Horne, Dee

Background: This interpretive qualitative inquiry explores the spiritual meaning of their reconstruction processes of social workers after the unanticipated death of a client. Identifying existing social networks and using snowball sampling, ten social workers in British Columbia were recruited for this research. From a socially constructed and spiritual perspective, the researcher examines this process in collaboration with the ten participants. Through semistructured interviews the social work participants gave deep and rich personal stories reflecting on the experience of having a client unexpectedly die. Through a process of thematic analysis, four main themes, and nine sub-themes emerged from the data. Objective: To explore and gain a better understanding of social workers’ experiences of unanticipated client death and the spiritual meaning of their reconstruction processes after this experience. Methods: An interpretive qualitative inquiry was used for this study. A literature review was conducted to identity existing research and any gaps in research on the thesis question. Subsequently, semi-structured interviews were conducted with ten social worker participants who shared their experiences of unanticipated client death and spiritual meaning of their reconstruction processes. Thematic analysis of the data, guided by Braun and Clark (2018) was undertaken. Results: Three main themes and eight subthemes about how social workers experience and process the death of a client were found. Results revealed social workers often experience multiple client deaths that can be traumatic and have long lasting impacts/memories and that making sense of this experience is generally complex, unique to the individual, and meaning was found to be tied to systemic issues in the context of client death. A comparative analysis of Indigenous and non-Indigenous agencies in relation to spiritual supports are also presented. Conclusion: The experience of having a client death(s) is impactful and was found to be generally traumatic for social workers. Spirituality may play a part in how this experience is processed and understood. Systemic issues and current neoliberal systems were reported to be main factors in how death was understood in the context of worker-client relationship. Informal support in the workplace was perceived as essential and formal workplace supports were seen as ingenuine and challenging to access. Spiritual and culturally based supports naturally found within Indigenous culture were perceived as a welcome support, especially in the context of client bereavement. Finally, through this inquiry it was apparent there needs to be more research about the understudied impacts of experiencing the unanticipated death of a client, how social workers perceive, and access formal workplace supports, and how individual social workers and organizations draw from and utilize spirituality in social work practice.

In this thesis I draw on deconstruction theory and queer theory to analyze the current representation of sex, gender, and sexuality in Canadian television. Through this research I found that although Canadian television is portraying an increasing number of queer genders and sexualities, misinformation and stereotypes continue to perpetuate a one-dimensional characterization of people. This research pertains directly to my creative thesis: a pilot episode of a TV series which fraternal twins, Jed and Theodora, grow up with the ability to switch into one another's body. I dive directly into the correlation between sex and gender and the lived experience of being in a body that does not necessarily represent gender. The will both create a new gendered "construction" as well as question the need for gender identifications.

Seasons of a River is a fictional story about a woman looking back on her life. In her recollections she has to acknowledge and come to terms with the fact that her relationships with indigenous people in Canada have been inequitable and unbalanced. She realizes that she has been in the role of helper, of ally, and as such has perpetuated ideas of colonization and oppression, despite her good intentions. The protagonist, Annan, is in the process of trying to understand the complicated issues involved with the helping industry and her part within that industry. My introduction discusses the power differentials within allyship relations. I discuss how liberalism, at the root of the helping industry, although seen as a positive ideology, often perpetuates inequities and injustices when dealing with groups that are seen as “different.” I also discuss the importance of relationship building and listening and the need for quelling the tendency to assist others without consultation. This introduction and story also contain themes of ageism and how these attitudes are woven into the fabric of society in such a way as to internalize oppression and the idea of staying in one’s “place.” Ultimately, this story is about transformation.

Deadlands Girl is a short young adult, fantasy fiction novel set in a post-apocalyptic Canada. The protagonist, Tabitha, is kidnapped and brought to Faerie and the novel follows her quest to come back home. Written as a response to the notion that there are few non-historical Young Adult (YA) novels that are set in Canada, my creative thesis demonstrates that a novel can explore themes of identity, belonging and power while using the Canadian landscape as a backdrop and an inspiration. Mythological creatures assist Tabitha on her hero-quest but, ultimately, it is a coming-of-age story about a young woman growing up and discovering her own power. The novel is introduced with a critical analysis of young adult fiction in Canada, a discussion of identity and what it means to be a Canadian writer creating dark, but hopeful, stories for youth.