Abstract: The Canadian Broadcast Corporation’s (CBC) long-running documentary series, The Nature of Things, featured a controversial episode titled The Ice Bridge. This documentary forwarded and dramatically re-enacted a hypothesis known as the Solutrean Hypothesis, that asserts the Americas were peopled first by sailors from Europe. This hypothesis, having been thoroughly debunked, is one that gets re-considered with regularity among European and Euro-settlers in what is currently the United States and Canada. This fringe archaeology speaks directly to the settler colonial logic of elimination, which seeks to exterminate all traces of Indigenous people, to ‘indigenize’ the settler population. It is not alone in this but exists within a spectrum of ‘archaeologies’ from conspiratorial and paranormal pseudoarchaeologies, to fringe hypotheses, and accepted (in the past or currently) scientific approaches that continue the violence of settler colonialism. Each of these has a very real impact on the wellbeing of Indigenous peoples. Attachment to these understandings of the world also fuel white supremacy and colonial violence that can be expressed in dangerously physical ways. This chapter examines media’s engagement with archaeological approaches – mainstream, fringe, and pseudo – and their considerations of the people of the Americas. Cases in media coverage of pseudoarchaeological peopling of the Americas, more ‘scientific’ approaches in the Solutrean Hypothesis, and coverage of the controversial case of Kennewick Man are discussed for their contributions to the logic of elimination, anti-Indigenous violence, and narratives of white supremacy. This entry highlights how presenting archaeology is not neutral and while we may dismiss pseudoarchaeology, we must address it for the real damage it does. Not only this, but in the pursuit of scientific knowledge, more formal archaeologies and reporting around them can also replicate similar harm to marginalized people. Archaeologists must be responsible in action and mindful of the damage of settler colonialism in our work.


Description: In the nineteenth century, white Americans contrasted the perceived purity of white, middle-class women with the perceived eroticism of women of color and the working classes. The Latter-day Saint practice of polygamy challenged this separation, encouraging white women to participate in an institution that many people associated with the streets of Calcutta or Turkish palaces. At the same time, Latter-day Saints participated in American settler colonialism. After their expulsion from Ohio, Missouri, and Illinois, Latter-day Saints dispossessed Ute and Shoshone communities in an attempt to build their American Zion. Their missionary work abroad also helped to solidify American influence in the Pacific Islands as the church became a participant in American expansion. Imperial Zions explores the importance of the body in Latter-day Saint theology with the faith’s attempts to spread its gospel as a “civilizing” force in the American West and the Pacific. By highlighting the intertwining of Latter-day Saint theology and American ideas about race, sexuality, and the nature of colonialism, Imperial Zions argues that Latter-day Saints created their understandings of polygamy at the same time they tried to change the domestic practices of Native Americans and other Indigenous peoples. Amanda Hendrix-Komoto tracks the work of missionaries as they moved through different imperial spaces to analyze the experiences of the American Indians and Native Hawaiians who became a part of white Latter-day Saint families. Imperial Zions is a foundational contribution that places Latter-day Saint discourses about race and peoplehood in the context of its ideas about sexuality, gender, and the family.


Abstract: In this thesis I investigate mimetic Indigenous artwork as a productive site of settler colonial disruption. More specifically, I attend to the potential of these artworks to disorient romantic habits of viewing landscapes. Framed as a critique of settler logics, I argue that the underlying ideologies of Euro-American romantic landscape art have tracked from the 19th century to today to produce an illusory, aestheticized view of nature as grand and empty, distancing settlers from the material realities of land use and the violence of settler colonialism. In a contributory attempt to decolonize settler understandings of and relations to land, I look to artworks by Indigenous artists Kent Monkman and Nicholas Galanin as examples of subversive critique, claiming that through mimetic, intertextual techniques, their works strategically engage with settler colonial systems as a challenge to romantic settler land relations, prompting new engagement with memory, land, and place. Using decolonial studies and visual rhetoric as centralizing frameworks, I constellate concepts such as détournement (Debord, 1959), moral shock (Jasper, 1997) and settler common sense (Rifkin, 2013) to highlight the ways that these artworks disrupt settler land logics and work to fracture the “settler sublime.” This thesis ultimately advocates for a critical rupture in romantic conceptions of land; while mimetic Indigenous artworks may not constitute a paradigm shift on their own, they actively work to dismantle settler ideologies, creating space for Indigenous epistemologies to emerge.



Abstract: This project revalues the often underrated concept of ambivalence as a distinct concept pregnant with creative potentialities and applies it to settler Newfoundland culture as a research lens. In the process, our understanding and image of the place are enriched by reinterpreting a collection of charged contexts, which have hitherto been considered little related, as belonging to a pervasive and potentially creative web of cultural ambivalence. Contexts studied include the European colonization of the island, the precariousness in Newfoundland outports, the Smallwood era’s sociopolitical tangle, clashes between resource exploitation and love of the land, settler Newfoundlanders’ non-singular colonial identity, and the place’s puzzling quality as both centre and periphery. In terms of research questions, the project asks what a meaningful and productive understanding of ambivalence looks like and how it can be used to develop a richer understanding of settler Newfoundland.1 Methodologically, the research is based on discourse analysis with a focus on problematization, abductive reasoning, transversality, and speculation. These approaches share the capacity to open alternative trajectories of reasoning through the radical questioning or active ignoring of existing explanatory systems. This tenor is imperative for a project that attempts to reshuffle both the conceptual and interpretive packs by using an undervalued concept (ambivalence) to re-map a jagged terrain (an array of tensions in settler Newfoundland). Conceptual key findings include the unambiguity of ambivalence and its overlap with creativity. Within the Newfoundland case study, the lens of cultural ambivalence challenges supposedly demarcated spheres of agency and power in both colonial and postcolonial spheres and exposes Newfoundlanders’ enhanced capacity for creativity. Moreover, it allows me to debunk a number of persistent myths and to provide others with actual content. Finally, by assembling a variety of contexts not studied in this constellation before under the umbrella of cultural ambivalence, I am able to identify correlations that have previously gone unnoticed or underappreciated. The resulting web of ambivalence provides a rhizomatic explanatory grid that establishes a creative facet of the place and exposes new leverage points for addressing cultural tensions. This recommends cultural ambivalence as a potent prism for borderlands with complex colonial histories more generally. 1Please note that, with the local settler society and culture as my object of study, my focus is on the island part of the province of Newfoundland and Labrador, where the large majority of the settler population resides.