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The endpoint and hallmark of the success of intercultural teaching is often seen as the attainment of intercultural competence. Yet, there is a need for a detailed examination of some of the enduring personal and professional identity and culture aspects of cross-cultural teaching. In this chapter, I deliberate over the application of narrative inquiry tools for unpacking teachers' experiences of immersion in a foreign country and culture of schooling. I reflect on my own experiences as a teacher in Japan and draw on an inquiry into the experiences of novice Canadian teachers in Hong Kong or Japan to shed light on fluid conceptions of culture shock and reverse culture shock in terms of cultural identity transformations. I also raise to the forefront inquiry puzzles about the phenomenon of intercultural competence acquisition.

The purpose of this paper is to examine whether mandatory disclosure of information accompanying the sale of real estate achieves its aim of informed purchasers.

Using a case study approach focused on mandatory disclosure in South Australia data was collected from interviews and focus groups with key personnel in the property industry involved in the production of information required to fulfil vendors’ disclosure obligations.

The authors found that purchasers are ill-served by a long and complex form of mandatory disclosure with a short time frame that prevents the use of the information provided. Without good form design and increased digital affordances provided by the cadastral and conveyancing systems, mandatory disclosure is insufficient to ensure minimisation of information asymmetry between vendor and purchaser.

To the best of the authors’ knowledge, this is the first Australian qualitative study that examines the utility of mandatory vendor disclosure in real estate sales and the first to consider the impact of the digitalisation of cadastral and conveyancing systems upon the efficacy of mandatory disclosure regimes.

Killing Eve (BBC 2018–2022) has been hailed as a feminist television show. Its cinematic production values call upon a history of espionage on screen, encompassing international intrigue and glamorised hyperviolent action sequences. Is this violent aesthetic a cathartic reference to newly visible feminist discourse or are we just being sold a new version of old fantasies?

In this chapter Killing Eve is examined in relation to a history of violent women spies on screen, from Emma Peel (The Avengers 1961–1969) to Sydney Bristow (Alias 2001–2006). While Villanelle (Jody Comer) appears to present an amoral account of postfeminist ‘empowerment’, Eve (Sandra Oh) carries echoes of second-wave feminist concerns with community, morality and ethics. With each season the differences between Villanelle and Eve unravel, raising questions about what constitutes ‘quality’ television and how that might intersect with old-fashioned ideas about women's liberation. While the show depicts each character as ‘liberated’ in some respects, they are both entangled in corporate nets which repeatedly put them in danger and pull them back into violence as a form of labour.

This chapter investigates resistance initiated by trans athletes and their allies and evaluates developments in policies and practices at the international, national and local levels of sport. The limitations of liberal approaches to trans inclusion are identified, and examples of radical, transformative approaches grounded in intersectional feminism are presented, together with an analysis of the crucial roles of solidarity work provided by allies and accomplices. The potential offered by boxing as a route to empowerment for trans and nonbinary participants is examined. An overview of recent media coverage of trans athletes suggests that global resistance is having an important impact on mainstream journalism. Finally, this chapter outlines how a successful campaign challenging a trans-exclusive Sport Canada's 2022 opinion survey and a recent report by Canadian Centre for Ethics in Sport provide further evidence of effective resistance to trans exclusion in sport.

The development of qualitative research methods addresses the need to explore, understand and interpret complex and subjective phenomena across various fields of study. These methods are guided by methodological frameworks, and data collection involves taking several precautions for observation or interviews. While these guidelines facilitate an emphasis on the objective aspects of discourse, accounting for subjectivity and emotions proves more challenging. However, these subjectivity and emotions are deemed as significant sources of information. In this chapter, we propose an innovative data collection method centred around creating collages and engaging in group discussions to decipher their meaning. Collage serves as a visual medium, and we recommend utilising semiotic analysis tools to comprehend its significance. To gain a more precise understanding of the value of collage as a data collection method, we studied a collage workshop organised by CREE. Through image analysis and exchanges, our findings reveal that collage acts as a physical medium that fosters exchanges, deepens ideas and restricts digressions. Additionally, collage allows for the expression and discussion of emotions linked to the image rather than the individual. The space of intersubjective reflexivity facilitated by collage enables a profound comprehension, critical assessment and augmentation of ideas and the interpretation of emotions without compromising the sensitivity of the author. This chapter’s main contribution is evidently manifested here.

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.

Conversations around diversity, race and science fiction and fantasy films/television have sparked in response to recent casting decisions made in the upcoming live-action The Little Mermaid, The Lord of the Rings: The Rings of Power and Star Wars' Obi-Wan Kenobi (Deggans, 2022; Romano, 2022). Backlash against casting of actors of Color in these genres highlights racial projects where a cultural memory of whiteness comes up against multicultural change. The authors of this paper feel that there is great potential in using current-day racial issues around fantasy films/television to explore these racial projects with students in social studies classes (Omi and Winant, 2014).

Using a qualitative textual analysis (Peräkylä, 2005), the authors examined online news media outlets addressing the casting of actors of Color in the aforementioned media pieces. After reviewing over twenty articles, the authors determined two major themes that would serve as the findings.

In this paper, themes of nostalgia for an imagined ‘way things were’ and future-based fears of how things will become emerged from the analysis, revealing a need for engaging students in the history of sci-fi and fantasy media, and the existing, diverse histories of storytelling featuring multiple races.

The authors argue that examining racial projects found in contemporary sci-fi and fantasy casting are chances for students to understand complex racial histories and how they blend into current-day cultural landscapes, and are opportunities to practice analysis of real-life racial histories and richly-imagined fantasy worlds, noticing how and why the two often collide when it comes to race.

Plus-size women represent a large consumer segment that has grown in popularity with the fashion industry, retailers and advertisers. Despite advancements in clothing availability for plus-sized women, the shopping experience for these women (compared with that of straight-size women) often still falls short. The current experience leaves plus-sized women feel like a second-class, minority group despite the fact that the majority of women in USA are considered plus-size. The purpose of this study was to assess how US-based, value- and mid-market online clothing retailers position their plus-size female clothing sections in their site navigation.

This study assessed the websites of N = 68 popular plus- and straight-sized US-based, value- and mid-market retailers to evaluate the placement of, and options available in, their plus-sized clothing sections.

Findings revealed that the majority of retailers completely separated out the plus-sized section from the straight-sized section and that the language used to describe plus-size clothing was body-focused (versus clothing-focused for straight-size clothing sections). Theoretical and practical implications for marketers, advertisers and retailers are discussed.

This is the first study to assess the separation of plus- and straight-sized clothing sections in online retail spaces. As brands begin to consider combining plus- and straight-sized clothing sections (see Old Navy), it is important to assess how wide-spread the separation of sections currently is in online retail environments.