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While the study of modern Buddhism has advanced significantly in recent decades, research on women and gender within modern Buddhism has lagged behind. This special section explores the roles of women in Nichiren Buddhism, with a particular focus on the modern period, when the position of women became a subject of explicit Buddhist discourse. Although Nichiren Buddhists have often upheld traditional gender norms, for many women, Nichiren Buddhism also became a source of personal, social, and spiritual empowerment. This section further highlights the diversity of experiences among Nichiren Buddhist women.

The neo-Confucian tradition in South Korea had influenced the number of female Koreans that were born due to the patrilineality-caused aversion to daughters and pre- and post-natal sex selection. The introduction of ultrasonographic devices even deepened the sex ratio at birth (SRB), resulting in the state forbidding their use for prenatal sex determination. Since the 2000s, a preference for daughters has been visible, and SRB is considered natural. The paper aims to show changes in South Korean culture and approach towards the sex of the offspring. It also aims to prove that a stronger cultural aversion to daughters in the past in South Korea has changed as an result of cultural and societal transformations, but also surprisingly of the traditional approach to gender roles – it is not generally emphasized and it can accelerate the drop in an already low total fertility rate (TFR) in this country.

A close resemblance between Sir Isumbras and Saint Eustace has long been recognized. Indeed, they appear together in Oxford, Bodleian Library MS Ashmole 61, a miscellaneous manuscript copied sometime around 1500 by a single scribe who signs the name Rate. Rate places the two narratives first and fifth in the Ashmole manuscript, with intervening poems that provide instruction for the community and household. Bringing together four different genres from three different centuries, Rate's initial scribal activity domesticates these aristocratic narratives for a bourgeois audience by highlighting the affective family already visible in both Saint Eustace and Sir Isumbras. This article argues that the first five poems in Ashmole 61 constitute the nuclear family with a strong patriarch as the foundation of Christian society.

H’adore, Vivienne I really want Pucci, Fendi, and Cardin, Valentino, Armani too Madame love them Jimmy Choo. But there’s a lipstick stain on my nice dress The fabric’s scarred and I’m distressed. Fashion put it all on me Don’t you want to see these clothes on me?

Taking their cue from Margulies' decision to play Alicia with a roiling porcelain stillness, the other cast members developed a signature level of control that is fascinating to watch, none more so than Charles' Will.\\n

[...]Mr. King said, some of those shows are too dark, with indulgent characters and \"a cool posture of nihilism.

[...] in a section labeled \"fiction,\" were books describing life as it was lived on city blocks not far from the Northwest Side neighborhood where I was a teenager. Short-story writer Albert Halper painted a palpable word picture of the West Side: \"Aunt Daisy would sit on the back porch and wait for a breeze with the rest of us, while a hundred yards to the south the Lake Street elevated roared and crashed along, hurtling its racket through the summer night like long-range artillery.\"

Chapter 2 examines the ways in which Father School redefines hegemonic masculinity by deprioritizing men’s financial responsibility that is one of the core elements of hegemonic masculinity. Started in a late-achiever/wellbeing Right type of megachurch, Father School has grown into a transnational evangelical men’s manhood and fatherhood restoration movement, calling for the reestablishment of men’s authority as the family head. By adjusting to the societal changes and ethos that demand less authoritarian and less violent manhood, Father School has managed to reinforce patriarchy as “acceptable” by reframing it to be “benevolent.” The promotion of such patriarchy only strengthens heteropatriarchal family structure as “natural” and “normal.” It also redomesticates women by validating their identity as a wife and mother to be women’s most valuable positions.

[...] the CBS drama's ongoing soap opera - a slower, more sensual game of political maneuvers, unspoken love, betrayal, and one awesomely cunning mother-in-law - just keeps heating up.