{"title":"There is Buffalo Ecocide: A Meditation upon Homecoming in Buffalo Country","authors":"J. Hatley","doi":"10.5130/csr.v25i1.6417","DOIUrl":"https://doi.org/10.5130/csr.v25i1.6417","url":null,"abstract":"A Meditation upon Homecoming in Buffalo Country.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76174499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1972 Lake Pedder in south-west Tasmania was submerged under 15 metres of water as a result of the Tasmanian State Government’s Middle Gordon Hydro-electric Power Scheme. The lake was subsumed into a much larger artificial impoundment formed by three rockfill dams, making it the largest freshwater lake in Australia. The Tasmanian government transferred the name Lake Pedder to the new impoundment. Three species endemic to the original Lake Pedder were recorded as extinct as a consequence of the lake’s flooding. The Lake Pedder planarian, a species of carnivorous flatworm, the Lake Pedder earthworm, and the Pedder galaxias, a small freshwater fish, disappeared from the lake area after the inundation of this unique habitat, the site of a number of ecologically valuable faunal communities. The divergent fates of these animals, their status as lost species and their significance as creatures both meaningful and meaning-making, marks out an extinction matrix suggesting that the absence of specific animals and specific experiences and ways of life matter more than others, that specific deaths can be more readily incorporated into stories of loss and restoration, and that the perceived malleability of habitats invariably involves death inscribed as sacrifice or justifiable casualties. This paper seeks to retrieve some of the perspectives and experiences forgotten or written over in the lake’s stories of flooding and redemption.
{"title":"Inundation, Extinction and Lacustrine Lives","authors":"Rick De Vos","doi":"10.5130/csr.v25i1.6394","DOIUrl":"https://doi.org/10.5130/csr.v25i1.6394","url":null,"abstract":"In 1972 Lake Pedder in south-west Tasmania was submerged under 15 metres of water as a result of the Tasmanian State Government’s Middle Gordon Hydro-electric Power Scheme. The lake was subsumed into a much larger artificial impoundment formed by three rockfill dams, making it the largest freshwater lake in Australia. The Tasmanian government transferred the name Lake Pedder to the new impoundment. Three species endemic to the original Lake Pedder were recorded as extinct as a consequence of the lake’s flooding. The Lake Pedder planarian, a species of carnivorous flatworm, the Lake Pedder earthworm, and the Pedder galaxias, a small freshwater fish, disappeared from the lake area after the inundation of this unique habitat, the site of a number of ecologically valuable faunal communities. The divergent fates of these animals, their status as lost species and their significance as creatures both meaningful and meaning-making, marks out an extinction matrix suggesting that the absence of specific animals and specific experiences and ways of life matter more than others, that specific deaths can be more readily incorporated into stories of loss and restoration, and that the perceived malleability of habitats invariably involves death inscribed as sacrifice or justifiable casualties. This paper seeks to retrieve some of the perspectives and experiences forgotten or written over in the lake’s stories of flooding and redemption. ","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85020196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper I consider whether, and if so how artistic creative uncertainty can facilitate processes of imagining new relationships between Indigenous peoples and settlers. Canada’s Truth and Reconciliation Commission’s model of reconciliation seems to promise improved Indigenous/settler relationships, yet many Indigenous scholars and allies question the efficacy of it as an approach to expedite relationship-building. For that reason, Indigenous critics like David Garneau suggest that alternate methods be deployed such as ‘decolonial aesthetic activism’ in order to build relationships that exceed the limits of reconciliation. Within this model, ambiguous, discordant, and indigestible artworks operate as one method by which we/settlers can become aware of how we are implicated in the structures of settler colonialism. I apply Garneau’s theory by conducting a close reading of the performative self-portraits by Meryl McMaster. My analysis reveals that art can put forward critiques of settler colonialism that unsettle assumptions, thereby creating new spaces for us to imagine worlds otherwise. Accordingly, I argue that McMaster’s art does have the potential to exceed the limits of reconciliation and conclude that critical engagement with her photographs is an important first step in the process that is decolonization, a process that exceeds the limits of reconciliation.
