Engagement Of Directors Research Articles

Governing cybersecurity from the boardroom: Challenges, drivers, and ways ahead

Overall, the responsibility to oversee cyber-risk management in modern organisations lies with Boards of Directors. However, evidence suggests that boards are not nearly as engaged in cybersecurity as they are in other areas of oversight. Through the lens of neo-institutional theory, we investigated key drivers and major impediments to directors’ engagement with cybersecurity. We conducted 18 interviews with non-executive directors from 43 organisations to cast light on current cybersecurity practices and on the factors that drive directors’ engagement. Our findings emphasise that regulations are the most influential driver (coercive pressures). However, directors are not always completely aware of their duties and liability concerning cybersecurity oversight. Further, our study highlights that personal experience and background shape a director's engagement with cybersecurity (normative forces). Our analysis also shows a frequent over-reliance on a single board member with cyber-experience. Lastly, the secrecy that characterises cybersecurity reduces the opportunity for directors to replicate best practices across organisations (mimetic forces). Directors’ engagement with cybersecurity is marginally driven by holding multiple board roles and by the influence of external consultants. A stronger role is played by the mediatic nature of some cyber-breaches and by a prominent “push reporting” approach in cybersecurity (organisational factors). We offer a series of evidence-based practical recommendations to enhance directors’ engagement in this crucial area, ranging from strengthening existing regulations, to codifying best practices in cyber-reporting.

Health Communication and the HIV Continuum of Care.

:Health communication is a broad term that applies to the fundamental need for practitioners, policy makers, patients, and community members to understand one another around health promotion and health care issues. Whether in a consultation between nurse and patient, a health clinic director's engagement with the health ministry, or a community campaign for encouraging HIV testing, all have critical health communication elements. When people's needs are not perceived by them to be addressed or clients/patients do not understand what is being communicated, they are unmotivated to engage. Health communication may be deployed at multiple levels to encourage positive behavior change and affect HIV treatment outcomes. As countries move to treatment for all as soon as possible after testing, health communication can help address significant losses at each stage of the HIV continuum of care, thereby contributing to achieving the 90-90-90 global treatment goals. This JAIDS supplement presents compelling studies that are anchored on the health communication exigencies in highly diverse HIV and AIDS contexts in low and middle income settings. Our special focus is health communication needs and challenges within the HIV continuum of care. We introduce the supplement with thumbnails summaries of the work presented by an experienced array of public health, behavioral, and clinical scientists.

Dancing with "Faust": A Semiotician's Reflections on Barba's Intercultural Mise-en-Scene

The first week of the I987 International School of Theatre Anthropology (ISTA) in the Salento region of Italy took place under the sign of Faust. Eugenio Barba brought together Eastern performers (Japanese and Indian dancers1 and musicians) and (Western) spectator-participants in a collective response to Faust-especially Goethe's Faust, but also Marlowe's as well as the whole Western tradition of the popular character and myth. The work, which lasted five mornings from 6 to Io A.M., was not supposed to lead to a finished performance nor was it to be presented to an audience outside the group. Was it then an exercise meant to explore a Western director's engagement with Indian and Japanese dancers? Or was it a Western production, however unfinished, which exhibited the characteristics of a miseen-scene? I tend toward the second hypothesis, although Barba carefully sustained the ambiguity of his and claimed rather to present a work in progress trying out the possibility of a Eurasian theatre. In what follows, one of the participants-simultaneously judging and taking part and hence forever contaminated by ISTA and deprived of his cherished neutrality-offered the Bari roundtable2 not so much a description of the B.A. BA of BA(r)BA method as a way of imagining how his on Faust might be described with semiotic tools. The anecdotal circumstance of this relazione was once again the challenge to semioticsissued by theatre anthropology-to give an account of the activity of the performers and the mise-en-scene. The (tactical) response to this kind of challenge consists in saying yet again: semiotics has no particular use; it is the artist who makes use of semiotics: let us merely describe this use by examining the reelaboration of Japanese and Indian gestural traditions through Barba's mise-en-scene. If, as I have suggested elsewhere, every (especially linguistic) translation is an appropriation of the source culture by the target culture (Pavis forthcoming), we might say, by analogy, that Barba appropriates oriental performance traditions by transforming and rewriting them on the stage for a Western audience. We could then identify a series of appropriations: (i) semiotic, (2) ideological, (3) narratological (in the broad sense). Nonetheless, the term appropriation opens the way to an unfortunate misreading