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This narrative will combine stories with poetry to convey our lived experiences as Black women who took different roads to academia, and serve in differently situated institutions, but who now face similar experiences. We write this narrative, not as generic advice to new academics. Rather, it is a transparent, honest missive from sisters to sisters. It is written from the perspectives of Black women and with Black women in mind. This may be particularly instructive to emerging scholars whose work centers the intersections of race, gender, and class. It provides a glimpse into our work as scholars, teachers, activists, and writers.

We base this work on central tenets of Black feminist thought. The core objectives of Black feminist thought are to clarify Black women's experiences and ideas through self-definition, to refute stereotypical depictions, to validate Black women's situated knowledge, and to resist marginalization that occurs as a result of our intersectional identities (Hill Collins, 2000). Our work as academics is informed by our identities as Black women, and these identities continue to be shaped by our work as academics. Last, our narrative examines how both mentorship from Black and non-Black academics, and sisterhood among Black women scholars, sustain and inspire the work to which we are committed.

The relationship between the economy and wider social structures and the extent to which these could be studied independently were important issues for both Marshall and Schumpeter. Marshall had clear views on the issue. As noted in the chapters by Arena, Hodgson, and Nishizawa, for Marshall, economics was concerned with the study of mankind in the ordinary business of life. Marshall warned against the separation of the study of economics from other social phenomena although he remained skeptical about the extent to which a comprehensive social science was possible.

Formulaic in both their narrative and character development, buddy-cop films are unique in their ability to present ideas about masculinity and the journey towards manhood without sacrificing the likeability or relatability of their male leads. The focus of this chapter is how aspects of masculinity are depicted when there are two or more male protagonists in an action film. Examples I have selected for analysis are the highly successful franchises Beverly Hills Cop (1984–1993) and Lethal Weapon (1987–1998). In the case of Beverly Hills Cop, the male dynamic is unique in that there are a trio of male leads (as opposed to the traditional duo), each of which depicts masculinity in different ways, often resulting in the lead characters jostling for the role of the alpha-male. In contrast, the Lethal Weapon franchise explores the dynamics of age and the importance of mateship and mentoring in the construction of relationships between men. In both examples the necessity of vulnerability in the dynamic of solid man-to-man peer relationships is also paramount. The enduring popularity of these films and their subsequent sequels is indicative of the fact that while pop-cultural ideas around masculinity may be in a constant state of flux, elements of the stereotypical action hero remain prominent.

Discussions about the male action hero will be informed by Susan Jeffords Hard Bodies (1994), while concepts of maturing will be explored through the lens of Joseph Campbell's construct of the Hero's Journey and Carl Jung's archetypes, which, as I will demonstrate, are central components of the relationship dynamics present in each film.

Although “acceptable use” policy (AUP) constitutes a fairly straightforward perspective in many school districts – students’ ethical, legal, and personally responsible educational usage of electronic technologies – there is a more ambiguous area of which administrators need to be aware. For example, what constitutes an AUP and who is responsible for creating them and upholding their guidelines? Other issues that need to be thought about are what makes up “appropriate” (instructionally acceptable) standards of educational quality in terms of the content of web sites?

This chapter is based upon a five-year qualitative study and focuses on the experiences of 39 black women who entered physics and other science majors. The women reported feeling prepared to compete; however, they faced challenges in establishing meaningful relationships with faculty and peers. In the classroom they were often stereotyped as less capable then their male counterparts. They relished opportunities to meet other female scientists who inspire and motivated them to succeed. Perhaps most importantly they sought balance and desired to have a full life that includes science as well as other important elements like family.

The iconic vigilante Paul Kersey (Charles Bronson) returned to cinema screens via Death Wish 2 (Michael Winner) in 1982 and vigilantism would remain a key theme in American urban action films throughout the 1980s. Susan Jeffords subsequently argued that Hollywood's ‘hard bodied’ male action heroes of the period were reflective of the social and political thematics that distinguished Ronald Reagan's tenure as America's President (1994, p. 22). But while Jeffords' arguments are convincing, they overlook contemporaneous films featuring female and ‘soft’ bodied urban action heroes.

