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This chapter documents the links between Paisley's church and his party. It discusses church reservations about involvement in politics and party attempts to reconcile religious preferences with vote-winning. It also considers the impact of electoral success and generational succession on the party's principles. It concludes that contrary to popular images of a party divided in young secular and older religious wings, the DUP remains firmly united.

From a sociological perspective, Doug Risner explores the many biases and challenges boys and men in ballet face in the classroom and beyond. Themes revealed in case studies and analysis include gender norms, heterocentric biases, isolation, peer pressure, lack of positive male role models and parental support, sexual harassment, and the lack of support systems for boys in dance education. The chapter concludes with suggestions for parents and dance educators that would increase support for boys and men in ballet.

In many countries around the world, boys are not faring as well as girls academically. The lack of success that young boys are experiencing is a gender equity issue, and calls for the intentional focus and concerted effort that has worked so well over the past several decades to address inequities in girls’ education. This chapter synthesizes research from the United States and from countries around the world that documents the difficulties that boys are experiencing in school and the strategies that are being employed to remedy the situation. It focuses in particular on how boys are faring in the increasingly academic, teacher-directed approach to early childhood education. Drawing on evidence from programs from nations and states around the world, it goes on to propose strategies to reduce the negative educational outcomes that disproportionately affect boys during the early years and beyond.

This chapter explores how the two youth cultures under discussion — the motor-bike boys, sometimes known as ‘rockers’, and the hippies, sometimes known as ‘heads’ or ‘freaks’ — form a ‘dialectic relationship’ with cultural life. It argues that it is only in the factories, on the streets, in the bars, in the dance halls, in the tower flats, in the two-up-and-two-downs that contradictions and problems are lived through to particular outcomes. Furthermore, it is in these places where direct experience, ways of living, creative acts and penetrations — cultures — redefine problems, break the stasis of meaning, and reset the possibilities somewhat for all of us. And this material experience is embedded in the real engagement of experience with the world: in the dialectic of cultural life.

This chapter presents the politics and experiences of identity as exercised by the motor-bike boys. It first discusses the author's approach to studying the motor-bike boys' culture at large, by making contact with a motor-bike club in a large English city in 1969, thus producing an account based on general observation, conversations with individuals and groups, participation around the club, often with the group just described, and tape-recorded sessions. It then embarks on a more intimate examination of this particular culture. The world of the motor-bike boys was above all else concrete and unequivocal. They perceived it without ontological insecurity, without existential angst.

This chapter assesses how the motor-bike both reflected and generated many of the central meanings of the bike culture. It is one of the main elements of the culture's stylistic make-up. In a general and unspecific way, it was clear that the motor-bike was one of the main interests of the motor-bike boys in the club under investigation. Most of their activities were based on this interest. A large part of conversation was devoted to the motor-cycle: discussing new models, comparing performance, or describing in detail how repair jobs were done. Here, the chapter argues that the motor-bike was not simply one object in a random collection of objects and activities that occupy the life-space of an underprivileged group, but possessed an expressive function which highlights a distinctive and meaningful construction of culture through modern technology.

This chapter explores the musical tastes of the motor-bike boys. Pop music was a manifest and ever-present part of the environment of the motor-bike boys: it pervaded their whole culture. However, the motor-bike boys had very specific tastes that were not part of the current pop music scene, and were not catered for in the on-going mass-media sources. They liked the music of the early rock 'n' roll period between 1955 and 1960, especially that of Buddy Holly and Elvis Presley. By current standards in the commercial market and the pop music provided by mass-media channels, their tastes were at least ten years out of date. By deliberate choice, then, and not by the accident of a passive reception, they chose this music. This reveals the dialectical capacity which early rock 'n' roll had to reflect, resonate, and return something of real value to the motor-bike boys.

