bart Simpson, or Kmart did by hiring Penny Marshall and Rosie O’Donnell. These mascots were selected because their perceived characteristics match the values of their target consumers - not the products themselves. In the language of today’s marketers, brand images do not reflect on products but on advertisers’ perceptions of their audiences’ psychology. This focus on audience composition and values has become the standard operating procedure in all of broadcasting. When Fox TV executives learned that their animated series “King of the Hill”, about a Texan propane distributor, was not faring well with certain demographics, for example, they took a targeted approach to their character’s rehabilitation. The Brandweek piece on Fox’s ethnic campaign uncomfortably dances around the issue. Hank Hill is the proverbial everyman, and Fox wants viewers to get comfortable with him; especially viewers in New York, where “King of the Hill”’s homespun humor hasn’t quite caught on with the young urbanites. So far this season, the show has pulled in a 10.1 rating/15 share in households nationally, while garnering a 7.9 rating/12 share in New York (Brandweek, 1997) As far as Fox was concerned, while regular people could identify with the network’s new “everyman” character, New Yorkers weren’t buying his middle-American patter. The television show’s ratings proved what TV executives had known all along: that New York City’s Jewish demographic doesn’t see itself as part of the rest of America. Fox’s strategy for “humanizing” the character to those irascible urbanites was to target the group’s ethnographic self-image. Fox put ads for the show on the panels of sidewalk coffee wagons throughout Manhattan, with the tagline “Have a bagel with Hank”. In an appeal to the target market’s well-developed (and well-researched) cynicism, Hank himself is shown saying, “May I suggest you have that with a schmear”. The disarmingly ethnic humor here is meant to underscore the absurdity of a Texas propane salesman using a Jewish insider’s word like “schmear.” In another Upper West Side billboard, Hank’s son appeals to the passing traffic: “Hey yo! Somebody toss me up a knish!” As far as the New York demographic is concerned, these jokes transform the characters from potentially threatening Southern rednecks into loveable hicks bending over backward to appeal to Jewish sensibilities, and doing so with a comic and, most important, nonthreatening inadequacy. Today, the most intensely targeted demographic is the baby - the future consumer. Before an average American child is twenty months old, he can recognize the McDonald’s logo and many other branded icons. Nearly everything a toddler encounters - from Band-Aids to underpants - features the trademarked characters of Disney or other marketing empires. Although this target market may not be in a position to exercise its preferences for many years, it pays for marketers to imprint their brands early. General Motors bought a two-page ad in Sports Illustrated for Kids for its Chevy Venture minivan. Their brand manager rationalized that the eight-to-fourteen-year-old demographic consists of “back-seat consumers” (Leonhardt, 1997). The real intention of target marketing to children and babies, however, goes deeper. The fresh neurons of young brains are valuable mental real estate to admen. By seeding their products and images early, the marketers can do more than just develop brand recognition; they can literally cultivate a demographic’s sensibilities as they are formed. A nine-year-old child who can recognize the Budweiser frogs and recite their slogan (Bud-weis-er) is more likely to start drinking beer than one who can remember only Tony the Tiger yelling, “They¹re great!” (Currently, more children recognize the frogs than Tony.) This indicates a long-term coercive strategy. The abstraction of brand images from the products they represent, combined with an increasing assault on our demographically targeted psychological profiles, led to some justifiable consumer paranoia by the 1970s. Advertising was working on us in ways we couldn’t fully understand, and people began to look for an explanation. In 1973, Wilson Bryan Key, a communications researcher, wrote the first of four books about “subliminal advertising,” in which he accused advertisers of hiding sexual imagery in ice cubes, and psychoactive words like “sex” onto the airbrushed surfaces of fashion photographs. Having worked on many advertising campaigns from start to finish, in close proximity to everyone from copywriters and art directors to printers, I can comfortably put to rest any rumours that major advertising agencies are engaging in subliminal campaigns. How do images that could be interpreted as “sexual” show up in ice cubes or elbows? The final photographs chosen for ads are selected by committee out of hundreds that are actually shot. After hours or days of consideration, the group eventually feels drawn to one or two photos out of the batch. Not surprising, these photos tend to have more evocative compositions and details, but no penises, breasts, or skulls are ever superimposed onto the images. In fact, the man who claims to have developed subliminal persuasion, James Vicary, admitted to Advertising Age in 1984 that he had fabricated his evidence that the technique worked in order to drum up business for his failing research company. But this confession has not assuaged Key and others who