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Purpose – This chapter explores my responses to Carolyn Steedman’s Landscape for a Good Woman (1986) as a historian and an educated working-class woman and considers the ‘blind spots’ in some commentary on the book. The aim of this study is to unpick understandings of subjectivity, class and education in certain kinds of academic text.

Methodology/Approach – The chapter draws on a qualitative analysis of works of history and cultural studies and reflections on the author’s own emotions and experiences.

Findings – Education and class are equally important in the experiences of educated working-class people, but there are considerable difficulties in communicating these different aspects of selfhood and in ensuring they are understood.

Originality/Value – ‘Autobiographical histories’ as a form, and the use of the first person in contexts where it is not usually accepted, provide new possibilities of identification and knowledge for marginalised peoples. ‘Vulnerable writing’ therefore has a political purpose.

Advocacy for child participation has been enhanced by the United Nations Convention on the Rights of the Child (UNCRC) (1989). The UNCRC as a legislative mechanism for countries to implement children's rights to participation is not without problems as argued by many. Children's agency is crucial in enhancing their participation but agency itself cannot guarantee participation as child participation is relational and intersects with the institutional, social, cultural, economic and political landscapes. This is greatly reflected during the coronavirus pandemic when children have played a big part in tackling the national and global crises by showing their resilience, sympathy and willingness in fitting into the unprecedented ways of life and schooling.

This chapter uses a reflective case study to explore the intersection between agency of children and factors that facilitate and also challenge children's participation in homeschooling practices during the COVID-19 pandemic in England. The reflective case study reveals that agency of young children's participation in homeschooling was constrained by the pandemic, which also triggered off possibilities for children alongside family members to interpret learning differently and translate homeschooling practices via creative engagement with learning resources and pedagogical approaches. The reflective case study also tells a family narrative about children's participation in homeschooling during the COVID-19 pandemic as a journey with a prime focus on holistic learning and well-being by addressing the key role of play, friendship and connection with nature.

Purpose – This chapter provides the reader with an overview of a reflective video pedagogy for use within a literacy center or within professional development contexts. The conceptual overview is followed by two-case examples that reveal how literacy centers can serve as rich, productive research sites for the use and study of reflective video pedagogy.

Methodology/approach – The authors describe their ongoing work to develop and integrate a reflective video pedagogy within a literacy center during a 15-week practicum for literacy-specialists-in-training. The reflective video pedagogy is not only used by the clinicians who work with struggling readers twice a week, but it is also used by the researchers at the literacy center who study the reflective video pedagogy through the same video the clinicians use.

Practical implications – Literacy centers are dynamic sites where children, families, pre/in-service teachers, and teacher educators work together around literacy development. Reflective video pedagogies can be used to closely examine learning and teaching for adult students (i.e., clinicians) and for youth (i.e., children in elementary, middle, and high school) and also for parents who want their children to find success with literacy.

Research implications – In recent years “scaling up” and “scientific research” have come to dominate much of the literacy research landscape. While we see the value and necessity of large-scale experimental studies, we also posit that literacy centers have a unique role to play. Given that resources are scarce, literacy scholars must maximize the affordances of literacy centers as rich, productive research sites for the use and study of a reflective video pedagogy.

Artists operating under a studio model, such as Andy Warhol, have frequently been described as reducing their work to statements of authorship, indicated by the signature finally affixed to the work. By contrast, luxury goods manufacturers decry as inauthentic and counterfeit the handbags produced during off-shift hours using the same materials and craftsmanship as the authorized goods produced hours earlier. The distinction between authentic and inauthentic often turns on nothing more than a statement of authorship. Intellectual property law purports to value such statements of authenticity, but no statement has value unless it is accepted as valid by its audience, a determination that depends on shared notions of what authenticity means as well as a common understanding of what authenticity designates.

This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.

This article explores aspects of separation from “post-traditional” religiosity characteristic of certain late/post-modern affiliations. To do so, I analyze in-depth interviews with 44 individuals who formerly identified with straightedge – a clean-living youth-oriented scene tightly bound with hardcore music that is centered on abstinence from intoxicants – about their experiences transitioning through associated music assembly rituals. While features of hardcore music assemblies – e.g. moshing, slamdancing, sing-a-longs – have long been treated as symbolic connections that potentially conjure the religious as conceptualized in Émile Durkheim's “effervescence” and the liminality of Victor Turner's “communitas,” data on transitions from these features of ritual remain scant. Ex-straightedgers generally believed the sorts of deep connections they professed to experience in hardcore rituals as youths were not necessarily currently accessible to them, nor were they replicable elsewhere. Findings then ultimately suggest some post-traditional religious experiences might now be profitably considered in terms of the life course, which has itself transformed alongside the proliferation of newer late/post-modern affiliations and communities.

Previous research suggests that women receive less critical attention and acclaim in popular music. The authors expect that gender differences in the amount and content of media discourse about popular musicians occur because music critics draw on the cultural frame of gender as a primary tool for critical evaluation. In order to explore the role of gender as a frame through which aesthetic content is evaluated, the authors conduct detailed content analyses of 53 critical reviews of two versions of the popular album 1989 – the original released by Taylor Swift in 2014 and a cover version released by Ryan Adams less than a year later. Despite Swift’s greater popularity and prominence, the authors find that reviews of her version of the album are more likely to focus on her gender and sexuality; less likely to describe her as emotionally authentic; and more likely to use popular aesthetic criteria in evaluating her music. By contrast, Ryan Adams was more likely to be seen by critics as emotionally authentic and to be described using high art aesthetic criteria and intellectualizing discourse. The authors address the implications of the findings for persistent gender gaps in many artistic fields.

We illustrate the potential of diaries for advancing scholarship on organization studies and grand challenges. Writing personal diaries is a time-honored and culturally sanctioned way of animating innermost thoughts and feelings, and embodying experiences through self-talk with famous examples, such as the diaries written by Anne Frank, Andy Warhol, or Thomas Mann. However, the use of diaries has long been neglected in organization studies, despite their historical and societal importance. We illustrate how different forms of analyzing diaries enable a “deep analysis of individuals’ internal processes and practices” (Radcliffe, 2018) which cannot be gleaned from other sources of data such as interviews and observations. Diaries exist in different forms, such as “unsolicited diaries” and “solicited diaries” and have different purposes. We evaluate how analyzing diaries can be a valuable source to illuminate the innermost thoughts and feelings of people at the forefront of grand challenges. To exemplify our arguments, we draw on diaries written by medical professionals working for Doctors Without Borders as part of our empirical research project conducted in extreme contexts. We show the value of unsolicited diaries in revealing people’s thought world that is not apprehensible from other modes of communication, and offer a set of practical guidelines on working with data from diaries. Diaries serve to enrich our methodological toolkit by capturing what people think and feel behind the scenes but may not express nor display in public.