We generally think of our kids’ online and offline lives as being two separate things. In reality, they constantly overlap, flowing back and forth face-to-face in the schoolyard and through texts and social networks at home. But on the Internet there are lots of moral and ethical choices that don’t have to be made offline.

One of the biggest changes in our understanding of bullying has been an increased awareness of the important role witnesses play in any bullying situation. This has been partially because of cyberbullying, which makes it possible for witnesses to be invisible, to join in anonymously, to revictimize a target by forwarding bullying material – or to intervene, to offer support to the target and to bear witness to what they have seen. Just as we’re coming to realize how important witnesses to bullying are, though, we need to be careful to recognize how complex their role is.

Dans un mot-clic, obscurément : Comment #Ottawapiskat a changé la donne quant à la couverture médiatique des questions autochtones Au cours des derniers mois, le mouvement Idle No More (jamais plus l’inaction) est arrivé à attirer l’attention nationale sur les enjeux des autochtones. Cela s’explique en grande partie par l’utilisation de Twitter par le mouvement, au moment où #IdleNoMore était un sujet chaud au Canada comme à l’international.

How #Ottawapiskat turned the tables on media coverage of native issues Over the last few months the Idle No More movement has succeeded in bringing Aboriginal issues to national attention. This has been due in no small part due to the movement’s use of Twitter, where #IdleNoMore was a Trending Topic in both Canada and worldwide.

Les élèves, pour apprendre à mieux connaître les médias, et leurs enseignants doivent être en mesure d’acquérir une vision critique des médias, ce qui peut sembler évident, mais jusqu’à l’an dernier, la Loi sur le droit d’auteur limitait grandement la possibilité d’utiliser en classe des textes diffusés dans les médias.

To teach students to be media literate, they – and their teachers – need to be able to critically engage with media. That may seem obvious, but until last year teachers’ ability to use media texts in the classroom was extremely limited by the Copyright Act.

Une vieille légende urbaine appelée « la machine à eau » raconte la découverte d’un procédé de transformation de l’eau en carburant. L’histoire présente des variations : il est parfois question d’eau du robinet, parfois d’eau de mer.

There’s an old urban legend called “the water engine,” which tells of the discovery of a way to turn water into fuel. There are variations to the story – sometimes it’s tap water, sometimes sea water; in recent versions it’s specified the fuel is nonpolluting – but the ending is always the same: the invention is suppressed by the oil companies, either by buying the invention and burying it or by forcing the inventor into ruin and suicide.

Au moins depuis l’époque du film The Birth of a Nation (1915), Hollywood se tourne vers l’histoire pour produire des films. Un survol rapide des nominations aux Oscars de cette année prouve que cette tendance se maintient plus que jamais; cinq nominations sur neuf pour le meilleur film — Argo, Django Unchained, Les Misérables, Zero Dark Thirty et Lincoln (le grand favori) ayant un fondement historique quelconque. Bien sûr, chacun a adopté une approche qui lui est propre : la toile de fond historique pour Les Misérables, le rêve de vengeance de Django Unchained, l’étude psychologique théorique de Lincoln, le docudrame de Zero Dark Thirty, et le thriller historique pour Argo.

Since at least the days of Birth of a Nation (1915), Hollywood has turned to history for material. A quick survey of this year’s Academy Award nominations shows that this is as true now as ever, with five out of the nine nominees for Best Picture – Argo, Django Unchained, Les Miserables, Zero Dark Thirty and odds-on favourite Lincoln – based in history in some way. Their approaches vary, of course, with the history-as-backdrop approach of Les Miserables, the revenge fantasy of Django Unchained, the academic character study of Lincoln, the docudrama of Zero Dark Thirty and the history-as-thriller of Argo.


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