As Richard Thomas writes, “there is nothing like Star Trek…Of all the universes of science fiction, the Star Trek universe is the most varied and extensive, and by all accounts the series is the most popular science fiction ever” (1). Ever growing (the latest Star Trek film will be released in Spring 2013) and embodied in hundreds of novels and slash fanfiction, decades of television and film, conventions, replicas, toys, and a complete Klingon language Star Trek is nothing short of a cultural phenomenon. As Harrison et al argue in Enterprise Zones: Critical Positions on Star Trek, the economic and cultural link embodied in the production of the Star Trek phenomena “more than anything else, perhaps, makes Star Trek a cultural production worth criticizing” (3). A utopian universe, Star Trek invites its audience to imagine a future of amicable human and alien life, often pictured without the ravages of racism, sexism, capitalism and poverty. However, beyond the pleasure of watching, I would ask what do the representations within Star Trek reveal about our popular culture? In essence, what are the values, meaning and beliefs about gender, race, sexuality and disability being communicated in the text? I will explore the ways that the Star Trek universe simultaneously encourages and discourages us from thinking about race, gender, sexuality and disability and their intersections. In other words, this work will examine the ways that representations of identity are challenged and reinforced by Star Trek: The Next Generation and Star Trek: Voyager. This work will situate Star Trek specifically within the science fiction genre and explore the importance of its utopian standpoint as a frame for representational politics. Following Inness, (1999), I argue that science fiction is particularly rich textual space to explore ideas of women and gender (104). As Sharona Ben-Tov suggests in The Artificial Paradise: Science Fiction and American Reality (1995) science fiction’s “position at a unique intersection of science and technology, mass media, popular culture, literature, and secular ritual” offers critical insight into social change (ctd. in Inness 104). I extend Inness and Ben-Tov here to assert that the ways in which science fiction’s rich and “synthetic language of metaphor” illustrate and re-envision contemporary gender roles also offers a re-imagination of assumptions regarding race, sexuality and disability (Inness 104). Extending current scholarship (Roberts 1999, Richards 1997, Gregory 2000, Bernardi 1998, Adare 2005, Greven 2009, Wagner and Lundeen 1998, Relke 2006, and Harrison et all 1996), I intend to break from traditions of dichotomous views of The Next Generation and Voyager as either essentially progressive or conservative. In this sense, I hope to complicate and question simplistic conclusions about Star Trek’s ideological centre. Moreover, as feminist media theorist Mia Consalvo notes, previous analyses of Star Trek have explored how the show constructs and comments on conceptions of gender and race as well as commenting on economic systems and political ideologies (2004). As such, my analysis intends to apply an intersectional approach as well as offer a ‘cripped’ (McRuer 2006) reading of Star Trek in order to provide a deeper understanding of how identities are represented both in science fiction and in popular culture. Both critical approaches – especially the emphasis on disability, sexuality and intersectional identities are largely ignored by past Trek readings. That is to say, while there is critical research on representations in Star Trek (Roberts 1999, Bernardi 1998) much of it is somewhat uni-dimensional in its analysis, focusing exclusively on gender or racialized representation and notably excluding dimensions of sexuality and ability. Moreover, as much of the writing on the Star Trek phenomena has focused on The Original Series (TOS) and The Next Generation this work will bring the same critical analysis to the Voyager series. To perform this research a feminist discourse analysis will be employed. While all seven seasons and 178 episodes of The Next Generation series as well as all seven seasons and 172 episodes of Voyager have been viewed particular episodes will be selected for their illustrative value.

