Search results

The situating of pimatisiwin as a framework for spatial justice and self-determination aids educators in strengthening their understandings of Indigenous knowledges to support an authentic inclusion of Indigenous students with disabilities. Through the sharing of Canada’s colonial history, and by critically examining the principles of care within special education, the author exposes its relationship with ableism, normalcy, eugenics, and white privilege to show how Indigenous peoples continue to be marginalized in the twenty-first century. This justice work asks educators to shift their perspectives of inclusion and wellness through the insertion of an Indigenous lens, one to help them see and hear the faces and voices of disabled Aboriginal children and their kinships. The chapter discusses the social model of disability, the psychology of Gentle Teaching, Indigenous ethics, and principles of natural laws through the voices of Nehiyawak and other knowledge keepers, in order to suggest an agenda for educators to come to an understanding of an emancipatory and gentle education. Spatial justice and Indigenous epistemologies merge as synergistic, inclusive, and holistic entities, to support Aboriginal children and youth as both they and those who teach learn to celebrate disabled ontologies. The chapter concludes by presenting how Gentle Teaching and Indigenous ways of knowing should be honored in this quest of creating an equitable, caring, and inclusive society for all disabled Indigenous children and youth.

The nonmaterial dimension of reality is contrasted with the material, observable and empirically verifiable dimension that rose to dominance with the Enlightenment. The nonmaterial dimension includes orientation, memes, tacit knowledge and spirituality. The orientation of an individual, group, or institution can be towards violence – getting ahead at the expense of the other – or blessing – working in such a way that there is mutual benefit. Orientations can be expressed through memes, cultural or behavioural patterns that are mimetically transmitted broadly within a society and diachronically through generations. If they catch on within a group, they can determine the institutional or group culture. Spirituality can be a source of change of orientation from violence to blessing and of growth in creativity, resilience and empowerment. David Peat and David Bohm posit an implicate order in the universe, thought as a system (in the context of dialogue), and gentle action. Neil Douglas-Klotz points out that the Aramaic words malkuta d'bwashmaya (kingdom of heaven) used by Jesus constituted a nonmaterial reality containing vision, norms and empowerment that exists within and among us – like the implicate order – and is accessed by those who truly wish to ‘see’ it. The emerging spirituality coming out of this engagement has a capacity to replace memes like those of empire, self-interest and grandiose leaders with memes that channel passions and energy towards bio-interest, transnational interest, transpersonal interest, empathy and widespread empowerment. And this could make all the difference in effecting truly sustainable development.

The front page of the Toronto Sun displayed an image of Karla Homolka bruised and battered and read, ‘Bernardo Did This to Karla: Crown’. In 1993, Karla Homolka entered into a plea deal in exchange for the testimony against her then-husband Paul Bernardo. Though Homolka pled guilty to two counts of manslaughter, Canadian media outlets painted Homolka as a subservient and battered woman fearful of the abusive Bernardo's reprisal. Then, during Bernardo's trial, rumoured videotapes finally surfaced that exposed Homolka's seemingly wilful role in the gruesome murders of the young girls Kristen French, Leslie Mahaffy, and her sister Tammy Homolka. Although Tammy Homolka's death had been deemed accidental, her body was exhumed, and autopsy reports found lethal traces of sedative drugs in her system. While sedated, both Bernardo and Homolka raped her as she choked and died on her own vomit. After these videotapes surfaced, media representations shifted drastically – referring to Homolka's plea deal as ‘the deal with the devil’.

This chapter outlines the crimes committed by Paul Bernardo and Karla Homolka – also known as the Barbie and Ken Killers. Furthermore, it employs a qualitative literature review to document the evolution in the media representations of Homolka and exposes the media's role in the creation of this ‘monstrous’ woman in Canadian history. As this chapter outlines the representational shift of Homolka in the media, it deconstructs the hegemonic notions of proper femininity that often characterise women as deviant. Moreover, from a social constructivist lens, the brutality of Homolka's crimes are considered and examined in the context of the normative ideologies surrounding ideal womanhood and sexuality. I will argue that by dismantling these socially constructed ideologies, the significance of Homolka's whiteness also becomes apparent. As Homolka seems to deviate from her whiteness, media depictions illustrate an incitement of hysteria. Thus, this article questions the validity of the media representations that once depicted Homolka as ‘the girl next door’ – who was acting in accordance with her whiteness – but also inevitably paint her as the ‘devil’.

This chapter offers a speculative essay regarding how religion may foster intellectual humility in public life, drawing on case studies from faith-based community organizing in the United States. and liberation theology in Latin America. Despite a plethora of religious teaching about the virtue of humility across a variety of traditions, I do not think there is anything inherent in religious belief – in any tradition – that predisposes believers toward authentic humility in their personal or public lives. I argue instead that religious conviction – when embodied in particular kinds of religious practice – does help drive us toward the balance of confidence and intellectual humility required for vigorous engagement in democratic public life. My argument draws on the concept of focal practices and insights from philosophy, theology, and social theory as I consider religious practices, religious conversion, and the nature of human passions as they relate to democratic life.

Pre-existing music has been used to underscore the moving image since the days of ‘silent’ film, and this practice is still commonplace today in Hollywood and beyond. Such music may be ‘classical’ or ‘popular’ and can feature within the narrative of a movie diegetically, non-diegetically, or both. With regard to art music in film, Wolfgang Amadeus Mozart is often the composer of choice, given the popularity and familiarity of many of his compositions. However, his music is employed cinematically in a range of different situations and for a variety of purposes.

In this chapter, I focus on ways in which compositions by Mozart are used to manifest the music and death nexus present in the narrative of three films that were released in different decades. ‘Là ci darem la mano’ from Don Giovanni (1787) features in the first film I analyse, The Picture of Dorian Gray (Albert Lewin, 1945), with the aria being linked to the symbolic death of the moral compass of the protagonist. I then consider the inclusion of music from one of Mozart's symphonies in the storyline of the film Vertigo (Alfred Hitchcock, 1958), the narrative of which includes the themes of deception and murder. The final film I examine is I am David (Paul Feig, 2003), in which one of the characters sacrifices his life to save that of his friend. Each example encapsulates death as embodied affect, with Mozart's music specifically impacting upon the emotions of the protagonists.

Shortly before the Second World War, a woman who had never accepted her orphan status, Gabrielle Bonheur Chanel, nicknamed ‘Little Coco’ by her father and known as ‘Coco’ to her relatives, became the first women in history to build a world-class industrial empire. By 1935, Coco, a fashion designer and industry captain, was employing more than 4,000 workers and had sold more than 28,000 dresses, tailored jackets and women's suits. Born into a poor family and raised in an orphanage, she enjoyed an intense social life in Paris in the 1920s, rubbing shoulders with artists, creators and the rising stars of her time.

Thanks to her entrepreneurial skills, she was able to innovate in her methods and in her trendsetting approach to fashion design and promotion. Coco Chanel was committed and creative, had the soul of an entrepreneur and went on to become a world leader in a brand new sector combining fashion, accessories and perfumes that she would help shape. By the end of her life, she had redefined French elegance and revolutionized the way people dressed.