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In 1610, the Míkmaq formed a treaty with French representatives of the Holy See. James (Sákéj) Youngblood Henderson argues in The Míkmaw Concordat (1997) that through this treaty the Míkmaq enfolded settlers into their existing international political order by extending to settlers their concept of sacred kinship. In the more than 25 years since the publication of The Míkmaw Concordat, it has received no attention from scholars of political science. This omission is unsurprising as political science struggles to account for Indigenous politics because of its traditional focus on the “Westphalian state.” This framework excludes many aspects of Indigenous political traditions, particularly their approaches to international politics, which are not reducible to state-centric frameworks. The Concordat, as a treaty between two nonstate entities, is an example of Indigenous treaty making that can illuminate both the history of settler colonialism and how contemporary social movements are resisting the settler state.
Considering Hardy and Sappho jointly, as theorists of desire, illuminates their understanding of the limits constraining humanity’s ability to comprehend the forces of desire. While I argue that Sappho exerts a strong influence over all of Hardy’s work, in this paper I focus narrowly on Hardy’s 1888 short story, "The Withered Arm." Unlike Jude the Obscure, The Well-Beloved, or Desperate Remedies, ‘The Withered Arm’ contains no explicit textual homages to Sappho. However, as in Desperate Remedies, a "Sapphic space" exists between the two main characters, Like in Desperate Remedies, there is a of ‘bedroom scene,’ shared by the two main characters. However, this is not a literal, physical encounter, but one that is mediated by an eerie, spectral force, giving the entire episode a veneer of deniability. In mediating the potential for lesbian desire through the supernatural, Hardy’s presentation of desire most closely resembles that of Sappho herself, who also uses the supernatural—in the form of the divine—to mediate and make possible homoerotic desire between women. ‘The Withered Arm’ is a particularly apt point of comparison for Hardy and Sappho on the subject of desire because of the way it foregrounds a relationship between two women, and how they navigate their desires with spectre of patriarchy lurking over them.
Scholars often assume Émile seeks to educate readers to become like Émile. However, I suggest that by calling upon his readers to act as judges, Rousseau's aim is not for readers to copy Émile, but to educate them to act as independent judges. The first section of this article argues that Émile's education fails to teach him this kind of judgment. He never learns to navigate the interdependent relationships created by property ownership or family life. Rather, as explored in the second section, Sophie's education offers a better style of judgment. The article concludes with a consideration of the reader's education as distinct from that of either Émile or Sophie. By emulating Sophie readers do not become like her. Rather, through comparing the characters and situations Rousseau presents in Émile and “Émile et Sophie,” readers learn to judge for themselves.
This article considers how New Brunswick public school curriculum may more effectively employ anti-racist, rather than multicultural, pedagogy. Through engaging anti-racism scholarship, this paper suggests New Brunswick’s social studies curriculum on “Provincial Identity” and “Canadian Identities” promote a vision of multiculturalism centered on whiteness. After considering these existing curriculum guides, this article concludes by considering how these units may more effectively engage anti-racist pedagogy, while also acknowledging institutional and political barriers may hinder anti-racist education in New Brunswick.
Hannah Gadsby’s performance in Nanette addresses many of the fundamental questions about art that Aristotle discusses in his Poetics. Like Aristotle, Gadsby is deeply concerned with the power art possesses to bring coherence to our lives. However, for Aristotle, the coherence provided by narrative art serves as the basis for philosophical inquiry, as contradictions and misrepresentations within a piece become an invitation for reflection. Gadsby, on the other hand, perceives a serious danger in allowing certain narratives to shape our perspectives, as omission and fabrications in art can become tools to exclude and marginalise others. The development of judgement is crucial to both Aristotle and Gadsby’s account of art; however, for Aristotle, this is a judgement tied to philosophy, while Gadsby calls for a judgment rooted in empathy to mediate our stories.
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