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Drawing from interviews with individuals on parole, this chapter explores experiences of and responses to penal misrecognition. It documents that participants feel fundamentally misrecognised by the parole agency and penal state. They believe that the penal state views them as dangerous, defective and incapable of virtuous self-governance. Yet this is not how they perceive themselves. This leads to a delicate balancing act where participants refuse certain aspects of the penal state while accommodating others. On the one hand, individuals refuse parole’s misrecognition of them and reject the state’s authority to define who they are. On the other hand, they largely acquiesce to parole’s authority to supervise and regulate conduct. Turning to the concept of refusal highlights that individuals do not just attempt to resist penal power; rather, they flatly reject the state’s epistemic constructions. They do this by turning away from parole and by turning towards other forms of sociality beyond the penal state. This creates material and affective distance from parole and opens up space for self-recognition and for receiving positive recognition from others. In this way, individuals seek to minimise, move away from and/or bypass a penal intervention that is ostensibly designed to assist and support them.

The goal of this chapter is to reexamine the nature and structure of the military–industrial complex (MIC) through the works of John Kenneth Galbraith. MIC, or military power as he prefers, is a coalition of vested interests within the state and industry that promoted the military power in the name of “national security” for their interests. Galbraith’s theory of giant corporations helps us understand the role of military corporations in the MIC. Moreover, he is a critical scholar in examining this topic because he was a political insider in the Roosevelt, Kennedy, and Johnson administrations and a prominent public intellectual against the Vietnam War. Against this background, this chapter has three parts. After explaining the development of military Keynesianism with respect to the main economic thoughts, it examines the history of the MIC and its impact on economic priorities during and after the Cold War through Galbraith’s works. Finally, this chapter discusses MIC’s relevancy today and evaluates Galbraith’s prophecies.

Black boys report experiencing more school-based racial discrimination than any other group (Butler-Barnes et al., 2019). Additionally, Black boys are viewed as older and less innocent than their peers beginning as early as 10 years old (Goff et al., 2014). Black boys are also suspended and expelled at much higher rates than other students (Graves & Wang, 2022). As such, there needs to be an investment in asset-based research designed to understand the factors that can help Black boys cope with these perceptions. Consequently, this chapter will discuss strengths based protective factors that will aid in the promotion of positive outcomes in Black boys.

Despite a large volume of theoretical and empirical research, defining the ‘entrepreneur’ and ‘entrepreneurship’ within the cultural and creative sector, a sector with high heterogeneity in organisational and other aspects across its various segments remains challenging. In this regard, there should be a wide variety of differences in the characteristics and challenges of cultural entrepreneurs across industries, countries and regions. Nonetheless, the key role of the arts and cultural sector has increasingly piqued the interest of policymakers and the private sector, and it has been recognised for its importance within the South African economic landscape; as a result, the government has prioritised arts and culture as a pillar in their development strategies. Furthermore, while there has been some consensus over the past decade on what constitutes a creative industry, many questions about defining arts and cultural entrepreneurship still need to be answered, necessitating further definitional and policy coherence. As a result, some efforts at definitions are required to advance the sector and develop useful knowledge in policy formulation.

This chapter proposes an understanding of arts and cultural entrepreneurship as an exploration of a person, a community or a network's artistic resources (arts, creative and cultural) in value creation. It utilises meta-analysis, a non-empirical method, to review and analyse the existing literature. Further research is needed to investigate and evaluate the efficacy of established arts incubators, and the extent to which perceived entrepreneurial competencies affect organisational performance. Moreover, additional research is required to examine the entrepreneurial factors inhibiting or stimulating the influence on start-up financing (capital acquisition) in the South African arts and cultural industry.