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Fairy tale narratives have placed significant emphasis on depicting female and male protagonists through a binary understanding of gender roles. Major male characters are portrayed with traits associated with hegemonic masculinity, reinforcing concepts that uplift masculine superiority, such as independence, exercise of power, authority, and strength. Conversely, female protagonists are often represented in ways that emphasise hegemonic femininity, aiming to disempower and marginalise them by highlighting traditional feminine traits like passivity, dependence, and helplessness. Any female characters deviating from these norms and depicted as powerful and dominant are positioned as villains in relation to the main female protagonist, embodying non-hegemonic feminine characteristics.

The representation of women in these ways primarily serves one purpose: to uphold masculine superiority. Hegemonic femininity portrays women as damsels in distress, awaiting rescue. On the other hand, non-hegemonic femininity manifests through villainous women performing antagonistic acts towards conforming female protagonists, thus forcing them into a helpless position. This is the critical juncture where the main male protagonists' step in – rescuing the helpless female protagonists and defeating the female villains – reinforcing masculine values in both scenarios.

However, the 21st century fairy tale narratives have challenged this ideology. I argue that recent fairy tale narratives have adopted the technique of ‘Feminist Quest Heroine’ to challenge and deconstruct male characters' heroism through the re-portrayal of female and male characters. The selected fairy tale narratives include Frozen (2013) and a comparative analysis of Sleeping Beauty (1959) and its cinematic adaptation Maleficent (2014). The findings suggest that these fairy tales rework the representation of male characters in three ways: the application of post-feminist masculinity, the modification of heteronormative temporality, and the prominence of sisterhood upon the critique of patriarchy.

This chapter examines two 21st-century Disney fairy tale adaptations, Frozen (2013) and its sequel Frozen II (2019), focussing on the representation of male characters and the discourse on masculinity that can be inferred from both films.

Despite featuring two prominent female protagonists – Queen Elsa and Princess Anna – and dealing with themes such as sisterhood and female bonding, a close reading of the two films reveals that they are as much about masculinity as they are about femininity. For instance, filmmakers introduce heterosexual romance where there was none before, as well as male characters Prince Hans and Kristoff, who are not present in the literary source that they draw from, Hans Christian Andersen's ‘The Snow Queen’ (1844).

Furthermore, these male characters are given names, personalities, and motivations, which cannot be said of previous Disney fairy tale Prince Charming-type figures. Therefore, Hans and Kristoff are proposed to be variations of this archetype and can be read as an attempt on Disney's part to complicate it, undermine the patriarchal masculinity that it stood for in its previous Disney renderings, and propose alternative models for the implied 21st-century audience.

Although Prince Hans is initially presented as a stereotypical Disney fairy tale prince, he is eventually revealed to be a narcissistic lover and a patriarchal villain. Kristoff, by contrast, is the humble, lower-class, sensitive ‘new’ man who is presented as a socially acceptable alternative and finally takes Prince Charming's place by becoming the princess's love interest and partner. Frozen can be read as a cautionary tale that urges young women to choose their romantic (male) partners wisely and warns both male and female audiences against the dangers of fragile patriarchal masculinity.

This paper aims to review the latest management developments across the globe and pinpoint practical implications from cutting-edge research and case studies.

This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context.

This paper discovered that provided the best human resource practices had positive impacts on social sustainability.

The briefing saves busy executives, strategists and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format.

This article develops an innovative multidisciplinary conceptual framework in the field of refugee entrepreneurship by combining the theory of mixed embeddedness with the concepts of intersectionality and agency. Focusing on the phenomenon of refugee entrepreneurship, this conceptual framework addresses the following questions: how is entrepreneurship informed by the various intersectional positions of refugees? And how do refugees exert their agency based on these intersecting identities?

By revising the mixed embeddedness approach and combining it with an intersectional approach, this study aims to develop a multidimensional conceptual framework.

