Crisis of communication in late modern market culture

The aim of this chapter is, therefore, to analyze and examine the role of classic crisis management strategy, planning, and tactics in a digital landscape of crisis communication, where far too rigid plans and guidelines seem to risk tying the hands of the crisis communicator. The chapter presents a qualitative case study of Scandinavian Airlines' work with social media in their crisis communication during the eruptions of the Icelandic volcano, Eyjafjallajökull, and the following closure of most of Europe's airspace from 15 to 20 April 2010. This chapter's main research questions are: (a) how did the involved crisis communicators combine today's possibilities for improvisation (via social media) with drilled strategies, tactics, action patterns and routines? And (b) how can we understand the concepts of classical strategy, planning and tactics in this new crisis communication context?

The article analyzes the correlation of the key concepts of "crisis", "conflict" and "risk" in the context of the political sphere in order to identify common and special characteristics of crisis and conflict communication. Special attention is paid to the communicative aspects of such social phenomena as crisis and conflict. The author considers different approaches to determining the correlation of key concepts. The article was based on the ratio of "conflict" and "crisis" as phases increasing in their negative consequences, accompanied by a multiplication of risks that can accelerate the process of transition from one stage to another. The main focus is on the use of crisis and conflict communications in the field of politics. Significant differences between crisis and conflict communications are highlighted in terms of audience, goals, channels, etc. Common features are also described, including in the field of using technologies to reduce social tension. The methodological basis of the research is the work of domestic and foreign authors who consider conflict and crisis phenomena in the context of the political sphere. Based on the work of modern researchers, the limitations of classical approaches (R. Darenfort, L. Kozer) in relation to the political processes taking place in the 21st century are noted. The expansion of the strategic tasks of crisis communications of the state is noted in connection with the increase in risks leading to the destabilization of society. The general characteristics of conflict and crisis communication are highlighted, among which are similar principles of communicative interaction between the state and society (information openness, the operational nature of communication, the use of a wide range of channels), as well as features of two types of communications: scale, different levels of risks, opportunities for rapid localization of a conflict situation, etc. One of the conclusions of the study is to determine the need to review the anti-crisis management system in the political sphere, where it is important to clearly define the boundaries of crisis or conflict communications, since the choice of technologies and tools will depend on this.

Crisis communication has emerged as a specialized study field for public relations scholars and an empowerment opportunity for practitioners in the past 15 years (Grunig, Gru-nig, & Dozier, 2002). Several loopholes in current crisis communication writings are noticeable: (a) Organizational crisis lacks a shared definition, (b) a conceptual framework has not yet developed, (c) audience-orientation to crisis communication has not been addressed, (d) current crisis studies lack contextualization, and (e) crisis communication studies are predominantly Western-based. In view of this, this chapter intends to shed some light on the topic of crisis communication and its future directions. The chapter has two parts: In the first, I revisit, refine, and reconceptualize the fundamental concepts related to crisis communication. In part two I discuss the negligence of culture in extant Western-dominated crisis communication. The chapter explains the importance of considering culture in crisis communication and points to a need for international crisis communication research and practice with an audience orientation to serve the international market foreseen in the near future. Below, I review an exemplary case contrasting Hong Kong culture and Western culture to show how the macrosystem of culture affects the microsystem of stakeholders. The contention is that the two-way symmetrical model necessitates the realization of stakeholders as interpretive communities. My suggestion of a co-constructing view to two-way symmetrical communication as a normative model for international crisis communication comes at the end of the chapter.

Purpose– A deliberate and planned crisis communication strategy is an important part of key account management. The purpose of this paper is to draw links between key account managers (KAM) and crisis communication and explore the elements critical to crisis communication in key account relationships.Design/methodology/approach– The approach is qualitative. Data were gathered from people experienced in crisis communication and responsible for strategic accounts. The paper analysed managers’ stories of crisis processes and related communication in relationships.Findings– Successful crisis communication requires an open and active crisis communicator, one willing to solve problems, and also the company being a partner worth trusting and the retention of the relationship being worthwhile for the customer.Research limitations/implications– The present study focuses on the managerial view, and therefore a dyadic approach is suggested for future studies.Practical implications– The role of the KAM as a crisis communicator and primary identifier of the crisis is emphasized.Originality/value– Existing crisis communication discussions have been very media focused. This study focuses on the key account relationship and the related crisis communication. In addition, although earlier studies examine the influences of crises on business relationships (e.g. Saloet al., 2009; Thiessen and Ingenhoff, 2010; Tähtinen and Vaaland, 2006), research on crisis communication in business-to-business key account relationships is still scarce. The results will help to understand the characteristics of crisis communication in key account relationships and enhance communication with strategic accounts.