在本文中，我考虑了艺术创作的不确定性是否，如果是，如何促进土著人民和定居者之间想象新关系的过程。加拿大真相与和解委员会(Truth and Reconciliation Commission)的和解模式似乎有望改善原住民与定居者之间的关系，但许多原住民学者和盟友对这种加速建立关系的方法的有效性提出了质疑。出于这个原因，像David Garneau这样的土著评论家建议采用其他方法，如“非殖民化美学行动主义”，以建立超越和解限制的关系。在这种模式下，模棱两可、不和谐和难以消化的艺术品作为一种方法，通过这种方法，我们/定居者可以意识到我们如何卷入定居者殖民主义的结构。我通过仔细阅读梅丽尔·麦克马斯特(Meryl McMaster)的表演自画像来运用加诺的理论。我的分析表明，艺术可以提出对定居者殖民主义的批判，从而动摇假设，从而为我们想象不同的世界创造新的空间。因此，我认为麦克马斯特的艺术确实有潜力超越和解的极限，并得出结论，批判性地参与她的照片是非殖民化过程中重要的第一步，这是一个超越和解极限的过程。
{"title":"Exceeding the Limits of Reconciliation: ‘Decolonial Aesthetic Activism’ in the Artwork of Canadian Artist Meryl McMaster","authors":"Allyson Green","doi":"10.5130/csr.v25i1.6155","DOIUrl":"https://doi.org/10.5130/csr.v25i1.6155","url":null,"abstract":"In this paper I consider whether, and if so how artistic creative uncertainty can facilitate processes of imagining new relationships between Indigenous peoples and settlers. Canada’s Truth and Reconciliation Commission’s model of reconciliation seems to promise improved Indigenous/settler relationships, yet many Indigenous scholars and allies question the efficacy of it as an approach to expedite relationship-building. For that reason, Indigenous critics like David Garneau suggest that alternate methods be deployed such as ‘decolonial aesthetic activism’ in order to build relationships that exceed the limits of reconciliation. Within this model, ambiguous, discordant, and indigestible artworks operate as one method by which we/settlers can become aware of how we are implicated in the structures of settler colonialism. I apply Garneau’s theory by conducting a close reading of the performative self-portraits by Meryl McMaster. My analysis reveals that art can put forward critiques of settler colonialism that unsettle assumptions, thereby creating new spaces for us to imagine worlds otherwise. Accordingly, I argue that McMaster’s art does have the potential to exceed the limits of reconciliation and conclude that critical engagement with her photographs is an important first step in the process that is decolonization, a process that exceeds the limits of reconciliation.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88404194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Whether stuffed remains in a museum case, inscribed tombstone, or stone wall perched on a cliff, memorials to extinct animals are timestamps representing human-animal relationships at particular moments in time. This essay analyzes the rhetoric and imagery of historical extinctions as seen in these memorials to understand the ways people struggled to understand the loss. Through examination of memorials to extinct species in U.S. museums, parks, and zoos my research has revealed a continuous struggle to identify the personhood of animals, define human-animal interactions, and locate human responsibility for environmental change. While each memorial mimics remembrance practices used for humans and human events, they differ in their acknowledgement of the individuality and the agency of its extinction which, in turn, often denies agency to the animal. Steeped as they are in Romantic-era notions of wildness, these memorials can be read as parables of environmentalism, but in their conceptualization of the animal, they instruct us in the varieties of human-animal interactions and representations within the environmental movement at different times and places, making them more complex spaces than their simplicity suggests. While memorials present only a slice of the story, the memories they create and reinforce become part of the cultural ways of dealing with extinction that is often more popular and more poignant than historical narratives documenting their declines. At its core, my research adds to the literature on constructions of Nature in American culture by connecting 19th-century declension narratives with 20th-century extinctions, and problematizes the American ideology of abundance.
