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The purpose of this paper is to discuss the UK National DNA Database (NDNAD) and some of the controversies surrounding it with reference to legal and ethical issues, focusing particularly on privacy and human rights. Governance of this database involves specific exemptions from the Data Protection Act (DPA), and this gives a rise to concerns regarding both the extent of surveillance on the UK population and the possibility for harm to all citizens. This is of wider importance since every current citizen, and everybody who visits the UK, could become a record in the DNA database. Principally, the paper seeks to explore whether these exemptions would also imply exemptions for software developers from codes of practice and ethics of their professional societies as relate to constructing or maintaining such data and the database.

The paper makes a comparison between the principles of the DPA, as would need to be followed by all other organizations handling personal data, professional responsibilities‐based codes of ethics of professional societies, and the current reality as reported in relation to the NDNAD and the exemptions offered through the DPA.

Primarily, if NDNAD was not exempted from certain provisions in the DPA, the potential for the kinds of data leakages and other mishandlings could largely be avoided without the need for further considerations over so‐called “data minimization”. It can be seen how the lack of afforded protection allows for a wide range of issues as relate at least to privacy.

The paper provides the first evaluation of the combination of law, codes of ethics, and activities in the real world as related to NDNAD, with concomitant considerations for privacy, liberty, and human rights. Originality is demonstrated through consideration of the implications of certain exemptions in the DPA in relation to crime and taxation and national security and in relating the expected protections for personal data to widely reported evidence that such protections may be variously lacking. In addition, the paper provides a broad overview of controversies over certain newer kinds of DNA analysis, and other relatively recent findings, that seem generally absent from the vast majority of debates over this kind of analysis.

Fairy tales and their movie counterparts have, for decades, been a means of socialising children and audiences regarding gender (e.g., Shewmaker, 2015; Whitley, 2013). Specifically, Disney movies that portray fairy tales have strongly influenced how young children learn gender roles and gendered behaviours, yet deeper examination is needed of how Disney portrayals of masculinities have evolved among these films and across character type to understand how Disney may be reflecting or impacting dominant representations of masculinity that privilege certain identities and characteristics over others (Brode, 2016). While previous work has examined Pixar films as socio-culturally meaningful for representations of boyhood that remain grounded in traditional, hegemonic notions of masculinity (Wooden & Gillam, 2014), this chapter adds to the body of work by employing a critical content analysis of Disney films from Snow White and the Seven Dwarfs to Disney's most recent addition of Strange World to answer the questions about how masculinities are portrayed. Through answering these questions of evolved representation throughout close to a century amount of work, we contribute to scholarship that attempts to understand media influences on boyhood culture, which is considered in crisis due to overemphasised representations of powerful, strong male characters that hide their emotions (Brode, 2016; Wooden & Gillam, 2014).

Fieldwork in emerging economies can be unpredictable and somewhat dangerous. The purpose of this article is to ascertain problematic issues that may arise when conducting qualitative research in emerging economies.

The author reflects on her fieldwork in Russia in 2014 and 2015. Specifically, the author provides a reflection on her investigation on how the Russian government influences Russian MNEs' ability to deal with domestic institutional complexity and gain external legitimacy.

The author has encountered a number of unforeseen difficulties: the ethical dilemma, sensitivity of the topic, translation challenges and unexpected group interviews. Through this reflection, he develops specific tactics on how to deal with these circumstances when conducting research outside a Western context. He also provides recommendations on how researchers in emerging economies can deal with ethical dichotomy created by the pressure to follow ethical guidelines. Finally, he identifies a list of opportunities that Russia presents as a research site.

The reflections on fieldwork discussed in this paper can prove to be useful for qualitative researchers interested in conducting qualitative research in Russia. In particular, it provides specific recommendations on how to navigate Russia as a research site.

This paper contributes to the literature on issues related to methodological issues related to conducting research in emerging economies, as well as under research contexts, such as Russia.

In this chapter, the author explores the ethical challenge of preserving participant anonymity when using visual methods in ethnographic research. Referring to her own ethnographic study in post-conflict Northern Ireland, the author explores how social, cultural, and political contexts may accentuate the need to preserve anonymity. The author discusses her rationale for opting not to use photographs in this context and puts forward the case for using participant-produced drawings as an alternative to photographs. Drawings accomplish similar rich benefits as photographs but may ameliorate the ethical challenges inherent in photographic work of maintaining participant anonymity.

