The ethics pyramid: Making ethics unavoidable in the public relations process

To move from the realm of good intent to verifiable practice, ethics needs to be approached in the same way as any other desired outcome of the public relations process: that is, operationalized and evaluated at each stage of a public relations campaign. A pyramid model—the "ethics pyramid" —is useful for incorporating ethical reflection and evaluation processes into the standard structure of a typical public relations plan. Practitioners can use it to integrate and manage ethical intent, means, and ends, by setting ethics objectives, considering the ethics of each campaign tactic, and reporting whether ethical outcomes have been attained.

Media, 'Madness' and Ethical Journalism

This article analyses the way newspapers and journalists sometimes fail to acknowledge and resolve some of the contentious ethical dilemmas associated with reporting news. Its focus is on not exploiting and vilifying the vulnerable, especially people with mental illness, through sensationalism and inaccurate and imprecise use of medical terminology such as "psycho ". "schizo" or "lunatic ". Because ethics is central to our understanding of professionalism, this article uses professions and professionalism as benchmarks aginst which to analyse and critique how journalists and newspapers define and report news.Sometimes journalists fail the test of good ethical practice in terms of negative. outdated and inaccurate expressions they use in the news stories they report. Likewise, regulators of news industry standards appear not to recognize and sanction such reporting. The apparent inability to resolve these ethical dilemmas creates a context conducive to tolerance for, not acceptance of. unethical news reporting.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.