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Managing the inevitable conflicts that occur as humans and wildlife increasingly cross paths is a pressing concern for conservation in the Anthropocene. The focus of this chapter is on a high-profile case of wildlife persecution in rural Australia, which saw a farmhand successfully prosecuted for deliberately poisoning 420 wedge-tailed eagles he believed to be a threat to the newborn lambs on the property where he worked. The chapter illustrates how this crime emerged at the intersection of three trajectories: the legacy of environmental change and colonial oppression in Australia; the sustained resistance to rural exclusion exhibited by some species of Australia native wildlife as they have adapted their livelihoods to the altered agricultural landscapes; and conservation doctrine that seeks to reverse the historical treatment of Australian wildlife by issuing it blanket protection from human interference. The complexities and interdependencies that have been created as wildlife have forged a future in rural space cannot be easily unravelled. The chapter argues that, alongside protection, more active forms of reconciliation between the trajectories of Australian agriculture and the trajectories of rural wildlife are required. It is only through experimenting with ways that pastoralists and wildlife might resolve disputes fairly and openly that more inclusive rural places become possible.

When and how did modern rankings emerge? This paper aims to answer that question by taking a closer look at the history of American baseball. In the 1870s, baseball was the first team sport to introduce a competitive system, the league, that determined the champion based on teams’ overall number of wins and losses. The in-depth analysis of the baseball discourse from the 1850s to the 1870s shows that leagues were introduced as a solution to a specific problem: how to identify deserving champions that had proved their ability again and again over the course of a season. The rising awareness of this problem was due to a shift in the baseball discourse of the 1860s, which established a new, statistical understanding of athletic achievement that demanded consistency of performance together with an acceptance that even champions lose a game once in a while. Rankings and other statistics, based on constant scoring of individual plays and increasingly sophisticated methods, helped institutionalize this new understanding of achievement and, in so doing, made the introduction of the league system possible. Moreover, the league system proved to be dependent on rankings – in the form of league tables – that made it possible to observe and experience the championship race, making rankings an essential element of modern competitive sports. Given that today’s rankings apply similar ideas of achievement to other fields (e.g., the “excellence” of universities), the story draws attention to the history of a specific imaginary of achievement that transcends the field of sports and should be studied more widely to understand the institutionalization of rankings in other fields.

In contextualizing critical race theory (CRT), this chapter utilized prismatic inquiry to analyze a researcher–participant's story at different levels in education through a DisCrit lens, offering the “what, why, and how” of DisCrit as an analytical tool important to the everyday lives of educators and students. Using prismatic inquiry and a DisCrit lens, the anecdotal experiences of an educator were gathered, transcribed, examined, and analyzed. Lessons from this educator's experiences that emerged were aligned to existing research literature, viewed and further analyzed through a DisCrit lens, and synthesized to offer insights in improving the training of current and future educators, classroom teachers, and school leaders.

Purpose – This chapter explores the use of music and celebrity endorsements in political campaigns of the United States. It focuses on two aspects: (1) the legality of a political campaign’s use of music at rallies and in advertisements without authorization from the owner of the musical work and (2) a review of the literature on the potential effect of the use of music in political campaigns on voter behavior.

Design/methodology/approach – A brief history of the use of music in political campaigns precedes an examination of the expansion of copyright law protection for music and the legal claims musicians may raise against the unauthorized use of music by political campaigns. The chapter then reviews the potential effect of political campaigns’ use of music and celebrity endorsements on voter behavior.

Findings – A musician’s primary legal protection falls under copyright law, but the courts disagree on whether the unauthorized use of music at political rallies and in political campaign advertisements results in copyright infringement. Social research suggests music and celebrity endorsements affect voter behavior with a likely greater effect on first-time voters.

Originality/value of chapter – This chapter introduces the complicated application of copyright law to the unauthorized use of musical works by political campaigns. Additionally, it notes the limited research on the effect of music and celebrity endorsements on voter behavior even as political campaigns increasingly target niche demographics with specific music selections to motivate voters to vote.

