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David Peace’s Red Riding quartet ( 1974; 1977; 1980; 1983 ) was published in the UK between 1999 and 2002. The novels are an excoriating portrayal of the violences of men, focusing on paedophilia and child murder, the hunt for the Yorkshire Ripper and, predominantly, the blurring of boundaries between the activities of police officers, criminals and entrepreneurs. This chapter aims to examine the way in which the criminal entrepreneur draws on socially constructed ideas of masculinity and the capitalist ideal in order to establish identity. This will be achieved through an examination of John Dawson, a character central to the UK Channel Four/Screen Yorkshire’s Red Riding Trilogy, the filmed version of the novels, first screened in 2009. The central role of networks of powerful men in creating space for the criminal entrepreneur and the cultural similarities between police officers and criminal entrepreneur will be explored.

Using the research approach of bricolage, the chapter provides a reflexive commentary on the films, drawing on a number of other texts and sources, including news accounts of featured events and interviews with the author David Peace and the series co-producer Jamie Nuttgens – an analysis of the texts, using a framework suggested by van Dijk (1993) and McKee (2003) features.

The centrality of the idea of hegemonic masculinity to the activities of both police officers, and criminals and businessmen and Hearn’s (2004) assertion that the cultural ideal and institutional power are inextricably linked are examined through an analysis of the role of Dawson (and his three linked characters in the novels) in the Red Riding Trilogy.

The chapter provides an analysis of one film series but could provide a template to apply to other texts in relation to topic.

The social implications of the findings of the research are discussed in relation to work on the impact of media representations (Dyer, 1993; Hall, 1997).

It is intended that the chapter will add to the growing body of academic work on the criminal entrepreneur and the ways in which media representation of particular groups may impact on public perception and construction of social policy.

The fairy tale is a genre popularly associated with characters that inhabit opposite extremes in the axis of good and evil, such as the brave prince, the beautiful princess and the wicked witch. From the tension between the two extremes emerges the familiar narrative: as Dallas Baker has remarked, the death of the monstrous villain often precedes ‘heterosexual fulfilment’ (2010, p. 8), and thus the classical script is laid out.

This chapter will investigate how lesbian and bisexual retellings deconstruct that script and collapse the insurmountable distance between good and evil, hero and villain, queering fairy tale paradigms and upending genre expectations. Sam Miller declared in 2011 that ‘there are no more queer monsters’ (p. 222) in horror films, making the fact that they still lurk in fairy tale retellings all the more remarkable, although they often do so disguised as, or otherwise fused with, well-known childhood heroines. In this way, Lauren Beukes’s The Hidden Kingdom (2013) aligns a bisexual Rapunzel with Sadako, the vengeful spirit from Japanese horror film Ringu (1998); The Sleeper and the Spindle (Gaiman, 2014) features a Snow White who must save the Sleeping Beauty, here an evil witch guarded by zombie-like sleepers; and ABC's Once Upon a Time (2011–2018) features a bisexual Little Red Riding Hood who transforms into a dangerous werewolf. This chapter thus explores the significance of resilient, queer monstrosity in contemporary fairy tales, these authors' interpretation of the conservative archetype of the queer villain, and the potential of these retellings to enact subversive fantasies of empowerment for queer readers.

The authors explain their approach to teaching literatura infantil (children’s literature) in Spanish to bilingual teachers pursuing their master’s degree in bilingual education at a university in South Texas. In this Self-Study of Teacher Education Practice (S-STEP) research, the authors investigated how teachers can transform their practice and come to value their students’ abilities to interpret literature. They engaged the teachers in projects using quality children’s literature. The projects were carried out by graduate inservice teachers teaching Spanish/English bilingual students studying at different grade levels. Some teachers taught along the Texas/Mexico border and others taught in a large metropolitan school district in central Texas. The authors used their analysis of the inservice teachers’ projects as data to inform their own practice as teacher educators. In the first project, the bilingual teachers engaged their students in exploratory talk that allowed them to bring their backgrounds and experiences into discussions of what they read. The second project challenged the teachers to consider the importance of the images in high-quality illustrated children’s books. The teachers asked their students to read the images and expand their understanding of the books by considering more than the words in the texts. In the final project, the teachers guided their students through Ada’s stages of creative dialogue using children’s literature. The authors describe the projects in detail and give examples from four different teachers showing what they learned about teaching children’s literature and how they changed their perspectives about what their emergent bilingual students could do. Although only four teachers are highlighted, they are representative of students taking the course and engaging in the projects over three different semesters.

Recognising interest in the nascent “rise of China”, the purpose of this paper is to engage with the normative social science approach to comparative management, positing that it is inadequate for an enlightened view of the Chinese subject.

This paper presents a critical appraisal of extant literature, specifically Redding's The Spirit of Chinese Capitalism, by drawing resources from Fabian's epistemological critique of anthropology and Levinas' ethics to replace ontology as first philosophy, and by reference to historical studies on China's economic culture and its language.

Attention is drawn to how Redding's research subject is made an object of knowledge. In the objectification process, the subject's continuity is interrupted, its voice deprived, and its capacity for dialogue denied. This is evident in Redding's framework for analysis. Indeed, his Weberian social science template manifests a certain “imperialism of the same” and is symptomatic of much in comparative management regarding non‐western subjects. After critique, this essay then explores a supplement to Redding.

The paper proposes three principles for finding one's way out of objectification: ethics before “knowledge”, justice before “power”, and dialogue before “vision”.

The paper contributes to discourse on how comparative management must transcend its imperial social science legacy before it can find a just footing, and be born again.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

The pretty girl with raven hair sings as she works and dreams of wonderful days ahead. The girl's dream is deferred by the wickedly jealous stepmother who sends a trusted guard to commit murder. The man, overwhelmed by the girl's inherent goodness is unable to complete his deed, and warns her to run away and never return. She travels deep into the woods and is helped by friendly forest creatures with big eyes. They take her to a small cottage and she falls asleep, to be awakened by several small men who find it in their hearts to allow her to remain. The miniature men leave for work the next day, warning the girl of the stepmother and her trickery. The nasty woman disguises herself and easily convinces the girl to take a bite of the religiously symbolic apple, after which the girl is induced into a coma. The small men return, chase after the horrible stepmother and cause her to fall to her death, after which they do not bury the beauty-girl, but instead leave her ensconced in a glass tomb for all to see. The gallant prince finally arrives and kisses her, true love breaking the apple's spell and allowing the girl to ride away on the horse with the true hero, leaving behind the woodland creatures and small men forever. Sunlight beaming, girl beaming, small men and creatures beaming. All is right with the world.