Journal articles on the topic 'Barbara Kruger'

AbstractOne of the conceptual artists of postmodernism, Barbara Kruger, is known for her work that combines visual images with text to convey criticism of social issues directly to society. One of the most famous works that she has is "Untitled - I Shop Therefore I am (1987)" which is a form of criticism of the issue of consumerism. In 1994, Supreme arrived, which had a logo in the exact same style as Kruger. Ironically, the brand actually had ideas that ran counter to the original purpose of Kruger's work. Therefore, this paper aims to deepen the knowledge of how to properly adapt a reference work in a new work based on analytical methods; especially to explore a work that has a considerable influence on society. The analysis method used in this paper is qualitative analysis through literature sources. There are three steps of analysis used in this paper. First, a study of postmodernism design style is done as the theoritical viewpoint. Then, qualitative investigations of form, content, and context were conducted on “I Shop Therefore I Am” artwork and Supreme brand logo design. Lastly, a comparison of creative process between both design was done to formulate results. The analysis result shows that there were critical views of how the Supreme logo designer adapt Barbara Kruger’s design. The conclusion reveals directions for graphic designers in doing design references. Keywords: Post-Modernism, Barbara Kruger, Consumerism, Supreme Brand AbstrakSalah satu seniman konseptual pada zaman postmodernisme, Barbara Kruger, dikenal dengan karyanya yang menggabungkan gambar visual dengan teks untuk menyampaikan kritik terhadap isu sosial secara langsung pada masyarakat. Salah satu karyanya yang paling terkenal adalah “Untitled - I Shop Therefore I am (1987)” yang merupakan sebuah bentuk kritik terhadap isu konsumerisme. Pada tahun 1994, hadirlah muncul brand fesyen Supreme yang memiliki logo dengan style yang identik dengan gaya Kruger. Ironisnya, merek tersebut justru memiliki gagasan yang betentangan dengan tujuan awal dari karya Kruger. Oleh karena itu, makalah ini bertujuan untuk memperdalam pengetahuan tentang bagaimana cara yang benar saat mengadaptasi karya referensi dalam sebuah karya desain. Metodologi analisa yang digunakan adalah dengan menggunakan analisa kualitatif berdasarkan sumber literatur. Untuk mencapai tujuan tersebut, pembahasan akan dilakukan dengan beberapa tahapan. Pertama, dilakukan kajian gaya desain post-modernisme sebagai sudut pandang konteks sejarah yang diambil. Lalu dilakukan investigasi form, konten, dan konteks atas karya “I Shop Therefore I Am” serta logo brand Supreme. Terakhir, dilakukan perbandingan antara kedua pendekatan proses kreatif. Hasil kajian menunjukkan adanya pandangan kritis terhadap bagaimana desainer logo Supreme mengadaptasi desain karya Kruger. Kesimpulan kajian menghasilkan arahan-arahan bagi desainer grafis dalam proses referensi karya desain. Kata Kunci: Post-Modernisme, Barbara Kruger, Konsumerisme, Brand Supreme

La artista Barbara Kruger formada en la <em>Parson Design School</em> de Nueva York, bebió de las corrientes feministas de los años setenta y ochenta, y sirviéndose de las técnicas publicitarias con el uso de sloganes directos, breves e impactantes en tonos rojos y negros, utilizó el lenguaje de los medios de comunicación para criticar, durante más de cuatro décadas, aspectos relativos a la sociedad de consumo y las relaciones de género. En la actualidad su obra ha sido fagocitada por el propio mercado artístico y es necesario abrir nuevos caminos que conozcan la lógica de la publicidad comercial y la subviertan.

O presente artigo introduz e contextualiza as primeiras manifestações feministas que compuseram o panorama artístico do final da década de 1960 até 1980. São analisadas as circunstâncias históricas (incluindo a história da arte) que facilitaram a ponte entre as esferas da arte e da política, bem como os problemas formais e estéticos que a prática artística ativista apresentou e sua recepção como movimento. Para tanto, nos basearemos no trabalho da artista norte-americana Barbara Kruger, que produziu obras fundamentais para a consolidação da arte feminista, abordando criticamente uma ampla variedade de temas relacionados à mulher (violência, aborto, identidade, papel social, estética). O conteúdo das obras de Kruger está em sintonia com importantes circunstâncias políticas e temas sociais contemporâneos à sua produção e estabelece relação direta com teorias feministas da época, permitindo uma análise do contexto artístico e sócio-político do período.

Bahasa Visual Konsumerisme dalam Karya Seni Kontemporer. Artikel ini mendeskripsikan wacana konsumerisme ketika dibahasakan secara visual dalam karya kontemporer. Penelitian ini bertujuan untuk mengetahui pendekatan visualnya, gaya ungkapannya, serta social effect dari karya-karya tersebut. Penelitian ini menggunakan pendekatan deskriptif dengan obyek kajian empat karya kontemporer dunia yang sangat terkenal, “Campbell’s Soup Cans” karya Andi warhol, “Jesus Christ with Shopping Bags” kaya Banksy, “I Shop Therefore I Am” karya Barbara Kruger, “Super Supper” karya Ron English. Berdasarkan analisis terhadap empat karya tersebut dapat disimpulkan bahwa kecenderungan visual pada karya-karya tersebut adalah: (1) memiliki karakteristik visual bergaya Pop Art dengan penggunaan simbol-simbol budaya populer, (2) sarat akan unsur jenaka, satir dan sarkastik, (3) menimbulkan persoalan etis dan estetis.Kata kunci: bahasa visual; konsumerisme; seni kontemporerABSTRACTThis article describes how consumerism discourse is visualized in contemporary works with the aim to find out how the visual approach, how the style of expression, as well as the social effects of these works. Using a descriptive approach with the object of study of four world famous contemporary works, “Campbell’s Soup Cans” by Andi warhol, “Jesus Christ with Shopping Bags” rich in Banksy, “I Shop Therefore I Am” by Barbara Kruger, “Super Supper” by Ron English. Based on the analysis of the four works, it can be concluded that the visual tendencies in these works are: (1) having visual characteristics of Pop Art style with the use of symbols of popular culture, (2) full of humorous, satirical and sarcastic elements, (3) giving rise to ethical and aesthetic issues.Keywords: visual language; consumerism; contemporary art

Este estudo tem por objetivo compreender a produção artística feminista contemporânea a partir do conceito de poética. Partindo de conceitualizações em Aristóteles e Valéry, buscamos analisar quatro artistas: Barbara Kruger, Judy Chicago, Betye Saar e Rosana Paulino. A proposta visa compreender os eixos de intersecção da arte contemporânea feminista com as vivências das autoras e o contexto de suas épocas. Como resultados observamos um denominador comum às obras: sua estreita ligação com os avanços e entraves do movimento feminista de cada década e a possibilidade de utilização do conceito de poética para o entendimento de obras de arte.

Reviewed is a selection of works composed by woman artist composer and songstress Maria Sadowska. These include songs from the “Women's Day” record and from a film of the same title, as well as “Revolution” from the “Table of Contents” album. Due to the method of interpretation I use, the criticism is feminist. I selected precisely these said works for study mainly because the artist has been largely inspired by mothers of feminist thought, such as Susan Sontag, Barbara Kruger and Simone de Beauvoir. The topics touched upon by the artist definitely fall within the interests of feminist criticism. And I hope that taking up the subject of feminism in this context is a timely response to current public interest.

This essay explores the relationship between text and space by considering the notion of writing interiors as a form of creative practice. The research focuses on the textual and spatial uses of the punctuation mark slash (/), as evidenced in a range of text-based works by Barbara Kruger, Glenn Ligon, Dom Sylvester Houédard, Anni Albers, and other artists. The first part of the essay surveys the typographic character’s varied uses in written language; the second part considers its role within artwork titles, namely how its presence shapes spatial interpretations of each artwork in question; in the third part, preceding the conclusion, the focus is on the use of the slash as a mark that is both material and graphic. The resulting interpretations support a call for a change in the conversation about the relationship between writing and interiors.

<p>El objetivo de este artículo es analizar cómo el arte hecho por mujeres puede ser explicado a través de la noción de fragmentación, especialmente las obras de las artistas referidas en el trabajo. Esto es, las españolas Esther Ferrer y Concha Jerez, y las norteamericanas Barbara Kruger y Jenny Holzer. Como describiremos a lo largo del trabajo, este concepto proporciona un elemento común a una diversidad heterogénea de propuestas artísticas realizadas por mujeres creadoras. Si bien dicha noción fue anticipada por distintos autores pertenecientes al ámbito de las ciencias sociales, a comienzos del siglo XX, su uso aparece de forma explícita con la posmodernidad. Considero que el conocimiento de las mujeres artistas constituye un elemento de reflexión sobre el papel de la estética contemporánea actual y el lenguaje utilizado por las mismas permite adentrarnos en el estudio de las obras generadas por las mujeres creadoras.</p>

The article is an extensive analysis of the postmodern phenomenon of appropriation art in its practical and theoretical context. It focuses on the historical period of the late 1970s and 1980s and the New York Scene of American artists, collectively called the Pictures Generation. It was a moment when artistic practice merged with an insightful critical refl ection inspired by diverse sources such as Walter Benjamin’s theory of allegory, Roland Barthes’s analysis of myth and the idea of „the death of the author” as well as Jacques Derrida’s deconstruction. In the fi rst part of the article I analyze the photographic work of four major female artists – Sherrie Levine, Louise Lawler, Cindy Sherman and Barbara Kruger – in terms of the strategies of appropriation they employed. It sets ground for the second part of the article – a detailed „anatomy” of critical discourse and theoretical and historical premises for the emergence or appropriation art with a special focus on the allegory and allegorical procedures discussed in seminal articles by Craig Owens and Benjamin H. Buchloh. It also highlights the relationship between appropriation and the Barthesian understanding of the myth. In the third part I discuss critical reconsiderations of appropriation in terms of subjectivity and its political value. The fi nal section consists of analyses of selected works of appropriation, deconstructing „American myth” in order to demonstrate the above-mentioned political/critical dimension of appropriation. In conclusion, I propose to think about postmodern appropriation not only as an important phenomenon of the past but a still operative, even if at times aporetic, project which sets major coordinates for contemporary art.