The criminal justice system uses oversimplified stock narratives that place women who kill into limiting categories of ‘bad’, ‘mad’ and/or ‘victim’. These narratives deny women's agency by portraying their actions as lacking humanity, rationality and/or intentionality. Many feminist scholars argue that new narratives are needed to recognise women who kill as fully human, volitional subjects. This chapter uses the case of Maria Barberi to examine why and how defences founded on a victim-based agency fail. In 1895, Barberi killed Domenico Cataldo in a Manhattan barroom after enduring months of psychological, physical and sexual abuse. Her defence was grounded in the unwritten law – a widely held belief that people had the right to avenge their honour (when impugned by infidelity, seduction or sexual assault) with lethal violence. The case went through four stages: the initial trial, resulting in a murder conviction and death sentence; a nation-wide clemency campaign; an appeal; and a retrial, resulting in an acquittal. Throughout this process, Barberi's agency was undermined by negative stereotypes of gender and ethnicity, the political goals of women's rights activists, and Barberi's own self-interests. Ultimately, this case demonstrates that agency-based narratives are both difficult to deploy and desperately needed.

This is an interpretive study in the sociology of literature that explores Aeschylus’s trilogy of dramatic plays known as the Oresteia. The plays dramatize a normative argument that exemplifies the dialectical struggle between domination and democracy. Social relations are characterized by agon (struggle), domination, and contradictions brought about by learning through suffering. These social realities reflect the primary theoretical claim of radical interactionism (RI) that domination and conflict are profound, pervasive, and perennial. On the interpersonal level, the plays dramatize structure, agency, role-taking, and the Thomas Axiom. As the first drama to interrogate an inchoate polity as an object of the public’s gaze, the Oresteia anticipates the sociological importance of critical consciousness, collective decision-making, political institutions, moral and, ultimately, cultural transformation. Despite a social context of slavery, imperialism, xenophobia, ostracism, misogyny, exclusivity, and constant warfare, the Oresteia foreshadows Western civilization’s ideals of legal-rational domination, citizenship, human rights, persuasion, and justice that have been imperfectly institutionalized to reduce surplus domination. The West still struggles to realize those ideals.

This chapter focuses on gender, sexuality and security in post-Apartheid South Africa.

The methodology includes secondary analysis of policy and research with the aim of highlighting and assessing the position of gender, sex and security in post-Apartheid South Africa. Feminist theory and intersectionality are used to discuss issues of sexuality, security, construction of gender relationships and experiences of being a woman in South Africa. The normalisation of violence against women is challenged.

The social implications of this research are that it challenges normalisation of gendered violence, questions gendercide and produces knowledge of a gendered social reality of living in South Africa. Women who consider assault a regular feature of their sexual relationships have been brought into a discourse which includes the liberalisation of sexual expression, claims to new sexual rights and aspirations to power and status through sexual relationships (Posel, 2005a).

Throughout the chapter the achievement of gender equality is problematised and questioned. However, gender and the relationship between power and sex remain at the centre of the inquiry, particularly with reference to the increasing culture of violence and men as the perpetrators of violence against women.

According to Posel ‘one of the most striking features of the post-apartheid era has been the politicization of sexuality’ (2005a, p. 125) and this chapter demonstrates that a response to the violation of the Women’s Charter of Effective Equality, passed in 2000, is a priority as women and families are disproportionately affected by violence in multiple ways.

Glam metal of the 1980s represented a notable development in popular music at this time. A subgenre of 1980s heavy metal, glam metal combined elements of late 1960s and 1970s heavy rock, glam rock and punk rock, enriching both the visual and aural aesthetic diversity of 1980s heavy metal as a result. Moreover, 1980s glam metal bands such as Guns N’ Roses and Poison, Cinderella and Mötley Crüe, Ratt and Warrant, dominated the music video airwaves and sold out venues across the United States. Yet, for all its comparative individuality and widespread popularity, the vast majority of mainstream glam metal bands were marginalised by social action groups mainly, but not exclusively, because of misogynist-type themes that the bands represented in their aesthetics.

During the 1990s, scholars began scrutinising 1980s glam metal’s misogynist aesthetics, for example, Lisa Sloat’s (1998) analysis of glam metal’s sexist and misogynist themed song lyrics concludes that, ‘if exploiting women for sex sells, [glam metal] musicians will [continue] record[ing] songs which do so’ (Sloat, 1998, p. 299). Yet none of these accounts seem to be able to sufficiently unpack the idea that 1980s glam metal’s representation of misogyny was anything other than fundamentally egregious. An alternative reading of the aesthetics shows us how many of the bands creatively appropriated misogyny to idiomatically hallmark metal glam, thus differentiating the style from the broadly homogenous displays of machismo that generally defined the aesthetics of other 1980s heavy metal subgenres. In response then, this chapter should be thought of as a doctrine provactive, intended to elicit a debate about the need to look alternatively at how misogyny is/was used as an artistic aesthetic device, not only in 1980s glam metal, but throughout culture more widely.