When the Paul’s Boys were brought back to life in 1599, London playing had been transformed. Regulation of playing was much tighter and quite different from the situation in 1590. First, the Privy Council had finally acceded to the mayor’s insistence on banning plays from inside the city. Secondly, it had approved two playing companies as the only purveyors of royal entertainment in the Christmas season. In addition, the Master of the Revels had backed up the Privy Council policy by tightening his own control, now licensing playhouses as well as performances for public use. The renewed boy companies, and especially Paul’s as the first to resurface, offered a challenge to all of these new policies. They had a playhouse in the heart of the city; they threatened to make a not insignificant addition to the number of approved companies; and they would perform in it as a ‘private’ hall, with the implied freedom this gave them from the Master’s control of ‘public’ performances and public playhouses. This chapter looks at the history of the later Paul’s Boys, their performances between 1599 and 1606, the plays they performed and the playhouses where they performed.

This chapter introduces a number of texts which attacked Richard II as a boy not a man, or by ascribing to him the faults of youth, at his deposition at the age of 32. Historians and literary critics have tended to assume that these texts contain a grain of truth, however tendentiously presented. In doing so, they attenuate criticisms whose origins, on closer examination, appear considerably more complex. Since there are, in fact, a number of reasons to doubt almost every aspect of Richard II's traditional reputation, and since these texts also seem to present a very partial account of the properties of manhood, it is argued that if these texts and their political significance are to be understood, it is necessary to place their rhetoric back in the context of the full range of late medieval ideas of youth and manhood.

This chapter explores Derrida's queer deconstruction of the father/son ‘couple’ Socrates and plato in the ‘Envois’ section of The Post Card. It argues that ‘Envois’ shows how the relationship with antiquity is usually figured via the metaphor of filiation, as the disciplined transmission of legitimized knowledge across masculine generations. Placing Derrida's work in communication with that of Luce Irigaray on Eros in Plato's Symposium, Jacob Hale on leatherdyke daddy/boy practices, and Lee Edelman on ‘heteroreproductive futurity’, the chapter draws out the queer eroticism and anachronistic force of Socrates' and Plato's intergenerational coupling. Showing that Socrates and plato can be read as daddy/boy, rather than father/son, it argues for a relation to antiquity which takes pleasure in the anachronistic apparatus of mediation which, for Irigaray, is Eros itself.

This chapter presents an excerpt from Alec Wilder's 1972 book titled American Popular Song: The Great Innovators. This book is about the successful opening the musical Tip-Toes in December 1925, which was written by George and Ira Gershwin. Wilder compares the show to other musicals and suggestes that it had the most excellent opening number in the song The Certain Feeling and the most number of memorable hit songs including Looking for a Boy, Sweet and Low-Down, and Nice Baby!. He also describes the uniqueness of George's compositions.

This chapter explains game theory from the ground up. It first considers the concepts of choice and preferences before discussing strategic thinking as a combination of several skills. Game theory is built upon rational choice theory, and the chapter uses an example from Jane Austen's Mansfield Park to illustrate first rational choice theory and then game theory. To demonstrate the usefulness of game theory, it uses a simple game-theoretic model to show how Beatrice and Benedick in William Shakespeare's Much Ado About Nothing, Richard and Harrison in Richard Wright's Black Boy, and people revolting against an oppressive regime all face the same situation. Finally, it reviews previous work trying to bring game theory, as well as related concepts such as “theory of mind,” together with the study of literature.

Chapter One examines the ideological origins of New Deal conservation and the CCC. It begins by showing how the idea for the Corps originated both from Roosevelt's early experiences with the Progressive conservation movement, and, more surprisingly, from his lifelong involvement with the Boy Scouts. Similar to many progressive reform efforts such as the city beautiful, playground, and urban parks movements, the Boy Scouts promoted the notion that social behavior could be shaped by manipulating one's physical surroundings or environment. Chapter One illustrates how this philosophy not only influenced Roosevelt's decision to create the Corps, which like the Boy Scouts took young men from diseased urban settings and placed them in healthful environments in nature, but also greatly influenced early New Deal politics. The creation of work relief programs that put urban men to work in rural areas, Roosevelt knew from experiences as governor of New York, significantly raised his political capital. Creating the Corps, this chapter concludes, not only introduced the Boy Scout philosophy to the conservation movement but also helped the new president jump-start the New Deal.