En este artículo trabajo las propuestas artísticas del mexicano José Clemente Orozco, la guatemalteca Regina José Galindo y la colombiana Doris Salcedo, en torno a la representación de la violencia sexual bélica en el contexto de los conflictos armados. Tomando como punto de partida el pronunciamiento de la artista conceptual Barbara Kruguer: “Tu cuerpo es un campo de batalla”, así como los plantamientos teóricos de Rita Segato, analizo la manera en que estos artistas representan el cuerpo femenino como territorio de ocupación y destrucción de la guerra, así como un espacio político de resistencia y reivindicación de la memoria. En sus obras, los tres creadores le otorgan un lugar central al testimonio para visibilizar los mecanismos del poder y las consecuencias de la violencia. Orozco lo hace desde su visión masculina como testigo ocular en la zona de combate. Mientras que Galindo y Salcedo se posicionan desde el lugar de la escucha para transmitir y dar forma plástica a las experiencias íntimas de las víctimas. Frente a la política del acto de destrucción, los artistas oponen la poética del acto creativo. De esta manera, el arte se convierte en un arma de cuestionamiento y denuncia, a la vez, que una potencia para ritualizar la tragedia, la confusión, el dolor, el trauma y el duelo de la guerra.

Настоящая работа является первым общим описанием на русском языке двух некрополей Кампокиаро (Кампобассо, Италия) – Виченне и Морионе, датируемых последней третью VII в. – началом VIII в. Культурное содержание некрополей показывает прочные связи с населением центральноазиатского происхождения. Важнейшим признаком некрополей являются захоронения с конем, соответствующие евразийскому кочевому погребальному обряду. Автор поддержал выводы европейских исследователей о том, что с большой долей вероятности некрополи оставлены булгарами дукса–гаштальда Алзеко, зафиксированными Павлом Диаконом в VIII в. на территориях Бояно, Сепино и Изернии. Аналогии некрополей Кампокиаро с погребениями Аварского каганата показывают присутствие в аварском обществе булгар со схожим погребальным обрядом. Из тысяч погребений с конем, оставленных аварским населением, булгарам могла принадлежать большая часть. Авары и булгары составляли основу и правящую верхушку каганата. Народ Алзеко являлся той частью булгар, которая в 631 г. боролась за каганский престол, что указывает на высокое положение булгар и их большое количество. После поражения эта группа булгар мигрировала последовательно в Баварию, Карантанию и Италию. Несколько десятков лет проживания в венедской, а затем в лангобардской и романской среде привели к гетерогенности погребального инвентаря, но не изменили сам обряд. Булгары лангобардского королевства составляли новый военный слой, который представлял из себя профессиональную кавалерию, получивший землю. Эта конная дружина является ранним примером европейского феодального воинского и социального сословия, которое станет называться рыцарством. Библиографические ссылки Акимова М.С. Материалы к антропологии ранних болгар // Генинг В.Ф., Халиков А.Х. Ранние болгары на Волге (Больше–Тарханский могильник). М.: Наука, 1964. С. 177–191. Амброз А.К. Кинжалы VI – VIII вв, с двумя выступами на ножнах // СА. 1986. № 4. С. 53–73. Безуглов С.И., Ильюков Л.С. Памятник позднегуннской эпохи в устье Дона // Средневековые древности Дона / Ред. Ю.К. Гугуев. М.–Иерусалим: Мосты и культуры, 2007. C. 25–48. Бешевлиев В. Пръвобългарите. История, бит и култура. Пловдив: Фондация «Българско историческо наследство», 2008. 505 с. Гавритухин И.О., Иванов А.Г. Погребение 552 Варнинского могильника и некоторые вопросы изучения раннесредневековых культур Поволжья // Пермский мир в раннем средневековье / Отв. ред. А.Г. Иванов. Ижевск: УИИЯЛ УрО РАН, 1999. С. 99–159. Добиаш–Рождественская О.А. Ранний фриульский минускул и одна из проблем жизни и творчества лангобардского историка VIII в. // Вспомогательные исторические дисциплины / Под ред. А. С. Орлова. М.; Л.: Изд–во АН СССР, 1937. С. 109–140. Засецкая И.П. Культура кочевников южнорусских степей в гуннскую эпоху (конец IV–V вв.). СПб.: АО "Эллипс", 1994. 221 с. Казанский М.М. Оногуры в постгуннское время на Дону // Дивногорский сборник / Труды музея-заповедника «Дивногорье». Вып. 6. / под ред. А. З. Винникова. Воронеж: Изд.– полигр. центр «Научная книга», 2016. С. 96–111. Казанский М.М. Хронологические индикаторы степных древностей постгуннского времени в Восточной Европе // НАВ. 2019. Т. 18 (2). С. 109–124. Кардини Ф. Истоки средневекового рыцарства // Пер. с ит. В.П. Гайдук / Общ. ред. В.И. Уколова, Л.А. Котельникова. М.: Прогресс, 1987. 384 с. Комар А.В., Кубышев А.И., Орлов Р.С. Погребения кочевников VI–VII вв. из Северо–Западного Приазовья // Степи Европы в эпоху средневековья. Т. 5. Хазарское время / Гл.ред. А.В.Евглевский Донецк: ДонНУ, 2006. С. 245–376. Кондукторова Т.С. Антропологическая характеристика черепов из Верхнего Чир–Юртовского могильника в Дагестане // ВА. 1967. Вып. 25. С. 117–129. Красильников К.И. Могильник древних болгар у с. Желтое на Северском Донце // Проблеми на прабългарската история и култура. София: БАН, Нац. Археол. институт с музей филиал Шумен, Аргес, 1991. Т. 2. С. 62–81. Красильников К.И., Красильникова Л.И. Могильник у с. Лысогоровка – новый источник по этноистории степей Подонцовья раннего средневековья // Степи Европы в эпоху средневековья. Т 4. Хазарское время / Гл.ред. А.В. Евглевский. Донецк: ДонНУ, 2005. С. 187–244. Красильников К.И., Руженко А.А. Погребение хирурга на древнеболгарском могильнике у с. Желтое // СА. 1981. № 2. С. 282–289. Кузнецова Т.И. Павел Диакон. Из «Истории лангобардов» // Памятники средневековой латинской литературы IV–IX веков / Отв. ред. М. Е. Грабарь-Пассек и М. Л. Гаспаров. М.: Наука, 1970. С. 243–257. Медникова М.Б. Трепанации у древних народов Евразии. М.: Научный мир, 2001. 304 с. Мингазов Ш.Р. Болгары Алзеко в Баварии, Карантании и Италии как пример автономной части этнокультурной общности // Восточная Европа в древности и средневековье. Античные и средневековые общности: XXIX Чтения памяти члена-корреспондента АН СССР В.Т. Пашуто. Москва, 19–21 апреля 2017 / Отв. Ред. Е. А. Мельникова. М: Институт всеобщей истории РАН, 2017. С. 160–164. Мингазов Ш.Р. Следы взаимовлияния европейской и азиатской социокультурных моделей: булгары в Италии (VI–VIII вв.) // Восточная Европа в древности и средневековье. Сравнительные исследования социокультурных практик: XXXII Чтения памяти члена корреспондента АН СССР В.Т. Пашуто. Москва, 15–17 апреля 2020 / Отв. Ред. Е. А. Мельникова. М.: Институт всеобщей истории РАН, 2020. С. 162–166. Нестеров С.П. Конь в культах тюркоязычных племен Центральной Азии в эпоху средневековья. Новосибирск: Наука. Сиб. отд–ие АН СССР, 1990. 143 с. Павел Диакон. История лангобардов / Пер. с лат., ст. Ю.Б. Циркина. СПб.: Азбука–классика, 2008. 318 с. Решетова И.К. Население донецко–донского междуречья в раннем средневековье: Палеоантропологическое исследование. СПб.: Нестор–История, 2015. 132 с. Решетова И.К. Описание индивидов с трепанированными черепами среди носителей Салтово–маяцкой культуры: медицинская практика или культ? // Этнографическое обозрение. 2012. № 5. С. 151–157. Ронин В.