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David Alexander Robertson's graphic novel 7 Generations: A Plains Cree Saga，illustrated by Scott B. Henderson，moves backwards and forwards through and overlaps time in order to connect remembered stories and current experiences to Indigenous identities in Canada. This graphic novel，rendered in colour，was first published as four individual black-and-white comics with coloured covers: Stone，Scars，Ends/ Begins，and The Pact. The series follows the protagonist，Edwin，as he listens to the stories his mother and father tell him about his Plains Cree ancestors and family in order to help him heal after his attempted suicide. Although the stories embody the personal histories of Edwin's ancestors，they may also be understood as representative of the stories of many Indigenous peoples in Canada. The narrative spans across more than 200 years of Canadian history: the first issue unfolds primarily in the early nineteenth century; the second progresses through the smallpox epidemic of 1870-71; the third follows Edwin's father in a residential school in the 1960s; and the final issue continues Edwin's father's story and concludes，full circle，in 2010. At the end of this fourth book，The Pact，Edwin and his father，James，walk alongside a river，which becomes the site of their reconciliation. In this essay，I argue that Edwin's warrior survivor identity is shaped in an interrelationship with the river that embodies his past and present ancestors.

Opening address by Dr Deb Dudek to the Cultured Queer / Queering Culture: Indigenous Perspectives on Queerness sysmposium, University of Wollongong, 19 February 2015.

Buffy the Vampire Slayer (BtVS) performs repetitions and, like several of the show's numerous immortals, it seems destined not to die. The character of Buffy the Vampire Slayer first appeared in 1992 in a film of the same name.

Buffy the Vampire Slayer (BtVS) performs repetitions and, like several of the show's numerous immortals, it seems destined not to die. The character of Buffy the Vampire Slayer first appeared in 1992 in a film of the same name.

When critics consider young people¿s practices within cyberspace, the focus is often on negative aspects, namely cyber-bullying, obsessive behaviour, and the lack of a balanced life. Such analyses, however, may miss the agency and empowerment young people experience not only to make decisions but to have some degree of control over their lives through their engagement with and use of technology, which often includes sharing it with others in cyberspace. This was a finding of research conducted by Nicola Johnson, which also informs the two novels considered in this article, Cory Doctorow¿s Little Brother and Brian Falkner¿s Brainjack. The article draws on Pierre Bourdieu¿s theory of acts of resistance (Acts of Resistance: Against the New Myths of our Time, 1998) to demonstrate how these fictional representations of hacker heroes make a direct address to their readers to use their technological expertise to achieve social justice. Rather than hacking primarily to ¿see if they can do it,¿ the protagonists of these novels acknowledge the moral ambiguity of hacking and encourage its responsible use.

The term "multicultural" and its associated "-ism" have been the focus of many debates in literary, educational, political, and sociological circles since the terms were coined. "Multicultural" first appeared in the New York Herald Tribune in 1941: "A fervent sermon against nationalism, national prejudice and behavior in favor of a 'multicultural' way of life" (Oxford English Dictionary [OED]). The second usage, in 1959 by the New York Times, both narrows and broadens the definition by connecting a culturally diverse city to cosmopolitanism. In 1965, the adjective "multiculturalism" expanded into the noun "multiculturalism" in the Preliminary Report of the Royal Commission on Bilingualism and Biculturalism: "The answer they often gave was 'multiculturalism' or, more elaborately, 'the Canadian mosaic" (OED). The first three usages of the term "multiculturalism" offered in the OED relate to North American society, but the fourth, from a 1973 edition of Scotland's Stornoway Gazette, demonstrates the term's potential to migrate into any society in which diversity is of primary importance to its cultural narrative: "A Gaelis Society that has outgrown its original meeting place in just a few short years and enabled the Gaels to meet the new and promising challenge of Multiculturalism". The final two usages represent some of the controversies associated with the term. A 1988 Courier-Mail (Brisbane) story cites "Professor Blainey's claim that multi-culturalism is another name for ethnic discrimination," and a 1990 Marxism Today article notes that the "policy of multiculturalism... had been widely adopted as a more tolerant way forward than full integration into a 'British way of life'."

The term "multicultural" and its associated "-ism" have been the focus of many debates in literary, educational, political, and sociological circles since the terms were coined. "Multicultural" first appeared in the New York Herald Tribune in 1941: "A fervent sermon against nationalism, national prejudice and behavior in favor of a 'multicultural' way of life" (Oxford English Dictionary [OED]). The second usage, in 1959 by the New York Times, both narrows and broadens the definition by connecting a culturally diverse city to cosmopolitanism. In 1965, the adjective "multiculturalism" expanded into the noun "multiculturalism" in the Preliminary Report of the Royal Commission on Bilingualism and Biculturalism: "The answer they often gave was 'multiculturalism' or, more elaborately, 'the Canadian mosaic" (OED). The first three usages of the term "multiculturalism" offered in the OED relate to North American society, but the fourth, from a 1973 edition of Scotland's Stornoway Gazette, demonstrates the term's potential to migrate into any society in which diversity is of primary importance to its cultural narrative: "A Gaelis Society that has outgrown its original meeting place in just a few short years and enabled the Gaels to meet the new and promising challenge of Multiculturalism". The final two usages represent some of the controversies associated with the term. A 1988 Courier-Mail (Brisbane) story cites "Professor Blainey's claim that multi-culturalism is another name for ethnic discrimination," and a 1990 Marxism Today article notes that the "policy of multiculturalism... had been widely adopted as a more tolerant way forward than full integration into a 'British way of life'."

