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Relatively limited attention has been paid to the academic needs of students with emotional and behavioral difficulties. Effective interventions are needed to support these students academically, behaviorally, and socially. The purpose of the concurrent studies reported here was to investigate the effectiveness of academic support in writing for fourth- and fifth-grade students (six boys, two girls) and second- and third-grade students (seven boys, one girl) with writing and behavioral difficulties. The Self-Regulated Strategy Development (SRSD) approach was implemented as a tier-2 intervention within a comprehensive, integrated three-tiered model of prevention including academic-, behavioral-, and social-skills components. Students learned an on-demand writing strategy for their state writing-competency test. Dependent measures included number of story writing elements, total number of words written, and writing quality. Fourth- and fifth-grade students who completed the intervention improved in total number of story elements. There were mixed results for the total number of words written and writing quality. Second- and third-grade students did not improve their total number of story elements, total words written, or writing quality. Students in both studies scored the intervention favorably, while there were mixed reactions from teachers. Findings, limitations, and suggestions for future research are discussed. Implications for the construct of evidence-based practice (EBP) are also explored, including concerns regarding frequent assessment of writing throughout intervention regardless of stage of instruction in the SRSD model.

In the previous chapter, the reader will have become familiar with the idea of screening for traumatic experiences within organisations as a way to identify those who may benefit most from interventions and support. In this chapter, I present an overview of the trauma therapy literature in the first instance and then explore some of the debates regarding specific trauma-informed treatments versus general therapeutic approaches. The multicultural competency literature is discussed, and the multicultural orientation approach of cultural humility, cultural opportunity and cultural comfort is highlighted in a practice context. This chapter concludes with a case study vignette that brings it all together with a clinical example of what trauma-informed therapy through a multicultural lens might look like. As such I operationalise choice, collaboration , trust and transparency, and cultural principles from the trauma-informed care literature. Although applied here to specific trauma-informed organisations, some of the methods and processes that I unpack can be used in non-specific organisations where social/case managers are employed and wish to operationalise choice and collaboration in a structured way.

Physical Education remains a contested concept across the world maintaining links in various ways and in varying degrees to education, sport and health. The close and historical links of these areas upon Physical Education have continued to influence both policy and practice and have impacted significantly upon areas such as inclusive pedagogy. This chapter firstly seeks to explain the unique landscape of Physical Education before considering specific issues of inclusion within Physical Education. A move towards inclusive pedagogies within Physical Education is then explained before lesson examples are offered for both the primary and secondary Physical Education practitioner.

This chapter is an examination of the contribution of female musicianship to the Perth metal scene, particularly in relation to the positioning of women in frontier mythology and the ways in which we might read the gothic sublime in terms of women’s experiences. While it has been recognised that Australian metal music, in general, is tied to the colonial frontier narrative, Perth’s isolation produces a particular kind of frontier narrative which can be read in relation to the gothic sublime. In this chapter, the author examines three Perth metal bands which comprise female members: Claim the Throne (featuring Jess Millea on keys and vocals), Sanzu (featuring Fatima Curley on bass) and Deadspace (featuring Shelby Jansen on bass and vocals). The author will argue that there is a motif running through Perth bands that comprise female musicians that is tied to their positioning in the Western frontier narrative and its production in relation to the gothic sublime. To do so presents one kind of way to conceptualise a metal scene on the ‘Western Front’. The author emphasises that this is not a totalising conceptualisation, rather, it is one way to suggest how context might shape women’s experiences and, perhaps more importantly for this argument, the way in which women women’s experiences and historicity in relation to the legacy of ‘frontierswomen’ inflect metal music in this scene.

Board monitoring should affect a firm's access to debt financing because it improves firm performance and the board is ultimately responsible for the firm's debt. In this study, we show empirically that access to debt financing indeed benefits in two ways from board monitoring: directly from the monitoring and indirectly from improvement in performance. The methodological challenge is in separating the two effects from each other and from those of other drivers of debt financing.

The Archers storyline of domestic abuse has raised awareness of the phenomenon of coercive controlling behaviours and marital rape. This chapter provides some context for the occurrence of partner sexual violence and focuses on profiling the antecedents of the perpetrator. Personal and family histories identify potential risk factors and include attachment problems, childhood exposure to family violence and personality disorder. These provide markers for future violating behaviours in intimate relationships. The absence of preventative factors such as a positive mentoring adult and supportive school environment increases the likelihood of subsequent offending. Predictions about cessation, continuation and escalation of violence will also be discussed.

In this chapter, we argue that the four songs we hear on 3rd April 2016 serve as both background music and a means of revealing the inner world of Helen and Rob.