Abstract: The concept of the Japanese nation, the “identity” of the Japanese people, and the external and internal political, ethnic, and historical relationships Japan has fostered have often been precariously feeble. These concepts, I argue, are especially prevalent regarding Japan’s relationship with the Ainu, the peoples Indigenous to Japan’s northernmost island, in Hokkaido. From the Tokugawa period (1600 C.E.–1868 C.E.) to the Meiji era (1868 C.E.–1912 C.E.), Japanese governmental bodies deployed significant colonial tactics either to culturally assimilate Ainu peoples into Japanese society or to alienate and ostracise Ainu communities to create an “exoticized” aesthetic and marked spatial “difference” from Japanese culture. It is the latter description which is central to this thesis and is the main method identified by which Ainu peoples are represented in modern Japanese-made media. This project includes a selection of primary works— Osamu Tezuka’s 1962 comic, Yuusha Dan, and Rintaro’s 1985 animated film, Kamui no Ken—as the basis for evaluation. This thesis aims to explore a broader discussion of Japanese creative works within historical contexts by performing a close reading of Yuusha Dan and Dagger of Kamui. Utilising frameworks, such as Tessa Morris Suzuki’s commentary on mass media’s representations of historical narratives, Sidney Xu Lu’s discussion of Malthusian expansionism, and Edward Said’s “Orientalism,” this analysis uncovers that contemporary Japanese media of the later twentieth century represents Ainu peoples and Ainu ancestral lands within mystifying, phantasmal, and exotic pretenses, thus perpetuating Meiji era colonial paradigms of Ainu peoples. In identifying these themes, this research underscores the intersection where Ainu myths become a foundation for the practical necessity of Japanese colonial realities, and how these notions are repeated and reinterpreted into modernity.


Abstract: This article takes up settler colonialism in Canada as operating within a ‘bionecropolitical’ structure, the main aim of which is the possession of land. The structure excludes-yet-retains Indigenous peoples toward that aim, absorbing into state-sanctioned institutional processes what can reify its legitimacy, and rejecting whatever threatens it. One method for achieving this is moralizing discourses, which frame Indigenous resistance as a danger to the nation. These discourses exclude-yet-retain Indigenous claims to sovereignty, epistemologies and ontologies, but also emotional affective responses to a history of colonial violence. Canada’s Truth and Reconciliation Commission exemplifies how settler institutions contain and moralize Indigenous trauma within a sanitized framework to absolve the settler state and moralize it against contestations and their affective bases that are inconvenient, unintelligible, and delegitimizing to the state. Within settler colonialism’s fragile imaginary, affects that threaten the national image of reconciliation and chronological progression from the country’s colonial past are actively undermined and characterized as a threat to peace and cohesion. Billy-Ray Belcourt’s poetry disrupts this epistemological order by foregrounding unintelligible affects– such as grief and melancholy—offering the possibility of queer Indigenous futurity. A To conclude, the article offers an epistemological shift toward ‘not-knowing’ from the theoretical coalitions between queer of color theory and Indigenous thought proposed in the work of Belcourt and Jodi Byrd.



Abstract: In 2015, The City of Tucson, Arizona became recognized as a UNESCO Creative City of Gastronomy, a title that has become central to its food tourism efforts and other projects of “gastrodevelopment.” This title recognizes Tucson’s unique and diverse food heritage and agricultural histories, which have been molded into a food story that has been articulated in the application to UNESCO and in local media and branding materials. This food story – a set of narratives about the region that have congealed into a more or less standardized form – is not merely a story, but holds symbolic and economic value for those telling it. In this article, we ask: what stories are told about Tucson’s food histories, and who is telling them? Through an analysis and reflection on local food media, we approach Tucson’s ‘official’ food story as a settler food story: a form of narration that centers and upholds white and settler conceptions of heritage, space, and place. Our analysis demonstrates how Indigenous knowledge and practices are portrayed as part of the past, separate from ‘modernity’; how Indigenous spaces are imagined as empty frontiers awaiting discovery by cunning white artisans and curious consumers; and how white subjectivities, discourses, and practices of consumption occupy the center of Tucson’s ‘official’ food story. In closing, we argue that these story lines – ones which operate under the banner of gastronomic ‘multiculturalism’ – play a role in reproducing forms of historical erasure, symbolic violence, and inequity within Tucson’s mainstream gastrodevelopment project and contemporary food system. In closing, we call for these stories to be pluralized, reimagined, and brought into alignment with food justice and Indigenous food futures.





top posts today

Archives

stats for wordpress