This article examines the emotional terrain and discursive frames that govern the constitution of those subject to the “dangerous offender” (DO) designation in Canada. Focusing on the emotion of remorse, we discuss four narratives involving individuals who went through the DO hearing process, gaining significant media attention. Asking what role Indigeneity and other factors play in how the media discuss the emotional comportment of DOs, we examine the persistence of particular discursive frames in these narratives, and the counter-frames that challenge or disrupt dominant understandings of what it is appropriate to feel. The expression of emotion, and its interpretation, can be critical to the outcome of cases, criminalized people/survivor stigmatization, and normalization of punishment and may also motivate community mobilization and prompt policy change. Yet, emotion, and how it may be performed and interpreted differently, is not well understood or discussed in these narratives.

Although Canada's first documented case of COVID-19 appeared in mid-January 2020, it was not until March that messaging about the need to contain the virus heightened. In this research note, we document the use of the media's construction of risk through framing in the early stages of the pandemic. We analyze three dimensions of the health risk narratives related to COVID-19 that dominated Canadians’ concerns about the virus. To capture these narratives, we examine print and online news coverage from two nationally distributed media sources. We assess these frames alongside epidemiological data and find there is a clear link between media coverage, epidemiological data and risk frames in the early stages of the pandemic. It appears that the media relied on health expertise and political sources to guide their coverage and was responsive to the public health data presented to Canadians.

This article examines the development, handling, and depositions of disc-on-bow brooches from the sixth to tenth centuries ad in the Vendel and Viking periods in Norway and mainland Sweden. A revised typological framework is presented, and the context of these brooches explored. The authors discuss their preservation, re-use, fragmentation, and ritual meaning within ongoing social negotiations and internal conflicts from the late Vendel period into the Viking Age. References to the past in Viking-Age society and the significance of women for maintaining narratives of the past are considered, as are levels of access, control, and definition of narratives of the past in times of social redefinition.

This article describes a path to addressing the discomfort that I and many of my braver colleagues have had, when putting words into the mouths and heads of prehistoric actors, knowing that these words say more about us than they do about prehistory. Yet without such speech, how are we archaeologists and the broader public to imagine the intangibles of the deep past (emotions, affect, gender, senses)? Moreover, such words create a misleading certainty that conceals the ambiguities of the archaeological data. Are there alternative options to verbal and vocal clarity when creating imagined fictive narratives about the past? With inspiration from composer Györgi Ligeti, from linguists and experimental psychologists, and from ASMR (Autonomous Sensory Meridian Response) performers, I explore the emotive power of vocal non-verbal interjections and utterances that have more universality and less cultural baggage, using them in three diverse re-mediations of digital media from three prehistoric archaeological contexts in Europe and Anatolia.