Examines how colonial and postcolonial violence is understood and conceptualized through Indigenous storytelling. Through the study of Indigenous literary and artistic practices from Canada, Australia, New Zealand, and the United States, Julia V. Emberley examines the ways Indigenous storytelling discloses and repairs the traumatic impact of social violence in settler colonial nations. She focuses on Indigenous storytelling in a range of cultural practices, including novels, plays, performances, media reports, Internet museum exhibits, and graphic novels. In response to historical trauma such as that experienced at Indian residential schools, as well as present-day violence against Indigenous bodies and land, Indigenous storytellers make use of Indigenous spirituality and the sacred to inform an ethics of hospitality. They provide uncanny configurations of political and social kinships between people, between the past and the present, and between the animate and inanimate. This book introduces readers to cultural practices and theoretical texts concerned with bringing Indigenous epistemologies to the discussion of trauma and colonial violence.
Emberley documents the 1980s confrontations between animal rights activists and native peoples that pitted Lynx, the organization responsible for the high-profile anti-fur ads in Great Britain, against Inuit and Dene societies' claims for a livelihood based on the selling and trading, consumption and production of animal fur. From colonial fur trading to twentieth-century globalization of the fur industry, Emberley analyzes the cultural, political, material, and libidinal values ascribed to fur.
In Defamiliarizing the Aboriginal, Julia V. Emberley examines the historical production of aboriginality in colonial cultural practices and its impact on the everyday lives of indigenous women, youth, and children.
In Defamiliarizing the Aboriginal, Julia V. Emberley examines the historical production of aboriginality in colonial cultural practices and its impact on the everyday lives of indigenous women, youth, and children.
Examines how colonial and postcolonial violence is understood and conceptualized through Indigenous storytelling. Through the study of Indigenous literary and artistic practices from Canada, Australia, New Zealand, and the United States, Julia V. Emberley examines the ways Indigenous storytelling discloses and repairs the traumatic impact of social violence in settler colonial nations. She focuses on Indigenous storytelling in a range of cultural practices, including novels, plays, performances, media reports, Internet museum exhibits, and graphic novels. In response to historical trauma such as that experienced at Indian residential schools, as well as present-day violence against Indigenous bodies and land, Indigenous storytellers make use of Indigenous spirituality and the sacred to inform an ethics of hospitality. They provide uncanny configurations of political and social kinships between people, between the past and the present, and between the animate and inanimate. This book introduces readers to cultural practices and theoretical texts concerned with bringing Indigenous epistemologies to the discussion of trauma and colonial violence.
Emberley documents the 1980s confrontations between animal rights activists and native peoples that pitted Lynx, the organization responsible for the high-profile anti-fur ads in Great Britain, against Inuit and Dene societies' claims for a livelihood based on the selling and trading, consumption and production of animal fur. From colonial fur trading to twentieth-century globalization of the fur industry, Emberley analyzes the cultural, political, material, and libidinal values ascribed to fur.
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