Search results

The Whole Child Initiative (WCI) was developed over the past 15 years as a blueprint to promote long-term development and success of all children, as well as their families and communities. This chapter describes three aspects of the WCI model: (a) the need for a public health approach to sustainable, communitywide change targeting the whole child; (b) a clear, future-oriented vision for equipping educators, caregivers, and service providers with the skills and attitudes required to deliver high-quality instruction; and (c) the infusion of social and emotional learning practices to transform environments in which youth live and play. We provide examples of how schools, communities, and families can come together to create a common culture fostering stable and nurturing relationships essential for enhancing youth well-being. We close with recommended “super strategies” – low-cost, simple, and effective practices that can be broadly implemented to keep every child healthy, safe, engaged, supported, and challenged in the community at large.

From Dr No in 1962 to Spectre in 2015 the opening themes for James Bond movies have always played an important role in marketing, audience expectation and reception. Whether instrumental or sung, brassy or orchestral, upbeat or mellow, the music and/or lyrics, alongside innovative title sequences, function as key signifiers of gender representation in the ongoing series of spy adventures. Bond’s suave machismo, for example, is immediately set out in the opening titles for Dr No created by Maurice Binder. The iconic image of Bond viewed through a gun barrel as a shot rings out, is punctuated by Monty Norman’s theme music with its swinging brass and the tough, machine-gun like sound of electric guitar being played fiercely with a plectrum. Although this theme became synonymous with the character, there was a shift towards songs written specifically to tie-in with subsequent film titles although the lyrics rarely had anything to do with the narratives of the film. The title sequences themselves also became more provocative, invariably focussing on silhouetted, naked or semi-naked female bodies or their component parts alongside gun barrels and bullets, albeit in a highly stylised and artistic manner. This chapter, then, will consider how the theme music functions with the opening credits sequences in relation to the representation of women, race and the image of Bond himself and how the character has changed over time.

This chapter focuses on the concept integration and its wider meaning in the context of refugees and internally displaced people across the globe. The purpose of this volume is to highlight the various interventions used to integrate refugees and the efforts implemented by the non-governmental organizations and local governments toward achieving an optimal level of integration with host communities. Using case studies and other empirical research, this volume presents a broad and in-depth overview of the various methods implemented to integrate the refugees into the society. This chapter provides an overview to this volume and establishes a framework for a better understanding of the nature of integration. It also reveals the complexity of the perception-practice dynamic and the multifaceted factors, which influence the various levels of integration.