Biosimilar drugs enter the United States market well after they enter the European market. That is likely because pharmaceutical companies have many more patents in the United States than in Europe. But why is patent coverage of biological drugs so much more extensive in United States? This case study seeks to answer this question for drug formulation patents.

This article examines culture, an ambiguous yet prevalent concept in comparisons of crime and justice. It investigates the extent to which culture’s application and meaning across research reflects Western-centric bias in criminological knowledge-production despite it being a concept meant to advance understanding on different groups and places beyond the “Western” worldview. The article extends the discussion on Western-centric bias but also on culture in criminology by tracing the use of this concept on East Asian populations and by identifying patterns of application and meaning in international and comparative research through a scoping review of 230 journal publications. The findings address patterns of culture’s appearance in criminology journals in the past two decades and its meaning. Similar to previous scholarship on Western-centrism in criminology, the article finds that this bias does, too, exist in uses of culture but also shows how culture’s conceptual ambiguity is conducive to this bias, in that some groups and places are given one meaning of culture while others receive another.

Drawing on the classic question of feminist art history, this article asks how and by whom the contemporary canon of Czech art history was constructed, and when the exclusion of women artists of the 1980s generation from it took place. It shows that the 1960s generation of women artists emerged from the disruption of the traditional gender order in the Stalinist era. In contrast, the generation of women artists who entered the art scene in the 1980s was disadvantaged by the declining power of art institutional structures and the growing importance of informal networks for career success in late socialism. Their lack of social capital, combined with the re-emergence of macho culture in the 1980s art scene, the persistence of traditional gender roles in the home, and the loss of more substantial state support for artistic production after 1989, led to their “invisible” role in the post-1989 art world.

In her review, Emily Conroy-Krutz writes that “One of the joys of working in scholarly community is learning from each other when we approach the same set of sources with different questions and different interpretive lenses.” The essays in this roundtable reflect the questions and lenses that these brilliant scholars bring from their respective areas of expertise, and they reflect the joy of being in conversation and community with each other. I so appreciate Michael Baysa, Conroy-Krutz, Alexis Wells-Oghoghomeh, and Rachel Wheeler for engaging with my work so generatively and generously. I am also grateful to Katherine Carté for organizing the panel on Heathen at the 2024 American Society of Church History meeting and to Jon Butler for organizing our comments into this roundtable. While I do not have space to respond to every point raised, I will respond to themes that I see cutting across the reviews.

Teaching students to build resilience is necessary to keep imagining and fighting for a path towards social justice. To do so, clinicians can draw from the communities facing oppression and examine how they remain resilient despite oppression.