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Urban sociological research posits a strong correlation between social isolation and the growth in illicit activities of street culture, namely the drug trade and violent gang activities. However, in this article we offer an explanation for why, even in the absence of extreme poverty and social isolation from mainstream institutions, youths in Cambridge, Massachusetts feel vulnerable to illicit street cultural activities. We also offer an explanation for why these youths perceive the effects of social dislocation to be similar to that experienced by youths from larger central cities. As we will elaborate below, some students in Cambridge are affected by illicit street cultural activities because: (1) social dislocation is a relative phenomenon and not merely an absolute phenomenon as described by William J. Wilson; (2) there is a social dislocation spill‐over effect from larger central cities that intensifies or amplifies the experiences of youths in the relatively poorer neighborhoods of Cambridge; (3) and some youths, from stable working‐class or wealthier neighborhoods in Cambridge, view involvement in the illicit activities of street culture as a reputable means of gaining peer respect through status group affiliation.

The utterly un-nostalgic person is probably a non-existent being. At both a personal and collective level, we explore how nostalgia is experienced and in demand during times of transition, disjuncture, conflict and uncertainty. This chapter explores the emotion of nostalgia and connects it specifically to the current corona pandemic – the challenges of lockdowns and social distancing measures on interaction, feelings of loneliness and a generalised sense of uncertainty and despair, and also a rise of nostalgia as a possible response to these challenges. The predominant view of nostalgia put forth in this chapter is that nostalgia has the capacity to provide a great deal of benefit (meaning, hope, direction and purpose) to individuals, groups, institutions and societies at large. Indeed, nostalgia can be a tranquil feeling in a fearful world. We relate nostalgia to studies and experiences from the pandemic period and speculate on how the so-called ‘corona crisis’ may impact feelings of nostalgia in the post-pandemic world – perhaps even a nostalgia and longing for the pandemic period itself.

If the corona pandemic has in fact sparked a new (or renewed) interest in nostalgia in contemporary society due to the corona pandemic, it may indeed prove to be a positive thing, particularly if it makes it easier for people to deal with current feelings of adversity and anxiety. We suggest the nostalgia mood that is generated and perpetuated by the continuing twists and turns of the corona pandemic may – in the short and long run – prove useful in coping with and giving meaning to the problems and perplexing circumstances of life, rather than being a regressive phenomenon. Perhaps, something good may, in the end, grow from something bad?

The mere sight of Disney villains have struck fear into the hearts of many a child. From the Evil Queen, to Maleficent, to Ursula. From the black flowing capes to the ashen skin and pointy horns, the aesthetic of these villains alone is often enough to evoke a sense of dread in the audience. Ursula from The Little Mermaid (1989) may not be officially a queen in the Disney universe, but she is a notorious villain amongst fans. Although The Little Mermaid was released in 1989, the film, and thus Ursula, have a fanbase that has evolved and grown up to now, despite the film not being remade into a live-action version as yet. This chapter will analyse the comments of three fan-made YouTube videos regarding Ursula, and will examine the fan comments, with specific focus on the comments regarding Ursula's physicality or any positive comments about her. This will show fan positivity towards a villainous character, despite what may be depicted as a negative body image. Ursula, an octopus, looks quite different from other villains. The primary research methodology will include participatory culture and discourse analysis in order to understand why fans adore her, and how they do not necessarily accept her as a villain, but that there is an outpouring of positivity towards her body image.

To study how twenty-first-century fairy tale retellings recombine villainy and motherhood, this chapter analyses two mother figures in Maleficent: Mistress of Evil (2019): Aurora's godmother, Maleficent, and Aurora's soon-to-be mother-in-law, Queen Ingrith. I argue that Mistress of Evil attempts and fails to trouble the Good/Terrible Mother binary, ultimately reconfirming traditional notions of the Good Mother, by juxtaposing two mother villain characters. Ingrith first appears to be the epitome of the Good Mother, but the film quickly reveals that she is actually the stereotypical evil mother-in-law who uses the Good Mother image to mask her villainy. By exposing Ingrith's lie, the film debases the myth of perfect motherhood, suggesting that the image of the ‘Good Mother’ is only used to vilify other women in order to control people, but it also uses the Good Mother image to highlight how Terrible Ingrith is. Maleficent, on the other hand, vacillates between twenty-first-century images of the Terrible and Good Mother, specifically the aberrant and supermother. Rather than balancing these images and depicting a more nuanced motherhood, the film switches Maleficent completely between these two extremes, making her seem more villainous when she is aberrant and more motherly when she steps into the role of supermother. Whereas the representation of Ingrith highlights the lie of the Good Mother, Maleficent is forced into becoming a variation of that image. I argue that while Mistress of Evil attempts to reveal the pernicious nature of the Good Mother myth, it ultimately reconfirms it for a new generation of women.

In this chapter, the authors illustrate how the use of ethnographic methods as a mode of cultural inquiry can support educators in developing students’ competencies to navigate in and across cultural contexts. The authors report on an undergraduate service learning course held at the University of California, Los Angeles, which combines attendance in a university class with weekly visits to a play-based after-school club located in a multicultural immigrant community. The chapter draws examples from the required field notes written by undergraduate students about their visits to the after-school club, as well as oral comments by the students gathered through interviews. As a way of offering practical engagement in the lifeworlds of the demographically diverse children attending the after-school club, the authors apply examples from the undergraduates’ statements to consider the value of the course – and the engagement it requires with anthropological methods and multilingual and multicultural children – in supporting students’ cultural competence. In doing so, the authors demonstrate what they believe to be a worthwhile approach for cultivating cultural competence in higher education in a socially just and culturally responsive manner.

