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Many ethical questions have been raised regarding the use of social media and the internet, mainly related to the protection of young people in the digital environment. In order to critically address the research question “who is responsible for ethically protecting minors in the digital environment?”, this paper will review the main literature available to understand the role of parents, the government, and companies in protecting young people within the digital environment. We employed a holistic process that covers a state-of-the-art review and desk research. The article is divided into four sessions; (1) Government Policies from the European Union (EU) Perspective; (2) Parental Control; (3) An Overview of Companies and the Private and Self-Regulation Sectors; and (4) the Ethical Dilemma. Throughout, we reviewed specific topics regarding the potentially harmful content for young people within the digital environment, questioned how ethical concerns shape content and interactions online and discussed how internet parenting styles impact risks and opportunities for young people in the digital world. Finally, we analysed the research question contrasting it with the main findings in this review and offered recommendations.

Tangible traces of conflict in visual artefacts can take viewers uncomfortably close to the realities of war—violence, destruction and fatalities. This article questions the evidential force of objects associated with conflict and their eventual display in exhibitions. Through a study of the display of a brick in which is embedded a bullet that is said to have passed through the body of Francis Sheehy Skeffington when he was executed by firing squad during the Easter Rising in Dublin in 1916, this article explores the historical configuration of the brick and analyses its public display in the National Museum of Ireland (NMI). By examining the actions carried out by the NMI in collecting and archiving the object and analysing the narrative strategies of its display, this article considers how the visual aspects of exhibition displays can perpetuate a particular version of historic events and accredits objects with assumed authenticity.

The actions surrounding the display of images and artefacts in museums – collection, conservation, research and exhibition – are bound up with how the past is presented and remembered. These conditions and decisions relating to exhibitions are largely invisible to viewers who are confronted with the apparent completeness of an exhibition display. By conducting a historical and visual analysis of the bloodstained vest of political leader James Connolly, this article uncovers how this artefact has become a relic of historical violence due to the way in which particular aspects of its configuration, form and trajectory have been manipulated in order to elicit powerful emotional responses from the exhibition’s viewers.

Abstract This article offers insights into how the storytelling aspects of the Donald Trump presidential campaign of 2016 contributed to the rise of the Trump movement and paved his way to the White House. With 50 Trump speeches being analysed, the study reconstructs the narrative Donald Trump communicated to the target audience on his way to the highest office. Exploring the idea of Donald Trump as a storyteller, the article discusses how the ideology of the Trump base was constructed and an eagerness to participate was ignited by the narrative. Methodologically, the article derives the seven principles of political storytelling from its theoretical framework and applies them as an analytical frame to the analysis of the narrative structure of the Trump campaign. The seven principles suggest that the political narrative benefits from being targeted, empathic, happy-ending, consistent, well delivered, well communicated and engaging.

Abstract This article critically considers the representation of death within the song tradition of modern Irish Republicanism. I explore how such representations have changed in parallel with the various ideological metamorphoses that Irish Republicanism has undergone, specifically in the twentieth century. I argue that the centrality of self-sacrifice has resulted in the development of ballad narratives that deliberately obfuscate on the issue of Republican violence, resulting in the deaths of all Republican militants (regardless of cause or context), ultimately portrayed as a form of heroic self-martyrdom. San alt seo, déantar anailís chriticiúil ar léiriú an bháis i dtraidisiún amhránaíocht Phoblachtach na hÉireann. Tugtar faoi deara na hathruithe a d’éirigh don léiriú seo mar throradh ar na claochlaithe idé-eolaíochta éagsúla a tháinig ar an bPoblachtachas le linn an fichiú haois go háirithe. Maítear ann go maolaítear foréigean Poblachtach sna bailéid atá faoi chaibidil d’aon ghnó, chun bás an mhíleataigh Phoblachtaigh a chur in iúl mar fhéiníobairt laochúil, beag beann ar chúis nó ar chomhthéacs.

AbstractGilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, an unfilmed screenplay written by Renoir during the making of Lange, this article argues that Renoir mobilises his signature techniques and proto-fascist iconography to reflexively criticise local attempts to implement socialist ideals in contemporary Paris.

Newspaper developed in Ireland as a political press, with each publication clearly identified with particular political groupings. However, for reasons of economics journalism itself developed a professional paradign, that stressed impartiality, so allowing journalists to move from publication to publication regardless of the politics or religion of the journalist. Newspapers and journalists also helped develop a civil society that contributed to the eventual democratic nature of the Irish state, following independence.

This collection of critical essays proposes new and original readings of the relationship between French and Irish literature and culture. It seeks to re-evaluate, deconstruct and question artistic productions and cultural phenomena while pointing to the potential for comparative analysis between the two countries. The volume covers the French wine tradition, the Irish rebellion and the weight of religious and cultural tradition in both countries, seeking to examine these familiar topics from unconventional perspectives. Some contributors offer readings of established figures in Irish and French literature, from Flann O’Brien to Albert Camus; others highlight writers who have been left outside the critical frame, including Sydney Owenson, Jean Giono and Katherine Cecil Thurston. Finally, the volume explores areas such as sport, education, justice and alternative religious practices, generating unexpected and thought-provoking cultural connections between France and Ireland. https://arrow.tudublin.ie/afisbo/1002/thumbnail.jpg