Participatory Knowledge Of Motion: Ezhianishinaabebimaadiziyaang Mii Sa Ezhianishinaabeaadisokeyaang. The Way In Which We Live, That Is The Way We Write Stories., Erin E. Huner

Electronic Thesis and Dissertation Repository

This is a dissertation based upon the Customary Ways Dataset, which is comprised of 50 interviews given by Elders from Walpole Island First Nation, in 2010. The over-arching, community-designed research question that guided this dissertation was: How do the Elders of Walpole Island describe their relationship to the land? To answer this question, I co-designed a mixed-methods analysis that included traditional methods from the Social Sciences, including Grounded Theory, to establish emergent themes, and some simple statistical analysis using Chi-square and crosstab analysis. I also utilized methods closely related to the Humanities, deploying Story Mapping, Close Reading and a …

Beyond The Edge Of The Planted Field: Exploring Community-Based Environmental Education, And Invisible Losses In Settler And Indigenous Cultural Contexts, Samantha Da Rosa Holmes

Electronic Thesis and Dissertation Repository

The Walpole Island Land Trust and the Sydenham Field Naturalists came together for a focus group at the Walpole Island Heritage Centre and spoke of the relevance environmental education plays in the awareness of a shared history between communities from separate cultural contexts. From the focus group this research is able to contextualize the conversation between a non-Indigenous and an Indigenous community-based environmental organization, and their focus on the relationship between people, place, and history. The context of the conversation being the colonial legacies of land use management and educational practices and how these institutions prolong the effect of invisible …

Dirty Modernism: Ecological Objects In American Poetry, Michael D. