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This study aims to present a thematic analysis on cohort-based teaching and learning from four education doctorate degree programs. Recommendations are then presented to other scholars engaging in research on cohort-based, graduate degree programs.

Yin’s (2018) embedded, multiple case study approach guided the design of this study. Data collection consisted of three- to four-day site visits to each program and included the following data sources: program documents (e.g. handbooks, syllabi and third-party evaluations), class observations and semi-structured interviews with students, faculty and program directors.

This study describes how collaboration and collective learning were key components in each program’s coursework and milestone expectations, arguing that such an emphasis contributed to opportunities for collaboration and collective learning experiences.

Research has documented a number of outcomes associated with cohort-based programs in terms of group dynamics. The authors examine this quality further by showing how specific structures and practices within each program’s cohort model supported not only peer collaboration but also overall student learning.

The purpose of this paper is to outline the historical and political broadcasting conditions that hindered the success of British professional wrestling and allowed the rise to dominance of the American World Wrestling Federation.

Because of the nature of professional wrestling, the paper utilises a range of secondary sources (audience research conducted by the Independent Broadcasting Authority, and interviews with retired wrestlers) and primary research (government papers, magazines, newspapers).

The paper finds that the World Wrestling Federation benefited from neo‐liberal television policies, but also created a product that attracted a new generation of fans.

The paper examines an under‐researched area of study (British professional wrestling) to explore and complicate existing debates about sports marketing and British media institutions in the 1980s and 1990s.

IN the April number of Public Libraries, Mr. Andrew Keogh, sometime of Newcastle‐on‐Tyne, now Professor of Bibliography at Yale University, comes forward in defence of American libraries from the aspersions alleged to be cast on them in this periodical. Other journalistic comments have also appeared, which we may have occasion to mention at another time; and altogether some pother has been caused in America over our very straightforward and simple remarks. Mr. Keogh assumes, quite erroneously, that the first Library World editorial was based on the one or two instances of American reference to European libraries which he quotes. He knows, however, just as well as ourselves, that the American pose in library work is to adopt an attitude akin to contempt for anything outside the boundaries of the United States, and this is shown in nearly every publication dealing with library work. The Nation example was only one which happened to come along at the moment, and it is direct confirmation of what was stated in these columns in April, namely, that even in secular journals the writers were, as Mr. Keogh now certifies, prominent members of the A.L.A. Our attitude is, therefore, not that of defence simply, against certain outsiders writing in non‐professional journals, but against American professional librarians lending themselves to the poor work of trying to belittle the efforts of European librarians on every possible occasion. The mere fact that, as Mr. Keogh affirms, the great research libraries of Germany were attacked in the Nation, does not justify the publication of such ungenerous articles, especially coming from librarians who profess so much friendliness and high feeling.

The effects of price limits and market illiquidity are crucial for pricing derivatives based on some underlying assets traded in the markets with a price limit rule and an illiquidity phenomenon. We develop models to value options for the cases of either the underlying assets encountering price limits and market illiquidity, or when the underlying assets are imposed with price limits and the options themselves show market illiquidity in this paper. The Black–Scholes (1973) model, the Krakovsky (1999) model, and the Ban, Choi, and Ku (2000) model are presented as special cases of our model. Our numerical results show that both the price limit and market illiquidity significantly affect the option values.

The death-positive movement can be described as a de-centralised contemporary social movement originating and operating predominantly in the global West, specifically the United States, connecting death workers, educators, artists, journalists, etc., and geared towards encouraging open dialogue about death and dying. It has succeeded in capturing significant media attention over the last few years and is largely driven by its strong social media presence. This chapter looks at ‘playfulness’ within the death-positive movement. Examining the dimension of ‘playfulness’ addresses the affective aspect of communication that in this movement is inseparable from the message. First, the author investigates the aesthetics of representation through death-positive merchandise, produced and advertised by The Order of the Good Death’s (subsequently – The Order) core members. Second, the author considers some of the cultural output produced under the umbrella of death-positivity, but not by the core movement members, specifically taking the first video game to be explicitly marketed as death-positive – A Mortician’s Tale (Laundry Bear Games, 2017) as a case study. Finally, the author analyses the role of entertainment value in the movement’s leaders’ discourse on death, taking leader of The Order Caitlin Doughty’s playful rhetoric on her YouTube channel, Twitter profile, and Instagram pages. The manifesto, found on the movement’s official website (http://www.orderofthegooddeath.com/) encourages its participants to break the ‘culture of silence’ around death, indicating that the whole premise of the movement is based on the supposed presence of death denial in Western countries. Ultimately, the author argues that by eliciting playfulness, this challenge to the social climate becomes a somewhat jovial and enjoyable endeavour and generates response from outside the movement.

In this chapter, I share my journey and implementation of a critical literacy framework through dramatic play into my classroom and how it has transformed my teaching. Critical literacy is a field that addresses imbalances of power and, in particular, pays attention to the voices of those who are less frequently heard. When critical literacy is implemented as a curriculum in the classroom, students are made aware of injustices and provided a platform to learn about them in their community and their world. In this space, students can interrogate injustices, develop their voice, feel empowered, and participate in a humanitarian approach of learning in a safe and nonjudgmental environment. As student's start to feel empowered and develop a critical stance, the final and most rewarding step in a critical literacy framework is providing necessary steps to improve conditions and be compassionate to differences and injustices.

THE credulity of enthusiasm was never better exemplified than in the case of John Dee. Here we have a man almost typical of Elizabethan England: necromancer, seer, alchemist, mathematician, and lastly, instead of firstly, natural philosopher. It was the age of portents, of abnormalities made normal, of magicians, of the powers of good and evil, of the striving after the unknown whilst the knowable was persistently overlooked. Swift sums up these philosophers in “Gulliver's Travels,” and two centuries earlier Erasmus in his “Praise of Folly” notes them. “Next come the philosophers,” he writes, “who esteem themselves the only favourites of wisdom; they build castles in the air, and infinite worlds in a vacuum. They'll give you to a hair's breadth the dimensions of the sun, when indeed they are unable to construe the mechanism of their own body: yet they spy out ideas, universals, separate forms, first matters, quiddities, formalities, and keep correspondence with the stars.” Such was John Dee, a compound of boundless enthusiasm and boundless credulity. There is nothing abnormal about him, for he is to be judged by the age in which he lived. His belief in witchcraft and intercourse with spirits was shared by all the men of his time save the abnormal Reginald Scott, whose famous “Discovery of Witchcraft” produced James the First's impassioned reply.

Rap music subordinates music to language. It is this emphasis on language that can make rap a vehicle for many ideas, if that is the rapper's intention. Playthell Benjamin, former academic and freelance writer for such magazines as the Village Voice and Emerge, believes that rappers can be divided into distinct groups, based on the message or non‐message conveyed. He groups rappers as “Narcissists, didactics, party‐time rappers, or gangsters” based on the content of their rapping. Any rapper who falls into one of these groups can have political significance for blacks, whites, women, liberals, conservatives, Jews, Muslims, and Christians. Narcissists frequently refer to women as mere sex objects, the worst example being the group 2 Live Crew, and less offensive examples being L.L. Cool J. and Big Daddy Kane. Didactics are the chief proponents of Afrocentric thinking and revisionist history. Representatives of this style would be Public Enemy, KRS‐One, and X‐Clan. Party‐time rappers, such as Heavy D and the Boyz or Biz Markie, are rarely serious, but sexism and homophobia can be elements in their raps. Gangster rappers N.W.A., Ice‐T, and Ice Cube are currently receiving a lot of attention from the press, and violent behavior characterizes their lyrics.