relentlessly, perhaps obsessively, continue to pursue those they feel are planting secret visual messages in advertisements. To be fair to Key, advertisers have left themselves open to suspicion by relegating their work to the abstract world of the image and then targeting consumer psychology so deliberately. According to research by the Roper Organization in 1992, fifty-seven percent of American consumers still believe that subliminal advertising is practiced on a regular basis, and only one in twelve think it “almost never” happens. To protect themselves from the techniques they believe are being used against them, the advertising audience has adopted a stance of cynical suspicion. To combat our increasing awareness and suspicion of demographic targeting, marketers have developed a more camouflaged form of categorization based on psychological profiles instead of race and age. Jim Schroer, the executive director of new marketing strategy at Ford explains his abandonment of broad-demographic targeting: ‘It’s smarter to think about emotions and attitudes, which all go under the term: psychographics - those things that can transcend demographic groups.’ (Schroer, 1997) Instead, he now appeals to what he calls “consumers’ images of themselves.” Unlike broad demographics, the psychographic is developed using more narrowly structured qualitative-analysis techniques, like focus groups, in-depth interviews, and even home surveillance. Marketing analysts observe the behaviors of volunteer subjects, ask questions, and try to draw causal links between feelings, self-image, and purchases. A company called Strategic Directions Group provides just such analysis of the human psyche. In their study of the car-buying habits of the forty-plus baby boomers and their elders, they sought to define the main psychological predilections that human beings in this age group have regarding car purchases. Although they began with a demographic subset of the overall population, their analysis led them to segment the group into psychographic types. For example, members of one psychographic segment, called the ³Reliables,² think of driving as a way to get from point A to point B. The “Everyday People” campaign for Toyota is aimed at this group and features people depending on their reliable and efficient little Toyotas. A convertible Saab, on the other hand, appeals to the ³Stylish Fun² category, who like trendy and fun-to-drive imports. One of the company’s commercials shows a woman at a boring party fantasizing herself into an oil painting, where she drives along the canvas in a sporty yellow Saab. Psychographic targeting is more effective than demographic targeting because it reaches for an individual customer more directly - like a fly fisherman who sets bait and jiggles his rod in a prescribed pattern for a particular kind of fish. It’s as if a marketing campaign has singled you out and recognizes your core values and aspirations, without having lumped you into a racial or economic stereotype. It amounts to a game of cat-and-mouse between advertisers and their target psychographic groups. The more effort we expend to escape categorization, the more ruthlessly the marketers pursue us. In some cases, in fact, our psychographic profiles are based more on the extent to which we try to avoid marketers than on our fundamental goals or values. The so-called “Generation X” adopted the anti-chic aesthetic of thrift-store grunge in an effort to find a style that could not be so easily identified and exploited. Grunge was so self-consciously lowbrow and nonaspirational that it seemed, at first, impervious to the hype and glamour normally applied swiftly to any emerging trend. But sure enough, grunge anthems found their way onto the soundtracks of television commercials, and Dodge Neons were hawked by kids in flannel shirts saying “Whatever.” The members of Generation X are putting up a good fight. Having already developed an awareness of how marketers attempt to target their hearts and wallets, they use their insight into programming to resist these attacks. Unlike the adult marketers pursuing them, young people have grown up immersed in the language of advertising and public relations. They speak it like natives. As a result, they are more than aware when a commercial or billboard is targeting them. In conscious defiance of demographic-based pandering, they adopt a stance of self-protective irony‹distancing themselves from the emotional ploys of the advertisers. Lorraine Ketch, the director of planning in charge of Levi¹s trendy Silvertab line, explained, “This audience hates marketing that’s in your face. It eyeballs it a mile away, chews it up and spits it out” (On Advertising, 1998). Chiat/Day, one of the world’s best-known and experimental advertising agencies, found the answer to the crisis was simply to break up the Gen-X demographic into separate “tribes” or subdemographics - and include subtle visual references to each one of them in the ads they produce for the brand. According to Levi’s director of consumer marketing, the campaign meant to communicate, “We really understand them, but we are not trying too hard” (On Advertising, 1998). Probably unintentionally, Ms. Ketch has revealed the new, even more highly abstract plane on which advertising is now being communicated. Instead of creating and marketing a brand image, advertisers are creating marketing campaigns about the advertising itself. Silvertab’s target