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No description available.

This multiphasic study explored the narratives of five first-time Black Lives Matter protesters demonstrating during the historic confluence of conflicts in 2020 America. After positioning the liminal 2020 circumstances within an antiracist research lens, the author analyzed, first through grounded theory and then secondarily through poetic inquiry, how these five participants described their protest experiences. The grounded theory phase yielded an overarching theory that first-time protestors experienced a dual process of unsuturing and of calling-out, with three subthemes categorized within each of these two processes. The author moved into analysis with the poetic inquiry phase, crafting poems guided by six subthemes of empathy, silence, permission-seeking, identity, story uncertainty, and direct action, and yielding six total poems produced from participant words. The author concluded that poetic inquiry has promise as a tool toward a functioning antiracist identity, while advising on reflexive antiracist future directions for such work.

This thesis explores the working lives of British Born South Asian Ethnic Minorities (BB SAEMs), critiquing the homogenous identities ascribed to them in previous research. Its methodology is life-story interviews analysed using Nvivo. This identified four hybrid categories emerging from two cultures. I fitted myself neatly into just one. However the reflexive analysis required in good qualitative research led me to realise that I fitted into not one, but all four categories, and into others not yet recognised. At this point, my thesis had to take a new turn. An auto-ethnographic, moment-by-moment study led to an ‘unhybrid categorisation of hybridities’ acknowledging ‘fuzziness and mélange, cut ‘n’ mix, and criss and crossover’ where identity is a complex-mix, always in flux. I conclude not only with this new theory of identity formation in the working lives of BB SAEMs, but also by arguing that by imposing the requirement to categorise, research methods lead to over-simplification and misunderstanding. / University of Bradford

My study documents the formation and impact of the student-led movement of Black Lives Matter in Higher Education (BLMHE) that is housed within Teachers College Higher and Postsecondary Education Program (HPSE). This group consists of HPSE students and faculty that have come together to analyze the effects of systemic societal forces on members of the HPSE community and their broader effects on higher education. BLMHE has since come together to show solidarity and support for students of color at TC through demonstrating their general commitment to social justice in the form of an educational seminar program. This study, which relies on oral history interviews with BLMHE’s three student co-founders, examines the formation and impact of BLMHE, how they analyze the effects of systemic societal forces on members of their community, and their broader effects on higher education. I am interested in learning to what extent BLMHE plays a role in increasing equitable spaces for Black students who identify as scholars on campus because I want to find out how this form of student activism empowers students as agents for change against systemic racism within higher education. This will permit me to understand how this form of student advocacy compares to other forms of advocacy that seeks to address such inequality in higher education. This exploratory oral history study centers on three themes: student advocacy within the realms of equitable epistemological spaces, how BLMHE is distinctive from the Black Studies and Black Lives Matter movements, and the role of Teachers College in supporting equitable epistemological spaces that can combat racism in higher education. BLMHE applies an alternative mode of viable activism beyond rallies and protests. I am interested in exploring the effect that involvement in student-led groups such as BLMHE have on increasing equitable spaces for these students as critical scholars within higher education scholarship, as well as their impact on TC as an institution. This student group is challenging not just the inequities within institutional infrastructures of higher education, but the thought processes behind what frames higher education scholarship itself, and which types of academic spaces for this scholarship need to be created for people of color. Further, their work demonstrates the degree to which marginalized Black and Indigenous People of Color (BIPOC) students are not content to sit on the sidelines. This study also goes in-depth in discussing how inclusive archiving that accompanies this research can actively support and empower communities in the collective documentation of their own histories. Study findings will portray how these student members of BLMHE perceived social inequities in higher education, along with their experiences and reflections on microaggressions, diversity and inclusion, have informed their forays with activism. Study findings indicate that in order for higher education to better support these students, it is critical to center them in the process of knowledge creation via educational seminars; this, in turn, can inform change in scholarship. This study concludes that inclusive epistemological spaces created by BLMHE challenge dominant views of power in higher education, validating BIPOC-centered methods and theories while providing resources for scholars of color to thrive in the academy.

