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While awareness of sexual assaults on college campuses has increased, the majority of efforts to address it are focused on female victims. The relative neglect of male victims may be due in part to problematic rape myths that suggest men cannot be sexually assaulted, especially by women. The purpose of this paper is to compare rates of different types of sexual assault between male and female undergraduates, and explore the relationship between acceptance of traditional rape myths focused on female victims, and rape myths surrounding male victims.

Students at a mid-sized university in Pennsylvania (n=526) answered an online questionnaire about their own experiences of sexual assault since coming to college, as well as their endorsement of male and female rape myths.

While women experienced more sexual assault overall, men were just as likely to have experienced rape (i.e. forced penetration) or attempted rape. Acceptance of male and female rape myths was significantly correlated and men were more likely than women to endorse both. Participants were also more likely to endorse female than male rape myths.

By analyzing sexual assaults in terms of distinct behaviors instead of one composite score, the authors can get a more nuanced picture of how men and women experience assault.

Campus-based efforts to address sexual assault need to be aware that male students also experience assault and that myths surrounding men as victims may impede their ability to access services.

This paper contributes to our knowledge of a relatively understudied topic: undergraduate male victims of sexual assault.

In this paper, the authors engage with embodied critical literacies through an exploration of the possibilities provided by the use of improvisational comedy (improv) in the classroom. The purpose of this paper is to extend understandings of critical literacy to consider how embodied critical literacy may be transformative for both individual students and classroom assemblages. The research question asks: how might improv, as an embodied literacy practice, open up spaces for critical literacy as embodied critical encounter in classroom assemblages?

The authors used case study methodology informed by post-qualitative research methods, and in particular, posthuman assemblage theory. Assemblage theory views the world as taking shape through the ever-shifting associations among human and more-than-human members of an assemblage. The case study took place in a sixth-grade classroom with 28 11-year-olds over a four-month period of time. Audio and video recordings provided the empirical materials for analysis. Using Bruno Latour’s three stages for rhizomatic analysis of an assemblage, the authors mapped the movements of participants in an assemblage; noted associations among those participants; and asked questions about the larger meanings of those associations.

In the sixth-grade classroom, the dynamic and emerging relations of the scene work and post-scene discussion animate some of the ways in which the practice of classroom improv can serve as a pedagogy that involves students in embodied critical literacy. In this paper, the authors are working with an understanding of critical literacy as embodied. In embodied critical literacy, the body becomes a resource for that attunes students to matters of critical importance through encounter. With this embodied attunement, transformation through critical literacy becomes a possibility.

The case study methodology used for this study allowed for a fine-grained analysis of a particular moment in one classroom. Because of this particularity, the findings of this study are not considered to be universally generalizable. However, educators may take the findings of this study and consider their application in their own contexts, whether that be the pedagogical context of a classroom or the context of the empirical study of language and literacy education. The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The authors argue that providing students with critical encounters is an important enterprise for 21st-century classrooms and improv is one means for doing so. As an embodied literacy practice, improv in the classroom teaches students to listen to/with other players in the improv scene, become attuned to their movements and move responsively with those players and the audience. It opens up spaces for critically reflecting on ways of being and doing, which, in turn, may inform students’ movements in further associations with each other both in class and outside the walls of their school.

In this paper, building on work conducted by Author 1, the authors extend traditional notions of critical literacy. The authors advocate for developing critical learning opportunities, such as classroom improv, which can actively engages students in critical encounter. In this vein, rather than viewing critical literacy as critical framing that requires distancing between the learner and the topic, the posthuman critical literacy the authors put forward engages the learner in connecting with others, reflecting on those relations, and in doing so, being transformed. That is, through critical encounter, rather than only enacting transformation on texts and/or material contexts, learners themselves are transformed.

The purpose of this paper is to report on one high school English‐language‐learner's (ELL) breadth and depth of vocabulary as he communicated with his teacher through e‐mail across geographic boundaries for over 18 months.

The authors began by separating 358 e‐mails into three time periods (first beginning, second middle, and third end) to calculate breadth using lexical density (type‐token ratios). Then, we sampled e‐mails based on personal and impersonal topics within these time periods and linguistically analyzed them for lexical cohesion, semantic usage, and derivational morphology. Interviews with participants before and after the analysis served as member checks.

The quantitative results showed a steady improvement in the breadth of the student's vocabulary over time. Qualitative analyses revealed four major uses of vocabulary within the context of e‐mail and the teacher‐student relationship.

Given our findings, we offer educators insights into ELL strategies and vocabulary assessment, not only with e‐mail but in all written communication.

A social writing tool like e‐mail can be useful for learning English in a safe, non‐threatening environment. Moreover, a trusting social relationship between communicators that develops over time can expedite the language learning process.

Very few studies have looked at the strategic ways ELL students use vocabulary to learn English through e‐mailing.

Communicating the national values of artists and the role of product benefits as symbols of national values, infuse iconic national brands. This paper aims to validate a conceptual framework that offers empirical insights for cultural identity that drives brand management.

Case studies and cross-cultural focus group research establish the present study’s conceptual framework for cultural branding.

Brand awareness of a perfume named after a Cuban dancer and a spirit named for a Chilean poet, reflect authentic emblems of national identity. Informants’ behavior confirms the study’s model of icon myth transfer effect as a heuristic for cultural branding with clear, detailed and unprompted references to the myths and brands behind these heroines.

The study’s ethnography shows how artists reflect myth and folklore in iconic brands. Future research should assess whether the icon myth transfer effect as a heuristic for cultural branding occurs with cultural icons beyond the arts and transcends national boundaries.

The study challenges conventional branding, where the brand is the myth, and the myth reflects the myth market. The authors show how the myth connects to a national identity yet exists independently of the brand. The branding strategy ties the brand to the existing myth, an alternative route for cultural branding mediated by the icon myth transfer effect.

These two Latin American brands provide a much-needed connection among the branding literatures and images surrounding gender and nationalism in lesser-known markets.

Most research explores iconic myths, brands and folklore in one country. This study extends cultural branding through social history and by testing a conceptual model that establishes how myths embody nation-specific values. Iconic myths are a heuristic for understanding and describing brands, revealing an unexamined path for cultural branding.

The indigenous and sustainable knowledge possessed by the tribal people and communities plays an extremely important role in the conservation of the climate. As per the United Nations Sustainable Development Goals (UN SDGs), tribal communities play an important role in preserving traditional knowledge, culture, food practices and textiles. The remains of the Indus Valley civilisation highlight the importance of the culture and religion. Animism and the worship of nature to achieve success in routines and tasks have been practised by these tribes for centuries. India is a mosaic of more than 705 different colourful tribes, and each of these tribes has their own identity that differentiates it from the other tribes. With increasing ecological complexities, the knowledge owned by the tribes is extremely useful in the preservation of the climate. This chapter seeks to explore the various hues and colours that constitute the mosaic of Indian tribal culture.