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This chapter addresses the National Association for the Education of Young Children’s ethical principle of “First Do No Harm” from the perspective of racial equity issues that seemingly are not obvious to educators or often overlooked in the education of Black children. Two complementary points are made. First, many educators tend to view discrimination in terms of intentional and overt actions, but may not realize how they can and do inadvertently harm children during everyday classroom routines, instructional practices, policies, and curriculum that position African American culture invisible or abnormal. Second, even though teachers might not be cognizant or aware of institutional racism that is endemic in policies, instruction, curriculum, practices, and routines, their involvement in these practices represents an ethical problem and violates the “do no harm” principle. While most P-12 teachers and teacher educators agree in theory with the idea of valuing cultural and linguistic diversity, changing actions, and deeply-seated teaching practices and dispositions can only be accomplished by challenging and disrupting normalizing discourses in the policies that inform instructional practices, curriculum, and the pedagogies used in teacher education programs and in P-12 schools. This chapter suggests that teacher education programs use decolonizing frameworks for addressing equity academic and social issues for African American students. A discussion of institutional levels of oppression and praxis are included. Examples of barriers and promising practices are shared. An overarching theme is that early childhood teacher educators must unapologetically, thoughtfully, intentionally, and comprehensively advance issues concerning educational equity for African American students.

The present chapter reviews part of the literature that focuses on dark tourism and dark consumption. The main theories were placed under the critical lens of scrutiny. With strongholds and weaknesses, dark tourism seems to be enframed in an ‘economic-based paradigm’, which prioritises the managerial perspective over other methods. Like Dark Tourist, the Netflix documentary assessed in this chapter, this academic perspective accepts that the tourist's experience is the only valid source of information to understand the phenomenon. Rather, we hold the thesis that far from being a local trend, dark tourism evinces a morbid drive which not only emerges recently but involves other facets and spheres of society. We coin the term Thana-capitalism to denote a passage from risk society to a new stage, where the Other's death is situated as the main commodity to exchange. The risk society as it was imagined by Beck, set finally the pace to thana-capitalism. Dark Tourist proffers an interesting platform to gain further understanding of this slippery matter. In sharp contrast to Seaton, Sharpley or Stone, we argue that dark tourists are unable to create empathy with the victims. Instead, they visit these types of marginal destinations in order to re-elaborate a political attachment with their institutions. They consume the Other's pain not only to feel unique and special (a word that sounds all the time in the documentary) but also to affirm their privileged role as part of the selected peoples.

Battlefield tourism is a growing field in tourism research. However, it focuses primarily on an activity known as Dark Tourism, the visiting of places where tragedies or death took place. It includes the development of these sites as well. Cemeteries, internment sites, and memorials relating to death and depravity are the main features of battlefield tourism. Tourism development relies primarily on good infrastructure and an attractive (tourism) environment. As a niche tourism market, battlefield tourism can actively enhance the tourism product proposition of a destination. Identifying battlefield sites, incorporating them into battlefield tourism routes, and developing them as tourist attractions can act as an agent of tourism development. Battlefield tourists are mostly retired and have time to travel. They are also highly educated and fall into the high-income group. They are primarily interested in visiting existing battlefields, which indicates that battlefield tourism has the potential to act as an agent of tourism development and growth. For battlefield tourism developers, it would be essential to know their target market. Key factors in developing a successful tourism development plan for battlefield tourism are study preparation, determination of objectives, data gathering, analysis and synthesis, policy and plan formulation, recommendations, implementation, and monitoring. Battlefields need interpretation, development, marketing, and even commercializing to act as “storyteller(s)” of the past, add value to the more extensive tourism offering of a specific area, and act as an agent of tourism development.

In 1958 the Daily Express began publication of a comic strip adaptation of Casino Royale authorised by Ian Fleming, predating the original film version by four years. For the next 10 years adaptations of the novels and short stories appeared in the newspaper with Bond’s appearance fashioned firstly by John McLusky and then Yaroslav Horak. When the supply of Fleming’s stories was exhausted, new adventures were penned by Jim Lawrence with artwork by Horak, McLusky or Harry North. From 1977 publication switched to the Sunday Express and then the Daily Star. Eventually, the strips were reprinted for a whole new audience by Titan Books.

Subsequently, Bond appeared in a number of other comic book adaptations and reworkings, including key adaptations by the independent publishers Dark Horse and Dynamite, offering contemporary re-imaginings of this iconic, but always controversial, male icon. Taken together they provide a run of Bond adventures over more than 50 years. As such, they contain an alternative Bond universe, where his embodiment of male heroism mimics and varies Fleming’s original and the images constructed in the film franchise. This chapter will consider these mirror images and their responses to changing societal pressures as Bond adapts to new definitions of what constitutes the male hero.

This chapter traces the evolution of personality trait research in the behavioral accounting literature and offers suggestions for past and future trends. These personality traits include, among others, those measured by the Myers-Briggs Type and Five Factor models (FFMs), Type A/B, tolerance for ambiguity, locus of control, authoritarianism, and the Dark Triad components of narcissism, Machiavellianism, and psychopathy. In a broad spectrum analysis of accounting journals without regard to timing or geographics, we attempt to capture the major phases of personality trait research and provide suggestions as to the surrounding environment for such progressions in the literature. In addition to more established research streams, this chapter also discusses other personality traits that have only been marginally investigated in the accounting literature, and possible directions for future research.

Purpose – This chapter explores the commercially successful and critically acclaimed motion picture The Dark Knight as a cultural artifact that both reflects and influences popular notions of crime and justice in the aftermath of the September 11, 2001, terrorist attacks.

Design/methodology/approach – From a cultural criminological perspective, this chapter examines ideological messages pertaining to crime and justice presented in the film, including the framing of conflict as one between good and evil, justifications for extralegal violence, and reliance on absolute power as a means of social control. This chapter assesses reactions to the film as a “ritual moral exercise” in which viewers assuage their anxieties and insecurities in a post-9/11 world.

Findings – This chapter investigates representations of justice in the film, including the construction of the villain as “other,” the perception of constitutional procedures as impediments to justice, the embrace of vigilantism, and the willingness to sacrifice transparency of government authorities while accepting widespread surveillance in a time of crisis. Such themes resonated with some viewers who interpreted the film as offering explicit vindication for many of the questionable tactics used in the war on terror.

Originality/value – This chapter argues that popular media, specifically fictional entertainment media, play a role in reflecting and informing collective sentiments of justice. It offers an analysis of The Dark Knight as celebrating individualized, American-style retributive justice in a post-9/11 context.