This research illustrates how the intersectional positions of refugees impact their entrepreneurial motivations, resources and strategies. The authors' findings show that refugee entrepreneurship not only contributes to the economic independence of refugees in new societies but also creates opportunities for refugees to exert their agency.

This conceptual framework can be applied in empirical research and accordingly contributes to refugee entrepreneurship studies and intersectionality theory.

This study aims to identify factors affecting attitudes towards social media influencers (SMI) on halal cosmetics products. It subsequently examines how the latter stimulates consumers’ attitudes towards purchase intentions of halal cosmetics moderated by religiosity.

This study uses a survey of samples of Muslim cosmetic consumers in Indonesia. In total, 234 respondents were selected using the purposive sampling method; a self-administered questionnaire was used to collect data from respondents. The survey data were analysed using partial least squares for structural equation modelling (PLS-SEM) to achieve the study’s objectives.

The findings revealed that trust, perceived expertise and perceived behavioural control positively and significantly affect attitudes towards SMI. However, the relationship between perceived credibility, subjective norm and attitude towards SMI is insignificant. In addition, the findings revealed that attitude towards SMI has a positive effect on explaining purchase intention. Notably, religiosity does not moderate attitudes towards SMI and purchase intention.

This study provides guidelines for companies in understanding the influence of religiosity on consumption behaviour in SMI marketing era. Thus, it will enable marketers to identify the factors influencing customers’ attitudes towards SMI and develop marketing strategies that effectively increase the customers’ intentions to purchase halal cosmetics. This will result in Indonesia becoming the epicentre of the global halal industry, particularly in the cosmetic sector.

This research provides a novel perspective by investigating how SMI shapes the purchase intention of Muslim consumers on halal cosmetics.

Sustainable tourism development is currently a practice for most destinations in the world. It is associated with conceptualizing, implementing, and monitoring policies and programs with balanced economic, sociocultural, environmental, and politico-administrative implications. It is manifested through understanding and integrating the significance of tourism resources, specifically sites and attractions, and the perspectives of primary and secondary stakeholders. This book chapter explicated the significance and implementation of value and rights-based approaches to tourism development through the case of the Samar Island Natural Park (SINP) in the Philippines. It highlighted the value of SINP based on its natural and cultural heritage significance and the perspectives of People's Organizations as tourism front liners of SINP. In the end, a Sustainable Tourism and Strategic Development Framework was explained as the by-product of interconnecting the value and rights-based approaches. The discourse recognizes the interaction between preserving the park's natural integrity and maximizing its tourism potential for the benefit of the local communities and also examines the different aspects of SINP – its vibrant ecosystems and rich cultural legacy, that set it apart as a unique destination.

As a fairy tale is adapted to fit with current cultural discourses, drastic changes occur. One of these changes is the erasure of the old man. The wise old man, the doddering old fool, and many more tropes that older men fill have been altered. The eccentric Merlin and the mad Hatter have been replaced with younger versions in Merlin (2008–2012) and the Syfy miniseries Alice (2009). While the grandfather is technically found in Disney's Once Upon a Time in the form of Rumpelstiltskin, it is rarely discussed. In the Beauty and the Beast (2017), Maurice is no longer the town oddity as he goes from tinkering with odd inventions, to being a music box maker. His creativity and quirky idiosyncrasies have been erased.

This chapter delves into this disappearance of the older man in modern fairy tale adaptations, and the repercussions this has in the representation for the older man. Furthermore, this chapter seeks to show how toxic ageist notions in Hollywood have impacted the role of the old man as he is replaced with the stereotypical younger man, due to the increased objectification of men in film and the subsequent conformity to the ‘ideal masculine form’. This objectification can be seen through the slow ‘reinvigoration’ of the Mad Hatter from Disney's Alice in Wonderland (1951) to the Hatter in Syfy's Alice (2009), Johnny Depp's Mad Hatter, Tarrant Hightopp, in Tim Burton's Alice in Wonderland (2010), and finally Sebastian Stan's Mad Hatter in Once Upon a Time (2011–2018).

