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In this chapter, we used a research-based case study titled “The Desirable Prince Meeting” to explore how interdisciplinary theoretical perspectives on the child can be used to prompt critical reflection on socially just equity praxis in early childhood education. We argue that using multiple theoretical perspectives to analyze teaching and learning can generate and drive critical reflection on equity praxis more effectively than using a single perspective that presents a single truth about teaching and learning moments.

This chapter is an examination of the contribution of female musicianship to the Perth metal scene, particularly in relation to the positioning of women in frontier mythology and the ways in which we might read the gothic sublime in terms of women’s experiences. While it has been recognised that Australian metal music, in general, is tied to the colonial frontier narrative, Perth’s isolation produces a particular kind of frontier narrative which can be read in relation to the gothic sublime. In this chapter, the author examines three Perth metal bands which comprise female members: Claim the Throne (featuring Jess Millea on keys and vocals), Sanzu (featuring Fatima Curley on bass) and Deadspace (featuring Shelby Jansen on bass and vocals). The author will argue that there is a motif running through Perth bands that comprise female musicians that is tied to their positioning in the Western frontier narrative and its production in relation to the gothic sublime. To do so presents one kind of way to conceptualise a metal scene on the ‘Western Front’. The author emphasises that this is not a totalising conceptualisation, rather, it is one way to suggest how context might shape women’s experiences and, perhaps more importantly for this argument, the way in which women women’s experiences and historicity in relation to the legacy of ‘frontierswomen’ inflect metal music in this scene.

My analysis is structured as a comparative study between two countries – New Zealand and Italy – and focuses on the relationship between national audiences and the trans-media structure of the popular television series Game of Thrones (HBO, 2011– present). Game of Thrones’ narrative is characterized by elements that emphasize its fictitious world, since these elements belong to the fantasy genre, which, by definition, deals with the supernatural. From this standpoint, the fantastic universe of the series functions as an escape route from everyday life. However, instead of following the genre rules, “Game of Thrones articulates a striking refusal of the hopeful mythologies of high epic fantasy” (Tasker & Steenberg, 2016, p. 189) by focusing on the brutal, the extreme, and the overall injustice and chaos that permeate a society in which war and death appear to be inescapable. In this chapter, the textual schematic of Game of Thrones is examined through the emotional reactions, during focus group sessions, of national fan groups to themes and events of the show. In particular, the analysis of Italian and New Zealand followers’ comments on Game of Thrones will be instrumental to illustrating the reasons for their passion for the series as well as the main concerns that arise during the viewing. This ambivalent attitude in fans’ responses and engagement will emerge as significantly dependent on the media text’s capacity to transcend the boundaries of a simple categorization, to stand as a notable example of a program that manages to appeal to diverse audiences beyond the country of origin.