This study analyzes young women’s descriptions and conceptualizations of cyberviolence and cyberbullying, including how they both challenge and reify mainstream cyberbullying discourses. The central themes analyzed include the way(s) in which self-representation in social networking sites are constrained through the limited options young women describe as being available for self-expression in these spaces, how notions of publicity, privacy and context-specific communication in social networking sites factor in girls’ descriptions of platform architecture, and how platform architecture often amplifies cyberviolence. Finally, the study unpacks the reasons that young women offer to explain why adults are often so out of touch when it comes to understanding cyberbullying and its relationship to young people’s digital culture. This dissertation contributes to cyberviolence studies, feminist new media, and girls’ digital culture studies, and has relevance for critical feminist criminology, by centring the voices of young women in order to investigate cyberviolence through participatory video with a sizable number of young women. The findings are based on data collected through eight participatory video workshops, two co-produced short documentaries and six focus groups with one hundred and twelve (N=112) participants in total under the larger umbrella study “Cyber & Sexual Violence: Helping Communities Respond” (2013-2016). This project was a community partnership between the Atwater Library and Computer Centre in Montreal and the TAG Lab at Concordia University, and was funded by Status of Women Canada. I employ an interdisciplinary theoretical framework that puts feminist new media studies, feminist approaches to online misogyny and girls’ digital culture studies into conversation with the extant literature on cyberbullying and cyberviolence. This theoretical approach is used to examine how the social norms in the discourse communities of social networking sites that girls outline in their descriptions of cyberviolence are structured through age-old misogynistic myths and impossible contradictions around femininity. Employing a participatory arts-based feminist lens allowed me to invite participants to share their perspectives in an accessible and fun way while examining their work through qualitative thematic analysis. Among the many findings this research produced, three key themes extend as threads that run throughout the dissertation. First, my participants did not relate to the term ‘cyberbullying’ in the way that adults often use it. While researchers and policy-makers continue to debate how to define cyberviolence and cyberbullying, participant responses illustrated the need for more dialogue around the toxic social norms and assumptions that currently structure young people’s digital culture, mainstream cyberbullying debates and anti-cyberbullying programming. Secondly, young women’s focus on issues of publicity versus privacy, anonymity, and peer surveillance highlights both the nuances that girls’ voices contribute to ongoing cyberbullying debates and how social networking sites amplify age-old double standards facing women and girls in visual culture and the public sphere. Finally, the themes of empathy and education that emerged from participants’ suggestions for strategies with which to address cyberviolence underscore the systemic changes that will be necessary in tackling the continually evolving and widespread phenomenon of cyberviolence. Participants conceptualize cyberviolence and cyberbullying as existing along a continuum of daily interactions in social networking sites that include encountering everything from mean jokes to sexual violence.

The purpose of this study was to begin constructing an expanded framework for child literacy learning with participants who educate children in formal and informal settings in literacy, the arts and environmental education. The study explored how a broader framework for child literacy learning could gain strength and purpose from our increasingly diverse and complex social environment. I used participatory arts-based research to spark dialogue and foster partnerships. The design of the study was intended to demonstrate how the arts, in this case photography, can be effective as a means of attending, exploring, and communicating ideas. Three major themes emerged: Child Literacy Practices and how they can attend to belonging and voice; Arts and Culture and the engagement of children in the arts and how this is relevant to child literacy learning ;and Environmental Destruction looking towards preparing children to be ecologically literate in the context of child literacy learning. / Graduate

This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.

No description available.

Food banks have become an institutionalized response to helping individuals and families gain access to food as wages have stagnated, employment becomes more precarious, and social entitlements have dramatically declined over the years. Food banks were supposed to be a temporary stop gap measure in response to the recession of 1980. Thirty-three years later, food banks have proliferated across Canada in assisting a growing population in need of their services. I present an analysis of how food bank suppliers use the concept of hunger in a fundraising campaign called Canstruction® to understand how it relates to people’s perception of this social problem in our society. This qualitative research study uses discourse analysis to unpack the solicitation discourse used at Canstruction® events held in Waterloo and Toronto, Ontario in 2014. I have collected data from three different groups: persons who designed and installed their artwork at the Canstruction® Toronto event; persons who volunteer at a food bank; and people who have food insecurity experience. The findings indicate a differentiated understanding of hunger within the solicitation discourse for each research group: Canstruction® participants, food bank volunteers, and persons with food insecurity experience. The Canstruction® participants’ absorption of the solicitation discourse produced a limited understanding about hunger in our society. The food bank volunteer group agreed with the solicitation discourse but their images of hunger illustrated deeper criticisms of the event and food bank system. The participant group with food insecurity experience expressed the greatest amount of criticism against the food bank’s solicitation discourse and their images of hunger reflected their psycho-social experience of living in poverty. Also, an overwhelming majority of research participants with food insecurity wanted a food bank system that was more responsive to their needs and that honoured human dignity. My study on the social construction of hunger portrayed by food banks highlights how this knowledge is reinforced, reproduced and challenged through a food drive that creates packaged food items into artwork and from images described by research participants. These insights have the potential to shift the discourse away from the branding of hunger as a matter of charity and move towards discussing its fundamental causes: poverty and social inequality. / Thesis / Master of Social Work (MSW)

