While training design choices seem amoral, they interact to determine training (in)effectiveness, potentially harming/benefiting trainees and organizations. These moral implications intensify when training is administered at scale (e.g., e-training) and focuses on social issues like sexual harassment (hereafter, SH). In fact, research on SH training shows it can elicit trainees’ gender-based biases against content messengers. We suggest that one such bias, resulting from messenger gender-occupation incongruence and influencing training effectiveness, is lowered perceptions of the messenger’s integrity. We also investigate whether (...) rich media will increase or decrease this perceived integrity penalty. Using an excerpt from real SH e-training and a sample [_N_ = _210_] consistent with the targeted training audience, we conducted a 2 × 2 × 2 relative comparison experiment (messenger gender x messenger occupation x media richness) and tested a moderated mediation model of the interactive effects of messenger gender-occupation incongruence and media richness on trainees’ perceptions of messenger integrity and training outcomes. Results suggest that trainees’ perceptions of messenger integrity decrease when the messenger’s gender is incongruent with their occupation, leading to worse outcomes in text-based training. These effects, however, are mitigated by increased media richness, providing support for media richness theory. Implications for researchers and practitioners are discussed. (shrink)

This article contributes to research on emotion expression, attributions, and discrete work emotions by developing an observer-focused model to explain the outcomes of crying at work. Our model is focused on crying as a form of emotion expression because crying may be driven by different felt emotions or be used as a means of manipulation. In addition, the model focuses on observers, who must form perceptions of the emotion expression in order to determine an appropriate response. This model is particularly (...) valuable because it addresses the reality that an observer will develop an impression of another person’s emotion and intention, and that this impression may not always align with the reality of the emotion being experienced by the expresser. (shrink)

This article examines the breathing and breathless body in Camille-Vidal Naquet’s Sauvage. Respiration has been characterised by Peter Sloterdijk, in the first volume of his Sphären trilogy, as the first extension of the womb. The air we breathe is a “nobject” that escapes the subject-object relation, like the placenta before it. Sauvage engages the respiratory, alongside the placental and the acoustic, as three pre-oral “nobjects” for exploring what Leo Bersani has termed the body’s “somatic receptivity”. Duration, framing, lighting, and camera (...) movements cultivate a spectator’s receptivity to these “nobjects” and participate in acts of sphere formation. This provides a framework for thinking about how cinema itself might function as a “nobject”: a connective medium or sphere that supports and augments a subject, providing a field of protection and attention. However, the film’s presentation of breathlessness also signals a blocked receptivity, an inability to take in, introducing friction and resistance to the discourse of immediacy and exchange that characterises philosophical reflections on breath. Breathlessness has implications for thinking about bodily autonomy and forms of freedom that speak to the queer politics of Sauvage, as well as questions about movement and stillness, animation and lifelessness, that reflect back on the medium of film itself. (shrink)

Jungian psychology has taken a noticeable political turn in the recent years, and analysts and academics whose work draws on Jung’s ideas have made internationally recognised contributions in many humanitarian, communal and political contexts. This book brings together a multidisciplinary and international selection of contributors, all of whom have track records as activists, to discuss some of the most compelling issues in contemporary politics. Analysis and Activism is presented in six parts: Section One_, Interventions_, includes discussion of_ _what working outside (...) the consulting room means, and descriptions of work with displaced children in Colombia_, _projects for migrants in Italy and of an analyst’s engagement in the struggles of indigenous Australians. Section Two, _Equalities and Inequalities_, tackles topics ranging from the collapse of care systems in the UK to working with victims of torture. Section Three,_ Politics and Modernity_, looks at the struggles of native people in Guatemala and Canada and oral history interviews with members of the Chinese/Vietnamese diaspora. Section Four,_ Culture and Identity_, studies issues of race and class in Brazil, feminism and the gendered imagination, and the introduction of Obamacare in the USA. Section Five,_ Cultural Phantoms_, examines the continuing trauma of the Cultural Revolution in China, Jung’s relationship with Jews and Judaism, and German-Jewish dynamics. Finally, Section Six,_ Nature: Truth and Reconciliation_, looks at our broken connection to nature, town and country planning, and relief work after the 2011 earthquake in Japan. There remains throughout the book an acknowledgement that the project of thinking forward the political in Jungian psychology can be problematic, given Jung’s own questionable political history. What emerges is a radical and progressive Jungian approach to politics informed by the spirit of the times as well as by the spirit of the depths. This cutting-edge collection will be essential reading for Jungian and post-Jungian academics and analysts, psychotherapists, counsellors and psychologists, and academics and students of politics, sociology, psychosocial studies and cultural studies. (shrink)

The body at close range: volume and the unlistenable in Catherine Breillat's Anatomy of Hell -- Sonic subjection: Gaspar Noé's Irreversible and the dystopian limits of the resonant body -- A stranger everywhere: the écho-monde of Tony Gatlif's Exiles -- Feedback, asynchronicity, and sonic sociabilities: Arnaud des Pallière's Adieu -- Listening at the limit: non-human noise in Lars von Trier's Antichrist -- Listening to things: Foley as "alien phenomenology" and Peter Strickland's Berberian sound studio.

The purpose of this study was to evaluate recognition of pathologists and radiologists as coauthors in case reports in the field of surgical oncology. The MEDLINE database was searched for all full free text case reports involving human material published from April 1, 2011 until March 31, 2016, using search terms: “case report” + “tumors” + “surgery” + “malignant”. The search strategy identified a total of 1427 case reports of which 907 were included in this analysis. Of 807 articles with (...) histopathological images and/or descriptions, 352 did not acknowledge or include the pathologist as a coauthor. Of 662 case reports with radiographic images and/or their description, 537 did not list the radiologist as coauthor nor acknowledge them. In case reports containing histopathological images, significantly more pathologists were either listed as coauthors or acknowledged compared to those who were not. However, among case reports containing radiographic images, there were significantly less articles either listing radiologists as coauthors or acknowledging them compared to a larger proportion of articles in which radiologists were omitted. In conclusion, pathologists and radiologists are underrecognized as coauthors in surgical oncology case reports in spite of obvious proof of their contribution to manuscript preparation. When involved in research and publishing, all physicians should be aware of fair and honest collaboration with specialists in other clinical and non-clinical disciplines to better serve the scientific community. (shrink)

This article proposes to reconceptualize the Hungarian photographer, artist and educator László Moholy-Nagy’s (1895–1946) inter-war call for a ‘new vision’ in order to grasp how artists presently experiment with photography and adjacent new technologies to explore the environmental, ecological and elemental dimension of media themselves. For Moholy-Nagy, photography represented a new way of seeing and experiencing the increasingly industrialized and automated world and a means of expanding our sensory perception. Drawing on recent scholarship of elemental media theory, I adapt Moholy-Nagy’s (...) interest in the materiality of photography and the atmospheric and medial dimensions of light itself to an environmentally attuned notion of ‘new visions’. Exemplified with discussion of recent works by Emilija Škarnulytė, Lesia Vasylchenko and Istvan Virag, I show how a number of contemporary artists likewise scrutinize photography’s (understood in an expanded way) material basis and atmospheric qualities to explore new forms of image-making, including CGI and synthetic aperture radar images, fitted to reflect the accelerated automation and ecological precarity that mark the early twenty-first century. (shrink)