No description available.

No description available.

La présente étude propose une analyse des intersections entre les luttes sociales et les films d’horreur issus de la dernière décennie. En premier lieu, elle se penche sur l’émergence des mouvements Black Lives Matter et #MeToo au sein du paysage sociohistorique des années 2010 en présentant des événements précurseurs comme les émeutes de Los Angeles en 1992 et l’élection présidentielle de Donald Trump en 2017 avant de décortiquer les politiques spécifiques aux mouvements. Ensuite, l’étude se penche sur la signifiance des sous-genres de l’horreur cinématographique – notamment les films d’entailles, de viol-revanche et d’horreur Noire – dans le contexte des études culturelles en s’attardant plus particulièrement aux écrits de Carol J. Clover, Kevin Wynter et Robin R. Means Coleman. L’essai revisite finalement les contextes sociohistoriques et la théorie culturelle dans l’analyse des neuf longs-métrages constituant le corpus d’œuvres, soit Get Out (Jordan Peele, 2017), Revenge (Coralie Fargeat, 2017), Cam (Daniel Goldhaber, 2018), The Perfection (Richard Shepard, 2019), His House (Remi Weekes, 2020), Bad Hair (Justin Simien, 2020), Candyman (Nia DaCosta, 2021), Scream (Matt Bettinelli-Olpin et Tyler Gillett, 2022) et Master (Mariama Diallo, 2022), afin de faire ressortir l’influence que les politiques de Black Lives Matter et #MeToo ont eu sur le traitement esthético-narratif des rapports de « race », des agressions sexuelles et de la justice sociale. / This study analyzes the intersections between social struggles and the horror films of the last decade. First, it examines the emergence of the Black Lives Matter and #MeToo movements within the socio-historical landscape of the 2010s, presenting precursor events such as the 1992 Los Angeles riot and Donald Trump's 2017 presidential election before unpacking the movements' specific politics. Next, the study examines the significance of the horror subgenres – most notably the slasher, rape-revenge and Black horror films – in the context of cultural studies, focusing in particular on the writings of Carol J. Clover, Kevin Wynter and Robin R. Means Coleman. The essay then revisits elements of the socio-historical contexts and the cultural study writings in the analysis of the nine feature films making up the corpus, namely Get Out (Jordan Peele, 2017), Revenge (Coralie Fargeat, 2017), Cam (Daniel Goldhaber, 2018), The Perfection (Richard Shepard, 2019), His House (Remi Weekes, 2020), Bad Hair (Justin Simien, 2020), Candyman (Nia DaCosta, 2021), Scream (Matt Bettinelli-Olpin and Tyler Gillett, 2022) and Master (Mariama Diallo, 2022), in order to highlight the influence that the politics of Black Lives Matter and #MeToo have had on the aesthetic and narrative treatment of "race" relations, sexual violence and social justice.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

In the traditional agenda-setting theory, the agenda-setters were the news media and the public has a minimal role in the process of agenda-setting, which makes the public a passive receiver located at the bottom in the top-down agenda-setting dynamics. This study claims that with the development of Information communication technologies, primarily social media, the networked public may be able to set their own agendas through connective actions, outside the influence of the news media agenda. There is little empirical research focused on development and dynamics of public agenda-setting through social media platforms. Understanding the development and dynamics of public agenda-setting may be key to accounting for and overcoming conflicting findings in previous reverse agenda-setting research. This study examined the public agenda-setting dynamics through a case of gun violence prevention activism Twitter network, the #MarchForOurLives Twitter network. This study determined that the agenda setters of the #MarchForOurLives Twitter network are the key Never Again MSD student leaders and the March For Our Lives. The weekly reflected important events and issues and the identified topics were highly co-related with the themes examined in the tweets created by the agenda setters. The amplifiers comprised the vast majority of the tweets. The advocates and the supporters consisted of 0.44% and 4.43% respectively. The tweets made by the agenda setters accounted for 0.03%. The young activists and the like-minded and participatory public could continuously make changes taking advantage of technologies, and they could be the hope in the current and future society.