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The current book chapter seeks to respond to the existing literature on early career researchers, using an autoethnographic approach to further unravel the crossroads of identity formation, research politics, and successful promotion through the eyes of early career researchers. Combining autobiography and ethnography, we systematically analyze our own experiences to make sense of wider social and political practices. Ellis, Adams, and Bochner (2010) remind us that autoethnography is not to be dismissed as a form of self-therapy but is to be presented in a rigorous manner as other research forms by carefully justifying the data sources and techniques, analyzing the data and crafting the findings. Our sources were both found texts (e.g., university policies) and created texts (our journal entries and personal communications). Using analytic techniques such as highlighting critical incidents or epiphanies, we structured coherent narratives to illuminate the complexity and uncertainty of the lives of early career academics. This chapter’s focus on early career researcher experiences makes poignant commentary on neoliberalism’s impact on and within higher education. The chapter concludes with the authors’ reflections on the dilemmas of academic and research choices made within the limitations of institutional structures, processes, and systems that shape career trajectories.

The purpose of this article is to understand how academics in management deal with the concept of generation in the workplace. We begin by conducting an interdisciplinary literature analysis, thereby elaborating a conceptual framework concerning generational diversity. This framework consists of four levels of analysis (society, career, organisation and occupation) and three dimensions (age, cohort and event/period). We then conduct a meta-analysis using this conceptual framework to analyse papers from the management field. The results from this analysis reveal the existence of a diversity of generational approaches, which focus on the dimensions of age and cohort on a societal level. Four factors seem to explain these results: the recent de-synchronisation of generational dimensions and levels, the novelty of theoretical models, the amplification of stereotypes by mass media and the methodologies employed by researchers. In sum, this article contributes to a more realistic view of generational diversity in the workplace for both academics and practitioners.

Turkey has been an active member of the Bologna Process (BP) since 2001. This chapter focuses on the impact of the BP on higher education (HE) in Turkey by outlining the reforms that were carried out and the narratives surrounding the changes. The focus of the chapter will be on how the BP has been accommodated, negotiated debated or rejected in Turkey and the societal and political tensions surrounding the process. The chapter is based on the findings of semi-structured interviews conducted with the Bologna experts and the officials of universities in Turkey, who were responsible for the reforms between 2009 and 2016, as well as a review of updated data and the analysis of secondary literature and official texts, such as the National Reports of the BP and the relevant policy documents in Turkey. After a very intense reform process, the policy transfer in Turkey slowed down, and Turkey's discussions, specifically about the BP both at the policy and the university level, became close to non-existent. The chapter aims to analyse the reasons behind the loss of interest in the BP in Turkey by focusing on the critical voices and discussions surrounding the neoliberalisation of HE. The chapter will also refer to how Euroscepticism in Turkey impacted the reform process in HE.

The popularization of slasher as subgenre begins with the release of The Texas Chainsaw Massacre (Hooper, 1974) and Halloween (Carpenter, 1978). Both films serve to define the topic of the subgenre: a serial killer that often slaughters groups of teenagers, especially attractive young women, using bladed weapons (Linz & Donnerstein, 1994; Molitor & Sapolski, 1993, 1994). Thus, although the definition of the slasher is not really fixed in terms of gender, the killers have been traditionally interpreted by men, while the victims have been usually interpreted by women (Clover, 2015; Trencansky, 2001; Weaver et al., 2015). Not for nothing, another important character is the final girl, who uncovers the monster´s motivations and finishes the killer off in the final scene; an important role that is actually a form of female subjugation. However, some exceptions can be found such as Pamela Voorhees (Friday the 13th, Cunningham, 1980), but she is simply defined as Jason´s mother. More interesting is the case of the Scream saga, in particular Scream 4 (Craven, 2011) where a teenage girl, portrayed by Emma Roberts, tries to play the role of the killer and the final girl at the same time.

In recent years, the slasher has gained importance in television. After Harper’s Island (CBS, 2009), an homage to the subgenre rather than a real slasher TV show, in 2015, MTV launched Scream, based on the film series and which continues exploring the gender roles anticipated by the last movie of the saga. In the same year, Fox launched Ryan Murphy’s Scream Queens (2015–2016) starred by Jamie Lee Curtis, the final girl of Prom night (Lynch, 1980) and Halloween saga, and Emma Roberts. In this regard, current television tries to renew the slasher, but starting from the clichés and even some familiar faces of the subgenre.

The purpose of this chapter is to evaluate the representation and evolution of female characters in slasher television series, exploring the relationship among the killer, the final girl and the rest of the victims. In this way, television series like Scream, Scream Queens (Fox, 2015–2016) or Slasher (Super Channel, 2016–) are analysed.