Reviewed by: Folk Art and Modern Culture in Republican China by Felicity Lufkin Yurou Zhong Felicity Lufkin. Folk Art and Modern Culture in Republican China. Lanham, MD: Lexington Books, 2016. 217 pp. $95.00 (cloth). Folk Art and Modern Culture in Republican China is a valuable addition to the studies of folk art, folklorics, and modern Chinese cultural history. Felicity Lufkin, employing the keen sensibility of an art historian, gives shape to the fraught intertwinement of folk art and modern culture in Republican China. Through rich illustrations and strong formal analysis, Lufkin visualizes how Chinese folk art, on the one hand, came to be understood to be primitive, backward, and in need of intellectual intervention and, on the other, held considerable power over the development of modern Chinese culture and politics. In conversation with earlier works by Chang-tai Hung and David Holm and, more recently, Xiaobing Tang and James Flath,1 Lufkin zooms in on folk art—woodcut prints and Chinese New Year pictures (年畫 nianhua) in particular—to ponder the relationship between art and politics in twentieth-century China. In chronological order, Lufkin delineates how the study of folk art in Republican China took its cue from the earlier movement of folklore studies, converged with and diverged from the New Print movement, and eventually was appropriated by both the Guomindang (GMD) and the Chinese Communist Party (CCP). Part 1 depicts how the artistic, intellectual, and public discourses shaped, negotiated, and assimilated folk art in the years leading up to the full outbreak of the Second Sino-Japanese War. Lufkin gives [End Page E-7] full volume to both the attraction to and ambivalence over the concept of folk art: from the abounding joy of Xu Beihong (徐悲鴻 1895-1953) at seeing Niren Zhang (泥人張) clay figures—which he compared to masterpieces of the best European sculptors—to his reluctance to meet folk artists in person (chapter 1); from Lu Xun's endorsement of and the Modern Print Association's embrace of "folkloric prints" to the criticisms that the association received for fixating on images of localized everyday life in Guangzhou without contributing to the buildup of revolutionary ethos (chapters 2 and 3); from the success of the first major Chinese exhibition of folk prints held in Hangzhou in 1937 to the curators' realization that recontextualizing folk art in a modern exhibition hall and in accordance with enlightenment discourse could not guarantee the full exorcizing of feudal remnants (chapter 4). Insofar as folk art was a source for both pride and shame for modern Chinese artists, intellectuals, and educators, "two contradictory views regarding folk and popular prints simply coexisted" (105). On the one hand, the perceived backwardness and primitivism embodied in folk art seemed to beckon elite intervention and top-down reform. On the other, despite efforts to reify the negative connotations of folk art and to fossilize it as an unchanging specimen from the past, the "diversity and cultural richness" of folk art persevered and even "intensified" at a moment of national crisis (106). Part 2 showcases how both the GMD (chapter 5) and the CCP (chapters 6 and 7) utilized folk prints during the Second Sino-Japanese War for wartime mobilization, national salvation, and the promotion of party politics. While, in Nationalist-controlled areas, the GMD narrowed their use of folk-based propaganda mostly to the resistance Door God (chapter 5), the CCP in Yan'an and other Communist base areas explored more extensively the use of folk art such as the new-style New Year pictures and papercuts (chapters 6 and 7). Lufkin is careful to note, however, that while both parties found that the "new wine" of wartime propaganda "fit comfortably and appealingly into the 'old bottles'" (136), such successful appropriation of folk art at a time of national crisis did not dispel anxieties surrounding the old forms, for fear that it would promote "feudal superstition" (164). Such suspicion of and dissatisfaction with the folk prints left room for further reform. Without making explicit the causality between the lingering suspicion of folk art and renewed reform measures in the People's Republic of China, Lufkin ends the book with a compact conclusion highlighting the key events...

