Digital literacy is among the mandatory abilities to any higher education level and represents a fundamental ingredient in successful professionalization. Considering the deep penetration of digital technologies in everyday life, digital literacy offers a set of transversal skills that could improve a whole area of activities, from banking operations to civic participation. However, these skills are diverse and vary according to the development of technologies and society. This study fills an important academic gap on digital literacy by placing it in a specific and well-defined context, analyzing different perspectives that involve such learning, such as predictors of digital literacy in different types of students. In addition, research increases its importance as it is being developed during the pandemic, a period characterized by accelerated technological use and sudden changes. This research used a quantitative design based on the answers to a questionnaire conducted from March 2021 to May 2021. From a methodological perspective, we tested several hypotheses using one-way analysis of variance (ANOVA) and confirmatory factor analysis (CFA) within the structural equation model (SEM). The results show that communication, critical thinking, problem-solving, and technical digital skills are more present in the case of students enrolled in economics and social sciences, while other digital skills (i.e., creativity and information) are more prevalent in the case of humanities students. Moreover, the results showed that, except for creativity and problem-solving-related digital skills, all of the digital skills were significantly influenced by students’ different levels of education.
This paper investigates the concepts of humor and violence and their complex relationships contextualized in the advertising domain. Thus, the main theories of humor and the most important elements from media violence paradigms are critically pointed out. The effects of comedic violence in advertising may be positive (great involvement with the ad message, retention of brand information, higher pass-along probability), and also negative (offending the audience, desensitization, damaging the reputation and the brand equity). A lot of factors change the perception of comedic violent ads (such as gender or social norm beliefs), so that a multidimensional analysis of consumer perceptions is needed if we want to draw a more accurate picture of this phenomenon. The analysis of the specific ad that I developed in the second part of this paper showed clearly the interplay between perceived humor and perceived violence and also the relevance of the cultural background in its interpretation.
Profitable and dynamic, the cosmetics industry strives to conform to the environmental ideals and practices of the 21st century. For years, NGOs, the media, and consumers have accused cosmetics brands of pollution, environmental disasters, and safety concerns. These allegations can spread faster in the online environment and cause genuine brand crises. Many cosmetic company managers continue to assess the necessity of accelerating their business toward sustainability initiatives and being more consumer centric. Therefore, this paper aims to examine the impact of economic, social, and environmental sustainability on brand attachment and brand attractiveness, which may result in a positive WOM, enhance purchase intention, and finally lead to the intention to join online brand communities. To implement the research scope, the authors developed a conceptual model based on the triple bottom line (TBL) and the Stimulus-Organism-Response (SOR) approach. To assess the conceptual model, the authors have conducted quantitative research, through an online questionnaire, with data being collected from consumers via an online survey platform. The snowball sample comprised 1632 valid responses from consumers of sustainable cosmetics brands. Further on, the conceptual model was assessed employing structural equations modelling via SmartPLS. The results confirm the impact of the three pillars of TBL (i.e., economic, social, and environmental sustainability) (stimuli) on brand attachment and brand attractiveness (organism), which finally generates positive WOM, triggers purchase intention, and enhances consumers’ intention to join an online brand community (response). From a theoretical perspective, our research contributes to extending knowledge based on the SOR approach and TBL applied to sustainable cosmetics brands. Considering the significant effects of economic, social, and environmental sustainability on consumer perception and intention, the study also pinpoints some major management implications for the cosmetic industry.
The reception of Benedict Anderson’s ideas was very fruitful in many disciplines, and his work provided key concepts that can now throw a clarifying light in some blurry matters. The expression “imagined community” has known a remarkable proliferation, a situation that led to both the formation of a research direction and to the perpetuation of a cliché. In this respect, my article pointed out some suggestive characteristics of virtual communities, explaining why the imagined community is a valuable subject for the theorists of new media. The impossibility to know in person all the members of a big community is just one factor that determines its imagined face. Moreover, the set of values and inner presuppositions that guide the members are important bricks in the construction of community. In my opinion, the virtual community is imagined as a multi-layered experience (technological, conversational, relational etc.). The dynamic of a virtual community contains the tension amongst these layers and the degree of its imagined side depends on multiple factors. In order to illustrate these aspects, I gave a brief example by analysing a Romanian virtual community, using the triad common language – temporality – high centers. In spite of its limitations, the perspectives offered by this concept are still useful for understanding the nature of online communities. Thus, the imagined community is a valuable set of beliefs and practices that underlie and bolster the effective meaning and functioning of the virtual communities.
This paper focuses on the complex relationships among social capital, community development and festivals. The Covid-19 pandemic put a lot of pressure on festivals, forcing an entire industry to adapt and recreate itself. In the restricted sanitary context, the pandemic festivals redefine the sense of events, of community and of social interactions. The empirical data, comprising in-depth interviews with the organisers of the first festival in Romania after lockdown, have revealed the prioritisation of social benefits and the growing connection between festival and community. This study therefore suggests that festivals could be involved more deeply in the community by assuming social charitable causes. Festivals create their own communities of fans but also shape the local communities where they take place.
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