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This chapter offers a critical evaluation of the disability scholarship of Michael Oliver, a leading developer of the British social model of disability, and Peter Singer, a philosopher whose utilitarian ethics excludes some persons with intellectual disabilities from full moral status. Through a critique of the simplified accounts of disability employed by these two very different scholars, this chapter explores the ontology and the moral significance of disability. The importance of the ontology of disability in relation to inclusion is also discussed.

A story that Robert told in class during this research exposes the tension of simultaneously studying literacy and identity when submission and control are also processes at work in the story. There are two pieces of this story. In the first part of the story, Robert relates the narrative. The second part consists of the details of the story he told. Both pieces can be used to illustrate different elements of the tension between studying literacy and identity as a single construct labeled literate identity. In addition to suggesting a metaphor for literacy and identity, Robert's story navigates the constructs of submission and control that Wong (2008) discusses in terms of the aesthetic of motivation. The tension between submission and control when coupled with an exploration of literacy and identity has implications for the notions of resistance to literacy in the field of boys' literacy as well as the being and doing of literacy for the boys in this study.Our class began with the students congratulating Robert on his storytelling. When I inquired further, I found out that Robert had started to tell the legend of Cupid and Psyche in a previous class, but he had run out of time. The rest of the students expressed interest in hearing the story, either for the first time, or to know the end. Initially, his telling ebbed and flowed. He apologized for his lack of fluency and explained he was trying to provide us the parts of the story we would find the most interesting. Eventually he settled into a rhythm and finished 50 minutes later. (Reconstructed field note, December 2009)

The CW’s long-running horror-drama series Supernatural (2005–) has been accused of undoing progressive advances for women made by Buffy the Vampire Slayer (1996–2003). While it’s hard to deny the truth in that claim, Supernatural also problematizes conventional gender roles from a very different approach, one that plays with perceptions of masculinity and social class.

Buffy Summers may initially seem to have more in common with Supernatural’s Sam Winchester, a chosen one with special powers who wants a normal life away from the supernatural. However, Buffy shares more in common with Dean Winchester. Embodying popular gendered stereotypes in their introductions, it’s gradually revealed that there is more complexity to each. Both form alliances with Others; both recognize elements of the Other in themselves. Both transgress conventional gender boundaries, complicating the notion of a binary gender system. Both series introduce the seemingly familiar only to alter it into the uncanny. See the little cute blonde virginal cheerleader? She can kick your ass. See the stupid cocky womanizing jock? All he wants is family and a home. This chapter explores the increasingly gender-blended, social-class-crossing behaviours of Supernatural’s Dean Winchester as an heir to Buffy the Vampire Slayer.

In recent years, and especially with the war in Iraq, the U.S. military's reliance on private contractors as forces in the theater of war has grown and become increasingly clear. We critically evaluate some of the best literature on the emergence of this phenomenon – especially Ken Silverstein's Private Warriors and P. W. Singer's Corporate Warriors: The Rise of the Privatized Military Industry – and find a neglect of the historical path-dependent character of the rise of the new corporate armed forces. In particular, we concentrate on American experience and two silences that are integral to understanding the path-dependent character of this process: (1) earlier historical reliance on private armed force to suppress the labor movement in America, the template for this new form of irregular armed force and (2) the ghost of Vietnam as a continuing political liability in the mobilization of sufficient troop levels under neo-imperialist aspirations and “the global war on terror,” as the main condition for the rise of the new private military form. Both elements suggest the theoretical importance of state strength/weakness in any explanation of private armed force. We discuss several important political implications of our findings.

Freddie Mercury rose to fame as the lead singer of the UK pop group Queen. The group started working on tracks for their fourteenth studio album, Innuendo, in early 1989, and the album was finally released in February 1991. Progress on recording was slow as Mercury, who had been diagnosed with AIDS, was unable to work for more than a few days at a time. Innuendo became the final Queen album to be released during Mercury’s lifetime, and ‘The Show Must Go On’ is its final track. Its placing is arguably significant, given that both Mercury and the remaining band members must have assumed that this would be the last album that they would record together. In this chapter, I present an analysis of the song’s music and lyrics, along with the music video that accompanied the single release, with reference to Mercury’s illness and his wish to contribute vocals for as long as he possibly could, knowing the seriousness of his condition meant that this would be one of his last recordings.

Drawing on research in the worlds of advertising, magazines and fashion, this paper discusses how celebrities mediate between different fields of cultural production. By focusing on celebrity endorsements in advertising, it also outlines how film actors and actresses, athletes, models, pop singers, sportsmen and women mediate between producers and consumers via the products and services that they endorse. As economic mediators, celebrities’ actions have important strategic and financial implications for the corporations whose products they endorse. As cultural mediators, they give commodities personalities and perform across different media, linking different cultural fields into an integrated name economy.

Purpose – For much of the first half of 2003 world attention was captured by news of a mysterious but deadly virus that was claiming lives in places as distant as Toronto and Beijing. In a matter of months there were around 8,000 infections and over 689 deaths related to severe acute respiratory syndrome (SARS). In my hometown, Toronto, 43 people died of SARS during the outbreaks of 2003.

Approach – This chapter examines issues of class and poverty in emergence of SARS. The chapter begins with a discussion of the political economy of the emergence of SARS, and its relation to the spread of the virus. It then discusses issues of public policy, and particularly neo-liberal cuts to social services and public spending, that set the stage for the SARS outbreak, influenced its impact and contributed to the failures of response in Ontario.

Findings – Through analysis of the lack of social resources available to working people in the province and the prioritizing of corporate, particularly tourism industry, concerns, the chapter illustrates how issues of class underpinned public responses to SARS, exacerbating problems. The chapter concludes by giving attention to the need for social solidarity and community mutual aid.

Contributions to the field – The chapter shows the extent to which neo-liberal governments prioritize business security above the health and social security of workers and reveals some of the ways in which the pressures of capitalist social relations make people ill.