market is supposed to feel good about being understood, but even better about understanding the way they are being marketed to. The “drama” invented by Leo Burnett and refined by David Ogilvy and others has become a play within a play. The scene itself has shifted. The dramatic action no longer occurs between the audience and the product, the brand, or the brand image, but between the audience and the brand marketers. As audiences gain even more control over the media in which these interactive stories unfold, advertising evolves ever closer to a theatre of the absurd. excerpted from Coercion: Why We Listen to What "They" Say)? Works Cited Ogilvy, David. Ogilvy on Advertising. New York: Vintage, 1983. Brandweek Staff, "Number Crunching, Hollywood Style," Brandweek. October 6, 1997. Leonhardt, David, and Kathleen Kerwin, "Hey Kid, Buy This!" Business Week. June 30, 1997 Schroer, Jim. Quoted in "Why We Kick Tires," by Carol Morgan and Doron Levy. Brandweek. Sept 29, 1997. "On Advertising," The New York Times. August 14, 1998 Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Rushkoff, Douglas. "Coercion " M/C: A Journal of Media and Culture< http://www.media-culture.org.au/0306/06-coercion.php>. APA Style Rushkoff, D. (2003, Jun 19). Coercion . M/C: A Journal of Media and Culture, 6,< http://www.media-culture.org.au/0306/06-coercion.php>

Some of the major emerging economies in Latin America (LA) include Argentina, Brazil, Chile, Peru, and Mexico. The discussion themes during the 2013 World Economic Forum on Latin America included understanding the private sector's role in safeguarding business ethics, corporate social responsibility, sustainability, and concern for the environment. Inputs into business ethics include individual values, organizational culture, national culture, and local business climate, including level of corruption, ethics legislation, and governmental bureaucracy (Stajkovic & Luthans, 1997). A conceptual model of business ethics in terms of governance, processes, and stakeholders is presented. Various models of ethical decision-making processes, including the social-cognitive theory (Bandura, 1986), are reviewed. Models of ethical behavior and the influence of Hofstede cultural dimensions, religion, Internet, and social media are also reviewed. Various measures of business ethics, including the Business Ethics Index (Tsalikis, et al., 2013), the Corruption Perception Index (Transparency International, 2012), the Freedom from Corruption Index, and the Economic Freedom Index (Heritage Foundation, 2013) for LA countries are reviewed. The Business Ethics Index can be a leading indicator of economic growth (Tsalikis, et al., 2011). Good business ethics generate trust and lead to sustained economic growth (Hunt, 2012).

Some of the major emerging economies in Latin America (LA) include Argentina, Brazil, Chile, Peru, and Mexico. The discussion themes during the 2013 World Economic Forum on Latin America included understanding the private sector's role in safeguarding business ethics, corporate social responsibility, sustainability, and concern for the environment. Inputs into business ethics include individual values, organizational culture, national culture, and local business climate, including level of corruption, ethics legislation, and governmental bureaucracy (Stajkovic & Luthans, 1997). A conceptual model of business ethics in terms of governance, processes, and stakeholders is presented. Various models of ethical decision-making processes, including the social-cognitive theory (Bandura, 1986), are reviewed. Models of ethical behavior and the influence of Hofstede cultural dimensions, religion, Internet, and social media are also reviewed. Various measures of business ethics, including the Business Ethics Index (Tsalikis, et al., 2013), the Corruption Perception Index (Transparency International, 2012), the Freedom from Corruption Index, and the Economic Freedom Index (Heritage Foundation, 2013) for LA countries are reviewed. The Business Ethics Index can be a leading indicator of economic growth (Tsalikis, et al., 2011). Good business ethics generate trust and lead to sustained economic growth (Hunt, 2012).

This chapter explores how white evangelicals cast themselves as outsiders from political and cultural power in the United States, despite the lingering legacy of white Christian hegemony. Their sense of alienation depends on their concomitant sense that they ought not to be outsiders at all, based on their claims about the nation’s Christian heritage. But casting themselves as exiles is a savvy political move. Americans tend to romanticize outsiders, assuming they possess a novel perspective and moral clarity that insiders lack. This chapter examines how Christian tourists in D.C. depict themselves as exiles, despite the material culture they encounter at the Washington Monument, U.S. Capitol, and other sites. Phrases such as “In God We Trust” as well as biblical inscriptions and statues of Christian leaders demonstrate continued Christian power. It also looks at how this exile role was constructed by the Moral Majority and Christian Coalition in the late twentieth century. Finally, it considers the political benefits of the exile role in a nation that reveres tradition yet cheers for underdogs. Together, the roles of founders and exiles allow white evangelicals to maximize their political power by claiming the most expedient role in a given situation.