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This chapter offers insights into how sibling dyads manage to prevent falling into the trap of conflicts and decision-making paralysis. The study draws on the case study of a family business that was co-founded by a married couple and is currently led by their daughter and son. The family business is 50-years-old.

The case provides inputs on how the three factors identified by Bövers and Hoon (2020) emerge in a duo-shared leadership and are influenced by the siblings’ personal relationship’s evolution since infancy. It also provides details into the role other family members and the family stories play in nurturing and strengthening relationships. Furthermore, it explores how some dimensions related to masculinity and femininity that can be at the origin of quarrels and conflicts between gender-diverse siblings can weaken or challenge the stability of the dynamic equilibrium of a siblings’ duo-shared leadership.

In addition, the case offers helpful examples into how the board of directors can help prevent conflict escalation, as well as on how triangulation can facilitate a dialogue between two family members who have different communication styles that cause difficulties in their direct interaction. Takeaways and recommendations close the chapter.

Background: The political participation of children and adolescents provided for in the United Nations Convention on the Rights of the Child and Brazil’s Statute of the Child and Adolescent adopted in July 1990 has been proposed to ensure the effectiveness and guarantee of citizenship with regard to children and adolescents in adult-centered and adult-normative cultures.

Methods: This study aimed to understand the meaning of recognition in relation to the child as a subject of rights in the context of political participation in Brazil from 2001 to 2017 through the accounts of two adolescents who have been activists since childhood. The narratives were interpreted in light of the identity theory based on the critical social psychology and the sociology of childhood.

Results: This helped identify (1) the systemic unpreparedness when dealing with adolescents as persons who advocate for the civil rights of children and adolescents; (2) the attempts by education professionals to restrict adolescent activists to schools and family institutions to delegitimize them from their representative potential; and (3) that political participation could help raise the interviewed adolescents’ awareness of the power relations inherent in the social structure.

Conclusions: The effectiveness of political participation is considered a challenge, regardless of official documents being made use of, given the need for a paradigm shift with regard to the universalist theories that consider the institution of childhood exclusively as a progressive preparation for the adult world.

The horror genre is and always has been populated by women, who can be seen to be at once both objectified and empowered. Building off the preexisting gender hierarchies and dynamics embedded in the history of horror cinema, this chapter looks at a number of New French Extremity films that assault audiences with unrelenting scenes of violence, torture and self-mutilation, which are performed almost exclusively upon or by women. Although the films of the New French Extremity have been dismissed as exploitative in their representations of wounded and suffering female bodies, their narratives also offer internal criticisms of the misogynistic portals of victimhood that are prevalent in the genre. Through a close analysis of the films Inside (Bustillo & Maury, 2007) (French title: À L’intérieur) and Martyrs (Laugier, 2008), this chapter will examine how both films deviate from the male monster/female victim dichotomy. Although the women of these films may start off vulnerable, they take charge of their situations, while also compacting the nature of feminine identity.

The chapter explores the role of law in society and its relation to ethical conflicts as reflected through the prism of the film The Third Man. By focusing on the complexities of life in post-war Vienna, the film exposes dilemmas that prevail in ordinary times and in functioning democracies as well. Our analysis suggests that one way to manage these dilemmas and balance the conflicting loyalties and interests they raise is to sustain open channels between the law and other narrative-generating practices from which normative stances are evaluated. The law-and-cinema discourse is one such channel and The Third Man presents, in our eyes, the vitality of that channel, due to its rich aesthetical language and its unique representation of the ethical tensions (and their consequences) in the modern era.

Various law and film scholars have noted that the judge occupies the place of a marginal figure in ‘legal cinema’ and in related scholarship. In this chapter I want to engage with the debate about the representation of the judge in film by way of an examination of a South African documentary, ‘Two Moms: A family portrait’ (2004). In the first instance this ‘family portrait’ appears to be neither an obvious candidate for inclusion in the canon of ‘legal cinema’ nor a film with a plotline dominated by a judge. But from this rather unpromising start this chapter explores how a film about an ordinary family made up of extraordinary people is an extraordinary film about law in general and about the figure of the judge in particular.

This narrative inquiry centers on teachers' longitudinal experiences of policy-related reforms systematically introduced to T. P. Yaeger Middle School, a campus located in the fourth largest, second most diverse city in America. The embedded research study, with roots tracing back to 1997, uses five interpretive tools to capture six mandated changes in the form of a story serial. Special research attention is afforded pay-for-performance, the sixth reform in the series. The deeply lived consequence of receiving bonuses for his teaching performance prompted Daryl Wilson, Yaeger's long-term literacy department chair, to proclaim “data is [G]od.” Wilson's emergent, inventive metaphor aptly portrays the perplexing conditions under which his career ended, and how my long-term research project likewise concluded.

Anna Julia Cooper and Septima Poinsette Clark were two prominent late 19th- and early 20th-century educators. Cooper and Clark taught African American students in federally sanctioned, segregated schools in the South. Drawing on womanist thought as a theoretical lens, this chapter argues that Cooper and Clark’s intellectual thoughts on race, racism, education, and pedagogy informed their teaching practices. Influenced by their socio-cultural, historical, familial, and education, they implemented antioppressionist pedagogical practices as a way to empower their students and address the educational inequalities their students were subjected to in a highly racialized, violent, and repressive social order. Historical African American women educators’ social critiques on race and racism are rarely examined, particularly as they pertain to how their critiques influence their teaching practices. Cooper and Clark’s critiques about race and racism are pertinent to the story of education and racial empowerment during the Jim Crow era.

Tribalism is at the forefront of public discussion across the political spectrum in America today. Zombie stories have also risen to unprecedented popularity. Amid present-day racial, political, and otherwise tribal tensions, the story I Am Legend has particular resonance. As the original inspiration behind the modern zombie trope, it was published as a novella in 1954 and has been remade as a film multiple times, in 1964, 1971, and 2007. Using grounded theory, I explore each film regarding what moral attitudes are portrayed concerning confrontation between rival milieus. My findings center on four themes: identification, compassion, ambivalence, and condemnation. Overall, in chronological order, the different renditions of the story exhibit decreasing compassion for the other and decreasing ambivalence about relations with the other. The most dramatic change is between the 1971 and 2007 remakes. Implications for what the changes in the morals presented in the story might reflect in terms of social changes in America are discussed.