Pendleton Jimenez, Karleen

Drawing on pedagogies of care, queer pedagogy and Foucault's concept of biopower, this critical narrative study of six women teachers at an Ontario school uses interview data to explore how teaching affects women's bodies. Findings include the dominance of men in schools; the high rate of violence against teachers committed by students; participants' unwillingness to show bodily discomfort to students; and the profound effect of motherhood on teaching practice. I call on educators and school administrators to embed care of students' and teachers' bodies into the practices of schooling. I also propose that instead of erasing teacher corporeality from classrooms, we allow students to care for teachers' bodies as part of a healthy, reciprocal caring relationship, developing students' and sustaining teachers' capacity to care. Given the underrepresentation of women's voices speaking about violence against teachers, this thesis is also a repository for women's narrated stories of assault in Ontario schools.

Author Keywords: biopedagogies, body, care, narrative inquiry, pedagogy, teacher

Enhancing interpretive trails with smartphone technology may enrich the visitor's educational experience by stimulating deeper engagement and enjoyment that will improve immediate knowledge and help promote the development of environmental literacy. This connection between technology and environmental education can only be considered successful if enhanced enrichment and educational value is found in the integration. Currently there is a substantial gap in research on the incorporation of technology into an interpretive trail experience. For this study, information on the local fauna and flora was produced and linked to Quick Response Codes (QR codes) installed along an outdoor trail. The QR codes were designed to be read using the participant's personal smartphone. Immediately after completing the trail participants could volunteer to describe their smartphone-led experience through a self-administered cross-sectional questionnaire offered in hard copy at the study site. A non-experimental quantitative research methodology was employed to evaluate the survey data and determine the educational and enjoyment value of the experience. This research is of potential benefit to educators of science, technology and the environment. The research may also assist parks and recreation facilities wishing to offset the costs of building and maintaining traditional interpretive trails by eliminating the need for the printing of booklets, maps and signage.

Author Keywords: education, environment, interpretive trails, science, smartphone technology

Parody has been a strategy within cultural production since the ancient Greeks: "paraodia" referred to a song sung alongside the main narrative thread of a dramatic work; the prefix "para-" also signifies "against." In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is "a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference" (xii). This and other aspects of Hutcheon's theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb's novel I've Got a Time Bomb; Ursula Johnson's (Mi'kmaq) three-part exhibition Mi'kwite'tmn (Do You Remember); and Kent Monkman's (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience.

I argue that the presence of parodic elements in these artists' works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb's novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman's exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson's work; her sculptural-installations may also be read as parodying the traditions of Mi'kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists' works, considering key features of parody (ambiguity; irony and "double-voicedness"; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the "decoder," (viewer/reader) reinstating the "encoder" (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon's "potentially revolutionary impact."

Author Keywords: contemporary art, Indigenous art, museum history, parody, picaresque, transgender literature

This study examines how student activism around the closure of Peterborough Collegiate and Vocational School (PCVS), an inner-city school in a medium–sized Ontario town has influenced youths' life experiences, views on power, political engagement, and personal agency. Following a critical narrative methodology, this qualitative study, conducted four to five years after the school closure, focuses on interviews with fourteen participants who were part of the high-school group Raiders in Action and explores both what they learned from their protest and its influence on their lives over the ensuing years. The study identifies the researcher's subjective position as a teacher and an adult in solidarity with the group's work. Critical pedagogy, critical youth studies, and feminist approaches inform the researcher's perspective. This project is inspired by an image of young people as citizens who actively challenge and change educational institutions to create a more participatory democracy in our city, country, continent, planet.

Author Keywords: critical pedagogy, critical youth resistance, neoliberalism, school closure, student activism, youth organizing

In this thesis, I use "Trump's Wall" between Mexico and the US to resist Eurocentrism and the challenges Eurocentric pedagogy poses to the research-practitioner. In my method, I reimagine C. Alejandra Elenes' borderlands theory as a zone of empowerment within a multicultural Canadian classroom, and braid it in a hybrid assemblage with the rhizome.

The "rhizo-borderlands" assemblage uses selected field notes gleaned from my teaching practice to develop themes of a critical pedagogy of globality in personal, local and international dimensions. These are further braided with a "day-in-the-life" narrative of a fictionalized student (Ellie) who navigates her way towards a world literature classroom where the focus is The Kite Runner by Khaled Hosseini.

This assemblage affirms my belief that teaching and learning provides a context where students become "border crossers" and navigate points of intersection between their local and global selves, in order to develop intercultural competencies.

Author Keywords: Action Narrative, Critical Pedagogy, Rhizomes

This dissertation offers the dibaajimowin (personal story) of my beading project, which I undertook to understand the enactment of Anishinaabe women's knowledge in graduate research. Framed through the concept of a collective self, which is embedded within the Anishinaabe traditions of storytelling and beading, and drawing further from the aesthetics, processes, and teachings of these traditions so that I proceed in a good way, I am able to tell a story that is wholly Anishinaabe. Through the symbolic literacy present within the pieces of beadwork entitled:"Turtle Woman," "Turtle Woman Meets Grandmother Moon," "Turtle Woman Marries a Beaver," and "Turtle Woman Slays the Big Fish," which I present in the second half of this story, I explore the relationship among Anishinaabe women's knowledges, self, identity, power relations, allyship, sovereignty and good governance in graduate research. I conclude that if graduate research is framed as an extension of an Anishinaabe space, an ethics of responsibility emerges, setting the stage for graduate research that is rooted in responsibility, contributing to efforts of Anishinaabe sovereignty and community wellness. Overall through my conclusion, as well as the process that I employ, I make contributions in the areas of Indigenous thought, Indigenous methodologies, Indigenous governance, feminism, critical theory, pedagogy, and ally theory.

Author Keywords: Anishinaabe, beadwork, Indigenous knowledge, Indigenous methodology, Indigenous women, sovereignty