Emily Carr, often called Canada's Van Gogh, was a post-impressionist explorer, artist and writer. InArtist Emily Carr and the Spirit of the Land Phyllis Marie Jensen draws on analytical psychology and the theories of feminism and social constructionism for insights into Carr's life in the late Victorian period and early twentieth century.
Presented in two parts, the book introduces Carr's emigre English family and childhood on the "edge of nowhere" and her art education in San Francisco, London and Paris. Travels in the wilderness introduced her to the totem art of the Pacific Northwest coast at a time Aboriginal art was undervalued and believed to be disappearing. Carr vowed to document it before turning to spirited landscapes of forest, sea and sky. The second part of the book presents a Jungian portrait of Carr, including typology, psychological complexes, and archetypal features of personality. An examination the individuation process and Carr's embracement of transcendental philosophy reveals the richness of her personality and artistic genius.
Artist Emily Carr and the Spirit of the Land provides captivating reading for analytical psychologists, academics and students of Jungian studies, art history, health, gender and women's studies.
Strong and Smart - Towards a Pedagogy for Emancipation tells the story of how Dr Chris Sarra overcame low expectations for his future to become an educator who has sought to change the tide of low expectations for other Indigenous students. The book draws upon Roy Bhaskar's theory of Critical Realism to demonstrate how Indigenous people have agency and can take control of their own emancipation. Sarra shows that it is important for Indigenous students to have confidence in their own strength and ability to be as "able" as any other group within society.
The book also compares and contrasts White perceptions of what it is to be Indigenous and Indigenous views of what it is to be an Aboriginal Australian. The book calls for Indigenous Australians to radically transform and not simply reproduce the identity that Mainstream White Australia has sought to foster for them. Here the book explores in what ways Aboriginal and Torres Strait Islander people are "othered" by White Australians. Sarra seeks to advance the novel position that it is OK to be other to White Australia. The question becomes, "which other?" The Indigenous Student should not be treated as the Feared and/or Despised Other, nor should they be coerced into wholly assimilating into White culture.
The widespread failure of so many interventions in First Nations and Inuit communities across Canada requires an explanation. Applying the theoretical and methodological rigour of experimental social psychology to genuine community-based constructive change, Donald Taylor and Roxane de la Sablonniere outline new ways of addressing the challenges that Aboriginal leaders are vocalizing publicly. To date, the decolonization process in Canada has led to programs that focus on the struggling individual. However, colonization was and still is a collective process and thus requires collective solutions. Rooted in years of research, teaching, and experience in First Nations and Inuit communities, the authors offer necessary solutions. They contend that survey research can be uniquely applied as a means to initiate constructive community change, demonstrating how their intervention process uses such research to foster positive social norms by feeding the results back to the community. Ultimately, Towards Constructive Change in Aboriginal Communities outlines how field research can be used to give a voice to First Nations and Inuit community members and serve as a platform for constructive social change.
Since the 1990s, artists and art writers around the world have increasingly undermined the essentialism associated with notions of "critical practice." We can see this manifesting in the renewed relevance of what were previously considered "outsider" art practices, the emphasis on first-person accounts of identity over critical theory, and the proliferation of exhibitions that refuse to distinguish between art and the productions of culture more generally. How Folklore Shaped Modern Art: A Post-Critical History of Aesthetics underscores how the cultural traditions, belief systems and performed exchanges that were once integral to the folklore discipline are now central to contemporary art's "post-critical turn." This shift is considered here as less a direct confrontation of critical procedures than a symptom of art's inclusive ideals, overturning the historical separation of fine art from those "uncritical" forms located in material and commercial culture. In a global context, aesthetics is now just one of numerous traditions informing our encounters with visual culture today, symptomatic of the pull towards an impossibly pluralistic image of art that reflects the irreducible conditions of identity.