Book Review of "Will the Circle Be Unbroken?": Aboriginal Communities, Restorative Justice, and the Challenges of Conflict and Change by Jane Dickson-Gilmore and Carol La Prairie

Over the past decade or two, restorative justice has become a popular approach for the criminal justice system to take in Canada, New Zealand, and Australia. In part, this is due in all three countries to an appalling disproportionality in the incarceration rates for racialized minorities. As the authors of "Will the Circle Be Unbroken?" point out, however, governments have been attracted to restorative justice for cost-cutting reasons as well. A burning question, therefore, is whether restorative justice works.

Caracas diary, 1835-1840; the journal of John G. A. Williamson, first diplomatic representative to the United States to Venezuela.

Bibliography: p. [424]-434.

A bibliography of the works of Thomas Hardy, 1865-1915 /

Includes index.

A service to honor the memory of the Rev. R. Heber Newton, D. D., and to help perpetuate the ideals to which his life was dedicated, Church of the ascension, Fifth avenue and Tenth street, New York city, February the seventh, 1915.

Mode of access: Internet.

The position and duties of the educated men of the country. A discourse pronounced before the Euglossian and Alpha phi delta societies of Geneva college, Aug. 5, 1840,

Microfilm. Ann Arbor, Mich. University Microfilms (n.d.) (American culture series, Reel 235.11)

Memoirs of the Princess Daschkaw, lady of honour to Catherine II, Empress of all the Russias.

Translation of Mémoires de la princesse Daschkoff.

Memoirs of Miss Catherine Reynolds... With selections from her diary and letters.

Mode of access: Internet.

University Hospital (Catherine St. Buildings)

Center building included a nurses home. On verso: U. Hospital. Catherine St. [Street] Hospitals. ?Medical School Dormitories, Catherine St.

School of Nursing Class of 1982

Top Row: Joellyn M. Markey, Carol L. Kallewaard, Janet R. Sobel, Jacqueline L. Spatafora, Susan M. Tucker, Cynthia S. Gordon, Pamela J. Sanders, Carol M. Salinger, Marylou Rabaut, Connie R. Jarlsbers, Sylvia J. McKenney, Elizabeth A. Regan, Barabara S. Schelenker, Vandy L. Sherbin, Judy A. Srrbina, Susan K. Ginster, Lydia A. Robinson, Sandra L. Sprague, Beth A. Stegeman, Catherine T. Totte

Row 2: Kathleen M. Lahiff, Julia M. Markovich, Andra M. Rush, Darlene C. Ressler, Wendy K. Reigel, Beth L. Burch, Jewel E. Carpenter, Wendie L. Weber, Kay E. Jersey, karen D. Curl, Carol L. McGraw, Durene M. Elem, Linette perushi, Betty A. pulliams, Vicki E. Meffert, Harriettee Williams

Row 3: Beth A. Hoatlin, Rhonda C. Tolbert, Michelle R. Robertson, Lori A. Wissman, Marilyn S. Dietrich, Jayne E. Taylor, Jill M. Smith, Barbara J. House, Siobhan Gorman, Madeline L. Mobley, Joyce A. Williamson, Fay M. Wright

Row 4: Rosanne M. Hrqamiec, karen S. Nowak, Peggy J. Cameron, Mary V. Morris-Tucker, Frances L. Righmond, Marlene A. Baker, Karen J. Worden, Kathleen M. McGillivary, Janet L. wylie, Sandra K. Thompson

Row 5: Karen A. Cruickshank, Irene M. Dery, Ann M. Ignatowski, Elizabeth A. Peklo, Anne K. Waters, Laura E. Harvey, Mary M. Eggenberger, Wendy K. Kenyon, Kathleen M. Jordan, Elaine J. Zeilke, Barbara J. Waxman, Jolie A. Laker

Row 6: Velria M. Brown, Jane A. Burke, Marv A. Damken, Leau M. Stein, Cheryl Lumm Truzz, Deborah G. Thomas, Charlene L. Davis, Carol A. Zuber, Susan G. Toler, Betty M. Jones, Linda L. Kouba, Cynthia A. Lovell

Row 7: Kathy A. Churches, Dana L. Garrett, Mary E. Cella, Sarah E. Newton, Judy L. Benkeser, Lori J. Googel, Nancy H. Jenson, Helen I. Erickson, Rhetaugh G. Dumas, Norma K. Marshall, Karen M. Walker, Deborau D. Barrett, Janice M. Sinsabaugh, Vickie M. Rodla, Bonnie M. Mann, Cynthia R. Matthews, Karen L. Heithecker

Row 8: Judith Gniewek, Valerie A. Filkins, Mable A. Glass, Kathleen M. Dwyer, Diane M. Fritz, Susan D. Cook, Evon J. Goyer, Kathryn Greenleaf, Laurie Haan Abraham, Sharon Gwozdec, Karen J. Douglas, Claudette P. Bryan, Kathy L. Deniston, Carol A. Garon, Maureen goode, Jennifer A. Gegenheimer, Colette White, Mary C. Kuckuc, Mary S. Craft

Row 9: Joan M. Garbarino, Linda S. Farwell, Julie A. Cook, Susan M. Bolohan, Sharon A. Bailey, Deborah Babala, Kathleen M. Oldani, Mary E. Grace, Mary A. Moriarty, Marybeth Annessa, Martha A. Beaudry, Jamie M. Ashley, Sue Bohnet, Janice J. Bishop, Diana L. Beveridge, Catherine A. Belski, Debra R. Surdyk, Maureen A. Flaherty, Lisa M. Barron, Carole A. Fanelli

Sense and sensibility by Jane Austen

It's the fact that it's Austen mentioned here that provokes a response. The broad cultural veneration of Jane Austen means that even those who have never read her work are likely to have a strong reaction to Emerson's famou quotation. It is worth considering Emerson's accustion befor teaching an Austen novel, as many of his assertions will be amde - albeit in different terms - byt twenty-first-century students.

Catherine or Kate, the royal name dilemma : humour and performance in collaborative art practice

The traditional model of visual arts practice is one that privileges highly individuated reflection and research on studio based, predominately material outcomes. This archetypal approach to thinking about cultural production tends to overlook all of the conceptual and contextual collaborations that take place, both informally and formally in the process of making artworks. The aim of this practice-led research project is to creatively and critically explore the potential for actively engaging in a collaborative process for making artworks. It will focus on this approach to research and making through performance and video based works made in conjunction with Kate Woodcroft. Through doing this it aims to explore the possibilities for thinking and working beyond singular, materially based practices and develop new understandings for this as a model for generating new and unexpected creative outcomes. Key departure points for this discussion include; tertiary performance, conceptual art, and humour.

Catherine or Kate : the tertiary spaces of collaboration, performance and humour in contemporary art

The traditional model of visual arts practice is one that privileges highly individuated and predominantly material investigations and outcomes. This approach overlooks and devalues the formal and informal dialogues and collaborations that take place in the process of making art. This Masters research project considers how the experience of working in collaboration can generate a new model for thinking about practice-led methodologies in visual arts. It aims to do this by mapping out and elaborating on the processes and approaches to making that fellow Masters student Catherine Sagin and I have come to use in our alliance as ‘Fiona Mail’, ‘Catherine Sagin’ and ‘Catherine or Kate’ respectively. The fluidity of our collaborative moniker is one example of the way this project creatively explores and re-assesses the implications of collaboration. Drawing upon the contextual frames of conceptual art, performance art, and comedy this research looks at the significance of and possibilities for working as a collaborative duo.