This thesis characterizes the nutritional implications of climate change impacts on the traditional food system of Inuit in Nunavut, Canada. Both focus groups and food frequency questionnaires were used in collaboration with two communities to describe current climate change impacts on traditional food and define nutrient intake. Currently, both communities experience climate-related changes to important species which provide high levels of key nutrients. If climate changes continue to impact traditional food species, serious nutritional losses may occur unless healthy alternatives can be found. Policy should support Inuit communities to maintain optimal nutrition in the face of climate change.

This thesis explored the place of vitamin C in the Inuit diet through analysis of traditional food sources, assessment of contemporary intake among women aged 20--40 years, estimation of a pre contact intake of vitamin C and qualitative interviews to contextualize current food choices that can affect vitamin C intake. This thesis provides the first reports of vitamin C values for several Inuit traditional foods. There are rich sources of vitamin C in the Inuit traditional food although they are infrequently consumed by this group of women. On average half of the women interviewed in each season met the 1990 Recommended Nutrient Intake (RNI) set at 30 mg/day, however, only 34% of the group met the new Estimated Average Requirement (EAR) of 60 mg/day. Historically, ample vitamin C was obtained through the traditional Inuit food system.

The delivery of youth protection services by indigenous social workers in native communities is a fairly recent development in Quebec. This research project is a qualitative study of the practice experience of Inuit community workers located on the Ungava Bay coast of Arctic Quebec. Using participant observation and dialogue as methods of inquiry, an attempt is made to render an account of the workers' day-to-day experience of youth protection work. The findings suggest that their conditions of work encourage a passive subordination to the bureaucratic organization of practice. This tendency emerges in response to the difficulties workers encounter while trying to conform to the requirements of the Youth Protection Act and, at the same time, to the norms and realities of Inuit village life. The resultant tension is central to the Inuit workers' experience and not amenable to any simple resolution. Implications for social work practice, policy and research are examined in light of these findings.

Thesis (M.A.) - Carleton University, 2007. / Includes bibliographical references (p. 94-102). Also available in electronic format on the Internet.

Thesis (M.A.)--Carleton University, 1992. / Also available in electronic format on the Internet.

Thesis (Ph. D.)--Carleton University, 1995. / Also available in electronic format on the Internet.

Dans le milieu des années 1950, des expositions itinérantes d’art inuit contemporain sont envoyées sur plusieurs continents. Elles y connaissent une réception enthousiaste en raison du positionnement particulier que leur confère James A. Houston, à cheval sur les sphères conceptuelles du moderne et du supposé primitif. Seule la France, dont l’imaginaire collectif s’est pourtant largement enrichi de figures polaires depuis les missions d’apostolat et d’exploration, affiche alors une certaine défiance à l’endroit de cette nouvelle forme artistique. Cette thèse propose d’examiner les conditions de réceptions de l’art inuit contemporain dans un contexte hexagonal dominé jusque dans les années 1970 par le paradigme primitiviste, avant de se concentrer sur la multiplication des initiatives individuelles et collectives qui, depuis le début des années 1980, marquent un renouvellement du regard. Tout le long, l’art inuit est questionné dans sa faculté à être saisi comme un outil opératoire désignant une forme d’authenticité artistique ou culturelle. Un dernier pan s’intéresse au discours autochtone et aux jeux de double adresse auquel s’exercent les artistes inuit. / From the middle of the 1950s, traveling exhibitions of Contemporary Inuit Art have been staged across several continents. These exhibitions had been enthusiastically received, thanks in large part to the particular positioning put forth by James A. Houston, which established Contemporary Inuit Art within the artistic constructs of primitivism and modernism. This warm welcome was in marked contrast to France's own reception of Inuit art. Even though its collective imaginary has been largely shaped by figures from the North Pole, a view that can be traced back to the first apostolic and exploratory missions of the continent, France remained the only country that showed a certain distrust towards this artistic expression. This thesis will examine the conditions by which Contemporary Inuit Art has been re-interpreted within a series of evolving historical contexts, beginning with the domination of the primitivist paradigm until the 1970s, and moving towards the multiplication of individual and collective projects from the early 1980s, a context which prevails to this day. Throughout this examination, the question of Contemporary Inuit Art's ability to be seen as a symbol of artistic and cultural authenticity will be addressed. The final chapter will deal with the notion of aboriginal discourse and the 'double address' mode of communication that Inuit artists tend to employ.

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