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We study how one form of wrongdoing behavior – gender-based discrimination – evolved and steadily grew amongst longshoremen over seven decades (from 1947 to 2017), despite changes in the nature of work and technological innovations that made the occupation increasingly accessible to women. Using data collected from 72 interviews with retired and active longshoremen and their employers, supplemented with archival and observational data, we find that although women were permitted into the occupation at the beginning of the period (1947 to the 1960s), they were progressively, completely excluded by male longshore workers. We find that after experiencing imprinting (the idea that early experience exerts a crucial influence on later behavioral phenomena) (Immelmann, 1975) during early decades, longshoremen instrumentalized their fear of occupational decline and voluntarily engaged in organizational wrongdoing by discriminating against women. Men rationalized their exclusion of women through two means: first, by adapting the “Madonna vs temptress” paradigm of framing women, and second by strategically emphasizing self-serving justifications. This study contributes to the literature on gendered work and the difficulty of eliminating imprinted, entrenched behaviors in gendered occupations.

The ‘Terrible Mother’ traditionally connotes monstrous aspects of motherhood and devouring femininity, encompassing two stereotypical representation of women in myth, fairy tale and fantasy: The Seductress and the Wicked stepmother. The Seductress personifies female malevolence and is characterized as rebellious, manipulative and relentless. Furthermore, she often adopts male aggressiveness, especially sexual, thus usurping male prerogative. Ironically, the temptress is condemned for exhibiting traits which the male hero is lauded for, while also embodying a warning to other women regarding their fate should they rebel against male authority. These narrative strands converge in Cersei, who becomes an embodiment of male anxiety and stands as the chief moral foil and greatest sociopolitical threat to male hegemony.

Concomitantly, Cersei plays the part of the wicked stepmother to Sansa Stark, the series' archetypal damsel in distress. Like Sansa, Cersei began with starry-eyed dreams of womanhood, but quickly grew disillusioned. Despite this, Cersei subjects Sansa to the same injustices she suffered. This re-enactment of her own mistreatment situates Cersei as the female accomplice to the patriarchy. Yet, Cersei also attempts to educate Sansa about women's position vis-à-vis the patriarchy and the tools at their disposal, thus layering the role of the wicked stepmother. Furthermore, Cersei's narrative is complicated as she becomes a point of view character: her focalization becomes a fertile ground for myriad challenges to an androcentric culture, opening avenues for social criticism and possible reimagining of gender roles.

In the last few years, signs of material excess by organizational and political leaders have often evoked public outcry. The paper aims to argue that there is insight to be gleaned from drawing together strands from the leadership literature with the literatures on moral economy and conspicuous consumption. The premise is that views of leader conspicuous consumption are shaped by their moral economy, the interplay between moral attitudes and economic activities. The paper seeks to juxtapose tales of Cleopatra and Antony's display of wealth with current media accounts to contribute to the leadership literature on ethics, specifically its intersection with power and narrative representation.

The paper adopts an analytic approach, with an international orientation and an interdisciplinary perspective. It acknowledges the role of narrative representation in shaping leadership and the psychological ambivalence with which societies approach their leaders' practices, focus here on desire-disdain and discipline-decadence. Cleopatra and Antony's conspicuous consumption generated a legacy of condemnation for millennia. Drawing from the retellings of their story, four moralizing representations – by Plutarch, Shakespeare, Sarah Fielding and Hollywood – are analyzed and juxtaposed with current media accounts. Altogether, the paper combines the interest in leadership across history with moralizing perspectives on the display of wealth by leaders.

The intersection of the literatures on leadership, moral economy and conspicuous consumption draws together several dynamics of relevance to leadership. First, evaluations of the display of wealth on the part of a leader are contextual: they change across time and place. Second, interpretations of conspicuous consumption involve aesthetic judgment and so sit at the nexus of morality and taste. Third, following tragedies, tales of leader conspicuous consumption offer critics another knife to dig into the fallen tragic hero. Fourth, views of conspicuous consumption are gendered. Last, conspicuous consumption by leaders attracts condemnation through support for social responsibility and sustainability.

The paper establishes a novel articulation between the literatures on leadership, moral economy and conspicuous consumption.

This chapter explores the presentation of women's violence in Tamil mega serials. Tamil mega serials are produced in India and aired six days a week on satellite television channels. The story revolves around households with extended families living together and issues affecting women such as family well-being, motherhood and fertility. Women mostly take the role of the main protagonist and antagonist in Tamil serials. This chapter analyses the presentation of violence in 10 episodes of Chandralekha, a Tamil mega serial. Perpetrators of violence in Tamil serials are mainly female antagonists and other characters supporting the antagonists. The rivalry between the protagonist and antagonist centres around the struggle for property or the love of or marriage with a man. The type of violence ranges from mild to severe kinds of physical violence, and non-physical violence. The presentation of violence in Tamil serials reflects gender inequality in society. The meaning of some forms of violence in mega serials is closely related to the traditional gender roles and notion of traditional femininity in society.

Chapter 4 shows and tells how to create visual art to achieve deep understanding about stories that individuals tell. Creating visual narrative art (VNA) of stories achieves several objectives. First, creating VNA revises and deepens sense-making of the meaning of events in the story and what the complete story implies about oneself and others. Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller); unconscious thinking in stories relating to consumer and brand experiences reflect one or more archetype (Jung 1916/1959) fulfillments by the protagonist and the storyteller; given that almost all authors agree on a distinction between processes that are unconscious, rapid, automatic, and high capacity, (System 1 processing) and those that are conscious, slow, and deliberative (System 2 processing, see Evans, 2008), VNA enables and enriches processing particularly relating to system 1 processing–enabling more emotional versus rational processing. Third, creating VNA of stories is inherently and uniquely fulfilling/ pleasurable/healing for the artist; using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or report bliss about events and outcomes that words alone cannot communicate; VNA provides a tangible, emotional, and holistic (gestalt) experience that is uniquely satisfying and does so in a form that many audience members enjoy over and over again. Chapter 4 elaborates on the rationales for its central proposition, briefly reviews relevant literature on VNA, and illustrates one mode of VNA for the complementary stories told by a consumer and brand.

In her introduction to the third edition to The American Heritage Dictionary of the English Language (AHD), executive editor Anne H. Soukhanov justly and temperately praises the first edition, which appeared in 1969. That pioneering work, she asserts, “did four things and did them well.

During my second birth

This paper aims to shed light on how children's literature in Africa deserves to be studied because African writers “decolonize” the minds of African children and children and adults around the world.

This paper defines children's literature from an African perspective and the “decolonization of the mind.” This is done to examine how two African writers provide narratives for children inspired by their cultures. They deal with themes, characters and symbols that interest children and adults.

Achebe and Youssef crossed many borders: the world of children and adults, animals and humans, vice and virtue, supernatural and real. Their stories take the reader on journeys that involve enriching, engaging and inspiring adventures.

Youssef and Achebe are prolific writers. Providing a survey of what is available in Arabic and Nigerian literature for children, is beyond the scope of this paper.

This paper sends a message to those in charge of the curriculum in schools in Egypt, the Arab countries, Africa and the world at large: decolonize the syllabi in schools because the world is not black and white. Literature for children that encourages critical thinking is available by African writers in Egypt, Nigeria and elsewhere.

The works discussed show that African writers are creative, and their works inspire the African child with pride in his/her identity, culture and heritage.

To the best of the author’s knowledge, no one has compared Egyptian and Nigerian literature for children before. Youssef and Achebe provide evidence that “Good literature gives the child a place in the world … and the world a place in the child.” – Astrid Lindgren.