When a study involves human participants, researchers need to ensure their safety and protect their identities. How do potential participants know what they are agreeing to contribute, and how and why the research is being conducted? Informed consent describes the process and agreements that answer such questions. Conventional consent protocols focused on preresearch discussions between the researcher and the potential participant, resulting in a signed document that verified the agreement. In research conducted with, on, or through social media, there are fewer opportunities for conversational explanations of formal documents. Simply posting legalistic documents is ineffective because Internet users typically do not read such materials before verifying agreement. Researchers need to understand communities, contexts, and communication styles of target participants and settings in order to provide information in familiar, user-friendly ways. Based on a review of literature about informed consent, and a study of current practices used by companies that need to verify agreements online, practical research suggestions are offered. Qualitative researchers who want to collect data through active interactions with human participants will find these examples and recommendations of use when designing their studies.

This chapter examines two 21st-century Disney fairy tale adaptations, Frozen (2013) and its sequel Frozen II (2019), focussing on the representation of male characters and the discourse on masculinity that can be inferred from both films.

Despite featuring two prominent female protagonists – Queen Elsa and Princess Anna – and dealing with themes such as sisterhood and female bonding, a close reading of the two films reveals that they are as much about masculinity as they are about femininity. For instance, filmmakers introduce heterosexual romance where there was none before, as well as male characters Prince Hans and Kristoff, who are not present in the literary source that they draw from, Hans Christian Andersen's ‘The Snow Queen’ (1844).

Furthermore, these male characters are given names, personalities, and motivations, which cannot be said of previous Disney fairy tale Prince Charming-type figures. Therefore, Hans and Kristoff are proposed to be variations of this archetype and can be read as an attempt on Disney's part to complicate it, undermine the patriarchal masculinity that it stood for in its previous Disney renderings, and propose alternative models for the implied 21st-century audience.

Although Prince Hans is initially presented as a stereotypical Disney fairy tale prince, he is eventually revealed to be a narcissistic lover and a patriarchal villain. Kristoff, by contrast, is the humble, lower-class, sensitive ‘new’ man who is presented as a socially acceptable alternative and finally takes Prince Charming's place by becoming the princess's love interest and partner. Frozen can be read as a cautionary tale that urges young women to choose their romantic (male) partners wisely and warns both male and female audiences against the dangers of fragile patriarchal masculinity.

Detached Concern and its core dimensions – employees’ concern toward and detachment from their clients – are important facets of the emotion-generative process during client interaction in people-oriented work environments. We studied the intra- and interpersonal effects of Detached Concern on professionals’ burnout (N = 1411) and patient-centered care quality (N = 332 patients; 43 physicians). Our findings indicate different Detached Concern types. Balanced employees (scoring high on concern and detachment) yielded lower burnout levels compared to imbalanced professionals. Patients’ perception of care quality was positively related to their physicians’ concern and detachment, and was significantly higher for the balanced than for the imbalanced physicians.

This chapter details how engaging students in digital comics creation might support adolescents in strengthening their narrative writing capabilities. This chapter first provides a more detailed explanation of the micro and macrostructural elements involved in narrative production. Second, the chapter provides an introduction to comics and important design features. The authors also illuminate the complexity of multimodal texts (texts that combine images and words) and link visual narrative pedagogy and curriculum to classroom equity and accessibility. Across these opening sections, academic standards are referenced to show how the comics medium aligns with national visions of what robust English Language Arts education entails. The chapter concludes with descriptions of specific pedagogical strategies and digital comic-making tools that teachers and interventionists might explore with students within various classroom contexts. Examples of digital comics designed using various web tools are also shared.

This empirical chapter explores the case of Baltic Creative Community Interest Company (BC CIC), a creative hub that enabled and demonstrated intrapersonal entrepreneurial capitals (Pret et al., 2016) to adapt quickly and develop novel offers for their tenants during an unprecedented period of crisis and change in the wider ecosystem. BCCIC is a community-owned property development company established to regenerate an underused post-industrial area in Liverpool and support the Creative and Digital community. Over the past decade, they have become a creative hub where small, unique micro-businesses thrive alongside more established enterprises.

Using an organisational ethnographic approach, the authors highlight the complexity in the conversion of entrepreneurial capitals and how this has demonstrated resilience and adaptability in the CIC during the global coronavirus pandemic in the 2020s. During the first coronavirus lockdown in 2020, The CIC responded swiftly to tenants by providing a wide variety of business support initiatives. Regular communications on sector-specific COVID-19 operational guidance and a support programme to help tenants apply for Liverpool City Council Small Business Support grants.

The establishment of this hub for creative entrepreneurs prior to the recent disruption proved invaluable. Although they were severely tested, emerging behaviours, such as agility, adaptability, and resilience during periods of crisis, were identified. This chapter offers key insights for scholars and those leading on creative hubs and cluster policy development and economic initiatives for creative sector support regionally, nationally, and internationally.