A history of advertising education, with a primary focus on the United States.

In 1962, American Pop artist Harold Stevenson's painting, The New Adam, a 40-foot male nude, that was to be featured alongside the work of Andy Warhol, Jim Dine, Jasper Johns, Roy Lichtenstein and James Rosenquist, was banned from the Guggenheim Museum in New York. Stevenson's story of life as an artist is revealed when an oral history, letters and journals unravel what happened from 1962 to fifty years later, when in 2012 we found The New Adam as part of the permanent collection of the same museum. In the 1960s, Stevenson was the subject of one of Andy Warhol's tape recordings of pivotal events and the everyday routines of life at The Factory in New York City. The Smithsonian Institute conducted an oral history with Stevenson in 1973. Since 2012, Jordan has been conducting an additional oral history with the artist. During analysis of these vocal recordings along with content analysis of historical documents and Internet content, we were intrigued with the intersectionality of person and social culture, and the dialectic tension this created in Stevenson's art. Distillation, in so far as a life may be distilled, called us to question the line between oral history and social research. As sociologists, we are trained to seek human subject protection for research participants. We found researching secondary data sources challenging, as the line between fact checking and research blurred. At what point did fact checking become interviewing of additional research subjects? In seeking out corroboration and triangulation of events, were we pushing outside the parameters of the original study? In this presentation we discuss the unexpected challenges researching a life presented to us, the biography of Harold Stevenson. Dian Jordan, Ph.D. Jessica Gullion, Ph.D.

This two-day conference was put together by an organising committee chaired by Prof. Anne Tsui from Mendoza College of Business at the University of Notre Dame in the USA, and RSM’s Prof. Pursey Heugens and Wilfred Mijnhardt. The summit was organised in co-operation with the Responsible Research in Business and Management organisation (RRBM), and was sponsored by the global accreditation agencies AACSB, EFMD and the Erasmus Research Institute of Management (ERIM). RRBM is dedicated to inspiring, encouraging, and supporting credible and useful research in the business and management disciplines. The RRBM movement started through RRBM in 2015, when 30 global scholars published a vision 2030 white paper to start the transition. During RRS19, it was decided to make this an annual event to bring together leaders from the research ecosystem, senior scholars, deans, journal editors, university leaders, association leaders and accreditation agencies to debate impactful and responsible resea...

In the introduction to Homo Sacer, Giorgio Agamben proposes that the “the protagonist” of his book is “bare life,” particularly “the life of homo sacer (sacred man), who may be killed and yet not sacrificed, and whose essential function in modern politics we intend to assert” (12). Agamben’s interpretation of “the life of homo sacer” is derived from Roman law, but it is particularly appropriated with respect to how human life, generally, is included in or excluded from the overarching political structure. For Agamben, “bare life”—a simple form of human existence—becomes zoē constituted by (or separated from) the political order of bios, by sovereignty’s “state of exception.” Essentially, not only does sovereignty exist in a politicalized construct to, chiefly, stabilize it and make determinations about who should be included in (or excluded from) the bios, but the Sovereign has a Heideggerian “ek-sistence,” due to being existentially exceptional.