This paper continues with the discourse on risk cultures that was prominently conducted in social science in the 1980s and 1990s. Though several authors applied different framings to risk culture, the basic idea was that late modern societies should be considered, in general, as risk societies or risk cultures. Taking and building upon this idea, this paper proposes its own approximation to the topic. The proposed framework shows several similarities to the cultural theory concept of Douglas and Wildavsky. However, whereas the cultural theory concept distinguishes between different societal subgroups and their specific way of dealing with risks, the framework suggested in this article distinguishes between risk cultures of a given society, which do not necessarily correspond to nation states. A typology distinguishing three different risk cultures is proposed, which emerged out of an empirical comparative study on socio-cultural factors of risk perception, alerting and crisis communication in Europe. The three different ideal-typical risk cultures found here are: individual-oriented, state-oriented and fatalistic. The typology is further elaborated and conclusions for crisis management and communication are drawn, which should allow the development of more appropriate communication measures to enhance compliance of citizens in case of disaster.

This article is devoted to the history of the formation and development of modern Korean culture. The article, first of all, reveals the concept of the terms "culture", "mass culture" and "modern culture", and provides conclusions about the fact that culture is an indicator, the so-called measure of consciousness and values ​​of a person and society as a whole. Mass culture, in turn, has become the leading cultural form and, under the influence of globalization processes, it has become a global phenomenon. Through cultural integration, the exchange of customs, traditions, art, and technologies with each other and their modification in accordance with modern views and values, modern culture is formed, which opens up new areas of research for scientists. The paper also discusses the relevance of this topic, the features of the formation of traditional Korean culture, and the factors that influenced its transformation and transformation into one of the areas of modern mass culture. Before considering the modern phenomenon, the study provides a brief history of the gradual development of culture from ancient times to the present day. The paper also cites a number of scholarly historians, culturologists-Korean studies, both Uzbek and foreign, and their scientific works in the field of Korean studies, and based on their analysis, this study was carried out. Particular attention is paid to the analysis of the modern phenomenon of the cultural wave of South Korea - Hallyu, its economic content, state policy aimed at supporting and developing Korean culture, and territorial popularization, as a phenomenon that is a unique interweaving of opposite principles: traditional Eastern (Confucian) and Western cultural values, finding its connoisseurs all over the world, including in Uzbekistan, as a universal culture. The peculiarity and novelty of this phenomenon are also that, unlike neighboring Eastern cultures such as Chinese, Japanese or Indian, representing a person, first of all, a picture of the traditional classical era pops up before his eyes, in the case of Korea, more popular representation of the current modern post-industrial era. The people of South Korea managed to find a balance of traditions and innovations that best meets the requirements of the modern development of the country.

The dominant paradigm in traditional crisis communication research is linked to functionalism, rationalism and modernity. This paradigm leads researchers and practitioners to focus on preparation, monitoring, control measures, plans and dissemination of mass information. In traditional research there has also been a tendency to emphasize crisis communication in a homogenous, and often national, setting. In this chapter the rationalistic and monophonic view on crisis communication is questioned, using a transboundary and cultural communication perspective. In the first part of the chapter the concept of culture, linked to crisis, is discussed. Two possible cultural approaches, out of several, are then analyzed, and partly criticized: national culture and organizational culture. Then the concept of transboundary crisis communication, inspired by Boin (2010), is presented as a valid concept, integrating the cultural dimension. Meeting the contemporary communicative challenge is not easy but it definitively means developing a new mindset for communicators, accepting that communication cannot be controlled, that multiple strategies should be used and using decentralized communication systems where the closeness to different publics, cultures (in a broad sense) and arenas may lead to better communication. The chapter ends with a part about practical consequences that highlights three relevant approaches: need for increased diversity in organizations, a focus on relational communication as well as an opinion leadership strategy.

Elite culture is the culture created, disseminated and shared by the humanistic and technical intellectuals in the intellectual class. Cultural communication refers to the communication and interaction between different cultures and social members with different cultural backgrounds. The purpose of this paper is to study the dynamic relationship between elite culture and different cultural communication, and to elaborate on the development of elite culture in different times and cultural backgrounds, as well as the two-way influence between elite culture and cultural communication. Most of the articles at home and abroad discuss the evolution of elite culture and mass culture, or the relationship between mass culture and cultural communication. However, there is no direct link between elite culture and cultural dissemination. This paper adopts a qualitative research method, classifies 20 articles according to time, research method and research topic, and finds that the research trend is 2014-2024, and the research content shifts from elite culture to mass culture. It is found that elite culture has a direct impact on mass culture over time, and thus has a dynamic interaction with cultural communication.

