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The case is suitable for both undergraduate and graduate business students. The suggestions in the teaching note would suit classes of varying sizes and can be organized by teams or for individual work.

The case is suitable for classes discussing a range of topics including business ethics, values-based leadership and entrepreneurship. The case is told from the perspective of a Hispanic, first-generation female CEO in tech – a male-dominated field. As some of its decision points include discussions with other female entrepreneurs in similar positions, this case is also suitable for discussions on gender and minority leader representation.

This case tells the story of a female tech entrepreneur in Baltimore, how her personal values influenced the values of her company and how she successfully applied those values even in the early stages of her venture. It includes a discussion of her former career in the military and her experiences as a first-generation American.

The case offers several decision points where students are invited to anticipate and discuss the protagonists’ values and their application of them in her work. It likewise invites students to reflect on their own values and how they influence their business decisions. As the case is based on true events and uses real names, students may also perform research on the real business and its context to extend this case even further.

Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

Women are chronically underrepresented in leadership positions and some choose to become entrepreneurs because it offers a surer path to CEO roles. Additionally, this case offers some perspective on the different leadership styles of women, such as this protagonist’s choice to allow her personal and corporate values to drive important early decisions for her business. The instructor and students also may wish to focus on aspects of the case related to the protagonist’s ethnicity and her family’s status as recent immigrants to the USA. Ideally, class discussions will consider the protagonist holistically, and her identities as intersectional.

CSS 3: Entrepreneurship.

Graduate or Undergraduate Entrepreneurship Majors

Entrepreneurship/Venture Capital (VC) Investing

The case highlights a women-founded venture capital firm that values investments in diverse entrepreneurs and an innovative retail business started by two minority entrepreneurs. Students will be asked whether the firm should invest in the venture and will also be asked to discuss models that may help transform the retail business into a VC-backed scalable technology business.

By the end of the discussion, students will be able to evaluate the feasibility and scalability of a new business venture; and evaluate the alignment between a venture capital company and a new venture.

Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

This case highlights the lack of resources for women and minority entrepreneurs as well as the underrepresentation of minority women in the VC industry.

CSS 3: Entrepreneurship

The purpose of this chapter is to illuminate the importance and impact of Black women in higher education, specifically considering how they themselves and others engage with them regarding their intersectional identities. Through a Black Feminist Auto-ethnographic approach, the authors develop and articulate a reflexive praxis to reveal the hegemonic practices that Black women are subjected to at Historically White Institutions (HWIs). The authors, two Black women educators at HWIs, amplify the challenges Black women experience in academia by naming and describing their lived experiences in hopes of providing insights into the continued disparities that exist. In doing so, this chapter highlights how the authors dismantle systems to excel in their respective areas as educators. The authors center their identities as Black women to offer insight and perspectives on how they navigate experiences in academia.

The experience of going natural or deciding to rock an afro, wash-n-go, twist-out, or braided updo on a campus where similar faces are rarely seen in the classroom, in the residence hall, or even in the nearby local community can be one fraught with numerous personal and political identity tensions. Nonetheless, this is the experience for many Black women collegians, both undergraduate and graduate, who choose to wear their natural hair in its kinky, curly, coily, or afro-textured state while in college. Through an intersectional perspective we examine the stories of six Black women and their experiences with their hair, identities, and community as they transitioned to wearing their natural hair. Through this study we center the bodies, voices, and needs of Black women as they navigate the complexities of thriving in a Eurocentric environment (i.e., a predominantly white university). This chapter ends with a call for greater attention to the meaningfulness of Black women's hair and a discussion of strategies for campus agents to more intentionally support Black women throughout their development in college.

This case study explores the ways in which black and Latino women who graduated from a predominantly white, elite public high school in the Northeastern United States engaged in varied acts of resistance while students there, both within the classroom and within the larger community. The women accessed the high school through one of the three ways: as town residents, as commuters, or as boarders through two distinct voluntary racial desegregation programs. Through in-depth interviews with 37 women, two overriding trends appear in the data – a form of “resistance for liberation” or “political resistance” in which women push against stereotypes, introduce new programming, and work to reform policies and curriculum, and a smaller strain of “resistance for survival” in which women actively utilize stereotypes. Women with greater amounts of both dominant and nondominant forms of cultural capital are more likely to engage in “political resistance,” while women with lesser amounts of dominant cultural capital show more evidence of “resistance for survival.” Variation exists by point of entry into the system, with town residents showing the lowest levels of either form of resistance.

Monsters, from ghouls and zombies to shoggoths and Cthulhu, have always fascinated humans and have a prominent presence in cultural production. This is made clear by how much people enjoy Halloween events and dressing up as their favourite monster or the most recent trend of horror themed escape rooms, that include haunted houses, a zombie apocalypse or Lovecraftian monsters. Monstrous creatures represent the fears and desires of society and often embody the allure of danger, transgression and power. Monsters have long been used to construct certain images of the different/unconventional and thus represent anything diverse as the Other. Monsters, however, can be employed to invert or even overturn this relationship by empowering the Other and thus provide us with a more critical view on society in regard to our values, fears and attitudes. The stories and folklore about monsters and the monstrous that incite fear and remind us to always check under our beds before we sleep have also found their way into our everyday lives. Within the mainstream media, criminality is indicative of moral corruption, and is attributed with notions of monstrosity. These monsters do not have claws, instead, they are unpredictable, different and deviate from social and cultural norms. Like the mythical creatures in folklore, monstrosity in its human form reminds us to fear the future, the unknown, Others and society. The monstrous is centrally defined by its unfixedness, its resistance to conformity or to convenient schematic identification. It is somatically and intellectually uneasy, a restless disturbing embodied thought that unsettles, and whose greatest value to us is its very indeterminacy. This chapter illustrates the shifting shapes of the monstrous, their makers, and offers insight about what we can learn from studying these cautionary noetic chimeras. Drawing on the diversity of our academic backgrounds, ideological perspectives and the research from our individual chapters, we address the contemporary narrative of the figure of the monster. Rather than an essay style examination, our chapter explores this narrative through a question and answer format. The flexibility of this format allows readers an intimate glimpse into the ways in which the monstrous can be conceptualised and understood in various frameworks.

The first season of HBO's Lovecraft Country is based on Matt Ruff's 2016 novel and explores the horrifying world of H.P. Lovecraft and the very real Jim Crow-era racism that plagued the United States in the 1950s. The series, developed by Misha Green and produced by Jordan Peele, places Black protagonists at the centre of a Lovecraftian horror story. The Black characters have to face shoggoths, grand wizards and magic but they also have to deal with and escape very realistic horror, in the form of racist police violence and white supremacy. By bringing the Black characters into the centre – often the metaphorical villains of Lovecraft's stories – the series allows for a new layer of meaning to Lovecraft's fear of the other. Atticus, Leticia, Uncle George, Hippolyta and the rest of the cast are struggling to escape the everyday real and supernatural manifestations of racism. Their struggle can be seen as a reflection of the actual struggle of the Black communities today, who are trying to liberate themselves from the shackles of oppression and systemic racism once and for all, so all people regardless of the colour of their skin, gender, race and ethnicity can finally be free. Lovecraft Country can be read as a symbolic yet crucial contemporary representation of this struggle for freedom. The series was created before George Floyd's and Breonna Taylor's murders, but it came after the deaths of Trayvon Martin, Philando Castile and Sandra Bland. Once the viewers search deeper and look past the dark mansions, the wicked wizards and the shoggoth monsters, they can understand that the supernatural and fictional land of Lovecraft Country is not a distant place after all.