К. «История лангобардов» Павла Диакона // Свод древнейших письменных известий о славянах / Отв. ред. Л. А. Гиндин, Г. Г. Литаврин. М.: Издательская фирма «Восточная литература» РАН, 1995. Т. II. С. 480–501. Ронин В.К. Так называемая Хроника Фредегара // Свод древнейших письменных известий о славянах / Отв. ред. Л. А. Гиндин, Г. Г. Литаврин. М.: Издательская фирма «Восточная литература» РАН, 1995. Т. II. С. 364–397. Трифонов Ю.И. Об этнической принадлежности погребений с конем древнетюркского времени (в связи с вопросом о структуре погребального обряда тюрков–тугю // Тюркологический сборник 1972. / Отв. ред. А.Н. Кононов. М.: Наука, 1973. С. 351–374. Храпунов И.Н., Казанский М.М. Погребение № 114 на могильнике Нейзац (предгорный Крым) и древности кочевников Северного Причерноморья второй половины V — первой половины VI в. // КСИА. Вып. 238. М.: ИА РАН, 2015. С. 170–194. Шишманов И. Българите в “Orlando furioso” и въ по–старата френска драма // Български преглед. VI. Кн. 8. София: Придворна печатница, 1900. Година С. 67–84. Ceglia V. Campochiaro. La necropoli di Vicenne // L’oro degli Avari: popolo delle steppe in Europa. Milano: Inform, 2000. P. 212–221. Ceglia V. Campochiaro: la necropoli altomedievale di Vicenne (CB) // V Settimana beni culturali. Tutela. Catalogo della mostra. Matrice: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1989. P. 63–67. Ceglia V. Interventi di recupero dei siti sparsi e necropolis // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1994. Vol. 7. P. 17–20. Ceglia V. La Necropoli altomedioevale di Vicenne nel Comune di Campochiaro // Almanacco del Molise. Campobasso: Habacus Edithore,1989. Ed. 21, vol. II. P. 153–158. Ceglia V. La necropoli di Campochiaro (Italia) // Roma e i Barbari. La nascita di un nuovo mondo. Catalogo della Mostra (Venezia, 26 gennaio –20 luglio 2008) / A cura di J.J. Aillagon. Milano: Skira, 2008. P. 469–475. Ceglia V. Lo scavo della necropoli di Vicenne // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1988. Vol. 4. P. 31–48. Ceglia V. Necropoli di Vicenne // Studi sull’Italia dei Sanniti. Milano: Electa, 2000. P. 298–302. Ceglia V. Presenze funerarie di eta altomedievale in Molise. Le necropoli di Campochiaro e la tomba del cavaliere // I Longobardi del Sud. Roma: Giorgio Bretschneider Editore, 2010. P. 241–255. Ceglia V. Tomba bisoma 88 della necropoli di Campochiaro, localita Morrione // Il futuro dei longobardi. L 'Italia e la costruzione dell' Europa di Carlo Magno / A cura di С. Bertelli, G.P. Brogiolo. Milano: Skira, 2000. P. 80–81. Ceglia V. Varietа di infl ussi culturali nelle necropoli di Campochiaro. Considerazioni preliminari / I beni culturali nel Molise. Il Medioevo / A cura di De Benedittis G. Campobasso: Istituto regionale per gli studi storici del Molise “V. Cuoco”, 2004. P. 79–86. Ceglia V., Genito B. La necropoli altomedievale di Vicenne a Campochiaro // Samnium: Archeologia del Molisе. Roma: Quasar, 1991. P. 329–334. Ceglia V., Marchetta I. Nuovi dati dalla necropoli di Vicenne a Campochiaro // La trasformazione del mondo romano e le grandi migrazioni. Nuovi popoli dall'Europa settentrionale e centro–orientale alle coste del Mediterraneo / A cura di C. Ebanista, M. Rotili. Napoli: Tavolario Edizioni, 2012. P. 217–238. Chronicarum quae dicuntur Fredegarii Scholastici libri IV // MGH, Scriptores Rerum Merovingicarum / Ed. B. Krusch. Hannoverae: Impensis bibliopolii hahniani, 1888. T. 2. P. 1-193. Constitutiones et Acta Publica Imperatorum et Regum // MGH, Rerum Germanicarum Medii Aevi / Ed. L. Weiland. Hannoverae, Impensis bibliopolii hahniani, 1893. T. I, №. 333. P. 472–477. Curta F. Ethnicity in the Steppe Lands of the Northern Black Sea Region During The Early Byzantine Times // Archaeologia Bulgarica. 2019. T. ХХIII. P. 33–70. De Benedittis G. Di alcuni materiali altomedievali provenienti dal Molise centrale ed il problema topografi co della necropoli di Vicenne // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1988. Vol. 4. P. 103–108. De Benedittis G. Introduzione // Samnium: Archeologia del Molisе. Roma: Quasar, 1991. P. 325–328. De Marchi P.M. Modelli insediativi "militarizzati" d'eta longobarda in Lombardia // Citta, castelli, campagne nel territori di frontiera (secoli 6–7). Mantova: SAP Societa Archeologica S.r.l., 1995. P. 33–85. De Vingo P. Avari e slavi nel Friuli altomedievale secondo l’Historia Langobardorum di Paolo Diacono // Paolo Diacono e il Friuli alto medievale (secc. VI– X). Spoleto: Centro Italiano di studi sull’alto medioevo, 2001. P. 807–815. Ditten H. Protobulgaren und Germanen im 5.–7. Jahrhundert (vor der Grundung des ersten bulgarischen Reiches) // Bulgarian Historical Review. София: Институт за исторически изследвания, 1980. Vol. VIII, 3. P. 51–77. Donceva–Petkova L. Zur ethnischen Zugehörigkeit einiger Nekropolen des 11. Jahrhunderts in Bulgarien // Post–Roman Towns, Trade and Settlement in Europe and Byzantium / Ed. J. Henning. Berlin–New York: Walter de Gruyter, 2007. Vol. 2. S. 643–660. Ebanista C. Gli usi funerari nel ducato di Benevento: alcune considerazioni sulle necropoli campane e molisane di VI–VIII secolo // Archeologia e storia delle migrazioni: Europa, Italia, Mediterraneo fra tarda eta romana e alto medioevo (Giornate sulla tarda antichita e il medioevo, 3). Cimitile: Tavolario Edizioni, 2011. P. 337–364. Ebanista С. Tradizioni funerarie nel ducato di Benevento: l’apporto delle popolazioni alloctone // Nekropoli Longobarde in Italia. Atti del Convegno Internazionale 26–28.09.2011. Trento: Castello del Buonconsiglio, monumenti e collezioni provinciali, 2014. P. 445–471. Fedele A. La deposizione del cavallo nei cimiteri longobardi: dati e prime osservazioni // Archeologia dei Longobardi: dati e metodi per nuovi percorsi di analisi (Archeologia Barbarica, 1). Mantova: SAP Societa Archeologica s.r.l., 2017. P. 59–82. Fedele A., Marchetta I., Colombo D. Ritualita e rappresentazione funeraria nelle tombe di Vicenne (Campochiaro, CB). Una sintesi // Prima e dopo Alboino sulle trace dei Longobardi. Atti del Convegno internazionale di studi Cimitile–Nola–Santa Maria Capua Vetere. Cimitile: Guida, 2019. P. 295–314. Genito B. Archaeology of the Early medieval nomads in Italy: the horse–burials in Molise (7th century) south–central Italy // Kontakte zwischen Iran, Byzanz und der Steppe in 6.–7. Jh. / Hrsg. C. Balint (Varia Archaeologica Hungarica, IX). Budapest: Archaologisches Institut der UAW, 2000. P. 229–247. Genito B. Il Molise nell’altomedioevo: tra Mediterraneo ed Eurasia. Un’occasione perduta? // Miti e popoli del Mediterraneo antico. Scritti in onore di Gabriella d'Henry. Salerno: Tipografi a Fusco, 2014. P. 279–292. Genito B. Materiali e problemi // Conoscenze. Campobasso: Soprintendenza archeologica e per i beni ambientali, architettonici, artistici e storici del Molise, 1988. Vol. 4. P. 49–67. Genito B. Sepolture con cavallo da Vicenne (CB): un rituale nomadico di origine centroasiatica // I Congresso Nazionale di Archeologia Medievale (Pisa 29–31 maggio 1997) / A cura di S. Gelichi. Firenze: All'Insegna del Giglio, 1997. P. 286–289. Genito B. Tombe con cavallo a Vicenne // Samnium: Archeologia del Molisе. Roma: Quasar, 1991. P. 335–338. Giostra C. Il ducato longobardo di Ivrea: la grande necropoli di Borgomasino // Per il Museo di Ivrea. Lasezione archeologica del Museo Civico P.A. Garda / A cura di A. Gabucci, L. Pejrani Baricco, S. Ratto. Firenze: All’Insegna Giglio, 2014. P. 155–176. Hersak E. Vulgarum dux Alzeco // Casopis za zgodovino in narodopisje. Maribor: Izdajata univerza v Mariboru in Zgodovinsko drustvo v Mariboru, 2001. Let. 72 (37), 1–2. S. 269–278. Hodgkin T. Italy and her Invaders. Oxford: Clarendon Press, 1895. Vol. VI. 636 p. Jozsa L., Fothi E. Trepanalt koponyak a Karpat–medenceben (a leletek szambavetele, megoszlasa es lelohelyei) // Folia Anthropologica. Szombathely: Balogh es Tarsa Kft, 2007. T. 6. O. 5–18. Koch A. Uberlegungen zum Transfer von Schwerttrag– und –kampfesweise im fruhen Mittelalter am Beispiel chinesischer Schwerter mit p–förmigen Tragriemenhaltern aus dem 6.