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With the impact of feminism and other liberationist movements of the 1960s and beyond, academic disciplines have faced intensive scrutiny, and re-examination of many of their basic premises and methodologies. Art history is one such discipline. By the 1970s, feminist critique of art history and practices in the art world had brought about the feminist art movement. This movement continues today and has developed and grown in many directions. Artwriting by feminists has proliferated and the literature includes research on female artists, studies on representation of women in art, critiques of texts and other previous artwriting, and discussion on biases, omissions, inadequacies, and the nature of the discipline itself. Attempts at an overview of the movement have focused on discrete issues, events, or histories of developments. Review articles and anthologies have not adequately studied the underlying philosophical and ethical motivations of the movement as a whole. This study considers the over-arching philosophical elements implicit in feminist artwriting. Through a review of the literature, and aspects of general feminist studies and feminist philosophy, particularly ethics, I examine how they contribute to the feminist art movement, and how the movement has changed thinking, teaching and learning about the history of art.

The purpose of this study is to collect information on the significant philosophies of the mind and make a comparison of these concepts and their relation to education, religion, and morals.

It is the purpose of this thesis to show that pragmatic philosophy is in operation in the schools of today by giving evidences of living experiences.

This dissertation explores the life and work of a philosophy of education and multicultural education teacher, through the use of narrative inquiry. As a Palestinian/Lebanese Canadian researcher, teacher, mother, activist and writer, I present the journey of freeing myself from colonial grand narratives through the construction of my personal, practical knowledge and values, while providing an answer to the question: “What does it mean to be situated on the boundary between the English West and the Middle Eastern Arab world?” I demonstrate how the Orientalist tradition, as defined by Edward Said (1978), served to confuse, frustrate, and alienate me as an embodied person situated within a web of historical, ethnic, linguistic, social, and cultural tensions. I describe how, having been educated in an English missionary school in the context of a Palestinian culture of dispossession and Diaspora, this education served to paradoxically both estrange and enrich me. I demonstrate how narrative inquiry, modeled after Clandinin and Connelly (1995, 2000), has enabled me to understand and communicate who I really am as an educator in the multiple social contexts I have known. Through story-ing my epistemology, I illustrate how the Canon in philosophy and the grand meta-narratives underpinning it served to oppress and alienate me over the years. I emphasize that education is not value-neutral. My autobiographical writing in this dissertation explores how the constructs of ethnicity, gender, religion, culture, language, and class serve to shape thinking and values. [...] / Cette dissertation explore la vie et l’oeuvre d’une philosophie de l’éducation et d’une enseignante dans le domaine de l’éducation multiculturelle, a travers l’emploi des approches de l’enquête narrative. Comme chercheure, enseignante, mere et écrivaine d’origine palestino-/libano-canadienne, j’y présente le cheminement de ma libération des grandes narrations coloniales, par le biais de ma création des connaissances et des valeurs personnelles et pratiques, tout en essayant d’offrir une réponse a la question: « Que signifie le fait de me situer entre l’ouest anglophone et l’est le monde arabe du Moyen-orient? » Je voudrais démontrer comment la tradition orientaliste, telle qu’elle a été définie par Edward Said (1978), a contribué a mon état de confusion, frustration et aliénation et a l’impossibilité de me retrouver « bien dans ma peau », dans ma situation a l’intérieur d’une toile de tensions historiques, ethniques, linguistiques, sociales et culturelles. J’ai tenté de décrire comment, apres mon instruction dans une école anglaise dirigée par des missionnaires, dans le contexte d’une culture palestinienne de dépossession et de diaspora, cette scolarisation a eu, comme résultat, une situation paradoxale qui, a la fois, m’aliénait et m’alimentait. J’y démontre aussi comment l’enquête narrative, selon le modele de Clandinin and Connelly (1995, 2000), m’a permis de comprendre et de communiquer mon identité véritable, qui je suis comme enseignante dans les contextes sociaux multiples que j’ai connus. [...]