The ethical behavior has long been a subject of the strategic communication discipline, but in South Africa, there are scarce empirical researches of ethical practice to date. In this paper through interviews with ten South African strategic communication practitioners in diverse organisations. We examine what constitutes ethical communication and the roles of practitioners in guiding the organisation toward considering ethics during a crisis. Findings reveal ten moral compass roles which are categorized into ethical counsel and advocacy role types. Although marked (...) with legal, leaders/clients who want practitioners to compromise on ethical counsel roles, practitioners were defining organisation's ethics role. (shrink)

Quais os pressupostos que fizeram a ciência – ou certa concepção de ciência, moderna – ser responsável por um “desencantamento do mundo”? É esta a questão que motiva o desenvolvimento deste artigo a partir de um sobrevoo pelo modo distinto como dois importantes filósofos trabalham seus conceitos: a noção de “ideia” em Platão e a de “forma” em Bacon. Ao detectar, rastrear e interpretar as raízes do conceito baconiano de “forma” no conceito originário de “ideia” platônica, é possível entender como (...) a ciência moderna herdou, modificou e adaptou este conceito central da tradição de pensamento antiga para fundar os pressupostos das suas práticas. Por fim, tentamos mostrar como – talvez tendo nesta diferença conceitual apenas um dos seus vários motes – estão imbricadas no pensamento dos dois filósofos diferentes visões de mundo e diferentes modos de se relacionar com a natureza. (shrink)

Human beings respond to their immediate environments in a variety of ways, with emotion playing a cardinal role. In evolutionary theories, emotions are thought to prepare an organism for action. The interplay of acoustic environments, emotions, and evolutionary needs are currently subject to discussion in soundscape research. Universal definitions of emotion and its nature are currently missing, but there seems to be a fundamental consensus that emotions are internal, evanescent, mostly conscious, relational, manifest in different forms, and serve a purpose. (...) Research in this area is expanding, particularly in regards to the context-related, affective, and emotional processing of environmental stimuli. A number of studies present ways to determine the nature of emotions elicited by a soundscape and to measure these reliably. Yet the crucial question—which basic and complex emotions are triggered and how they relate to affective appraisal—has still not been conclusively answered. To help frame research on this topic, an overview of the theoretical background is presented that applies emotion theory to soundscape. Two latent fundamental dimensions are often found at the center of theoretical concepts of emotion: valence and arousal. These established universal dimensions can also be applied in the context of emotions that are elicited by soundscapes. Another, and perhaps more familiar, parallel is found between emotion and music. However, acoustic environments are more subtle than musical arrangements, rarely applying the compositional and artistic considerations frequently used in music. That said, the measurement of emotion in the context of soundscape studies is only of additional value if some fundamental inquiries are sufficiently answered: To what extent does the reporting act itself alter emotional responses? Are all important affective qualities consciously accessible and directly measurable by self-reports? How can emotion related to the environment be separated from affective predisposition? By means of a conceptual analysis of relevant soundscape publications, the consensus and conflicts on these fundamental questions in the light of soundscape theory are highlighted and needed research actions are framed. The overview closes with a proposed modification to an existing, standardized framework to include the meaning of emotion in the design of soundscapes. (shrink)

The pregnant phrase fatale monstrum comes at a crucial point in the third and longest of the three sentences of the ‘Cleopatra Ode’. Before it Cleopatra is being hissed from the stage of history with cries of disapproval; after it she is recalled to receive plaudit after plaudit for her courage and resolution. The phrase is emphasized by its position at the start of a stanza followed by a marked pause. Prima facie it is the climax of the (...) vituperation, and has often so been taken. T. E. Page, for example, comments: ‘Horace speaks of Cleopatra as not human, but a hideous and portentous creature sent by destiny to cause horror and alarm.’. (shrink)

The pregnant phrasefatale monstrumcomes at a crucial point in the third and longest of the three sentences of the ‘Cleopatra Ode’. Before it Cleopatra is being hissed from the stage of history with cries of disapproval; after it she is recalled to receive plaudit after plaudit for her courage and resolution. The phrase is emphasized by its position at the start of a stanza followed by a marked pause. Prima facie it is the climax of the vituperation, and (...) has often so been taken. T. E. Page, for example, comments: ‘Horace speaks of Cleopatra as not human, but a hideous and portentous creature sent by destiny to cause horror and alarm.’. (shrink)

