The colonial gaze is characterized not only by scopophilia, a drive to look, but also by an urge to penetrate, to traverse, to know, to translate, to own and exploit. The attitude assumes that everything should be accessible to those with the means and will to access them. (David Garneau, “Imaginary Space of Conciliation and […]
The colonial gaze is characterized not only by scopophilia, a drive to look, but also by an urge to penetrate, to traverse, to know, to translate, to own and exploit. The attitude assumes that everything should be accessible to those with the means and will to access them. (David Garneau, “Imaginary Space of Conciliation and […]
FNSP 220 explores the ways that Indigenous peoples seek to overcome the legacies of settler colonialism and claim sovereignty and self-determination through cultural production and critique. In this course, we will examine contemporary articulations of Indigenous identity, politics, and cultural traditions in the fields of literature, film, video games, and other modes of resurgent cultural […]
Click the link below for the full syllabus. In this course, we will be honing writing skills for Indigenous studies with emphasis on writing for and with community and against patriarchy, racism, and settler colonialism. Through this course, you will work towards becoming more aware of your writing process: which means being mindful (and sometimes […]
Course Description: In an interview with Liza Yeager, Anishinaabe comedian, writer, and media maker, Ryan McMahon talks about why he thinks podcasting is specifically useful medium for Indigenous storytellers: “I just think the medium is so exciting. It’s relatively inexpensive to produce; it’s a flexible creative medium that allows us to be publishers, you know? […]
There is a famous photograph of Bedonkohe Apache leader Geronimo sitting in a Cadillac. It was taken in 1905. Geronimo was in captivity at the time, having surrendered to the US government in 1886, and the photograph was shot as a publicity stunt for Oklahoma’s Gala Day. Geronimo is behind the wheel of the car, […]
There is a famous photograph of Bedonkohe Apache leader Geronimo sitting in a Cadillac. It was taken in 1905. Geronimo was in captivity at the time, having surrendered to the US government in 1886, and the photograph was shot as a publicity stunt for Oklahoma’s Gala Day. Geronimo is behind the wheel of the car, […]
The cover of The Break, Katherena Vermette’s masterful debut novel, features a portion of a painting by Métis and Mennonite artist Corinna Wollf. In the painting, a middle-aged woman stands directly facing her audience in a full-length, black dress detailed in subtle, but vibrant floral print inspired by Métis artist Christi Belcourt (“Corinna Wollf”). The […]
The novel begins with a description of the eponymous section of the city: “The Break is a piece of land just west of McPhillips Street. A narrow field about four lots wide that interrupts all the closely knit houses on either side and cuts through every avenue from Selkirk to Leila” (3). As the title suggests, then, the “Break” is connected to specific land and places in the North End. But the “break” is also representative of the pain, disturbance, and dislocation that affect that community and drive the novel’s plot and character development.
Will cyberspace enable old knowledge to be experienced and expanded or will cyberspace create the the present anew each day, so that there never again is tradition or a past? –Loretta Todd Over the holiday break, while the in-laws were transporting my family and I to an outdoor light show, I found myself caught up in […]
Novel Alliances 