When critics consider young people¿s practices within cyberspace, the focus is often on negative aspects, namely cyber-bullying, obsessive behaviour, and the lack of a balanced life. Such analyses, however, may miss the agency and empowerment young people experience not only to make decisions but to have some degree of control over their lives through their engagement with and use of technology, which often includes sharing it with others in cyberspace. This was a finding of research conducted by Nicola Johnson, which also informs the two novels considered in this article, Cory Doctorow¿s Little Brother and Brian Falkner¿s Brainjack. The article draws on Pierre Bourdieu¿s theory of acts of resistance (Acts of Resistance: Against the New Myths of our Time, 1998) to demonstrate how these fictional representations of hacker heroes make a direct address to their readers to use their technological expertise to achieve social justice. Rather than hacking primarily to ¿see if they can do it,¿ the protagonists of these novels acknowledge the moral ambiguity of hacking and encourage its responsible use.

Between 2003 and 2008, more than fifteen books for children and young adults were published in Australia and at least thirteen in Canada that represent either literally or metaphorically the experiences of people whose family homes are no longer places of safety. In each of the texts analyzed in this essay-Shattered (2006) and Sketches (2007) by Eric Walters and The Island (2005) by John Heffiman-homelessness is represented not as the absence of a physical structure in which to live but as an absence of belonging, an absence of hospitality. As the characters travel through their pathways of homelessness, they develop interdependent relationships with people, creatures, and/or structures personified as an outreached hand, a symbol and act of hospitality. In each of these books, endings are uncertain in order to offer readers not a closed, stable future, but a version of belonging that includes multiple possibilities.

Between 2003 and 2008, more than fifteen books for children and young adults were published in Australia and at least thirteen in Canada that represent either literally or metaphorically the experiences of people whose family homes are no longer places of safety. In each of the texts analyzed in this essay-Shattered (2006) and Sketches (2007) by Eric Walters and The Island (2005) by John Heffiman-homelessness is represented not as the absence of a physical structure in which to live but as an absence of belonging, an absence of hospitality. As the characters travel through their pathways of homelessness, they develop interdependent relationships with people, creatures, and/or structures personified as an outreached hand, a symbol and act of hospitality. In each of these books, endings are uncertain in order to offer readers not a closed, stable future, but a version of belonging that includes multiple possibilities.

The 2006 Australian film Ten Canoes, directed by Rolf de Heer and Peter Djigirr, opens wIth a slow aerial shot over the Arafura swamp's watery landscape, underscored by natIve bIrd calls, then the sound of rain, followed again by birds. After one full minute, the unnamed narrator's voice joins the bird sounds when he says, 'Once upon a time, in a land far, far away ... [Laughs] // No, not like that, I'm only joking'. These opening words allude to a Western tradition of orality, the fairy tale, as well as to the popular culture phenomenon Star Wars which begins with the words, 'A long time ago in a galaxy far, far away ' . The inherent ambiguity of this laugh may lead viewers to wonder whether the narrator es laughing with or at us, or perhaps both. Critics' analyses of this opening have IdentIfied the narrator's laugh as preparation 'for a very different kind of story' (Henderson 54) and as ironic and transformative (Crosbie 144), a laugh that shifts the narrative away from a familiar story to a personal one.

The 2006 Australian film Ten Canoes, directed by Rolf de Heer and Peter Djigirr, opens wIth a slow aerial shot over the Arafura swamp's watery landscape, underscored by natIve bIrd calls, then the sound of rain, followed again by birds. After one full minute, the unnamed narrator's voice joins the bird sounds when he says, 'Once upon a time, in a land far, far away ... [Laughs] // No, not like that, I'm only joking'. These opening words allude to a Western tradition of orality, the fairy tale, as well as to the popular culture phenomenon Star Wars which begins with the words, 'A long time ago in a galaxy far, far away ' . The inherent ambiguity of this laugh may lead viewers to wonder whether the narrator es laughing with or at us, or perhaps both. Critics' analyses of this opening have IdentIfied the narrator's laugh as preparation 'for a very different kind of story' (Henderson 54) and as ironic and transformative (Crosbie 144), a laugh that shifts the narrative away from a familiar story to a personal one.

THE AUSTRALIAN GOVERNMENT’S current policy on cultural diversity, ‘Multicultural Australia: United in Diversity’, which is due to be revised later in 2006, opens with a foreword by John Howard in which he “reaffirms the government’s commitment to promoting diversity, understanding and tolerance in all areas of endeavour”. No matter how frequently discourses of tolerance and respect for difference circulate in government policy and elsewhere, however, they continue to be underpinned by an assimilation agenda. Media representations, at least, encourage Australians to demonise individuals according to their race, especially since the global war on terror, and more locally in incidents like the Cronulla riots. The Howard Government’s anti-terror laws and policy of mandatory detention uphold these popularly held conceptions, which they can use as leverage to justify treating asylum seekers outside of mainstream legal protocols.