{"title":"Exhibiting Extinction: Martha and the Monument, Two Modes of Remembering Nature","authors":"Kelly Enright","doi":"10.5130/csr.v25i1.6404","DOIUrl":"https://doi.org/10.5130/csr.v25i1.6404","url":null,"abstract":"Whether stuffed remains in a museum case, inscribed tombstone, or stone wall perched on a cliff, memorials to extinct animals are timestamps representing human-animal relationships at particular moments in time. This essay analyzes the rhetoric and imagery of historical extinctions as seen in these memorials to understand the ways people struggled to understand the loss. Through examination of memorials to extinct species in U.S. museums, parks, and zoos my research has revealed a continuous struggle to identify the personhood of animals, define human-animal interactions, and locate human responsibility for environmental change. \u0000 \u0000While each memorial mimics remembrance practices used for humans and human events, they differ in their acknowledgement of the individuality and the agency of its extinction which, in turn, often denies agency to the animal. Steeped as they are in Romantic-era notions of wildness, these memorials can be read as parables of environmentalism, but in their conceptualization of the animal, they instruct us in the varieties of human-animal interactions and representations within the environmental movement at different times and places, making them more complex spaces than their simplicity suggests. While memorials present only a slice of the story, the memories they create and reinforce become part of the cultural ways of dealing with extinction that is often more popular and more poignant than historical narratives documenting their declines. At its core, my research adds to the literature on constructions of Nature in American culture by connecting 19th-century declension narratives with 20th-century extinctions, and problematizes the American ideology of abundance.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76554034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
To what extent do our narratives support the work of ecological care? While working in anti-extinction conservation requires paying careful attention to the realities of precarity and ambiguity, this is not necessarily reflected in our public narratives of such work. Instead, as is typified in Jean Giono’s 1953 short story ‘The man who planted trees’, many conservation narratives are pitched in heroic modes, framing conservation labour as working to secure an obvious ‘good’ in perpetuity. In this paper, I think with practicing Buddhist and volunteer tree planter, Errol Greaves, and his work organising and working with dedicated humans helping to regenerate native forest on Te Ahumairangi Hill at the edge of Wellington City. Aiming to create a flourishing native habitat to support the endangered kākā (Nestor meridionalis), Errol’s work is largely in line with mainstream anti-extinction conservation goals in Aoteaora/New Zealand. However, his labour is framed by distinctly non-heroic narratives emphasising cooperation, ambiguity and precarity—emphases more closely related to the comedic, a mode of narration which Joseph Meeker identifies as better allowing for both ecological accommodation and responsiveness. In this paper, I consider the resources offered by various relational ontologies and non-heroic narratives for both responding well to ecological realities and sustaining work for a flourishing world, particularly in our current times of radically apparent precarity.
我们的叙述在多大程度上支持了生态保护工作?虽然反灭绝保护工作需要仔细关注不稳定性和模糊性的现实，但这并不一定反映在我们对此类工作的公开叙述中。相反，正如让·吉奥诺(Jean Giono) 1953年的短篇小说《种树的人》(The man who种树)所代表的那样，许多保护叙事都是以英雄的方式进行的，将保护劳动定义为确保一个明显的“善”的永久存在。在这篇文章中，我认为与实践佛教和志愿植树，埃罗尔·格里夫斯和他的工作组织，并与奉献的人一起帮助重建惠灵顿市边缘的阿胡马兰吉山上的原生森林。Errol的工作旨在为濒临灭绝的kākā (Nestor meridionalis)创造一个繁荣的原生栖息地，这在很大程度上符合新西兰Aoteaora/新西兰的主流反灭绝保护目标。然而，他的作品是由明显的非英雄叙事构成的，强调合作、模棱两可和不稳定——强调与喜剧更密切相关，约瑟夫·米克尔认为这种叙事模式更好地考虑了生态适应和回应。在本文中，我考虑了各种关系本体论和非英雄叙事所提供的资源，这些资源既能很好地应对生态现实，又能维持繁荣世界的工作，特别是在我们当前明显不稳定的时代。
{"title":"A Multispecies Collective Planting Trees: Tending to Life and Making Meaning Outside of the Conservation Heroic","authors":"L. McLauchlan","doi":"10.5130/csr.v25i1.6415","DOIUrl":"https://doi.org/10.5130/csr.v25i1.6415","url":null,"abstract":"To what extent do our narratives support the work of ecological care? While working in anti-extinction conservation requires paying careful attention to the realities of precarity and ambiguity, this is not necessarily reflected in our public narratives of such work. Instead, as is typified in Jean Giono’s 1953 short story ‘The man who planted trees’, many conservation narratives are pitched in heroic modes, framing conservation labour as working to secure an obvious ‘good’ in perpetuity. In this paper, I think with practicing Buddhist and volunteer tree planter, Errol Greaves, and his work organising and working with dedicated humans helping to regenerate native forest on Te Ahumairangi Hill at the edge of Wellington City. Aiming to create a flourishing native habitat to support the endangered kākā (Nestor meridionalis), Errol’s work is largely in line with mainstream anti-extinction conservation goals in Aoteaora/New Zealand. However, his labour is framed by distinctly non-heroic narratives emphasising cooperation, ambiguity and precarity—emphases more closely related to the comedic, a mode of narration which Joseph Meeker identifies as better allowing for both ecological accommodation and responsiveness. In this paper, I consider the resources offered by various relational ontologies and non-heroic narratives for both responding well to ecological realities and sustaining work for a flourishing world, particularly in our current times of radically apparent precarity.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89614684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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