Abstract Existing healthcare treatments and services for people living with serious mental illness pose a challenge for both the service provider and the recipient of care. While recovery oriented care is a priority, many healthcare practices and contextual factors pose a barrier to recovery. This study augments our awareness of the authentic lifeworld of people living with serious mental illness with the aim of gaining insights that can be used to develop healthcare practices which support recovery. This study explored the subjective experiences of people living with SMI as they expressed them through co-creative songwriting. Through a hermeneutic phenomenological analysis based in the philosophical groundwork of Heidegger and Gadamer, a thematic representation of the lifeworld of people living with SMI was developed. The findings are described in three parts: becoming broken, becoming whole and experiencing the lifeworld as transformed. Becoming broken is explored in four themes including fragmented inner and outer worlds, pain, despair and suicide. Becoming whole is achieved through catalysts of change that include connection, the sacred, beauty, and resilience. This representation is depicted using a tapestry metaphor to picture the lifeworld as torn, mended and transformed. The findings demonstrate that transformation is a spiritual process. Additionally the potential impact of the study on stigma and perceptions of mental illness is discussed. The findings are considered within the framework of Antonovsky’s theory of salutogensis. A resulting salutogenic model of mental illness and mental health as transformation is proposed. The implications for theory, research and practice are discussed in relation to the areas of recovery, salutogenesis, positive psychology and spirituality. The study recommends greater inclusion of spirituality, creative processes, and a focus on positive psychology as underutilized resources to enhance healthcare for people living with SMI. / Dissertation / Doctor of Philosophy (PhD)

No description available.

No description available.

An extensive body of knowledge points to the intersection of violence against women and HIV as it is well-established that violence is ubiquitous in the lives of women living with HIV. Experiences of violence exist within a socio-legal context that criminalizes HIV non-disclosure. In Canada, the federal law requires people living with HIV to disclose their HIV positive status before a sexual encounter with a partner that may pose, according to the Supreme Court of Canada, a “realistic possibility of transmission.” The criminalization of HIV non-disclosure carries particularly negative consequences for women living with HIV. This thesis includes an analysis of data from the Women, ART, and the Criminalization of HIV (WATCH) Study, a qualitative, arts-based research study on the impact of the HIV non-disclosure law on women living with HIV in Canada. Grounded in an intersectional feminist framework, this thesis presents findings from the narrative and visual data collected from the three Ontario workshops in the WATCH study. This thesis explores how women living with HIV visually and narratively express and describe their experiences of violence in the context of the criminalization of HIV non-disclosure. The stories and artwork shared by participants demonstrate how the law used to criminalize HIV non-disclosure creates and exacerbates experiences of interpersonal and structural violence and surveillance in the lives of women living with HIV. This thesis offers important insights for reconceptualising violence against women living with HIV from a structural lens. This project demonstrates how violence stems from legal institutions that do not respond to the needs of women, and instead, further exacerbate marginalization, violence, and surveillance in the lives of women living with HIV. / Thesis / Master of Social Work (MSW)

Art/Re-search (T)here is a SSHRC-funded project that creates new transdisciplinary understandings of art, research and pedagogy. A review of the literature finds that researchers from a wide range of academic fields employ transformational arts-based methods with their participants, but that they are far less likely to weave art-making in all stages of the research process themselves. While researchers “outside” of the arts experiment with art-making in their un/familiar re-search (Absolon, 2011; Rowe, 2020) contexts, I re-perform how new networks and assemblages emerge. Art/Re-search (T)here includes 6 other re-searchers/co-conspirators from different academic fields who identify a need for, and absence of, arts-based research in their respective spaces, including English, Cultural Studies, Social Work, Indigenous Studies, Game Design, Unions, and Education. The individual and collective work that is created throughout this project performs (post)qualitative (Lather, 2007; St. Pierre, 2011) practices and feminist new materialist posthumanism (Barad, 2007) through the data/dada (Morawski & Palulis, 2009) that arises. In the first article, the individual art/re-search that my co-conspirators (Taylor, 2019) and I create provokes me to think about telling stories differently (King, 2005) through the (in)tensions of art, the limitations of language and the embodied (be)longing that occurs through the virtual-material-discursive (Springgay & Truman, 2017). I work through belonging with each of my co-conspirators in the process. In my second article, I work through the initial research questions with my co-conspirators through a collaborative mail art project. Research questions change and shift. I think about how this relational inquiry unfolds as a new materialist (Barad, 2007) methodological space of getting lost (Lather, 2007) with ethico-onto-epistem-ologies (Barad, 2007) of trans-formation in trans-it -- whereby some-thing lost is getting (t)here. In my third article, I re-perform and re-imagine the data bodies and events (Rousell, 2018) of Art/Re-search (T)here after the project ends through a dadaist (Kuenzli, 2015; Richter, 2010) art installation titled Transpedagogical data/dada assemblages. This leads me to put a call of action for more transdisciplinary transpedagogical (Helguera, 2011) art/re-search within higher education (Loveless, 2019) and beyond as it creates space for data/dada, diffraction and difference (Barad, 2007; Haraway, 1988; Lather, 2007) to emerge in world that, I contend, should embrace emergence.