–8. Jahrhundert n. Chr. // Jahrbucher des Romisch–Germanischen Zentralmuseums. Mainz: RGZM, 1998. Bd. 45. S. 571–598. Kruger K.–H. Zur «beneventanischen» Konzeption der Langobardengeschichte des Paulus Diakonus // Fruhmittelalterliche studien. Berlin–New York: Walter de Gruyter, 1981. Bd. 15. P. 18–35. La Rocca C. Tombe con corredi, etnicita e prestigio sociale: l’Italia longobarda del VII secolo attraverso l’interpretazione archeologica // Archeologia e storia dei Longobardi in Trentino. Mezzolombardo: Comune di Mezzolombardo, 2009. P. 55–76. La Salvia V. La diffusione della staffa nell’area merovingia orientale alla luce delle fonti archeologiche // Temporis Signa. Spoleto: Fondazione Centro Italiano di studi sull’alto Medioevo, 2007. Vol. 2. P. 155–171. Laszlo O. Detailed Analysis of a Trepanation from the Late Avar Period (Turn of the 7th–8th Centuries—811) and Its Signifi cance in the Anthropological Material of the Carpathian Basin // International Journal of Osteoarchaeology. Published online in Wiley Online Library, 2016. Vol. 26–2. P. 359–365. Marchetta I. Ceramica ed Ethnos nelle tombe di Vicenne (Campochiaro, CB): il ritual funerario attraverso l’analisi del corredo vascolare // Le forme della crisi. Produzioni ceramiche e commerce nell’Italia centrale tra Romani e Longobardi (III–VIII sec. d.C.) / A cura di E. Cirelli, F. Diosono, H. Patterson. Bologna: Ante Quem, 2015. P. 663–671. Marchetta I. Il carattere composito del regno: le necropoli di Campochiaro (Campobasso) (cat. II.36–40) // Longobardi. Un popolo che cambia la storia. Schede mostra / A cura di G.P. Brogiolo, F. Marazzi, C. Giostra. Milano, Skira, 2017. P. 54–58. Mednikova M.B. Prehistoric Trepanations in Russia: Ritual or Surgical? // Trepanation: History, Discovery, Theory / Eds. R. Arnott, S. Finger, S. Smith C. Lisse: Swets & Zeitlinger, 2003. P. 163–174. Muratori L.A. Antiquitates Italicae medii Aevi, sive Dissertationes. Mediolani: Ex Typographia societatis Palatinae, 1740. T. III. 1242 coll.Pasqui U. Documenti per la storia della citta di Arezzo nel medio evo. Arezzo: G.P. Vieusseux, 1899. Vol. I. 576 p. Pauli historia Langohardorum // MGH. Scriptores rerum Langobardicarum et Italicarum saec. VI–IX / Ed. G. Waitz. Hannoverae: Impensis bibliopolii hahniani, 1878. Bd. I. P. 12–187. Pieri S. Toponomastica della Toscana meridionale (valli della Fiora, dell ‘Ombrone, della Cecina e fi umi minori) e dell‘Arcipelago Toscano. Siena: Accademia senese degli intronati, 1969. 472 p. Pohl W. Die Awaren. Ein Steppenvolk im Mittelalter. 567–822. Munchen: Verlag C.H. Beck, 1988. 529 p. Polverari A. Una Bulgaria nella Pentapoli. Longobardi, Bulgari e Sclavini a Senigallia. Senigallia: Pierfederici, 1969. 41 p. Premuzic Z., Rajic Sikanjic P., Rapan Papesa A. A case of Avar period trepanation from Croatia // Anthropological Review. Published online by De Gruyter, 2016. Vol. 79 (4). P. 471–482. Provesi C. Cavalli e cavalieri in Italia nell'Alto Medioevo (secc. V–X): studio della simbologia equestre attraverso fonti narrative, documentarie e archeologiche. Tesi di Dottorato. Venezia, 2013. Provesi C. I cavalieri e le loro donne, uno studio dei corredi funerari di VI–VII secolo // Univ. Degli studi di Verona. Verona, 2013. Доступно по URL: https://www.yumpu.com/it/document/view/16247410/chiara–provesi–scuola–superiore–di–studi–storici–geografi ci–(Дата обращения 04.12.2020) Provesi C. Uomini e cavalli in Italia meridionale da Cassiodoro ad Alzecone // Ipsam Nolam barbari vastaverunt: l’Italia e il Mediterraneo occidentale tra il V secolo e la metа del VI. Cimitile: Tavolario Edizioni, 2010. P. 97–111. Repetti E. Dizionario geografi co fi sico storico della Toscana. Firenze: Presso L’autore e editore, 1833. Vol. 1. 846 p. Rotili M. I Longobardi migrazioni, etnogenesi, insediamento // I Longobardi del Sud. Roma: Giorgio Bretschneider Editore, 2010. P. 1–77. Rubini M, Zaio P. Warriors from the East. Skeletal evidence of warfare from a Lombard–Avar cemetery in Central Italy (Campochiaro, Molise, 6th–8th Century AD) // Journal of Archaeological Science. Published online by Elsevier, 2011. Vol. 38. Issue 7. P. 1551–1559. Rubini M. Gli Avari in Molise. La necropoli di Campochiaro Morrione // ArcheoMolise. Associazione culturale ArcheoIdea. Isernia: Associazione culturale ArcheoIdea, 2009. T. II (apr.–giu. 2009). Р. 17–25. Rubini M. Il popolamento del Molise durante l’alto medioevo // I beni culturali nel Molise. Il Medioevo / A cura di De Benedittis G. Campobasso: Istituto regionale per gli studi storici del Molise “V. Cuoco”, 2004. P. 151–162. Sabatini F. Rifl essi linguistici della dominazione longobarda nell’Italia mediana e meridionale // Aristocrazie e societa fra transizione romano–germanica e alto medioevo. San Vitaliano: Tavolario Edizioni, 2015. P. 353–441. Sarno E. Campobasso da castrum a citta murattiana. Roma: Aracne, 2012. 324 p. Schneider F. Regestum Volaterranum. Regesten der Urkunden von Volterra (778–1303). Roma: Ermanno Loescher, 1907. 448 p. Staffa A.R. Una terra di frontiera: Abruzzo e Molise fra VI e VII Secolo // Citta, castelli, campagne nei territori di frontiera (secoli VI–VII) / A cura di G.P. Brogiolo. Мantova: Padus, 1995. P. 187–238. Staffa A.R. Bizantini e Longobardi fra Abruzzo e Molise (secc. VI–VII) / I beni culturali nel Molise. Il Medioevo / A cura di De Benedittis G. Campobasso: Istituto regionale per gli studi storici del Molise “V. Cuoco”, 2004. P. 215–248. Tomka P. Die Bestattungsformen der Awaren // Hunnen und Awaren. Reitervolker aus dem Osten. Burgenlandische Landesausstellung 1996 Schloss Halbturn vom 26. April bis 31. Oktober 1996. Begleitbuch und Katalog / Ed. F. Daim. Eisenstadt: Burgenland, Landesregierung, 1996. S. 384–387. Tornesi M. Presenze alloctone nell’Italia centrale: tempi, modalita e forme dell’organizzazione territorial nell’Abruzzo altomediale. Tesi di Dottorato. Roma: Sapienza universita’ di Roma, 2012. 275 p. Valenti M. Villaggi nell’eta delle migrazioni // I Longobardi. Dalla caduta dell’Impero all’alba dell’Italia / A cura di G.P. Brogiolo, A. Chavarria Arnau. Catalogo della mostra (Torino 28 settembre 2007–6 gennaio 2008). Milano: Silvana Editoriale, 2007. P. 151–158. Villa L. Il Friuli longobardo е gli Avari // L'oro degli Avari. Popolo delle steppe in Europa. Milano: Inform, 2000. P. 187–189. Wattenbach W. Deutschlands Geschichtsquellen im Mittelalter. Berlin: Verlag von Wilhelm Hertz, 1858. Vol. I. 478 p. Wattenbach W., Levison W., Lowe H. Deutschlands Geschichtsquellen im Mittelalter. Vorzeit und Karolinger. Weimar: Hermann Bohlaus nachfolger, 1953, Heft II. P. 157–290.

