Growing concerns about “online harm” and “duty of care” fuel debate about how best to regulate and moderate “troubling content” on social media. This has become a pressing issue in relation to the potential application of media guidelines to online discussion of death by suicide—discussion which is troubling because it is often transgressive and contested. Drawing on an innovative mixed‐method analysis of a large‐scale Twitter dataset, this article explores in depth, for the first time, the complexities of applying existing media guidelines on reporting death by suicide to online contexts. By focusing on five highly publicised deaths, it illustrates the limits of this translation but also the significance of empathy (its presence and absence) in online accounts of these deaths. The multi‐relational and politicised nature of empathy, and the polarised nature of Twitter debate, suggests that we need to step back from calls for the automatic application of guidelines produced in a pre‐digital time to understand more about the sociocultural context of how suicide is discussed on social media. This stepping back matters because social media is now a key part of how lives and deaths are deemed grievable and deserving of our attention.

Galicia, a national minority and autonomous community of northern Spain, is often defined by its long history of emigration. While not the most common destination of Galician migrants, those that emigrated from the municipalities of Sada and Bergondo in Coruña had uncharacteristically large rates of migration to the United States. These migrants and their children continue to sustain strong ties to the perceived homeland and engage in repeat visits. Theories of transnationalism help to explain the continuity of identity, but it is with qualitative interviews with homeland tourists in Galicia that this paper will show how it is specifically through frequent visits to the homeland that these Galician-Americans are able to generationally sustain ties to the homeland and create a sense of national belonging. The frequent visits make it possible for many to create a strong Galician identity that is both transnational and locally situated. Through looking at the way these homeland visits construct a Galician identity, we can begin to form a new perspective on Galician nationalism, one that is reflected in the migrants and defined by mobility.

Nation branding goes beyond simply government propaganda or tourism promotion, but rather consists of a multitude of activities that form a comprehensive, top-down, government driven and funded initiative that appropriates corporate branding strategies to a nation.

In this work of historical sociology and art history, Smith seeks to demonstrate how art played an important role in the development of national identity. The book is divided into six numbered chapters with an introduction and a conclusion. In the introduction, Smith gives an overview of his definitions of the nation and nationalism and outlines how he will categorise the chosen works of art. In short, there are three types that he looks at: didactic (heroic imagery); evocative (landscapes and atmosphere); and commemorative (glorifying the dead). These three types then combine with four dimensions of the nation: community, territory, history and destiny.Chapters 1 and 2 serve almost as a prologue to the main work. Smith discusses the notion of national art in antiquity, concluding that while some of the tropes were there, it was not national art, and proceeds to focus on the Netherlands during the 1500s and the early 1600s where he argues the linkage between art and nation first emerged. Artists, such as Rembrandt, drew on imagery, both biblical and Batavian, to craft a sense of the Dutch being a 'chosen peoples', who had existed through time. During this period, many of the artistic motifs that would become popular were first developed. It is an ambitious opening that lays out the structure of the work ahead. Smith is impressive and engaging as he skilfully conveys the sense and atmosphere of the paintings he describes and analyses.Chapters 3 and 4 focus on two types, didactic and evocative, and examine them closely. France is used as the focus for didactic art, with the works of Jacques-Louis David and Eugene Delacroix being the main artists used. Their works would often show images of ancient heroism, and the scenes of oath swearing were recurrent during the period around the French Revolution. These paintings were crucial in shifting the sense of allegiance away from the king and towards the nation, representing the citizens. Delacroix, in particular, is shown to have used imagery and symbols that help ground the notions of liberty, virtue and honour and make them allegorical to the characteristics of the people of the nation. Smith argues that this helped to ground abstract values, in memorable images, and makes them communicable to the people. Britain, with the works of Turner and John Constable, stands as an example of evocation, with Smith looking at the portrayals of the landscapes to craft the atmosphere that would represent a distinct Englishness and help define the homeland of the people. He argues, persuasively, that the beginnings of the nation, during this period, made artists aware of their own background and identity and gave them a desire to convey that sense of identity to others.Chapters 5 and 6 then focus on the two national dimensions of history and destiny, with the art type of commemoration getting an extended examination in the final chapter. Here, Smith makes that case that historical artists like Benjamin West, John Singleton Copley and Jacques-Louis David crafted scenes from history an...