Social worker educators in the UK are familiar with social issues of exclusion and marginalization, and are used to teaching about sexual abuse or sexual exploitation. However, many are less informed about work with gay people or with broader issues of sexuality. Adopting an auto-ethnographical perspective and using semi-structured discussion groups (which were audio taped, transcribed and analysed), this small group of gay and ‘straight’ practitioners and academics explored current social work practice and culture in the North East of England and reflected on their own learning and teaching experiences. They identified three key themes: differing opinions about what is regarded as an acceptable level of disclosure about personal information, disagreement about the use and meaning of key terms, and discomfort and defensiveness among social work educators, practitioners and students when addressing these issues. These findings are presented alongside some of the literature in this area, highlighting the links with professionals’ exclusion of gay people and the marginalization of gay and ‘straight’ issues in education and practice.

The δ-lactone-containing natural product (+)-tanikolide, a brine shrimp toxin and antifungal compound, was synthesized in nine steps with an overall yield of 26.4 % by employing Sharpless asymmetric epoxidation and ZrCl 4 -cata-

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While the major ballad‐collecting efforts of the eighteenth and nineteenth centuries were largely carried out by men, the academic discourse surrounding ballads gendered traditional balladry—orally transmitted narrative poetry—as a woman's tradition. Subsequent ballad scholarship of the twentieth century perpetuated the antiquarian notion of a specifically female ballad tradition, and yet it has remained unclear whether and how this women's tradition should be considered distinct from, for example, a male ballad tradition. This study suggests that a quantitative approach can be used to investigate the question of difference in women's and men's ballad repertoires in the period spanning the mid‐eighteenth century to the close of the nineteenth. Employing Linguistic Inquiry Word Count (LIWC) software to examine the definitive ballad anthology—the Child collection—this study finds that the notion of a woman's tradition goes beyond stereotypical notions of repertoires gendered by genre; women's ballads are instead found to be characterised by distinctive linguistic patterns that convey a strong focus on female subjectivity.