The Evil Queen is a staple character in many fairy tales, but perhaps one of her most famous incarnations is as Snow White's evil stepmother. In order to gain a better understanding of the dynamics of gender and morality in this story, this chapter analyses three different versions of the fairy tale Snow White and the Seven Dwarfs: the Brothers Grimm's nineteenth-century text, Disney's 1930s film adaptation, and The Snow Queen's Shadow, a contemporary novel based loosely on a mix of well-known European fairy tales. The chapter explores what, exactly, marks the Queen as evil in the different versions, how her morality interacts with questions of gender and cultural context, and how the different versions portray the relationship – and often the moral dichotomy – between the Evil Queen and Snow White.

The ‘Terrible Mother’ traditionally connotes monstrous aspects of motherhood and devouring femininity, encompassing two stereotypical representation of women in myth, fairy tale and fantasy: The Seductress and the Wicked stepmother. The Seductress personifies female malevolence and is characterized as rebellious, manipulative and relentless. Furthermore, she often adopts male aggressiveness, especially sexual, thus usurping male prerogative. Ironically, the temptress is condemned for exhibiting traits which the male hero is lauded for, while also embodying a warning to other women regarding their fate should they rebel against male authority. These narrative strands converge in Cersei, who becomes an embodiment of male anxiety and stands as the chief moral foil and greatest sociopolitical threat to male hegemony.

Concomitantly, Cersei plays the part of the wicked stepmother to Sansa Stark, the series' archetypal damsel in distress. Like Sansa, Cersei began with starry-eyed dreams of womanhood, but quickly grew disillusioned. Despite this, Cersei subjects Sansa to the same injustices she suffered. This re-enactment of her own mistreatment situates Cersei as the female accomplice to the patriarchy. Yet, Cersei also attempts to educate Sansa about women's position vis-à-vis the patriarchy and the tools at their disposal, thus layering the role of the wicked stepmother. Furthermore, Cersei's narrative is complicated as she becomes a point of view character: her focalization becomes a fertile ground for myriad challenges to an androcentric culture, opening avenues for social criticism and possible reimagining of gender roles.

Snow White is one of the most popular fairy tales worldwide. Therefore, it is not surprising that the story has been reconsidered multiple times during the current trend of producing fairy tale adaptations. Especially the Evil Queen has become an object of further examination in many recent instalments of the story. In this chapter, I analyse the revision of Snow White's stepmother in the book series The Lunar Chronicles (2012–2016), the films Mirror Mirror (2012), Snow White and the Huntsman (2012) and The Huntsman: Winter's War (2016), as well as the TV-series Once Upon a Time (2011–2018). Compared to other villains in recent fairy tale adaptations, who are, like Maleficent, redeemed, the queen remains an embodiment of evil and terror in most adaptations. I outline the depiction of the Evil Queen in present-day US-American fairy tale narratives, assessing what makes her the most villainous woman in all the fairy tale realms and questioning why many of these stories try to understand but do not forgive her. The focus of this investigation is on the backstory that she is equipped with, her crimes, and her ultimate fate. Although she has been abused, traumatized, and betrayed, she seems to remain an uber villain, not only attempting to kill her stepdaughter but also destroying nature, starving her people, and spreading a deadly virus. This kind of representation might result from the fact that her opponent is by the very name the purest fairy tale princess ever known.

This research considers the potential for renewable energy partnerships to contribute to Canada's efforts to overcome its colonial past and present by developing an understanding of how non-Indigenous peoples working in the sector relate to their Indigenous partners.

This study is part of a larger research program focused on decolonization and reconciliation in the renewable energy sector. This exploratory research is framed by energy justice and decolonial reconciliation literatures relevant to the topic of Indigenous-led renewable energy. The authors used content and discourse analysis to identify themes arising from 10 semi-structured interviews with non-Indigenous corporate and governmental partners.

Interviewees’ lack of prior exposure to Indigenous histories, cultures and acknowledgement of settler colonialism had a profound impact on their engagement with reconciliation frameworks. Partners' perspectives on what it means to partner with Indigenous peoples varied; most dismissed the need to further develop understandings of reconciliation and instead focused on increasing community capacity to allow Indigenous groups to participate in the renewable energy transition.

In this study, the authors intentionally spoke with non-Indigenous peoples working in the renewable energy sector. Recruitment was a challenge and the sample is small. The authors encourage researchers to extend their questions to other organizations in the renewable energy sector, across industries and with Indigenous peoples given this is an under-researched field.

This paper is an early look at the way non-Indigenous “partners” working in renewable energy understand and relate to topics of reconciliation, Indigenous rights and self-determination. It highlights potential barriers to reconciliation that are naïvely occurring at organizational and institutional levels, while anchored in colonial power structures.

Understanding a prima facie attraction of retro pop-rock by a broad spectrum of people and the role of technology innovation in driving the importance of this genre. A key idea of this paper is that ongoing popularity of retro pop-rock music is associated with a confluence of demand-side and supply-side factors. The demand side is thought to be characterized by a combination of psychological factors contributing to individuals’ desires to enjoy, reflect on, or even “live in” the past. On the supply-side, technology has roles in the production, distribution and consumption of music.

The approach of this paper is to provide an extensive search and synthesis of relevant literature and to present and analyze findings from online surveys.

The literature supports the idea that attraction to retro music is heavily influenced by psychological factors as well as technology innovation. The survey provides supporting evidence. Of particular interest are findings related to correlations between nostalgia and technology.

This study is, to the authors’ knowledge, one of the first to provide a survey-based link between the attraction to retro music to nostalgia and technology.