General Secretary Xi Jinping put forward in the report of the Nineteenth National Congress a new era topic of creative transformation and innovative development of Chinese traditional culture, which put forward higher requirements for the modernization of Chinese traditional culture. The modernization of traditional culture has always been an important part of building a socialist modernization country in an all-round way, but in the process of modernization, cultural modernization, especially the modernization of traditional Chinese culture, has been shackled. Cultural industry, especially cultural creative industry, is an important model for the development of cultural modernization. Its development course provides an important experience for the modernization of Chinese traditional culture. Starting from the symbol cultural creative industry of the Palace Museum, this paper analyses the process of innovative development and creative transformation of Chinese traditional culture, focusing on the realistic dilemma of Chinese traditional culture. What is it, how to develop the modernization of Chinese traditional culture and how to guarantee the modernization of Chinese traditional culture are discussed in order to promote the modernization of Chinese traditional culture.

<p><strong><em>The purpose of the research </em></strong><em>is to analyze the specificity of crisis communication study in the public administration field.</em></p><p><strong><em>Research methodology. </em></strong><em>The methodological basis of the research involves the use of general scientific methods to study social phenomena and processes (analysis, synthesis, modeling, typologization, extrapolation, interpretation, abstracting, generalization, as well as methods of systemic, comparative, and structural-functional analysis).</em></p><p><strong><em>Results. </em></strong><em>It is shown that the development of the state and society is constantly faced with crises of various nature and degree of consequences criticality. As a result of crisis manifestations (unpredictability of consequences, uncontrollability, instability), the need for effective communications of public authorities and society increases significantly. It was found that crisis communications in public administration should be characterized by a quick response to the situation; reliable provision of relevant information to interested groups; demonstrating the position of openness. Crisis communications management focuses on pre-crisis, crisis and post-crisis periods based on the collection, processing and dissemination of information for management decision-making. It was established that effective public management of crisis communications minimizes the time to eliminate the crisis, helps restore control over the situation, and strengthens social confidence in public authorities.</em></p><p><strong><em>Novelty. </em></strong><em>The novelty of the research consists in establishing the features of crisis communications in the public administration system and defining approaches to crisis communications management.</em></p><p><strong><em>Practical importance.</em></strong><em> The results of this study can be used as a basis for the formation of a public management system of crisis communications in order to increase the potential of public authorities in crisis periods.</em></p><p><strong><em>Keywords:</em></strong><em> public administration, crisis situation, crisis communications, information and communication technologies.</em></p>

Crisis communication, a key component of crisis management, is the gathering, managing and dissemination of information necessary to respond to a crisis situation. Such communication occurs before, during and after the crisis. This chapter uses crises to provide insights into how crisis communication is understood in Nigeria. A brief background of Nigeria provides a context for understanding humanism and crisis communication in the country. G. Hofstede’s dimensions of culture, particularly power distance and collectivism, are useful in describing the cultural dynamics of a multiethnic and multi-religious country such as Nigeria. Crisis communication in Nigerian culture is complicated by politics, ethnicity and religion. In spite of the success of the response to the Ebola virus, the Nigerian Government continues to face challenges in its crisis communication efforts and its effort to incorporate a humanistic approach to crisis response for a number of reasons: lack of trust, corrupt or ineffective leadership and selective application of laws, among others.

Crisis communication in context: Cultural and political influences underpinning Chinese public relations practice

