Drawing on the insights of Indigenous feminist legal theory, Emily Snyder examines representations of Cree law and gender in books, videos, graphic novels, educational websites, online lectures, and a video game. Although these resources promote the revitalization of Cree law and the principle of miyo-wîcêhtowin (good relations), Snyder argues that they do not capture the complexities of gendered power dynamics. The majority of the resources either erase women’s legal authority by not mentioning them, or they diminish women’s agency by portraying them primarily as mothers and nurturers. Although these latter roles are celebrated, Snyder argues that Cree laws and gender roles are represented in inflexible, aesthetically pleasing ways that overlook power imbalances and difficult questions regarding interpretations of tradition. What happens when good relations are represented in ways that are oppressive? Grappling with this question, Snyder makes the case that educators need to critically engage with issues of gender and power in order to create inclusive resources that meaningfully address the everyday messiness of law. As with all legal orders, gendered oppression can be perpetuated through Cree law, but Cree law is also a dynamic resource for challenging gendered oppression.
Offers expecting parents advice on how to pick the best name for their child, with lists of the top names in Hollywood, each of the states, and various cities and regions around the world, as well as tips on how to narrow down the choices and an overview of how a child's name influences their life.
Mosaic Fictions is the first book-length critical analysis of Canadian Spanish Civil War literature. Exploring published and archival writings, the book focuses on the extensive contributions of Jewish Canadian authors as they articulate the stakes of the Spanish Civil War (1936–9) in the language of a nascent North American multiculturalism. Placing Jewish Canadian writers within overlapping North American networks of Jewish, Black, immigrant, female, and queer writers challenges the national distinctions that dominate current critical approaches to Anglophone Spanish Civil War literature. Reframing the narrative of Spain’s noble but tragic struggle against fascism in the Spanish Civil War, the book demonstrates how marginalized North American supporters of the Spanish Republic crafted narratives of inclusive citizenship amidst a national crisis not entirely their own. Mosaic Fictions examines texts composed between the war’s outbreak and the present to illuminate the integral connections between Canada’s developing national identity and global leftist action.
This carefully crafted ebook: “The Brontë Sisters: The Complete Novels (Unabridged)” contains 8 books in one volume and is formatted for your eReader with a functional and detailed table of contents. This collection of the works of Emily, Anne and Charlotte Brontë includes the following novels: Jane Eyre by Charlotte Brontëm, published in 1847 Shirley by Charlotte Brontë, published in 1849 Villette by Charlotte Brontë, published in 1853 The Professor by Charlotte Brontë, was published after her death in 1857 Emma by Charlotte Brontë (unfinished), she wrote only 20 pages of the manuscript which was published in 1860. Wuthering Heights by Emily Brontë, published in 1848 Agnes Grey by Anne Brontë, published in 1847 The Tenant of Wildfell Hall by Anne Brontë, published in 1848 The Brontë Sisters (1818-1855), Charlotte, Emily and Anne Brontë were sisters and writers whose novels have become classics. Before writing novels, the sisters first published a volume of poetry in 1846. Many novels of the Charlotte, Emily, and Anne are based on women in Victorian England and the difficulties that they faced like few employment opportunities, dependence on men in the families for support, and social expectations.
Illustration and Heritage explores the re-materialisation of absent, lost, and invisible stories through illustrative practice and examines the potential role of contemporary illustration in cultural heritage. Heritage is a 'process' that is active and takes place in the present. In the heritage industry, there are opposing discourses and positions, and illustrators are a critical voice within the field. Grounding discussions in concepts fundamental to the illustrator, the book examines how the historical voice might be 'found' or reconstructed. Rachel Emily Taylor uses her own work and other illustrators' projects as case studies to explore how the making of creative work through the exploration of archival material and experimental fieldwork is an important investigative process and engagement strategy when working with heritage. What are the similar functions of heritage and illustration? How can an illustrator 'give voice' to a historical person? How can an illustrator disrupt an archive or museum? How can an illustrator represent a historical landscape or site? This book is a contribution to the expanding field of illustration research that focusses on its position in heritage practice. Taylor examines the illustrator's role within the field, while positioning it alongside the disciplines of museology, anthropology, archaeology, performance, and fine art.
Emily Carr’s journals from 1927 to 1941 portray the happy, productive period when she was able to resume painting after dismal years of raising dogs and renting out rooms to pay the bills. These revealing entries convey her passionate connection with nature, her struggle to find her voice as a writer, and her vision and philosophy as a painter.
Once available and appreciated only by researchers, these stories remained buried in the British Columbia Archives until 2007. Finally, readers are given a new glimpse into Emily Carr's life with this collection.. Carr began to write these stories in the last two years of her life. She wrote of the project: ... they are too small each to be taken singly, but each, complete in itself, serves to ornament life which would be a drab affair without the little things we do not even notice or think of at the time but which old age memory magnifies. This collection illuminates her life and is available to all in This and That: The Lost Stories of Emily Carr. Enter Emily's world with stories like Father's Temper, The First Snow and Smoking with the Cow, stories in which she reveals details of her family life, school days, her fascination with nature, animals she loved and how she learned to smoke.
Historically, artwork has played a powerful role in shaping settler colonial subjectivity and the political imagination of Westphalian sovereignty through the canonization of particular visual artworks, aesthetic theories, and art institutions’ methods of display. Creative Presence contributes a transnational feminist intersectional analysis of visual and performance artwork by Indigenous contemporary artists who directly engage with colonialism and decolonization. This book makes the case that decolonial aesthetics is a form of labour and knowledge production that calls attention to the foundational violence of settler colonialism in the formation of the world order of sovereign states. Creative Presence analyzes how artists’ purposeful selection of materials, media forms, and place-making in the exhibitions and performances of their work reveals the limits of conventional International Relations theories, methods, and debates on sovereignty and participates in Indigenous reclamations of lands and waterways in world politics. Brian Jungen’s sculpture series Prototypes for New Understanding and Rebecca Belmore’s filmed performances Vigil and Fountain exhibit how colonial power has been imagined, visualized and institutionalized historically and in contemporary settler visual culture. These contemporary visual and performance artworks by Indigenous artists that name the political violence of settler colonial claims to exclusive territorial sovereignty introduce possibilities for decolonizing audiences’ sensibilities and political imagination of lands and waterways.
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