Abstract: The initial settler colonization of Canada involved the implementation of the settler colonial Doctrine of Discovery on Indigenous lands to make them ‘open’ for white settlement and ownership, along with capitalism and heteropatriarchy to assert white settler dominance over Indigenous lands, cultures, and bodies. Although it has been over 500 years since first contact between white Europeans and Indigenous peoples in Canada, the ideologies that paved the way for white settlement in Canada are continually reproduced through social institutions, such as the legal system, to maintain settler domination. This thesis explicates the connections between settler colonialism, capitalism, and heteropatriarchy within Saskatchewan and Canadian law to analyze the commodification of Indigeneity as a tool for ongoing settler colonization. Grounded in a Métis feminist theoretical framework, I investigate how and why The Heritage Property Act (1979-80) steals and commodifies Indigenous cultural artifacts for settler government profit. Through a critical literature review, case study of the above-mentioned act, and Métis dreamwork, I identify two themes: the Settler Timeline and the Commodification of Indigeneity. Importantly, this thesis recognizes that many Indigenous individual and community identities evolve through links between the past and present, which Indigenous peoples reflect on to move into a good future. As such, cultural artifacts are paramount to cultural identity and continuity within Indigenous nations and communities. The findings of this thesis reveal that the ongoing settler conceptualization of Indigenous peoples as uncivil epistemically justifies the commodification of Indigenous cultural artifacts. This thesis also suggests that, just as decolonization within the settler colonial context necessarily requires the repatriation of all lands, it also requires the repatriation of all stolen and commodified Indigenous cultural artifacts.


Abstract: To date, genocide studies has maintained certain asymmetric typologies that demarcate physical from cultural forms of destruction and gendered violence as distinct from homogenous narratives of mass physical violence. In this dissertation, I argue that assumptions underlying these binaries are rooted in anthropocentrism. In genocide studies this translates into a narrow focus on physical human existence and destruction that overlooks the complex and multiple ways through which an ethnic or cultural group imagines itself, maintains collective identity, and renegotiates its social relations in and through genocide, as part of a human-ecological assemblage. Furthermore, this limited focus obscures the gendered embodiment of genocidal violence and the depth to which gendered bodies harbour pain and trauma. To date, if gendered violence is noted, most often it is relegated as secondary to the preservation of human life. I transverse these asymmetries to examine the dynamism of group life and the ecological and gendered materialities and social relations that give meaning to the individual and group’s existence. Protecting human life will always be a significant focus of genocide studies and prevention. However, when we isolate human beings from the multiple relations that bring meaning to their lives, we miss the opportunity to more fully grasp what makes genocide possible, what genocide destroys, and the complex harms it leaves in its wake. In this dissertation, I examine Khmer Cambodian and Anishinaabeg and Cree collective identities as dynamic and evolving relational assemblages. By doing so, I open genocide studies to several insights from Indigenous and settler colonial studies and feminist new material theories: 1) An understanding of the group and its attempted destruction beyond anthropocentric terms; 2) A non-linear and dynamic genocidal temporality; 3) A more expansive understanding of and response to gendered and relational harms in genocide. Importantly, the key argument that I make in this dissertation is that genocidal destruction operates on multiple fronts; ecological and gendered materialities and social relations are mutually targeted in genocide—at times conjointly, at other times, unevenly. Therefore, this dissertation provides insight into an assemblage (rather than yet another asymmetric typology) of genocidal destruction.




Abstract: This thesis will explore the prose of Tim Lilburn, particularly his trilogy of essay collections: Living In The WorldAsIf It Were Home, Going Home, and The Larger Conversation. These books are a record of Lilburn’s project of autochthonicity — an attempt to live undivided from the places he lives — and the challenges ofsuch a journey as a European settler on stolen Indigenous land. Lilburn’s approach to this endeavour, which he considers a process of decolonization, resuscitates European contemplative thought to remedy the sapiential poverty of white settler culture and identity. Throughout this thesis, I examine the epistemological significance of Lilburn’s retrieval of these European traditionsinto NorthAmerican colonial modernity — attending to what they reveal about the interior dispositions of white settler subjectivity and the cultural trappings of late capitalism. By engaging with the paradoxes coursing through Lilburn’s body of work — a linguistic form famousfor defying logic — I make a case for the importance of epistemic impasse, or aporia. That is, I argue that the peculiarity of Lilburn’s paradoxical thought, or the difficulty of grasping it, can, if one lets it, alert one to one’s own epistemic allegiances. And these allegiances, I will argue, have had devastating consequences not only for Indigenous peoples, but also for European settlers themselves. Ultimately, I argue that the paradoxical shape of Lilburn’s thought gestures toward the need for an ascetical, and therefore countercultural, knowledge.






Abstract: This thesis applies Edward Said’s thought to Canadian settler colonialism. I draw upon Said’s idea of contrapuntal reading to understand settler colonialism as an interdependent and coconstitutive relationship between domination and resistance. Contrapuntal refers to counterpoint in music, where two or more distinct melodic lines occur simultaneously. Each line is independent as a musical phrase but sounds out interdependently in the composition as a whole. I use this contrapuntal approach as a method of analysis and as the foundation for a normative practice of reimagining and rebuilding political community. Using contrapuntal analysis, I examine the installation ceremony of Mary Simon as the Governor General of Canada and the installation ceremony of Kevin Hall as the President of the University of Victoria to elucidate the limits of the foundational logic that underpins these attempts to constitute political community. I then consider potential alternative constitutional perspectives, drawn from Indigenous constitutionalisms, that resist and do not rely on settler colonial domination. Contrapuntal constitutionalism, the outline of a political practice for Indigenous-settler relations, grows out of what my analysis discloses. By extending Said’s use of counterpoint, in conjunction with Indigenous, prefigurative, and music theories, I contend with what a contrapuntal approach to anti-colonial constitutional politics could look like. The goal of this thesis is threefold: to make the case for the importance of Said’s thought to understanding the present manifestations of Canadian settler colonialism; to illuminate the dominating tendencies of Canadian political community dressed in the guise of palliative narratives of multicultural harmony; and to disclose an alternative constitutional relationship that does not further entrench domination as necessary and inevitable.