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Permanent link (DOI): https://doi.org/10.7939/R3QN5ZR5P

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Indigenous Relationality: Women, Sex, and The Animate Open Access

Descriptions

Other title
Subject/Keyword
sexualities
animacy
nehiyawewin
performative
relationality
Indigenous
creative
Type of item
Thesis
Degree grantor
University of Alberta
Author or creator
Johnson, Brittany C
Supervisor and department
TallBear, Kim (Native Studies)
Harde, Roxanne (Augustana)
Examining committee member and department
Bear, Tracy (Native Studies, Women's and Gender Studies)
Rak, Julie (English and Film)
Department
Faculty of Native Studies
Specialization

Date accepted
2017-09-27T14:12:24Z
Graduation date
2017-11:Fall 2017
Degree
Master of Arts
Degree level
Master's
Abstract
“Indigenous Relationality: Sex, Women, and The Animate” discusses Indigenous relationality from within the context of animacy, kinship, and sexualities through a decolonial approach of Two-Eyed Seeing. Using nehiyaw ways of knowing as the foundational theoretical framework through which the author analyzes texts, this thesis undertakes close readings of Louise Erdrich’s Tracks, Katherena Vermette’s The Break, Zoe Hopkins’ It Takes a Village, and Susan Power’s The Grass Dancer. The author draws exclusively from Indigenous women writers for primary texts, and primarily Indigenous theorists and scholars to analyze the texts and formulate an argument for Indigenous relationality within Indigenous women’s writing. The creative practices of beadwork and burlesque are also analyzed as texts. Both are forms of Indigenous theorizing and relationality, and both serve as means of teaching, healing, and decolonizing. Within this thesis is also a small section from a larger body of creative writing. Creative writing in and of itself also does theoretical work, as Indigenous narratives provide teachings and create strong foundations for further learning; these stories do the important work of passing on knowledge to future generations. The use of nehiyawewin throughout this research is imperative to form a decolonial lens through which to analyze each text and/or performative act.
Language
English
DOI
doi:10.7939/R3QN5ZR5P
Rights
This thesis is made available by the University of Alberta Libraries with permission of the copyright owner solely for the purpose of private, scholarly or scientific research. This thesis, or any portion thereof, may not otherwise be copied or reproduced without the written consent of the copyright owner, except to the extent permitted by Canadian copyright law.
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Last modified: 2017:11:08 17:16:20-07:00
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