“1960 Sonrası Kadın Sanatçıların Baskıresimlerinde Beden İmgesi ” adlı bu araştırmada, Nancy Spero, Louis Bourgeous, Kiki Smith, Barbara Kruger, Maria Magdalena Campos Pons, Marilene Oliver’ın beden üzerine düşünüş biçimleri üzerine odaklanılmış ve baskıresim teknikleri ile oluşturdukları yapıtlarının teknik yaklaşımları incelenmiştir. Araştırmanın amacı doğrultusunda söz konusu sanatçıların kadın olarak bedeni ele alış biçimleri ve baskıresim sanatı içindeki bulundukları konumlarına vurgu yapılmıştır. Baskıresim tarihinin başlangıcından bugüne farklı biçimlerde ele alan ve beden imgesini irdeleyen döneminin önemli kadın sanatçıların baskıresim eserlerinde kendine özgü teknik anlayışların da çeşitlilik olması bakımından bu araştırma önem taşımaktadır. Nitel araştırma yöntemlerinin kullanıldığı çalışmada, konuya dair yazılı kaynakların yanı sıra elektronik ortamda da çeşitli kaynak taramaları yapılmıştır. Araştırma sonucu elde edilen veriler ışığında Nancy Spero, Louis Bourgeous, Kiki Smith, Barbara Kruger, Maria Magdalena Campos Pons ve Marilene Oliver’ın baskıresimlerindeki anlatımlarında yer bulan beden imgelerini baskıresmin teknik olanakları kapsamında da tercih biçimlerinde de oldukça sıra dışı yöntemlerle ele aldıkları görülmüştür

Este artigo pretende investigar a obra da artista contemporânea norte-americana Barbara Kruger, contextualizando o surgimento e desenvolvimento das artes da instalação e dos chamados "Site Specific Works", ferramentas frequentemente utilizadas pela artista. Serão igualmente investigadas algumas de suas matrizes artísticas, bem como o diálogo profícuo estabelecido com uma certa tradição, para a produção do que considero ser uma arte combativa e compósita, que amalgama e refuncionaliza elementos da publicidade, das artes visuais e da fotografia.

