Abstract: Canadian scholars and political thinkers have long contemplated how federalism might be used to enhance and foster legal pluralism and respect for diversity. Yet, as argued here, Canadian courts often work to deny Indigenous legal jurisdiction by leveraging constitutional principles associated with federalism. This article traces what might be called the “weaponization” of federalism to deny Indigenous jurisdiction in four parts. First, I outline the theory and legal importance of federalism as it relates to Indigenous sovereignty. Second, in using the framework of “jurispathy,” I discuss how Canadian courts deny recognizing the independent existence of Indigenous laws, even when it is in the pleadings before them and relevant to the trier-of-fact. Third, I explore how the Supreme Court of Canada, in the 2024 Dickson v. Vuntut Gwitchin First Nation decision, denied the validity of Indigenous constitutionalism, and in turn suggested that Indigenous self-governance is, at least partially, an emanation of Canadian government jurisdiction. Finally, courts have upheld a paternalistic account of section 91(24) of the Constitution Act, 1867, which allocates “Indians and lands reserved for Indians” to the federal government. This is despite the fact that, when taking into account the Royal Proclamation of 1763 and the Treaty of Niagara, there is basis to reinterpret section 91(24) not as jurisdiction over a peoples, but a duty and responsibility to them (as opposed to over them).



Abstract: This thesis examines how “return” operates as a grammar of moral formation in the digital TradWife movement. Across Instagram, TikTok, conferences, influencer accounts, and land-based communities, calls to return to tradition, femininity, the home, God, the body, and the land organize a moral world in which recently assembled practices come to feel inherited, coherent, and true. This thesis asks how performances that often appear hypocritical, nostalgic, or overly staged become persuasive, how audiences participate in sustaining them, and how their affective appeal becomes tied to broader projects of gender hierarchy, Christian nationalism, racial belonging, and settler attachment to land. Methodologically, the thesis draws on digital ethnography, close reading, platform analysis, and performance theory. Its archive includes TradWife and homesteading content collected from Instagram and TikTok between 2024 and 2026; the online persona and comment sections of Christ With Cali; the platformed gender discourse of Savanna Faith Stone; Turning Point USA’s 2025 Young Women’s Leadership Summit; and Return To The Land, a white identitarian settlement project in Arkansas. The analysis brings these materials into conversation with scholarship on religion and media, affect, ethical formation, invented tradition, professional wrestling, Christian nationalism, settler colonialism, and Indigenous sovereignty. The thesis argues that return becomes powerful through repetition, participation, and scale. In digital TradWife media, tradition is staged through kayfabe: a performed reality sustained by creators, audiences, critics, and platforms. Viewers may believe, expose, mock, defend, or parody the performance, and each form of engagement helps keep the world of return available. As these scenes circulate, fabricated heritage becomes a lived orientation. Practices such as modest dress, submission, raw milk consumption, fertility preparation, sourdough baking, and domestic labor come to function as signs of ethical alignment. Under platform conditions, this process becomes algorithmic traditionalism: the circulation of traditionalist signs through affective intensity, ambiguity, ragebait, and engagement-driven visibility. The argument culminates in the claim that digital TradWife domesticity translates larger political and theological imaginaries into intimate form. Blood names lineage, fertility, and reproductive futurity; soil names stewardship, sacred inheritance, and land made morally available; sourdough names the repetitive domestic labor through which continuity is maintained and passed forward. In the case of Return To The Land, the grammar of return becomes territorial, organizing ancestry, membership, education, reproduction, and settlement into a project of white ecological belonging. Placed alongside Indigenous accounts of return, revitalization, refusal, and sacred land protection, this settler return appears politically uneven. Return can authorize possession and sustain obligation. It can make longing feel like belonging while also binding people to responsibilities already present in land, ceremony, sovereignty, and ancestors. Ultimately, this thesis shows that return functions as a formative grammar within digital TradWife culture. Through return, subjects learn how to feel, desire, inhabit, and defend a world that appears old precisely because it is being continually remade.


Abstract: This article investigates how contemporary documentary films construct political, visual, and narrative understandings of the Israeli settler project, which is an ongoing settler-colonial project that is sustained by territorial expansion, displacement, and the structural domination of Palestinians. While scholarship has examined settler colonialism in Palestine/Israel, less attention has been given to how contemporary documentaries narrate and visualize this evolving project. The research question is: how do the documentaries No Other Land (2024) and The Settlers (2025) narrate and visualize the expansion of the Israeli settler project, and what do they reveal about the broader political, ideological, and colonial structures that sustain and normalize settlement expansions? Analyzing No Other Land (2024) and The Settlers (2025), the study analyzes how first-person, collaborative, and long-form documentary practices challenge dominant narratives, expose settler violence, and highlight human security concerns such as personal, economic, and community insecurity. Analysis of No Other Land, directed by Basel Adra, Yuval Abraham, Hamdan Ballal, and Rachel Szor, showed that the film visualizes settler colonialism as an ongoing structure rather than an isolated event. Scenes of home demolitions, filmed with handheld cameras, created emotion and gave the film a sense of authenticity. The documentary foregrounds Palestinian sumud (steadfastness) through the portrayals of families who refuse to leave their homes, while exposing the collaboration between Israeli settlers and soldiers during attacks on Palestinian homes. In contrast, The Settlers, directed by Louis Theroux, interrogates the ideological and political forces driving settlement expansion in the Occupied Palestinian Territories (OPT). The study concludes that contemporary documentaries serve as powerful tools of political critique and public understanding of the Israeli settler project. Together, they demonstrate how documentary film can shed light on the mechanism of settler colonialism, challenge dominant Israeli and Western framing of this conflict, and contribute to broader debates on occupation, settler violence and resistance.






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