Abstract: The study examines how members of the historically white possessive and supremacist Church of Jesus Christ of Latter-day Saints in the United States (mis)appropriated Māori genealogy, known as whakapapa. The Mormon use of whakapapa to promote Mormon cultural memory and narratives perpetuates settler/invader colonialism and white supremacy, as this paper shows. The research discusses Church racism against Native Americans and Pacific Peoples. This paper uses Anthropologist Thomas Murphy’s scholarship to demonstrate how problematic the Book of Mormon’s religio-colonial identity of Lamanites is for these groups. Application of Aileen Moreton-Robinson’s white possessive doctrine and Hemopereki Simon’s adaptation to cover Church-Indigenous relations and the salvation contract is discussed. We explore collective and cultural memory, and discuss key Māori concepts like Mana, Taonga, Tapu, and Whakapapa. A brief review of LDS scholar Louis C. Midgley’s views on Church culture, including Herewini Jone’s whakapapa wānanga, is followed by a discussion of Māori cultural considerations and issues. The paper concludes that the alteration perpetuates settler/invader colonialism and Pacific peoples’ racialization and white supremacy. Genetic science and human migration studies contradict Mormon identity narratives and suggest the BOM is spiritual rather than historical. Finally, the paper suggests promoting intercultural engagement on Mormon (mis)appropriation of taonga Māori.


Abstract:  Although the actual welfare of nearby Aṉangu populations was so clearly disregarded throughout the period of British nuclear testing in South Australia in the 1950 s and 60 s, curiously, the aesthetics of the nuclear testing project itself were awash with Aboriginal-derived symbolism, imagery, and language. From the names of testing sites and operations, to the declaration by a member of the surveying crew to the media that a mushroom cloud was “a perfect portrait of a myall blackfeller written with atomic dust,” the nuclear testing was repeatedly associated with Aboriginality. This was not a practice unique to Australia; as Jessica Hurley notes, other nuclear-armed nations shared this “compulsion to name nuclear laboratories and technologies after [Indigenous] nations, practices and spaces” (2018, 97). In this essay, I draw on a range of textual sources —a memoir by government surveyor and raconteur Len Beadell, as well as less traditionally ‘literary’ texts (such as place-naming practices) —to examine the ways in which this appropriative act points to a complex process of disavowal that takes place in the settler imaginary. Focusing on the mid-century Australian context, I find that where the existential anxieties of the nuclear age meet the unconfronted violence and dispossession of colonialism, confused and uncanny visions arise; partial acknowledgements of the primacy of First Nations’ claims to country arise in the moment at which all the possibilities of nuclearism —megadeath, the new atomic potential for massive violence and destruction —are also present. In this field, a strange and morbid vision of settler / Indigenous reconciliation emerges from the settler cultural imaginary




Abstract: One of the most inventive and distinctive formal and generic interventions into modern writings about animals was the advent of the realistic wild animal story at the turn-of-the-century. As Adrian Hunter has pointed out, it was in the 1890s that ‘a three-way alignment between realism, the short story, and various forms of cultural radicalism and avant-gardism came into being,’ signalling the advent of a new modernist moment. The wild animal story, resultantly, demonstrates the current renegotiation of modernist literary and cultural contours with its formal and thematic preoccupations. Pioneered by Canadian writers Sir Charles G.D. Roberts and Ernest Thompson Seton, this unique genre interwove fiction with accounts of animal behaviour based on developments in animal psychology, cognitive ethology, and Darwinian theory. This chapter analyses how these authors use established narrative strategies such as naming, perspective, and narration, as well as more porous and prolific techniques such as identification and relationality. Roberts’s positioning of this genre as a means of reaching an ‘enlightened’ and ‘spiritual’ understanding of the ‘world of wonder’ opened by animal psychology, however, also raises political, cultural, and ethical questions about settler-colonialism. This chapter throws open the geographical, temporal, and aesthetic boundaries of these late nineteenth into twentieth century works to interrogate the unique contribution that the wild animal story provides to broader discussions of nonhuman animals in modernity.


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