Este artigo apresenta uma análise dos trabalhos artísticos dos artistas Felix Gonzalez-Torres, Jeff Koons, Barbara Kruger e Gisele Beilgueman, a fim de compreender os processos de convergência entre a arte e a publicidade na contemporaneidade. Os trabalhos artísticos que permitem a convergência com outros campos, como o da publicidade, principalmente aqueles que ocorrem em espaços não institucionais, contribuem para o debate sobre a própria natureza artística. Consequentemente, percebe-se que o público não especializado tem acesso facilitado a essas obras, o que indica uma maior democratização da arte. Compreende-se também que, embora não exista uma fusão entre a arte e a publicidade, as fronteiras entre elas se apresentam menos distintas e hierarquizadas, ou seja, mais permeáveis.

Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary artwork examples, design arts, installations and conceptual art movements blurred the boundaries between art and typograph. Especially artists and designers started to use typography in their personal expressions as a post-modern art strategy and, as a result, typography became a hybrid form to assess in 21st century art practices and also a raison d’être to convey idea, thought and message. In this paper, by using the descriptive method, I will focuse on the relationship between typographic installation and contemporary graphic creativity. In this regard, evaluating Beatrice Warde’s philosophy along with the samples of typographic installation of artists such as Sheila Levrant de Bretteville, Stephen Doyle, Barbara Kruger etc. and a special museum Deportee Memorial Museum Carpi, will be helpful in order to compare the changes in the past and present approaches in typographic applications and it will be useful in order to understand today’s graphic creativity.

We live in an age in which everyday life is suspended within countless overlapping flows of information. Each of these overlapping flows operates as an immersive environment and as a discursive system of detection, analysis and visualization. To put it simply: all Google users, which is to say all users or all humans, since we have been redefined as users and we’re only valuable in as much as we are users, are treated simultaneously as researchers and consumers. Perhaps it is time to rephrase Barbara Kruger’s truism I shop therefore I am, into I research therefore I am.

The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas). This paper argues how a true and fruitful harmony between liturgy and popular piety is achieved in the Sabuaga Festival. Hence, the researcher articulates the following, namely: First, the dimensions of the Sabuaga Festival that make it an expression of popular piety. Second, the principles offered by DPPL for the true and fruitful harmonization of liturgy and popular piety. Third, the pastoral action plan, entitled: “An Authentic Pastoral Action of the Liturgy: Towards Building upon the Riches of the Sabuaga as a Popular Piety,” which provides suitable catechesis for the harmonization of Liturgy and Popular Piety in the Sabuaga Festival. References Archdiocese of Saint Paul and Minneapolis, “What Is ‘Liturgy’? Why Is It Important?” Accessed last March 29, 2021 from https://www.archspm.org/faith-and-discipleship/catholic-faith/what-is-liturgy-why-is-it-important/. Benedict XVI, Jesus of Nazareth. Holy Week: From the Entrance into Jerusalem to the Resurrection. London: Catholic Truth Society. Catholic Church. Catechism of the Catholic Church: Revised in Accordance with the Official Latin Text Promulgated by Pope John Paul II. Vatican City: Libreria Editrice Vaticana, 1997. Catholic Bishops’ Conference of the Philippines. Acts and Decrees of the Second Plenary Council of the Philippines. Manila: CBCP, 1992. Catholic Bishops’ Conference of the Philippines. Catechism for Filipino Catholics. Manila: ECCCE Word and Life Publications, 2008. Robert E. Alvis. “The Tenacity of Popular Devotions in the Age of Vatican II: Learning from the Divine Mercy,” Religions 12, 1 (2021): 65. https://doi.org/10.3390/rel12010065 Catholic Culture. “Catholic Activity: Liturgy of Easter Sunday and the Octave of Easter,” Accessed March 16, 2021 from https://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1044. Chupungco, Anscar J. “Liturgical Inculturation: The Future That Awaits Us.” Accessed last 3 April 2021 from https://www.valpo.edu/institute-of-liturgical-studies/files/2016/09/chupungco2.pdf. Cole, Father. “St. John Damascene: Holy Pictures to the Rescue!” National Catholic Register. Last modified December 1, 1996. Accessed last March 31, 2021 from https://www.ncregister.com/news/st-john-damascene-holy-pictures-to-the-rescue. Coffey, David. “The Common and the Ordained Priesthood,” Theological Studies 58 (1997). Congregation for Divine Worship and Discipline of the Sacraments. Directory on Popular Piety and the Liturgy, Principles, and Guidelines. Promulgated on December 2001. Accessed from http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20020513_vers-direttorio_en.html Deguma, Jabin J. Melona S. Case, and Jemima N. Tandag. “Popular Religiosity: Experiencing Quiapo and Turumba.” American Research Journal of Humanities & Social Science Vol. 2, 6 (June 2019). https://www.researchgate.net/publication/337158384_Popular_Religiosity_Experiencing_Quiapo_and_Turumba Duggan, Robert D. “Good Liturgy: The Assembly,” America: The Jesuit Review. Last modified, 1 March 2004. Accessed last 4 April 2021 from https://www.americamagazine.org/issue/475/article/good-liturgy-assembly Ecclesia in Asia, Post Synodal Exhortation solemnly promulgated by His Holiness: John Paul II on November 6, 1999. Accessed last March 29, 2021 from http://www.vatican.va/content/john-paul-ii/en/apost_exhortations/documents/hf_jp- ii_exh_06111999_ecclesia-in-asia.html. Estevez, Jorge Arturo Medina. “Popular Piety And The Life Of Faith,” Catholic Culture. Accessed March 31, 2021 from https://www.catholicculture.org/culture/library/view.cfm?recnum=4614. Evangelii Gaudium. Apostolic Exhortation on the Proclamation of the Gospel in Today’s World of the His Holiness Pope Francis promulgated on 24 November 2013. Accessed last 4 April 2021 from http://www.vatican.va/content/francesco/en/apost_exhortations/documents/papa-francesco_esortazione-ap_20131124_evangelii-gaudium.html#The_evangelizing_power_of_popular_piety Evangelii Nuntiandi Apostolic Exhortation, solemnly promulgated by His Holiness Pope Paul VI on December 8, 1975. Accessed last 30 March 2021 from http://www.vatican.va/content/paul-vi/en/apost_exhortations/documents/hf_p-vi_exh_19751208_evangelii-nuntiandi.html. Fifth General Conference of the Bishops of Latin America and the Caribbean convened in Aparecida (Brazil), from May 13 to 31, 2007. 258-265. Gueguen, John. “Jesus of Nazareth from Baptism in the Jordan to the Transfiguration Joseph Ratzinger-Pope Benedict XVI." Accessed last 14 March 2021, from http://my.ilstu.edu/~jguegu/BenedictXVIPart2.pdf?fbclid=IwAR2Ehr2_33BasxvvDnOGBEqaEz0VajyxpzfO2FYCq5Vi-j0et09a_St2PiU Graduateway. “Popular Piety: Emotive Christianity in Medieval Society Example.” Accessed last 11 December 2020 from https://graduateway.com/popular-piety-emotive-christianity-in-medieval-society/. Guardini, Romano. “The Spirit of the Liturgy.” Accessed last March 31, 2021 from https://www.ewtn.com/catholicism/library/spirit-of-the-liturgy-11203. Ivan About Town. “Pampanga: Easter Sunday Salubong, Pusu-Puso, and Sagalas of Santo Tomas.” Last modified, 6 April 2010. Accessed last 5 April 2021, from https://www.ivanhenares.com/2010/04/pampanga-easter-sunday-salubong-pusu.html Keenan OP, Oliver James. New Series: Popular Piety,” The Dominican Friars – England and Scotland. Last modified 18 October 2013. Accessed last March 30, 2021 from https://www.english.op.org/godzdogz/new-series-popular-piety Krueger, Derek. “The Religion of Relics in Late Antiquity and Byzantium,” in Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, eds. Martina Bagnoli, Holger A. Klein, C Griffith Mann, and James Robinson. London: The British Museum Press, 2011. Kroeger, James H. “Popular Piety: Some Missiological Insights,” Japan Mission Journal Vol. 70, 4 (Winter 2016). Lumen Gentium. Dogmatic Constitution on the Church, solemnly promulgated by His Holiness Pope Paul VI on November 21, 1964. Accessed last March 30, 2021 from http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19641121_lumen-gentium_en.html. McEvoy, Bernice. “Why Do Catholics Wear Medals, Scapulars &amp; Venerate Relics?” St Martin Apostolate. Last modified July 8, 2019. Accessed last 4 April 2021 from https://www.stmartin.ie/why-do-catholics-wear-medals-scapulars-venerate-relics/. Mirus, Jeff. “Vatican II on the Liturgy: Particular Norms and the Eucharist,” Catholic Culture. Last modified 11 February 2010. Accessed last March 29, 2021 from https://www.catholicculture.org/commentary/vatican-ii-on-liturgy-particular-norms-eucharist/. Musicam Sacram, Second Vatican Ecumenical Council Instruction on Music in the Liturgy solemnly promulgated on 5 March 1967. Accessed last 4 April 2021 from http://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_instr_19670305_musicam-sacram_en.html Piotr, Roszak. and Sławomir Tykarski. “Popular Piety and Devotion to Parish Patrons in Poland and Spain, 1948–98” Religions 11, 658 (2020): doi:10.3390/rel11120658 Plese, Matthew. “A Catholic Guide to Relics: What Kinds Are There and Why Do We Honor Them?” The Fatima Center. Accessed last 1 March 2020 from https://fatima.org/news-views/catholic-apologetics-58/. __________. “The Importance of Kneeling and Prostrations,” The Fatima Center. last modified June 15, 2020. Accessed last 4 April 2021 from https://fatima.org/news-views/the-importance-of-kneeling-and-prostrations/. Pontifical Council for Culture, Towards a Pastoral Approach to Culture. Promulgated in 1999. Accessed last 4 April 2021 from https://www.vatican.va/roman_curia/pontifical_councils/cultr/documents/rc_pc_pc-cultr_doc_03061999_pastoral_en.html. Ratzinger, Joseph Cardinal. God and the world: believing and living in our time: A Conversation with Peter Seewald. Translated by Henry Taylor. San Francisco, CA: Ignatius Press, 2002. __________. “Sacred Places: The Altar and the Direction of Liturgical Prayer,” The Institute for Sacred Architecture. Accessed last March 31, 2021 from https://www.sacredarchitecture.org/articles/the_altar_and_the_direction_of_liturgical_prayer/. Rosales, Daniel Montoya. “The Influence of the Missionary Heritage on Liturgical Forms.” International Review of Missions, 74, 295 (July 1985): 373-376. https://doi.org/10.1111/j.1758-6631.1985.tb02595.x Sacramentum Caritatis. Post-Synodal Apostolic Exhortation on the Eucharist as the Source and Summit of the Church's Life and Mission, solemnly promulgated by His Holiness Benedict XVI on 22 February 2007. Accessed March 29, 2021 from https://www.vatican.va/content/benedict-xvi/en/apost_exhortations/documents/hf_ben-xvi_exh_20070222_sacramentum-caritatis.html#Actuosa_participatio Sacrosanctum Concilium. Constitution on Sacred Liturgy, solemnly promulgated by His Holiness Pope Paul VI on December 4, 1963. Accessed last 1 April 2021 from https://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19631204_sacrosanctum-concilium_en.html Saunders, William. “Icons and Sacred Images,” Catholic Exchange. Last modified January 19, 2017. Accessed last 4 April 2021 from https://catholicexchange.com/icons-sacred-images-2. Salvador, Ryan. “Some Reflections on Theology and Popular Piety: A Fruitful or Fraught Relationship?” HeyJ 53 (2012): 961–971. Scheuman, Joseph. “Five Truths About the Incarnation,” Desiring God. Last Modified 25 December 2013. Accessed last March 31, 2021 from https://www.desiringgod.org/articles/five-truths-about-the-incarnation. Sheehan, Peter C. “Role of Music in Liturgy.” Academia.edu. Accessed March 31, 2021. https://www.academia.edu/12569062/Role_of_Music_in_Liturgy. Stroik, Duncan G., and Barbara J. Elliott, James Fitzmaurice, et al. “The Church Building as Sacred Place: Beauty, Transcendence & Eternal,” The Imaginative Conservative. Last modified August 13, 2019. Accessed last 4 April 2021 from https://theimaginativeconservative.org/2013/02/the-church-building-as-sacred-place.html. Synod of Bishops XIII Ordinary General Assembly The New Evangelization for the Transmission of the Christian Faith, Instrumentum Laboris" promulgated in 2012. Accessed last March 30, 2021 from http://www.vatican.va/roman_curia/synod/documents/rc_synod_doc_20120619_instrumentum-xiii_en.html. Szylak, Paweł. “Popular Piety: Processions,” The Dominican Friars – England and Scotland. Last modified 14 January 2014. Accessed March 31, 2021. https://www.english.op.org/godzdogz/popular-piety-processions. Theodula and Popular Religiosity. “Liturgy and Popular Religiosity: Historical Perspective,” accessed last 4 April 2020 from https://theologicaldramatics.wordpress.com/popular-religiosity/02-popular-religionreligiosity-and-official-liturgy/notes-mark-francis-csv/ Theodula and Popular Religiosity. “Debosyon.” Accessed last 4 April 2021 from https://theologicaldramatics.wordpress.com/liturgy-popular-piety-religiosity-in-the-magisterium/ Thompson, O.P Augustine. “The Dominican Venia and Kissing the Scapular.” New Liturgical Movement. Last modified 5 July 2008. Accessed March 31, 2021 from http://www.newliturgicalmovement.org/2008/07/dominican-venia-and-kissing-scapular.html#.YGQCrZMzbe0. Appendix: SC- Sacrosanctum Concilium CCC- Catechism of the Catholic Church DPPL- Directory on Popular Piety and the Liturgy YOUCAT- Youth Catechism EG- Evangelii Gaudium

