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Although the research literature has been expanding on restorative justice inquiries in the last few decades, there are only a few U.S.-based studies that have focused on restorative justice programming within public schools. Specifically, research is even more scant on the implementation concerns surrounding school-based restorative justice initiatives. Discussions of the effectiveness of these approaches for reducing school disciplinary problems resulting in suspensions, expulsions, and arrests are also rather limited. This chapter presents an in-depth examination into these issues by providing a thorough description of a restorative justice program in its early implementation stages in several Denver, Colorado public schools. The chapter concludes with a discussion of preliminary program evaluation findings and focuses on the overall feasibility of incorporating restorative justice programming in schools.

This chapter investigates the recent surge of social media (mis)use in horror films including The Cabin in the Woods (2012), Unfriended (2015) and #Horror (2015) and how young women’s relationship to social media in these films often pillories females for existing under, and delighting in, an anonymous, ubiquitous gaze. In these narratives, women are slut shamed both in the plot and through the threat of social media’s panoply of screens, sur- and selfveillance. In my discussion, I will utilize feminist film theory including the writings of Laura Mulvey, Linda Williams and Barbara Creed, while also including contemporary cultural criticism from writers and journalists like Nancy Jo Sales and Leora Tanenbaum to explore the horror genre from a more contemporary, multi-discourse perspective. The technology in these films serve as harbingers, intimating the figurative and literal dangers to come for their female protagonists, ultimately suggesting that the horror in these films is the medium itself and the patriarchal social media culture that these devices cultivate.

David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.

Existing brand literature on assemblage practices has focused on providing a map or geography of brand assemblages, suggesting that an artist brand’s ability to evolve and achieve brand longevity remains constant. Using geology of assemblage, this study aims to explore the types and mechanisms of change in brand evolutions to address the problem of identifying when and how a brand can transform in an evolving marketplace.

The authors apply an interpretive process data approach using secondary archival data and in-depth interviews with 31 self-identified fans to explore the artist brand David Bowie over his 50-year career.

As an artist brand, Bowie’s ability to evolve his brand was constrained by his assemblage. Despite efforts to defy ageing and retain a youth audience appeal, both the media and his fans interpreted and judged Bowie’s current efforts from a historical perspective and continuously reevaluated his brand limiting his ability to change to remain relevant.

Brand managers, particularly artist brands and human brands, may find that their ability to change is constrained by meanings in past strata over time. Withdrawal from the marketplace and the use of silence as a communicative practice enabling brand transformations.

The geology of assemblage perspective offers a more nuanced understanding of brand changes over time beyond the possibilities of incremental or disruptive change. We identify the mechanisms of change that result in minor sedimentation, moderate cracks and major ruptures in a brand’s evolution.

In this chapter I employ a hybrid critical framework that draws on feminist media studies, feminist critiques of post-feminism, theories of intersectionality, and genre theory to consider a range of domestic violence stories on screen. The chapter begins with a summary of prototypical patterns of narrative and character in contemporary Hollywood films about abuse and subsequently explores two recent media representations that, while conforming to certain of these patterns, also introduce alternative perspectives: the 2017/2019 Home Box Office miniseries Big Little Lies and French director Xavier Legrand's 2018 film Custody (Jusqu’à la garde). I argue that both of these media texts draw on familiar genres that engage audiences not simply to generate sympathy for the abused woman-turned-heroine, but to challenge persistent myths about domestic violence such as that abusers are monsters who never show love towards their partners; that abused women are weak, passive, and the victims of their own bad judgment; that the effects and repercussions of abuse end with the departure of the abuser; that, ultimately, the problem of abuse must be “solved” by the individual; that the “solution” is as simple as leaving; and that there is little as a community or a society that we can do. I conclude that, in different ways and to different degrees, each of these media texts succeeds in making small but significant interventions into the predictable formulas of mainstream Hollywood domestic violence films through narratives that foreground the complexities, contradictions, and dilemmas of abuse.

Educational leaders in schools serving Native American students must understand, communicate, and apply state and federal education policies along with specific federal Indian policies relating to tribal self-determination and the education of these students. Tribal peoples residing in native communities typically view revitalization of indigenous language as a crucial first step in achieving the cross-cultural goal of school success for all tribal children. Inclusion of indigenous languages serves multiple purposes such as transmitting traditional cultural values, supporting overall academic achievement, and fostering self-determination and independence for native communities. Title III and Title VII of the No Child Left Behind Act are the designated policy “homes” for indigenous language inclusion and the Individuals with Disabilities in Education Act addresses indigenous language as an obstacle to overcome, giving the unintended impression that native languages are somehow situated within a deficit framework of poverty and special education. This chapter explores the foundations of the inclusion of native languages into current federal policy and argues that the placement might be better suited as stand-alone legislation in order to more effectively promote community development and self-determination for Native American peoples.

Against the prevalent assumption that the United States is and has been a nation-state, this article proposes to reconceptualize it as an empire-state, a state encompassing hierarchically differentiated spaces and peoples. In addition to being descriptively more apt, an empire-state approach provides a firmer basis for understanding the United States as a racial state, a state of white supremacy. Drawing on evidence from constitutional law, I examine the early development of the U.S. empire-state, the long 19th century. The article demonstrates how U.S. state formation has always entailed the racial construction of colonial spaces, specifically “territories” and American Indian lands. Through an extended consideration of Dred Scott v. Sandford, the 1857 Supreme Court case associated almost exclusively with African Americans and hardly ever with empire, I argue for a unified framework to analyze the different but linked racial subjections of colonized and noncolonized peoples. The article concludes with several implications of an empire-state approach to the United States.

This paper aims to report an empirical study of the information‐related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as “new practitioners”.

A literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey.

The group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries. Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by needs for career advice and interaction with peers.

The study group are a convenience sample, all having access to the internet. No observation or interviews were carried out.

The results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to “new practitioners” in any field.

This is one of a very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.

This study aims to unfold the factors which influence the sustainability innovation (SUSINNOV) adoption initiatives taken by the hoteliers in India. Also, an empirical approach has been used to develop a scale entitled “sustainability innovation adoption scale”.

Churchill’s (1979) scale development methodology has been used in the current study. An exhaustive literature review was done for item generation. For scale refinement, an empirical study was conducted on managers of hotels in India to understand the sustainability initiatives taken by them. Structural equation modelling has been implemented to know about the causal effects between the various unobserved variables.

A scale to measure factors influencing SUSINNOV adoption by hoteliers has been developed and validated empirically. The findings highlight that there are three major factors which influence SUSINNOV adoption: diffusion of innovation (DIT) within the industry, environmental marketing strategy adopted by organisations and sustainability initiatives taken by companies and customers. Moreover, current study also attempts to highlight that DIT has a significant positive influence on environmental marketing system.

This study has multiple implications for hotel industry practitioners as well as academicians. The present three-dimensional conceptual model can be used for novel causes by implementing the sustainability initiatives in the hotel industry which can result in socially acceptable, economically viable and environment-friendly practices. An important contribution of the current study is that it proposes a theoretical model and develops a scale which will enrich the innovation adoption theories. Managers can use this scale to evaluate the status of SUSINNOV adoptions in their business practices.

To the best of the authors’ knowledge, this study is the first temporal and spatial study which tries to make a scale by including a holistic view of the facilitators of sustainable innovation adoption in the hotel industry.