The Angel trilogy (Angel, 1984; Avenging Angel, 1985; and Angel III: The Final Chapter, 1988) features three such understudied examples. Indeed, the films' diverse and atypical range of action heroes demand that they are interrogated in terms of their protagonists' gender, sexual orientation, lifestyle choices and age. Featuring narratives about the prostitutes and street folk who frequent Los Angeles' Hollywood Boulevard, the films' key characters are a teenage prostitute and her guardians: a transvestite prostitute, a lesbian hotelier and an elderly cowboy. All three films feature narratives that revolve around acts of vengeance and vigilantism.

This chapter will critically discuss the striking ways in which the films' ‘soft’ bodied and atypical protagonists are presented as convincing action heroes who subvert contemporaneous ‘hard’ bodied norms. It will also consider to what extent their subversive rewriting of typical urban action film narratives and character relations might be understood to critique and deconstruct the themes and concerns that usually characterized such films during the Reagan era.

This chapter focuses on spy action as a way to answer the question: where can we find queer female action heroes? The chapter will identify three films – D.E.B.S. (Advocate, 2005), Atomic Blonde (David Leitch, 2017) and The Spy Who Dumped Me (Susanna Fogel, 2018) – worth attention to highlight the potential and problems of the queer female hero in spy action. This chapter examines how each of these spy action films contributes to the ongoing yet uneven development of the female hero as a queer figure in post-millennial action cinema. The chapter will consider to what extent these queer female-led action films may pose a challenge to some of the dominant standards and conventions associated with the action hero, gender roles and the representation of sexuality, but also reinforce others. Some comparisons will be made to James Bond in recognition that the Bond franchise has played an important role in the spy action genre.

The number of nontraditional students continues to rise on college campuses across the nation, with women outnumbering males. In spite of their growing presence at institutions of higher education, nontraditional students have low retention and graduation rates (Taniguchi & Kaufman, 2005). Since Black women comprise a large part of this population and face a number of the stressors that often serve as deterrents to the successful completion of their undergraduate degrees, this study aims to tell the stories of five selected nontraditional Black female students attending a predominantly White Ivy-league institution by examining the challenges they faced and the factors that contributed to the academic success of these women. For the purpose of this study, academic success is defined as having completed baccalaureate degree requirements and graduated with a B- or higher average or the equivalent 2.75 grade point index (GPA). This chapter hopes to address the question: What is it that enables some Black women to face the daunting challenges in their lives, attend a rigorous Ivy-league school, and still obtain their bachelor's degree? The answers to this question should enable policy makers and school administrators to implement programs and practices that will improve the retention and graduation rates of all nontraditional students.

This chapter analyses the pilot episode of the ABC TV series Charlie's Angels (Spelling & Goldberg, 1976–1981) and the latest film of this media franchise, Charlie's Angels (Banks, 2019). The chapter undertakes an analysis of the three main characters in the series pilot and the three starring roles in the film, applying methodologies proposed by the cinematic poetic formalism (Bordwell & Thompson, 2006) and observing specifically the roles and motivations of these six women from a feminist perspective. On the one hand, the TV pilot engages with several of the main premises of the second-wave feminism that was in full swing at the time the series was released. On the other hand, the 2019 film was launched in the contemporary era of post-feminism, reflecting a number of the concerns that shape the post-feminist agenda. However, the main argument of this chapter is that both the series pilot released in 1976 and the 2019 film construct ambivalent feminist narratives. The analysis reveals that the Charlie's Angels franchise fluctuates between characteristics that can be labelled as feminist discourses, but also as replicators of a patriarchal model. Forty-six years later, while a few things have changed for the Angels, we argue that the characters and franchise have not lived up to its potential as a transformative feminist text.