This chapter examines the ‘embodied turn’ in the study of traditional Chinese sports and identifies issues within this area of research. It introduces new interpretative perspectives and approaches within the framework of bodily sociology to elucidate the link between locally-informed sports practices and the formation of socialized individuals. The chapter categorises the current research into three main themes: self-giving, the creation of bodily value and the construction of national identity through sports. It then integrates these themes with the findings of embodied sociology. The chapter compiles and analyzes the existing literature on traditional Chinese sports culture from both Chinese and international scholars, offering insights into the status, rationale and challenges of bodily sociological research. By contextualising the concept of the embodied turn in traditional Chinese sports culture – through concepts such as self-givenness, self-techniques, the generation of value and the creation of collective memory – the chapter discusses the impact of bodily sociology on cultural research. The chapter advocates for further bodily sociological studies of Chinese sports culture, which could enhance the understanding of Chinese studies among Western scholars and contribute to a genuine embodied turn in this field of study. Providing one of the initial explorations of embodied studies in traditional Chinese sports, the chapter reveals a transition from broad cultural interpretations and symbolic, structuralist sociology to a phenomenological approach in sports cultural studies. It posits that the bodily sociology approach is beneficial for sports studies although current research has not yet fully realized the embodied turn.

Fairy tales were first transmitted orally to teach the community to adapt and engage with their surroundings (Zipes, 1987, p. 1). Nonetheless, they have also contributed to reproduce traditional gender roles and stereotypes (Meland, 2020, p. 912). Indeed, they encourage ‘females to become passive self-denying, obedient, and self-sacrificial’, and males to ‘be competitive, authoritarian, and power-hungry as well as rational, abstract, and principled’ (Zipes, 1987, p. 3). Likewise, Western fairy tales are characterised by a racial dichotomy manifested through the uses of colour: purity is usually associated with white, while black is related to death. This binary opposition suggests that ‘[w]hiteness is often the invisible, privileged state, whereas any other skin colour is marked and laden with ideological judgments’ (Jorgensen, 2013, p. 56).

Carnival Row (2019–2023) is a neo-Victorian TV series created for Amazon Studios that rewrites Western fairy tales through the lens of postcolonial and gender studies. It is set in a fantastically reimagined Victorian England, where mythological creatures – e.g. fairies or centaurs – are allegorical representations of the ethnic Other. The male protagonist of this series, Philo, is a ‘half-breed’ – half human, half fairy – who passes as human to avoid racial discrimination. However, he evolves from being a male character who rejects his ethnic identity to a heroic figure who eventually embraces his racial origins at the end of Season 1. As I demonstrate in this chapter, Philo's nuanced development arguably subverts traditional depictions of white male heroes in fairy-tale narratives, where they tend to be portrayed as strong, principled and non-complex characters.

The modern fairy tale hero identity falls into a general spectrum of tropes that spans from the charming prince who seals the fate of the beautiful princess with a kiss to borderline villains with little break in this spectrum. The Witcher's Geralt of Rivia brings to light an often overlooked hero's identity by representing neither ends of this heroic spectrum but rather a different breed of hero entirely. We argue that Geralt of Rivia differs from the typical representation of the fairy tale hero by embodying the spirit of the Huntsman archetype as depicted in stories such as Snow White and Little Red Riding Hood.

This creates a new means of exploring fairy tales as genres by giving perspective to the bloodier, messier sides of these tales which have since deviated from their darker origins. Geralt exists as neither hero nor antihero, but rather a sword-for-hire who cleans up messes that ‘heroes’ otherwise cannot or will not handle themselves. Across his depictions in the books, games, and show, Geralt involves himself as a witcher; hunter of monsters. Geralt's method in overcoming this style of quest is unlike the usual hero. Standing in for the Huntsman, Geralt understands the nature and balance of man and beast and carries this responsibility while looking to accomplish his goals. In this chapter, we seek to document and bring to light this underrepresented style of hero that the witcher has to offer to show that such a hero needs not be black nor white.