Cleopatra VII, the last of the Ptolemaic rulers of Egypt, reveled in perfume (Plutarch, Life of Marcus Antonius 26.2). She even used it in her seduction of the Roman general Marc Antony. Sailing up the river Cydnus to meet him, she reclined in a canopy spangled with gold, adorned like Venus in a painting. Boys dressed as cupids fanned her and wondrous scents from incense offerings wafted along the riverbanks. Not long after her death in August 30 BCE, a (...) book circulated under her name called Cleopatra’s Cosmetic, full of recipes for fragrant oils and cleansers (Totelin 2017: 114–18). (shrink)

Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to (...) be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other (...) human being has been portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

The motif of ancient beliefs about afterlife and contemporary idea of them appears increasingly in contemporary works directed to young audience. The combination of mythology and history known from ancient sources and popular culture works is essential for reception studies. The paper presents three cases of transformation of characters connected with ancient beliefs about afterlife as protagonists or villains in works directed to youth; Hades as a villain known from Disney’s works, especially Hercules; Persephone and Hades’s love story in three (...) web comics: Underworld Love Story and Hades & Persephone Shorts by Gau Meo and Hades’ Holiday by Elvishness; and the way the Cleopatra VII Philopator’s image in Scooby Doo! in Where’s My Mummy? is different than others representations of the queen. (shrink)

This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The (...) protest, the passion and singularity, lives mainly through its expressive emphases – such as hyperbole – and the re-functioning of the very dominative roles and norms being opposed. This reflects the restricted but critical – aesthetic – status of early modern drama, and specifies its opposition to the deepening attack on sensate knowing in its world. (shrink)

UK higher education reform (BIS, 2011) has been presented as a common‐sense movement towards efficiency. This article will argue that, in reality, the marketisation of higher education is a movement towards negative freedom, defined after Berlin (2007) as unrestricted choice. Using Shakespeare's Antony and Cleopatra as a means to explore the relationship between rationality and sensibility, it considers how negative freedom may undermine human connectivity and debase our relationships. In so doing, this article challenges the idea that importing the (...) market system into education will enhance the ‘student experience’. (shrink)

This essay shows how, in Shakespeare’s Antony and Cleopatra, the relation between the protagonists can be seen as an insurmountable contrast between two different cultures – on the one hand, the “diurnal” and “rational” culture of Rome and, on the other hand, the “nocturnal” and “passionate” culture of Egypt –, but also as an opposition between two different ways of understanding the relation between illusion and reality, appearance and truth, and thus between theatre and life. More specifically, what emerges (...) is the awareness that art, embodied in Cleopatra’s beauty, constantly reminds us of the unredeemable finitude and transience of the human being, who is inevitably immersed in time. In this light, if art is able to become a manifestation of truth, the fact remains that such truth, as final sense, is something that art can “show”, but only to indicate its perpetually elusive character. It is indeed a truth which, like the indecipherable secret kept in the Mausoleum, cannot be “told” or “represented” once and for all. (shrink)

UK higher education reform (BIS, ) has been presented as a common-sense movement towards efficiency. This article will argue that, in reality, the marketisation of higher education is a movement towards negative freedom, defined after Berlin () as unrestricted choice. Using Shakespeare's Antony and Cleopatra as a means to explore the relationship between rationality and sensibility, it considers how negative freedom may undermine human connectivity and debase our relationships. In so doing, this article challenges the idea that importing the (...) market system into education will enhance the ‘student experience’. (shrink)

New Heaven, New Earth is a philosophical study ofAntony and Cleopatra. Showing that the play is as much a history play as a love story, it closely examines Shakespeare's presentation of the transition from the pagan to the Christian world—from the aftermath of the collapse of the Roman Republic and the decline of the pagan gods to the emergence of the Roman Empire and the conditions giving rise to Christianity.

New Heaven, New Earth is a philosophical study ofAntony and Cleopatra. Showing that the play is as much a history play as a love story, it closely examines Shakespeare's presentation of the transition from the pagan to the Christian world_from the aftermath of the collapse of the Roman Republic and the decline of the pagan gods to the emergence of the Roman Empire and the conditions giving rise to Christianity.

Who is the author of this poem and what is its historical context? Gow and Page are convinced that the author is Crinagoras. Manuscript authority, in the person of the so-called ‘corrector’, supports the attribution. Yet, at first sight at least, the attribution of this poem to Crinagoras raises something of a problem. It does so because the poem evidently relates to what seems to be a contemporary marriage linking the royal families of Egypt and Libya respectively: if the author (...) is indeed Crinagoras, what marriage can this be? Only one such marriage is available: as Gow and Page accurately observe, ‘It is generally agreed that this epigram refers to the marriage of Cleopatra Selene and Juba II’. (shrink)