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

With an explicit focus on how power is enacted and what this produces in the everyday lives of chronically ill women living on B.C. disability income support (BC Benefits), this research is located at the contested juxtaposition of what I refer to as three fields of possibility; feminism, poststructuralism and critical disability studies. Each of these fields suggests methodological, empirical and interpretive readings that enable me to produce different knowledge, differently, about disabled women’s lives. Using verbatim narrative accounts from in-depth interviews focused on how each of four participants live their lives, take care of themselves, and make sense of and respond to the government policy and practices to which they are subject, reveals everyday, embodied practices of the self that constitute their subjectivities as disabled women. Together, these accounts along with critically interpretive reflections reveal/expose/make visible the lives of these women in response to exercises of power in ways that unseat, unsettle and disrupt taken-for-granted understandings of those who are disabled, female and poor. Along with explicating power relations in the lives of disabled women and what these produce, I also link these critically to their health, socio-economic well-being and citizenship, while creating a disruptive reading that destabilizes common-sense notions about disabled women securing B.C. provincial income support benefits. Thus my research purposes and those of my disability activism are melded as these intersect within the (often-contested) borders of poststructural and social justice terrain. Despite public claims by the B. C. government to foster the independence, participation in community and citizenship of disabled people in B.C., the intersection of government policy and practices and how they are read and taken up by the women, produce profound uncertainty in their lives, such that these women become uncertain subjects. Living poorly, they experience structural poverty, compromised well-being and “dis-citizenship” (Devlin & Pothier, 2006), all inconvenient facts reflecting a marked disjuncture between how government programs are publicly represented and their strategic effects. / Graduate

Through an intersectional feminist lens using Critical Discourse Analysis, this thesis investigates the representations of four prominent women, their embodiments and their sexualities in the lyrics of their songs.

As Richard Thomas writes, “there is nothing like Star Trek…Of all the universes of science fiction, the Star Trek universe is the most varied and extensive, and by all accounts the series is the most popular science fiction ever” (1). Ever growing (the latest Star Trek film will be released in Spring 2013) and embodied in hundreds of novels and slash fanfiction, decades of television and film, conventions, replicas, toys, and a complete Klingon language Star Trek is nothing short of a cultural phenomenon. As Harrison et al argue in Enterprise Zones: Critical Positions on Star Trek, the economic and cultural link embodied in the production of the Star Trek phenomena “more than anything else, perhaps, makes Star Trek a cultural production worth criticizing” (3). A utopian universe, Star Trek invites its audience to imagine a future of amicable human and alien life, often pictured without the ravages of racism, sexism, capitalism and poverty. However, beyond the pleasure of watching, I would ask what do the representations within Star Trek reveal about our popular culture? In essence, what are the values, meaning and beliefs about gender, race, sexuality and disability being communicated in the text? I will explore the ways that the Star Trek universe simultaneously encourages and discourages us from thinking about race, gender, sexuality and disability and their intersections. In other words, this work will examine the ways that representations of identity are challenged and reinforced by Star Trek: The Next Generation and Star Trek: Voyager. This work will situate Star Trek specifically within the science fiction genre and explore the importance of its utopian standpoint as a frame for representational politics. Following Inness, (1999), I argue that science fiction is particularly rich textual space to explore ideas of women and gender (104). As Sharona Ben-Tov suggests in The Artificial Paradise: Science Fiction and American Reality (1995) science fiction’s “position at a unique intersection of science and technology, mass media, popular culture, literature, and secular ritual” offers critical insight into social change (ctd. in Inness 104). I extend Inness and Ben-Tov here to assert that the ways in which science fiction’s rich and “synthetic language of metaphor” illustrate and re-envision contemporary gender roles also offers a re-imagination of assumptions regarding race, sexuality and disability (Inness 104). Extending current scholarship (Roberts 1999, Richards 1997, Gregory 2000, Bernardi 1998, Adare 2005, Greven 2009, Wagner and Lundeen 1998, Relke 2006, and Harrison et all 1996), I intend to break from traditions of dichotomous views of The Next Generation and Voyager as either essentially progressive or conservative. In this sense, I hope to complicate and question simplistic conclusions about Star Trek’s ideological centre. Moreover, as feminist media theorist Mia Consalvo notes, previous analyses of Star Trek have explored how the show constructs and comments on conceptions of gender and race as well as commenting on economic systems and political ideologies (2004). As such, my analysis intends to apply an intersectional approach as well as offer a ‘cripped’ (McRuer 2006) reading of Star Trek in order to provide a deeper understanding of how identities are represented both in science fiction and in popular culture. Both critical approaches – especially the emphasis on disability, sexuality and intersectional identities are largely ignored by past Trek readings. That is to say, while there is critical research on representations in Star Trek (Roberts 1999, Bernardi 1998) much of it is somewhat uni-dimensional in its analysis, focusing exclusively on gender or racialized representation and notably excluding dimensions of sexuality and ability. Moreover, as much of the writing on the Star Trek phenomena has focused on The Original Series (TOS) and The Next Generation this work will bring the same critical analysis to the Voyager series. To perform this research a feminist discourse analysis will be employed. While all seven seasons and 178 episodes of The Next Generation series as well as all seven seasons and 172 episodes of Voyager have been viewed particular episodes will be selected for their illustrative value.

