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Vol 39, No 1 (2018): Atlantis Issue 39.1

Cover photo by Darcy Rhyno. Mexico, 2018


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Vol 38, No 2 (2017): Affecting Feminist Literary & Cultural Production & WHOOPS I AM A LADY ON THE INTERNET: Digital Feminist Counter-Publics

The cover image is from the book Self by artist Dawn Sinclair.


Growing up in Jeddore, Nova Scotia, Dawn spent most of her childhood creating and daydreaming. She went to Mount Saint Vincent University and graduated with a Bachelor of Applied Arts in Child and Youth Studies with a focus in Psychology, Sociology and Administration. She began teaching at Halifax Independent School where she spent 10 years inspiring young minds. At age 35, she experience a shift, forcing her to look within for guidance and decided to embrace her more creative self and enrolled in Design School. She eventually left teaching to pursue her passion as a business owner Interior Decorator and freelance artist. Once she began to follow her passions it allowed the space for many more creative endeavours to become reality. She has sense written and illustrated the book Self and is spreading the message of connecting to who you truly are. Dawn is passionate about supporting others on their own self discovery and finding their unique path.  Dawn currently lives with her husband, daughter and two cats in a home she designed and built on Lake Echo.

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Vol 38, No 1 (2017): What’s Intersectional about Intersectionality Now? & Intersectionality in Austere Times: Boundary Crossing Conversations

"Red Dress Day Oct 4." is a tribute to Murdered and Missing Indigenous Women and Girls. It is one in a series of paintings based on layers of markings and tissue paper over a grid of 1200 squares in memory of the more than 1200 documented cases.  A Winnipeg Metis multidisciplinary artist - Jaime Black - created the Red Dress Project. See:  The first October 4th vigil was held in 2006. The Native Women’s Association of Canada has been monitoring and reporting on the murdered and missing indigenous women and girls crisis since 2002. See:


Dianne Patychuk is a Toronto artist with prairie roots. She worked as a nurse and community health planner for over 30 years. She has been exhibiting her art since 2002. Since 2015, her paintings are inspired by the ‘calls to action’ in the Truth and Reconciliation Commission report and the responsibility of settler society to atone for and undo the harms of colonialism past and present. Proceeds from her paintings support youth initiatives in northern First Nations communities.


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Vol 37, No 2 (2) (2016): Belaboured Introductions

Anna Torma, Red Flowers III, 2006, embroidery, applique and inkjet on fabric, Collection of Mount Saint Vincent University. Photo courtesy of MSVU Art Gallery.


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Vol 37, No 2 (2015): Critical Perspectives on Canadian Anti-Trafficking Discourse and Policy and Canadian Women Challenge the Constitution

Baddeck Autumn Splendor by Warren Gordon 

Since 1973, Warren Gordon has operated Gordon Photographic Limited, a major photographic studio and scenic gallery in downtown Sydney. He is recognized internationally for his portrait, group, industrial, aerial and landscape work. 

Warren Gordon's image "Cap Rouge" was named Top Pictorial Image for 2012 by the Professional Photographers of Canada. In June 2012, he was inducted into the prestigious Cape Breton Business Hall of Fame in recognition for the 40 years of success of Gordon Photographic Limited and his contributions to the island's society and culture. Although he is most closely associated with his Cape Breton Island canvas, Mr. Gordon has also received the Chamber of Commerce Award in Business and the Better Business Bureau Ethics in Business Award. 

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Vol 37, No 1 (2015): Intimacies/Affect and Transgressing Borders/Boundaries: Gendering Space and Place

PEI North Shore Sunset, Acrylic on Canvas, 2013

The cover image is painted by William Montelpare, the inaugural Margaret and Wallace McCain Chair in Human Development and Health at the University of Prince Edward Island.

His current areas of research include: the epidemiology of physical activity-related injuries, return to play criteria, and research on human development from pre-conception through gestation to the first 2,000 days.

His paintings take inspiration from local landscapes and, most recently, the gentle vistas of Prince Edward Island.


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Vol 36, No 2 (2014): In/Visibility: Absences/Presence in Feminist Theorizing

Timeless Bonds, Acrylic on Canvas, 1993

Paige Kennedy was a visual artist based in rural Pictou County, Nova Scotia who passed away on August 6th, 2014 due to a terminal illness. During her long artistic career, Paige showed and sold her work in many venues in Halifax and beyond, including the Art Gallery of Nova Scotia, Eye Level Gallery, Mount Saint Vincent University, and the Fraser Cultural Center.

At a young age, Paige discovered art as both an ability and a refuge. As her world view shifted away from the military values of her upbringing toward one of social and ecological justice—where the needs of all life are met—art became a way to express this evolving vision. Paige’s artwork celebrates women’s experiences and the female body in its age imperfections.


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Vol 36, No 1 (2013)

 Cover Image by Olivia Ashbee

 “This photograph was taken on a beautiful October day at Swan Lake Nature Sanctuary in Victoria, BC.  A silhouette uses light and shadow to represent space and matter in the language of shape. When I took this photo, I was struck by the beautiful simplicity of the branch and leaf against a blue sky, by the palpable presence of loss and absence – its imperfect geometry – and by the composite resilience of living with and without.”

 Olivia Ashbee lives, works, struggles, plays, and chases butterflies in and around Victoria BC, Coast Salish territories.  S/he enjoys photography as a means to remember, honour and communicate lessons learned through an ongoing commitment to ally with the non-human living world.