In the article on the broad background of Ukrainian and Polish literatures of the twentieth century the problem of the crisis of modern culture and the need for dialogue have been clarified. The greatest philosophers Oswald Spengler, Arthur Schopenhaur, Friedrich Nietzsche, Mykola Berdyaev, Albert Camus, Karl Jaspers, Martin Heidegger, Herbert Marcuse, and others wrote about the crisis of culture and the destructive role of the human-machine connection in it. Modernism, in particular, the Young Poland Group, came out of distrust of the cult of reason. The article deals with the works of modernists at the reception of Lesya Ukrainka and Ivan Franko, analyzes the manifestations, programs and discussions of Young Poland, and shows its impact on the Young Muse group in Lviv. The apologetics of the “machine age” in the literature is related to the work of Italian (Filippo Tommaso Marinetti, Corado Govoni, Ardengo Soffici, Giovanni Panini, etc.), Russian (Igor Severianin, Vadim Shershenevich, Vladimir Mayakovskiy, Velemyr Khlebnikov, Vasiliy Kamenskih, David Burliuk) ), Ukrainian (Mikhail Semenko, Geo Shkurupiy, Oleksa Slysarenko, Dmytro Buzko, Leonid Skrypnyk), and Polish (Bruno Jasensky, Stanislav Mladozhenets, Titus Chizhevsky, August Zamoisky, Stanislav Ignacy Vitkevich, Leon Khvistek, Anatol Stern) futurists. Constructivism developed in parallel to the “industrial age”: in Ukraine - Valerian Polishchuk, Leonid Chernov-Maloshenko, Raisa Troyanker, Mike Jogansen; in Poland - Vladislav Stzeminski, Katarzyna Kobro-Stzeminska, Meczyslaw Schuka, Jan Golus, Meczyslaw Schulz and others. Symptoms of the crisis of culture and disintegration of social communication are noticeable in surrealism, neo-romanticism, expressionism, existentialism, theater of the absurd and more. The First, and later the Second World Wars, questioned the belief in the identity of European cultures. Extremely rapid development of communication tools and communication media has opened the prospects for a dialogue of literatures. It is not about their unification, which is reduced to the functioning of the product on the market. Culture is a large polyphonic space. It can distinguish the “voices” of different cultural figures, whose significance does not depend on either age or nationality. The article emphasizes that the dialogue of literatures offers the exchange of cultural values between peoples, as well as the spiritual rapprochement of large and small cultural regions, which have their unique features. As Edward Kaspersky rightly points out, dialogue is not only a matter of humanitarian contacts of the great cultures, but also of the way in which an individual takes part in their spiritual world. The dialogue of literatures helps to organically borrow the best from the treasury of neighbors (i.e., recent editions in Poland of works by Taras Shevchenko, Ivan Franko, Lesya Ukrainka, Mykhailo Kotsyubynsky, Yuri Andrukhovych, Oksana Zabuzhko; editions in Ukraine of books by Stanislav Trembetsky, Lev Venglinskiy, Tomash Padura, Yaroslav Ivashkevich, Leopold Staff, Boleslaw Lesmian, and others - in the series “Library of Polish Literature”), prompts the reader to rethink “foreign” literature. Today, the principle of dialogue of literatures is a real opportunity to overcome the deep contradictions of the civilization crisis and to overcome the environmental catastrophe and the nuclear threat. The dialogue of literatures is able to preserve cultural differences in all their richness and diversity and to establish mutual understanding and cultural contacts between peoples.

The purpose of the article is to reveal the peculiarities of theatrical interactivity as a model of communication in modern culture and to consider interactive theatre as a means of social transformation. Research methodology. The terminological method, the typological method, the method of functional analysis, the method of synthesis, as well as the method of systematisation and generalisation are applied (for consideration and scientific substantiation of the concept of theatrical interactivity, identification of the characteristic features of interactive theatre as a phenomenon of modern cultural space). Scientific novelty. Theatrical interactivity as a model of communication in modern culture has been studied; analysed models of interactivity by M. L. Ryan, McIver Lopez, S. Dixon and others in the context of the interaction between the participant and the production; the theatre methodology of A. Boal "Theatre of the Oppressed" is considered (the audience is an active participant in the performance). Based on the analysis of modern European productions of interactive theatre, the main criteria of the approach to their creation are identified. Conclusions. Interactive theatre is a form of theatrical action that involves the active participation of the viewer, who ceases to be just a spectator, turning into a full participant in the joint creative process. Theatrical interactivity involves taking the viewer out of the comfort zone, from the position of an "observer" and bringing them into the sphere of live communication and perception. At the same time, this is not always synonymous with empowerment or satisfaction, and the desire to give the viewer some freedom is in some cases restrained by manipulative performances. As an alternative communication space, a place where people listen to each other, express their own thoughts – interactive theatre is a means of social transformation. They establish direct contact with their audience, who not only perceives and evaluates the productions, but thanks to the live dialogue becomes a partner in the stage action. Theatrical interactivity involves the observance of the following criteria: thinking outside the place of the performance, substantiating the relationship between the audience and the actors, moving away from the demonstration of the audience, maximum simplification and consistency. Individual practices of interactive theatre allow participants to distance themselves from social roles and bring their own values to this experience.
 Keywords: theatrical interactivity, interactive theatre, actor, audience, communication model, modern culture, interaction.