No description available.

Using the lives of impaired individuals catalogued in the Íslendingasögur as a narrative framework, this study examines medieval Scandinavian social views regarding impairment from the ninth to the thirteenth century. Beginning with the myths and legends of the eddic poetry and prose of Iceland, it investigates impairment in Norse pre-Christian belief; demonstrating how myth and memory informed medieval conceptualizations of the body. This thesis counters scholarly assumptions that the impaired were universally marginalized across medieval Europe. It argues that bodily difference, in the Norse world, was only viewed as a limitation when it prevented an individual from fulfilling roles that contributed to their community. As Christianity’s influence spread and northern European powers became more focused on state-building aims, Scandinavian societies also slowly began to transform. Less importance was placed on the community in favor of the individual and policies regarding bodily difference likewise changed; becoming less inclusive toward the impaired.

MEDCS / Department of Curriculum Studies and Education Management

In diploma thesis I have focused on employing of people with disability. I am asking what opportunities have disabled people in the labor market. Do they have possibility to join some special education programs to help them find a job? Is gender important in searching a job? Most of this diploma thesis is analytical. It is focused on priorities of the Government of Czech Republic as a member of the European Union. What kind of texts, laws or directives solve the employment people with disability. The analytical part consist of interviews with disabled men and women as well as people from the labor offices. Analysis of the interviews focused on their own experience with disability, perception of gender discrimination and experience with employment. I also introduce and analyze official documents to ensure gender equality in the labor market and documents that provide equality of people with disability in the labor market. Theoretical backround consist of Feminist disability studies as well as Robert McRuer's concept of "compulsory able-bodiedness". An important part is the perception of people with disability. I also describe historical context of this problem.

Education facilitates community involvement, participation, and acceptance, but not for students with significant disabilities who are taught in separate settings. The policy of separate education derives from arcane beliefs, limited research, and misconceptions that result in people with disabilities having choices made for them not with them. The All IN Pix YPAR asked six high school students with significant disabilities to photo document a week in their high school yearbook class. Each day after school, the students discussed a single photo using a modified photovoice method in structured interviews using the SHOWeD questioning protocol. After data capture, during a Zoom focus group interview, participant photographers picked 10 pictures and identified themes. Study district schoolteachers opted into the ALL IN Pix Gallery Exhibit Survey and shared their reactions to the images and student comments. The teachers found the exhibit impactful in providing a view of the students’ world, giving voices to students, and teaching the teachers more about the people beyond their disabilities. Students felt empowered in classes where they had choice in their education. Student participants became advocates for change over the course of the study. Recommendations for practice include, adopting students’ requests for experiential and choice driven instruction, incorporation of photovoice into individualized education plan development, club involvement, and teacher development. The All IN Pix YPAR study empowered student participants through self-advocacy and personal autonomy, which align to the study theoretical frameworks of empowerment education theory, critical disability theory, and the social model of disability theory (Kunt, 2020).