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Vol 35, No 2 (2012): "Disorderly Conduct" / Women's Studies and Pedagogy

Cover Image: “Love Locks in Paris”

by Dr. Áine M. Humble

“While vacationing in Paris in June 2011, I was intrigued by a custom called ‘Love Locks,’ in which sweethearts affix a lock to a bridge as a sign of their everlasting love for their partner. Many of them write their names on the lock, and the key is either taken with them or thrown into the river, never to be retrieved again. As a feminist family studies scholar researching and teaching about relationship and family diversity, I searched the locks to find evidence of same-sex couples and easily found this lock celebrating Christine's love for her partner.”


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Vol 35, No 1 (2010): 35th Anniversary Volume

Cover Image: "European Court of Human Rights, Strasbourgm France," 2009. Photo by Brad Gibb.
"Marg the Younger," Portrait of Margaret Conrad; Susanne MacKay, 1996, Photo by Mike Meade.

Vol 34, No 2 (2010): Across the Generations in Women's Studies

Cover Image: "Marg the Younger" Portrait of Margaret Conrad; Susanne MacKay, 1996, photo by Mike Meade.


Volcanic Sand. June 13, 2006. Photographer: Angela Reid.

Vol 34, No 1 (2009): Open Topic Issue

Cover Image: Volcanic Sand, June 13, 2006. Photographer: Angela Reid.
Untitled, 2008. Photographer: Dvon Worth: with the assistance of Narnia Worth and Ted Worth.

Vol 33, No 2 (2009): Educating Women / Women's Education

Cover Image: Untitled, 2008. Photogrpaher: Devon Worth; with the assistance of Narnia Worth and Ted Worth.


Fort Amherst Lighthouse. St. John's, Newfoundland, 2008. Photographer: Brad Gibb

Vol 33, No 1 (2008): Open Topic Issue

Cover Image: Fort Amherst Lighthouse, St John's, Newfoundland, 2008. Photographer: Brad Gibb.
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Vol 32, No 2 (2008): Digital Feminisms / Women, Health, & Education

Cover Image: Students Heather Philips and Miki Rubin at work on an interactive A-life sculpture by Nell Tenhaaf (with Melanie Baljko, John Karrevadr and Kim Sawchuk); Photo by Nell Tenhaaf, July 2007.


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Vol 32, No 1 (2007): Volume 32, Number 1 (2007)

Cover Image: Kate Sheppard National Memorial; Christchurch, New Zealand, 2007; photo by Linda Kealey.
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Vol 31, No 2 (2007): "Sexy Feminisms"

Cover Image: "Shebacca". Allyson Mitchell, 2005; fun fur on found shag; 57 x 88 inches.


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Vol 31, No 1 (2006)

Cover Image: "No Place For a Garden." Photo by Lisa M. Champagne, 2005. Photographer's Note: There is no place for a garden, so this is their flower garden. I think they are inside and this is how they feel…I look fine on the inside because there is no light coming through. I need light ot grow inside and outside but I cannot afford a place with windows.
The Empty Shopping Cart; Butterfly Russell*, 2006.

Vol 30, No 3 (2006): Open Topic Issue/Violence Against Women (Online only)

Cover Image: The Empty Shopping Cart; Butterfly Russell*, 2006.

Explanation of Artwork: To me the empty shopping cart is symbolic. A shopping cart should be full of groceries and have a little kid bouncing up and down in the seat. But for many, every time they look at a grocery cart they feel guilty because they don't have enough money to fill it up with groceries. And the other thing I think when I look at a grocery cart is, "Thank God I'm not the one who's got all my worldly possessions in it." Or I could be wandering up and down back alleys picking up pop bottles. So the shopping cart has a lot of meanings.

*The photographer has chosen a pseudonym to protect her anonymity.

Front Cover - Nancy Edell, "Operating" 1994. Hooked rug (found rag and burlap). collection of the Art Gallery of Nova Scotia. Permission by Peter Walker, guardian of estate of Nancy Edell. Photo by Cecily Barrie.

Vol 30, No 2 (2006): Women, Art, Politics, and Power

Cover Image: Nancy Edell, Operating, 1994. Hooked rug (found rag and burlap). Collection of the Art Gallery of Nova Scotia. Permission by Peter Walker, guardian of estate of Nancy Edell. Photo by Cecily Barrie.


"Visiting the Peace Wall" Belfast, Northern Ireland, 2003. Photo by Bridgeen Butler.

Vol 30, No 1 (2005): 30th anniversary issue

Cover Image: "Visiting the Peace Wall" Belfast, Northern Ireland, 2003. Photo by Bridgeen Butler.
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Vol 29, No 2 (2005): Indigenous Women: The State of Our Nations

Cover Image: Belly Dancers, 2001. Digitized photograph. Photographer Kyle MacKenzie; artist Jaime Koebel. Explanation of Artwork: This digitally enhanced photograph is actually a picture of my pregnant belly at 29 weeks with a set of twin girls. The inscription inside my belly represents my unborn daughters through their Cree names: "Onneemeetoo Apsimoosisis" or Dancing Fawn and "Pisimooyappi Ooneemeetoo" or Rainbow Dancer. They were born dancing on February 1, 2002 and received their spirit names at 7 months old in a sweat lodge ceremony. I am also the proud mother of a son born on September 13, 2003.


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Vol 29, No 1 (2004): Transphobia and Transactivism

Cover Image: Causeway Road, Bushmills, Northern Ireland, 2003. Photo by Violet Hunter.
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Vol 28, No 2 (2004): Special Issue: Never Done: The Challenge of Unpaid Work

Cover Image: "washing dishes #2". Shlomit Segal, 2003. Digital graphic.


Atlantis 28.1 (2003) issue cover

Vol 28, No 1 (2003): Open Topic Issue

Cover image: From a poster for the Transition House Association of Nova Scotia's annual Purple Ribbon Campaign commemorating thefourteen women killed at Ecole Polytechnique in Montreal, 1989. Reproducedwith permission. Photo and design by Cecily M.Barrie.

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