Introduction The term monster might have its roots in the Latin word monere (to warn), but it has since evolved to have various symbolic meanings, from a terrifying mythical creature to a person of extreme cruelty. No matter the flexibility in use, the term is mostly meant to be derogatory (Asma). As Gilmore puts it, monsters “embody all that is dangerous and horrible in the human imagination” (1). However, it may be argued that monsters sometimes perform the much-needed work of defining and policing our norms (Mittman and Hensel). Since their archetype is predisposed to transgressing boundaries of human integrity (Gilmore), they help establish deviation between human and in-human. Their cognition and action are considered ‘other’ (Kearney) and a means with which people can understand what is right and wrong, and what is divergent from appropriate ways of being. The term monster need not even refer to the werewolves, ogres, vampires, zombies and the like that strike fear in audiences through their ‘immoral, heinous or unjust’ appearance or behaviours. Rather, the term monster can be, and has been, readily applied as a metaphor to describe the unthinkable, unethical, and brutal actions of human beings (Beville 5). Inadvertently, “through their bodies, words, and deeds, monsters show us ourselves” (Mittman and Hensel 2), or what we consider monstrous about ourselves. Therefore, humans acting in ways that deviate from societal norms and standards can be viewed as monstrous. This is evident in the representations of public relations practitioners in media offerings. In the practice of public relations, ethical standards are advocated as the norm, and deviating from them considered unprofessional (Fawkes), and as we contend: monstrous. However, the practice has long suffered a negative stereotypical perception of being deceptive, and with public relations roles receiving less screen time than shows and films about lawyers, accountants, teachers and the like, these few derogatory depictions can distort how audiences view the occupation (Johnston). Depictions of professions (lawyers, cops, journalists, etc.) tend to be cliché, but our contention is that fewer depictions of public relations practitioners on screen further limit the possibility for diverse depictions. The media can have a socialising impact and can influence audiences to view the content they consume as a reflection of the real world around them (Chandler). Television, in particular, with its capacity to prompt heuristic processing in audiences (Shurm), has messages that can be easily decoded by people of various literacies as they become immersed in the viewing experiences (Gerbner and Gross). These messages gain potency because, despite being set in fictional worlds, they can be understood as reflective of the world and audiences’ experiences of it (Gerbner and Gross). Tsetsura, Bentley, and Newcomb add that popular stories recounted in the media have authoritative power and can offer patterns of meaning that shape individual perceptions. Admittedly, as Stuart Hall suggests, media offerings can be encoded with ideologies and representations that are considered appropriate according to the dominant elite, but these may not necessarily be decoded as preferred meanings. In other words, those exposed to stories of monstrous public relations practitioners can agree with such a position, oppose this viewpoint, or remain neutral, but this is dependent on individual experiences. Without other frames of reference, it could be that viewers of negative portrayals of public relations accept the encoded representation that inevitably does a disservice to the profession. When the representations of the field of public relations suggest, inaccurately, that the industry is dominated by men (Johnston), and women practitioners are shown as slick dressers who control and care little about ethics (Dennison), the distortions can adversely impact on the identities of public relations practitioners and on how they are collectively viewed (Tsetsura et al.). Public relations practitioners view this portrayal as the ‘other’ and tend to distance the ideal self from it, continuing to be stuck in the dichotomy of saints and sinners (Fawkes). Our observation of television offerings such as Scandal, Flack, Call My Agent!, Absolutely Fabulous, Sex and the City, You’re the Worst, and Emily in Paris reveals how television programmes continue to perpetuate the negative stereotypes about public relations practice, where practitioners are anything but ethical—therefore monstrous. The characters, mostly well-groomed women, are shown as debased, liars and cheaters who will subvert ethical standards for personal and professional gain. Portrayals of Public Relations Practitioners in Television and Media According to Miller, the eight archetypical traits identified in media representations of public relations practitioners are: ditzy, obsequious, cynical, manipulative, money-minded, isolated, accomplished, or unfulfilled. In later research, Yoon and Black found that television representations of public relations tended to suggest that people in these roles were heartless, manipulative bullies, while Lambert and White contend that the depiction of the profession has improved to be more positive, but nonetheless continues to do a disservice to the practice by presenting female workers, especially, as “shallow but loveable” (18). We too find that public relations practitioners continue to be portrayed as morally ambiguous characters who are willing to break ethical codes of conduct to suit the needs of their clients. We discuss three themes prevalent as popular tropes in television programmes that characterise public relations practitioners as monstrous. To Be or Not to Be a Slick and Skilful Liar? Most television programmes present public relations practitioners as slick and skilful liars, who are shown as well-groomed and authoritative, convinced that they are lying only to protect their clients. In fact, in most cases the characters are shown to not only believe but also advocate to their juniors that ‘a little bit of lying’ is almost necessary to maintain client relationships and ensure campaign success. For example, in the British drama Flack, the main character of Robyn (played by Anna Paquin) is heard advising her prodigy “just assume we are lying to everyone”. The programmes also feature characters who are in dilemma about the monstrous expectations from their roles, struggling to accept that that they engage in deception as part of their jobs. However, most of them are presented as somewhat of an ugly duckling or the modest character in the programme, who is not always rational or in an explicit position of power. For example, Emily from Emily in Paris (played by Lily Collins), while working as a social media manager, regularly questions the approaches taken by the firm she works for. Her boss Sylvie Grateux (played by Philippine Leroy-Beaulieu), who embodies the status quo, is constantly disapproving of Emily’s lack of sophisticated self-presentation, among other aspects. In the episode ‘Faux Amis’, Sylvie quips “it’s not you personally. It’s everything you stand for. You’re the enemy of luxury because luxury is defined by sophistication and taste, not emilyinparis”. Similarly, in the first episode of Call My Agent!, Samuel Kerr (played by Alain Rimoux), the head of a film publicity firm, solves the conundrum faced by his anxious junior Gabriel (played by Grégory Montel) by suggesting that he lie to his client about the real reason why she lost the film. When a modestly dressed Gabriel questions how he can lie to someone he cares for, Samuel, towering over him in an impeccable suit and a confident demeanour, advises “who said anything about lying? Don’t lie. Simply don’t tell her the truth”. However, the subtext here is that the lie is to protect the client from unnecessary hurt and in doing so nurtures the client relationship. So, it lets the audience decide the morality of lying here. It may be argued that moral ambiguity may not necessarily be monstrous. Such grey characters are often crafted because they allow audiences to relate more readily to themselves by encouraging what Hawkins refers to as mental play. Audiences are less interested in the black and white of morality and veer towards shows such as Call My Agent! where storylines hone in on the need to do bad for the greater good. In these ways, public relations practitioners still transgress moral standards but are less likely to be considered monstrous because the impact and effect on others is utilitarian in nature. It is also interesting to note that in these programmes physical appearance is made to play a crucial role in showcasing the power and prestige of the senior public relations practitioner. This focus on attire can tend to further perpetuate unfavourable stereotypes about public relations practitioners being high income earners (Grandien) who are styled with branded apparel but lacking in substance and morals (Fröhlich and Peters). Promiscuous Women The urge to attract audiences to a female character can also lead to developing and cementing unfavourable stereotypes of public relations practitioners as uninhibited women who live on blurred lines between personal and professional. These characters are not portrayed as inherently bad, but instead are found to indulge in lives of excess. In her definition of the monstrous, Arumugam suggests that excess and insatiable appetites direct the monster’s behaviour, and Kearney outlines that this uncontainable excess is what signals the difference between humans and others. Such excess is readily identifiable in the character of Patsy Stone (played by Joanna Lumley) in Absolutely Fabulous. She is an alcoholic, regularly uses recreational drugs, is highly promiscuous, and chain-smokes throughout the series. She is depicted as prone to acting deceptively to maintain her vices. In Flack, Robyn is shown as regularly snorting cocaine and having sex with her clients. Those reviewing the show highlight how it will attract those interested in “its dark, acidic sense of humour” (Greene) while others condemn it because it emphasises the “depraved publicist” trope (Knibbs) and call it “one of the worst TV shows ever made” even though it is trying to highlight concerns raised in the MeToo movement about how men need to respect women (McGurk). Female characters such as Robyn, with her willingness to question why a client has not tried to sleep with her, appear to undermine the empowerment of the movement rather than support it, and continue to maintain the archetypes that those working in the field of public relations abhor. Similarly, Samantha Jones (played by Kim Cattrell) of Sex and the City is portrayed as sexually liberated, and in one episode another character describes Samantha’s vagina as “the hottest spot in town: it’s always open”. In many ways Samantha’s sexual behaviour reflects a post-feminist narrative of empowerment, agency, and choice, but it could also be read as a product of being a public relations practitioner frequenting parties and bars as she rubs shoulders with clients, celebrities, and high-profile businesspeople. To this end, Patsy, Samantha, and Robyn glamourise public relations and paint it as simply an extension of their liberated and promiscuous selves, with little care for any expectation of professionalism or work ethic. This is also in stark contrast to the reality, where women often tend to occupy technical roles that see much of their time spent in doing the hard yards of publicity and promotion (Krugler). Making Others Err Public relations practitioners are not just shown as being morally ambiguous themselves, but often quite adept at making others do deceitful acts on their behalf, thus nonchalantly oppressing others to get their way. For example, although lauded for elevating an African-American woman to the lead role despite the show maintaining misrepresentations of race (Lambert), the main character of Olivia Pope (played by Kerry Washington) in the television programme Scandal regularly subverts the law for her clients despite considering herself one of the “good guys” and wearing a “white hat”. Over the course of seven seasons, Olivia Pope is found to rig elections, plant listening devices in political figures’ offices, bribe, threaten, and conduct an affair with the President. In some cases, she calls on the services of her colleague Huck to literally, and figuratively, get rid of the barriers in the way of protecting her clients. For example, in season one’s episode Crash and Burn she asks Huck to torture a suspect for information about a dead client. Her willingness to request such actions of her friend and colleague, regardless of perceived good motivations, reinforces Mittman’s categorisation that monsters are identified by their effect and impact on others. Here, the impact includes the torturing of a suspect and the revisiting of psychological trauma by Huck’s character. Huck struggles to overcome his past as a killer and spends much of the show trying to curb his monstrous tendencies which are often brought on by PR woman Olivia’s requests. Although she is sometimes striving for justice, Olivia’s desire for results can lead her to act monstrously, which inadvertently contributes to the racist and sexist ideologies that have long been associated with monsters and perceptions of the Other. Across time and space, certain ethnic groups, such as those of African descent, have been associated with the demonic (Cohen). Similarly, all that is feminine often needs to be discarded as the monster to conform to the patriarchal order of society (Creed). Therefore, Olivia Pope’s monstrous behaviour not only does a disservice to representations of public relations practitioners, but also inadvertently perpetuates negative and inaccurate stereotypes about women of African American descent. Striving to be Ethical The majority of public relations