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The purpose of this paper is to discuss different strategies for implementing peer teaching as well as different roles for peer teachers in both academic libraries and writing-intensive courses. It explores connections to critical pedagogy, sociocultural theory, open educational practices and high-impact practices.

The methodology for implementing the three scenarios discussed in the paper differs widely. All approaches include some form of student feedback through focus groups, exit surveys or end-of-class assessments.

In both library and writing program settings, students have experience with and a favorable opinion of peer-assisted learning strategies.

These case studies provide concrete examples of how to develop different types of peer teaching interventions. The cases also detail benefits as well as challenges to implementation.

Providing opportunities for peers to lead through teaching others has the potential to boost an individual’s sense of confidence, leadership and improve their own learning, as well as give students’ experiences to build upon and apply to their everyday lives and future careers.

While peer teaching is widely implemented in many disciplines, such as science, technology, engineering and medicine, its adoption in academic libraries has sometimes been viewed as controversial. This case study adds to the body of literature demonstrating that peer teaching is possible and desirable.

This paper discusses a program to train undergraduate students as near peer teachers delivering course-embedded information literacy instruction to undergraduate students.

The approach involved the development and delivery of a curriculum combining information literacy concepts and teaching pedagogy. Significant student feedback was gathered which determined the final program structure.

While the curriculum was successful in developing students' information literacy competencies and pedagogical skills, stakeholder buy-in and the COVID-19 pandemic hindered the program. Additionally, the goal of the program – solo student teaching, was not realized.

Peer teaching is widely implemented in many disciplines; however, its application in academic libraries has focused more on peer reference, rather than peer teaching. This case study adds to the body of literature on this topic related to student peer teaching in academic libraries.

Through autobiographical narrative inquiry into the experiences of five teacher educators, we illustrate an alternative way of educating teacher educators. We show how learning to be, and become, a teacher educator occurs within a particular knowledge landscape at the Centre for Research for Teacher Education and Development (CRTED) at the University of Alberta. Drawing on a conceptualization of both personal and professional knowledge landscapes (Clandinin, Schaefer, & Downey, 2014), we highlight 13 features of the CRTED knowledge landscape that were particularly salient in the shaping of two of the authors’ practices as beginning teacher educators. The CRTED knowledge landscape differs from dominant university professional knowledge landscapes and is a kind of counterstory (Lindemann Nelson, 1995) that shapes the knowledge of teacher educators in distinct ways, that is, ways that call them to attend to lives, to stay open to diverse ways of knowing and being, and to the importance of response. Through learning to be and become a teacher educator within the CRTED knowledge landscape, we show how, within this landscape, teacher educators learn to shape different knowledge landscapes with teacher education students, through enabling them to learn to attend to personal knowledge landscapes, within teacher education and future classroom spaces, knowledge landscapes in which living, telling, retelling, and reliving stories of experience with one another is education.

THE NINETIENTH ANNIVERSARY of Sean O'Casey's birth and the recent acquisition by the New York Public Library of the papers of his literary estate afford an opportunity to view, once more, the remarkable achievements of a dramatist of universal distinction. A passionate believer in the cause of man's dignity and freedom, whose plays touched off riots and sparked off controversies, whose works wrung the beauty and passion and heartaches from the experiences of everyday life and ‘whose lips were royally touched’—to quote J. C. Trewin's recent colourful phrase—O'Casey was, with Shaw, one of the few incomparably great playwrights of the present century. Not without his detractors: one critic's jibe that O'Casey is ‘an extremely overrated writer with two or three competent Naturalist plays to his credit, followed by a lot of ideological bloat and embarrassing bombast’ is the kind of factitious reaction one expects from critically immature minds. Shaw's plays, at first, were slighted, but they survived, and today are flourishing; predictably, O'Casey's will enjoy a similar fate. O'Casey is a world dramatist in the widest sense, because he viewed the theatre in the same epic way as Shakespeare and the rest of the Elizabethans.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.