International debate is ongoing regarding the innovation of gender mainstreaming (GM), its efficacy, and future utility. Likewise, in Canada, there is a push to learn from early GM efforts and a renewed focus on creating more responsive mainstreaming strategies. Although Canada’s gender-based analysis (GBA) has been researched and evaluated, this study uses the feminist theory of intersectionality to examine the newer GBA+ model, which builds on its predecessor. Drawing on thematic analysis of 32 stakeholder interviews from three different sectors and content analysis of key policy reports, we investigate how the shift to this new model is perceived, whether inclusion of the “+” results in greater responsiveness, and how to better operationalize intersectionality in policy contexts.
In Canada, there is renewed attention to the violence experienced by Indigenous peoples in residential schools, by police, through hyper-imprisonment and child removal, in hospitals, and in the contemporary education system. All of these issues are interlinked and outcomes of the carceral state—defined as the policing, monitoring, surveillance, criminalization and imprisonment of people, especially Indigenous and other racialized peoples. In this article, I define and illustrate what the carceral state looks like in Canada. I articulate the current approach to studying the carceral in political science, note the paucity of research in the Canadian context and show where attention has been cast previously. I describe an improved approach to studying the carceral, arguing that a decolonized approach to studying the carceral must be relational and abolitionist, seeking to reduce and eliminate the use of carceral interventions.
We draw from literature on penal imaginaries to examine representations at fright nights and other staged cultural scenes from across Canada and the United States that reproduce justifications for imprisonment and punishment. Based on an analysis of online content and news coverage of fright nights organized at forts, sanitoria, psychiatric institutions/asylums, and segregated schools, we demonstrate that these displays mobilize stereotypes and shame to denigrate prisoners and naturalize imprisonment. Moreover, we show that these displays invoke health tropes concerning contagion to intensify fears regarding prisoners by portraying them as a threat to the social body, further rationalizing the existence of human caging as a means of addressing social unease and anxieties. Relying on ideas of risk and contamination, this penal imaginary reproduces punitive ideas that normalize the deprivation of liberty including in (COVID-19) pandemic times. We conclude by discussing the significance of our findings for the study of penal imaginaries and penal spectatorship. well as their representations on screen and other cultural sites (Brown, 2009). The process of representing punishment for profit in ways that are often demeaning to prisoners is common at prison museums (Walby & Piché, 2015). Infatuation with penality extends to fright nights held at forts, jail and bail fundraisers held by nonprofit organizations, and other kinds of Halloween seasonal events meant to entertain and enthral. We define fright nights as seasonal horror themed events staged at night, while a jail and bail is an event where volunteers are "jailed" and supporters make donations for their "bail." Such events continue and take on new meaning during the COVID-19 pandemic era, with continued alarm over containing "risk," which we address in the conclusion of the paper.Tourism and heritage managers are often concerned with the views of visitors (Devine, 2016), and may take steps to appease them, including by adjusting content or marketing them to be more entertaining, but not necessarily more educational.Museums and tourist sites often put artifacts on display, which draws the tourist gaze toward them, while stripping the objects of context (Ott et al., 2011). Digital displays and communications are a part of the new world of tourism and museums (Webmoor, 2008). Beyond professional curation, there are many amateur displays organized by a
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