practitioners are encouraged, and in some cases expected, to conform to ethical guidelines to practice and gain respect, admiration, and in-group status. In New Zealand, those who opt to become members of the Public Relations Institute of New Zealand (PRINZ) are required to abide by the association’s code of ethics. The code stipulates that members are bound to act in ways that serve public interests by ensuring they are honest, disclose conflict of interests, follow the law, act with professionalism, ensure openness and privacy are maintained, and uphold values of loyalty, fairness, and independence (PRINZ). Similarly, the Global Alliance of Public Relations and Communication Management that binds practitioners together identifies nine guiding principles that are to be adhered to to be recognised as acting ethically. These include obeying laws, working in the public’s interest, ensuring freedom of speech and assembly, acting with integrity, and upholding privacy in sensitive matters (to name a few). These governing principles are designed to maintain ethical practice in the field. Of course, the trouble is that not all who claim to practice public relations become members of the local or global governing bodies. This implies that professional associations like PRINZ are not able to enforce ethics across the board. In New Zealand alone, public relations consultants have had to offer financial reparations for acting in defamatory ways online (Fisher), or have been alleged to have bribed an assault victim to prevent the person giving evidence in a court case (Hurley). Some academics have accused the industry of being engaged in organised lying (Peacock), but these are not common, nor are these moral transgressors accepted into ethical bodies that afford practitioners authenticity and legitimacy. In most cases, public relations practitioners view their role as acting as the moral conscience of the organisations they support (Schauster, Neill, Ferrucci, and Tandoc). Furthermore, they rated better than the average adult when it came to solving ethical dilemmas through moral reasoning (Schuaster et al.). Additionally, training of practitioners through guidance of mentors has continued to contribute to the improved ethical ratings of public relations. What these findings suggest is that the monsters of public relations portrayed on our television screens are exaggerations that are not reflective of most of the practice. Women of Substance, But Not Necessarily Power Exploring the role of women in public relations, Topic, Cunha, Reigstad, Jele-Sanchez, and Moreno found that female practitioners were subordinated to their male counterparts but were found to be more inclined to practice two-way communication, offer balanced perspectives, opt to negotiate, and build relationships through cooperation. The competitiveness, independence, and status identified in popular media portrayals were found to be exhibited more by male practitioners, despite there being more women in the public relations industry than men. As Fitch argues, popular culture continues to suggest that men dominate public relations, and their preferred characteristics end up being those elements that permeate the media messages, regardless of instances where the lead character is a woman or the fact that feminist values of “loyalty, ethics, morality, [and] fairness” are advocated by female practitioners in real life (Vardeman-Winter and Place 333). Additionally, even though public relations is a feminised field, female practitioners struggle to break the glass ceiling, with male practitioners dominating executive positions and out-earning women (Pompper). Interestingly, in public relations, power is not just limited due to gender but also area of practice. In her ethnographic study of the New Zealand practice, Sissons found that practitioners who worked in consultancies were relatively powerless vis-à-vis their clients, and often this asymmetry negatively affected the practitioner’s decision-making. This implies that in stark contrast to the immoral, glamourous, and authoritative depiction of public relations women in television programmes, in reality they are mired by the struggles of a gendered occupation. Accordingly, they are not in fact in a position to have monstrous power over and impact on others. Therefore, one of the only elements the shows seem to capture and emphasise is that public relations is an occupation that specialises in image management; but what these shows contribute to is an ideology that women are expected to look and carry themselves in particular ways, ultimately constructing aesthetic standards that can diminish women’s power and self-esteem. Conclusion Miller’s archetypes may be over twenty years old, but the trend towards obsequious, manipulative, and cynical television characters remains. Although there have been identifiable shifts to loveable, yet shallow, public relations practitioners, such as Alexis Rose on Schitt’s Creek, the appeal of monstrous public relations practitioners remains. As Cohen puts it, monsters reveal to audiences “what a member of that society can become when those same dictates are rejected, when the authority of leaders or customs disintegrates and the subordination of individual to hierarchy is lost” (68). In other words, audiences enjoy watching the stories of metaphorical monsters because they exhibit the behaviours that are expected to be repressed in human beings; they depict what happens when the social norms of society are disturbed (Levina and Bui). At the very least, these media representations can act, much as monster narratives do, as a cautionary tale on how not to think and act to remain accepted as part of the in-group rather than being perceived as the Other. As Mittman and Hensel argue, society can learn much from monsters because monsters exist within human beings. According to Cohen, they offer meaning about the world and can teach audiences so they can learn, in this case, how to be better. Although the representations of public relations in television can offer insights into roles that are usually most effective when they are invisible (Chorazy and Harrington), the continued negative stereotypes of public relations practitioners can adversely impact on the industry if people are unaware of the practices of the occupation, because lacking a reference point limits audiences’ opportunities to critically evaluate the media representations. This will certainly harm the occupation by perpetuating existing negative stereotypes of charming and immoral practitioners, and perhaps add to its struggles with gendered identity and professional legitimacy. References Absolutely Fabulous. Created by Jennifer Saunders and Dawn French. Saunders and French Productions, 1992-1996. Arumugam, Indira. “Gods as Monsters: Insatiable Appetites, Exceeding Interpretations and a Surfeit of Life.” Monster Anthropology. Eds. Yasmine Musharbash and Geir Henning Presterudstuen. Routledge, 2020. 44-58. Asma, Stephen, T. On Monsters: An Unnatural History of Our Worst Fear. Oxford UP, 2009. Beville, Maria. The Unnameable Monster in Literature and Film. Routledge, 2013. Call My Agent! Created by Fanny Herrero. France Televisions, 2015-2020. Chandler, Daniel. Cultivation Theory. Aberystwyth U, 1995. 5 Aug. 2021 <http://visual-memory.co.uk/daniel//Documents/short/cultiv.html>. Chorazy, Ella, and Stephen Harrington. “Fluff, Frivolity, and the Fabulous Samantha Jones: Representations of Public Relations in Entertainment.” Entertainment Values. Ed. Stephen Harrington. Palgrave, 2017. Cohen, Jeffrey J. Monster Theory. U of Minnesota P, 1996. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Routledge, 1993. Dennison, Mikela. An Analysis of Public Relations Discourse and Its Representations in Popular Culture. Masters Thesis. Auckland: Auckland University of Technology, 2012. Emily in Paris. Created by Darren Starr. Darren Starr Productions, 2020-present. Fawkes, Johanna. “A Jungian Conscience: Self-Awareness for Public Relations Practice.” Public Relations Review 41.5 (2015): 726-33. Fisher, David. “’Hit’ Jobs Case: PR Consultant Apologises and Promises Cash to Settle Defamation Case That Came from Dirty Politics”. New Zealand Herald, 3 Mar. 2021. 7 July 2021 <https://www.nzherald.co.nz/nz/hit-jobs-case-pr-consultant-apologises-and-promises-cash-to-settle-defamation-case-that-came-from-dirty-politics/C4KN5H42UUOCSXD7OFXGZ6YCEA/>. Fiske, John. Television Culture. Routledge, 2010. Fitch, Kate. “Promoting the Vampire Rights Amendment: Public Relations, Postfeminism and True Blood”. Public Relations Review 41.5 (2015): 607-14. Flack. Created by Oliver Lansley. Hat Trick Productions, 2019-2021. Fröhlich, Romy, and Sonja B. Peters. “PR Bunnies Caught in the Agency Ghetto? Gender Stereotypes, Organizational Factors, and Women’s Careers in PR Agencies.” Journal of Public Relations Research 19.3 (2007): 229-54. Gerbner, George, and Larry Gross. “Living with Television: The Violence Profile”. Journal of Communication 26.2 (1976): 172-99. Gilmore, David D. Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors. U of Pennsylvania P. Global Alliance for Public Relations and Communication Management. Code of Ethics. 14 Mar. 2021. <https://www.globalalliancepr.org/code-of-ethics>. Greene, Steve. “Flack: Amazon Resurfaced the Show’s First Season at Just the Right Time.” IndieWire, 22 Jan. 2021. 7 July 2021 <https://www.indiewire.com/2021/01/flack-review-amazon-prime-video-anna-paquin-1234610509/>. Hall, Stuart. “Encoding/Decoding”. Culture, Media, Language. Eds. Stuart Hall, Doothy Hobson, Andrew Lowe, and Paul Willis. Routledge, 1980. 128-138. Hawkins, Gay. “The Ethics of Television”. International Journal of Cultural Studies 4.4 (2001): 412-26. Hurley, Sam. “The PR Firm Hired to Do a Rich-Lister’s Dirty Work”. New Zealand Herald, 30 Mar. 2021. 5 July 2021 <https://www.nzherald.co.nz/business/inside-story-the-pr-firm-hired-to-do-a-rich-listers-dirty-work-and-make-a-court-case-disappear/7FKKEADHWIBT64POKDH3ADEDE4/>. Johnston, Jane. “Girls on Screen: How Film and Television Depict Women in Public Relations.” PRism 7.4 (2010): 1-16. Kearney, Richard. Strangers, Gods and Monsters: Interpreting Otherness. London: Routledge, 2003. Knibbs, Kate. “A Brief Pop Cultural History of the Publicist.” The Ringer 27 Feb. 2019. 7 July 2021 <https://www.theringer.com/tv/2019/2/27/18241636/flack-publicists-pop-culture>. Krugler, Elizabeth. Women in Public Relations: The Influence of Gender on Women Leaders in Public Relations. Masters Thesis. Iowa State University, 2017. Lambert, Cheryl Ann. “Post-Racial Public Relations on Primetime Television: How Scandal Represents Olivia Pope.” Public Relations Review 43.4 (2017): 750-54. Lambert, Cheryl Ann, and Candace White. “Feminization of the film? Occupational Roles of Public Relations Characters in Movies.” Public Relations Journal 6.4 (2012): 1-24. Levina, Marina, and Diem-My Bui. “Introduction”. In Monster Culture in the 21st Century. Eds. Marina Levina and Diem-My Bui. Bloomsbury, 2013. 1-13. McGurk, Stuart. “PR Drama Flack Might Be One of the Worst TV Shows Ever Made.” GQ Magazine 19 Feb. 2019. 7 July 2021 <https://www.gq-magazine.co.uk/article/flack-tv-show-review>. Miller, Karen S. “Public Relations in Film and Fiction: 1930 to 1995.” Journal of Public Relations Research 11.1 (1999): 3-28. Mittman, Asa Simon. “Introduction: The Impact of Monsters and Monster Studies.” The Ashgate Research Companion to Monsters and the Monstrous. Eds. Asa Simon Mittman and Peter Dendle. London: Ashgate, 2012. 1-14. Mittman, Asa Simon, and Marcus Hensel. “Introduction: A Marvel of Monsters.” Primary Sources on Monsters: Demonstrare Volume Two. Eds. Asa Simon Mittman and Marcus Hensel. Leeds: Arc Humanities P, 2018. 1-6. Peacock, Colin. “Expert Says PR Needs an Ethical Upgrade.” Radio New Zealand 22 Sep. 2019. 7 July 2021 <https://www.rnz.co.nz/national/programmes/mediawatch/audio/2018713710/expert-says-pr-needs-an-ethical-upgrade\ >. Pompper, Donnalyn. “Interrogating Inequalities Perpetuated in a Feminized Field: Using Critical Race Theory and the Intersectionality Lens to Render Visible That Which Should Not Be Disaggregated.” Gender and Public Relations: Critical Perspectives on Voice, Image and Identity. Eds. Christine Daymon and Kristin Demetrious. London: Routledge, 2013. 67-86. Public Relations Institute of New Zealand. Code of Ethics. 14 March 2021. <https://prinz.org.nz/wp-content/uploads/2020/11/PRINZ-Code-of-Ethics-2020.pdf>. Scandal. Created by Shonda Rimes. ABC Studios, 2012-2018 Sex and the City. Created by Darren Starr. HBO Entertainment, 1998-2004. Schitt’s Creek. Created by Eugene and Dan Levy. Not a Real Company Productions, 2015-2020. Schauster, Erin, Marlene S. Neill, Patrick Ferrucci, and Edson Tandoc. “Public Relations Primed: An Update on Practitioners’ Moral Reasoning, from Moral Development to Moral Maintenance.” Journal of Media Ethics 35.3 (2019): 164-79. Shrun, L.J. “Processing Strategy Moderates the Cultivation Effect.” Human Communication Research 27.1 (2001): 94-120. Sissons, Helen. “Lifting the Veil on the PRP-Client Relationship.” Public Relations Inquiry 4.3 (2015): 263-86. Topić, Martina, Maria Joäo Chunha, Amelia Reigstad, Alenka Jele-Sanchez, and Ángeles Moreno. “Women in Public Relations (1982-2019).” Journal of Communication Management 24.4 (2020): 391-407. Tsetsura, Katerina, Joshua Bentley, and Taylor Newcomb. “Idealistic and Conflicted: New Portrayals of Public Relations Practitioners in Film.” Public Relations Review 41 (2015): 652-61. Vardeman-Winter, Jennifer, and Katie R. Place. “Still a Lily-White Field of Women: The State of Workforce Diversity in Public Relations Practice and Research.” Public Relations Review 43.2 (2017): 326-336. Yoon, Youngmin, and Heather Black. “Learning about Public Relations from Television: How Is the Profession Portrayed?” Communication Science 28.2 (2007): 85-106. You’re the Worst. Created by Stephen Falk. Hooptie Entertainment, 2014-2019.