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The emergence of gender-nonconforming behavior in a child presents an opportunity and, often, significant pressure for parents to question the gender beliefs they have taken for granted. The purpose of this research is to examine how parents of gender-diverse youth respond to such pressures and ultimately come to understand and support their children’s gender identity.

This research is guided by Ridgeway’s theoretical concept of gender as a primary frame for coordinating social life. Using in-depth interviews with 36 supportive parents of gender-diverse children, the author details the process by which parents developed a critical consciousness of gender and subsequently adopted trans-affirming beliefs in response to their children’s gender-nonconformity.

Findings illustrate the power of gender as a primary frame for organizing life within the family as well as the circumstances under which hegemonic gender beliefs can be disrupted and alternative beliefs can be formed. The analysis shows that the process of making space for gender diversity within the home, which is taken on almost exclusively by mothers, invokes competing maternal mandates of raising “proper” children versus modeling selfless devotion to children’s happiness and well-being. As mothers navigate these conflicting requirements to create greater gender freedom for their children, they reinforce and perpetuate gender stereotypes that cast women as natural caregivers. Ironically, the work of intensive mothering is also the mechanism through which women come to develop alternative gender beliefs that they then use to expand gender possibilities for their children.

The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-à-vis Clover’s classic text.

The growing displacement of theory and other forms of wide-ranging knowledge of social phenomena by empirical research methods in economics is widely noted by economists and historians of economic knowledge. Less attention has been devoted, however, to understand the materialization of such changes in the scientific practices. This article studies the recent transformations in the epistemological practices at CEDE, a research center in Colombia. I use a machine learning technique called Topic Modeling, interviews to CEDE researchers, and exegesis of papers to characterize a shift in the production of knowledge in microeconometrics at CEDE during the years 2000 and 2018. I explain this shift by characterizing two sets of epistemological practices that implies a recent tendency to disdain research that cannot make a “strong” causal inference.

Considering the economic potential of festivals to Creative Tourism, this chapter discusses the potential of the small-scale ones for rural development. It reviews worldwide small-scale festivals and engages them with creative activities, presenting the results of some of the small-scale festivals that occur in Southern Europe. It explores the impacts of a small-scale festival on the development of a medium-sized city or a rural area and the challenges they must face in the future. Furthermore, it deals with what kind of new offer can be developed in order to make these territories more sustainable. In this context, Southern Europe plays an important role due to its rich historical heritage that can diversify the offer and the type of experience, being an excellent opportunity to promote the preservation of those at risk of disappearing. This chapter uses primary and secondary data. A geodatabase was created to understand South European festivals on Creative Tourism. Examples from Italy, Greece, Slovenia and Portugal were analysed.

This chapter examines aggression at work perpetrated by individual insiders by bringing together streams of research that have often been examined separately. A comparison of the similarities and differences of aggression toward individuals, such as verbal abuse or physical attack, and aggression toward organizations, such as embezzlement or work slowdowns, is shown to provide important insights about the causes and consequences of workplace aggression. We propose a comprehensive model based on the integration of prior theoretical treatments and empirical findings. The model attempts to offer a framework to systematically examine psychological and organizational mechanisms underlying workplace aggression, and to explain the reasons why workplace violence policies and procedures sometimes fail. A set of research propositions is also suggested to assist in achieving this end in future research.

This chapter provides the results of the motivations and the profile of the creative tourist. Results originate from the major studies done worldwide, concerned with the different types of activities. This analysis is essential to design new products based on Creative Tourism and sustainability. Also, because at an international level, including South Europe, the profile of the creative tourist has not been characterised, especially the one that visits medium-sized cities and rural areas. This chapter intends to answer the following questions: Who is the participant in Creative Tourism activities? Is he/she mainly domestic or an international tourist? Why does this type of tourist participate in these creative experiences? What type of information sources do these tourists use to find the experiences in which he/she participates? This chapter uses primary and secondary data. The secondary data follow a content analysis approach of activities offered by Airbnb Experiences Platform. Regarding the primary data, 595 questionnaires applied in 45 creative experiences in the Northern region of mainland Portugal were analysed. The creative experiences were divided into seven categories: ‘creative festivals’, ‘nature and creativity’, ‘photography workshop’, ‘gastronomy experience’, ‘industrial experience’, ‘technology and creativity’ and ‘art and crafts’. The methods used were quantitative in nature. The questionnaire used consisted of 31 closed questions aimed at the profile and the motivations of the creative experience participants. Descriptive statistical analysis was used. The main results showed that participants in the seven categories of Creative Tourism experiences have relatively large differences in terms of demographic and socio-economic characteristics. These differences were also evident in their motivations for participating in Creative Tourism experiences.