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To describe the role of teaching “the paragraph” in furthering literacy goals. The study considers one concept, the Claim-Support-Conclusion Paragraph (CSC) as a curricular and pedagogic intervention supporting writing and academic success for the marginalized students in two classrooms.

While this study corresponds to a gap in the literature of writing instruction (and paragraphing), it takes as its model the development of comprehensive collaborations where researcher-scholars embed themselves in the real practices of school classrooms. A fully-fledged partnership between researcher, practitioners, is characteristic of “practice embedded educational research,” or PEER (Snow, 2015), with analysis of data following qualitative and case study methodology.

Practice-embedded research in this partnership consistently revealed several important themes, including the effective use of the CSC paragraph functions as a critical common denominator across rich curricular choices. Extensive use of writing practice drives increased literacy fluency for struggling students, and writing practice can be highly integrated with reading practice. Effective writing instruction likely includes analytic and interpretive purposes, as well as personal, aesthetic writing, and teaching good paragraphing is intertwined with all of these genres in a community that values writing routines.

Greater academic success for the marginalized students in their classroom necessitates the use of a variety of scaffolds, and writing instruction can include the CSC paragraph as a means to develop academic literacies, including argumentation. Collaborative and innovative work with curriculum within a PEER model may have affordances for developing practitioner and researcher knowledge about writing instruction.

This essay brings structural intimacies – theorised as the meeting of social structural patterns with interpersonal lives – to the border to consider transnational LGBTQ kinships. Specifically, the paper considers ‘the border’ and its state-driven bio-regulations as a reproductive technology that produces LGBTQ, racial/ethnic and social class inequities through the consolidation of heteronormative, bio-genetic kinship institutions and ideations of family. Structural intimacies harnesses intimacy as both subject and as an analytic lens for queering reproductive sociology that insists on re-conceptualizing institutions central to our lives. Structural intimacies move our analytic gaze from how the border structures sexuality, and vice versa, to consider the border as at once a structural and an affective domain. Structural intimacies is a conceptual tool useful for cross-disciplinary inquiry into the social and structural contexts in which reproductive technologies render meaning, as well as produce families, and to illustrate the analytic necessity of storying both content and method as integral to queer/ing scholarship. Straddling the most proximal forms of daily care and labor patterning everyday intimacies with the policies and practices of the state, the concept of structural intimacies reveals moments of encounter between state institutions with the most intimate components of a person's life and identity, in this case amplified by the bio-politics of the border.

In the introduction to Beyond Bombshells, Jeffrey A Brown lists examples of blockbuster films with leading female heroines and proclaims that they have ‘challenged the assumption that action movies are a strictly male domain’ (2015, p. 6). His examples include, but are not limited to, the Kill Bill films (2003, 2005), The Hunger Games (2012), Brave (2012) and Snow White and the Huntsman (2012), all of which demonstrate the rise in popularity of the woman-led action film. However, these films also demonstrate a reluctance of the action film to detach itself from masculinity. Despite their female leads, these action films still foreground masculinity. The films have darker colour palettes and their female leads tend to have masculine coded traits and hobbies, suggesting that women can succeed within this genre only by distancing themselves from femininity.

This chapter analyses the subversion of the genre conventions of action by exploring the use of feminine objects in director Cathy Yan's Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020). Written and directed by women, Birds of Prey is a notable turn in the action genre as it makes use of feminine objects (hair ties, glitter, fashion, jewellery) within action sequences that don't just allow a female presence within the action, but centre feminine power. By relocating femininity and masculinity to objects rather than bodies, new ways of understanding how genre conventions are not fixed but fluid are opened up for further exploration.

Henna, a vegetable dye made from ground henna leaves that is used by Moroccan women to create temporary designs for the hands and feet, has become a profitable tourist sector service in the past decade. The social organization and relations of tourist sector henna artisans in the Marrakesh area are closely tied to how the spaces where they work are socially constructed and re-constructed. The artisans’ assertive public behavior directed at strangers is socially disapproved, and highlighted in interactions between the artisans and representatives of the state as well as guides and shopkeepers. Artisans working in public squares organize into multi-function cooperative groups in order to preserve claim to a given space, share supplies and skills, and provide a peer group in and through which reputation is maintained. Alternative spatial arrangements, such as work in herb shops and independent henna shops, correspond with greater conformity to gender norms.

In this chapter, I explore embodiment as a multi-modal pedagogy for teacher education. I begin with a theoretical exploration of the concepts of embodiment and embodied pedagogy across a range of cultural, philosophical and research traditions and their significance in considering powerful pedagogies for contemporary teacher education. I then go on to present a lived example of ‘the image of the images’ as a drama-based embodied pedagogy for pre-service teacher reflection. Drawing on my research in Australia with a group of pre-service teachers, I unpack the potential benefits of embodied reflection as a pedagogical strategy for engaging pre-service teachers in deep, collaborative reflection on learning to teach. Finally, I offer suggestions for adapting and applying this pedagogical approach across different teacher education contexts.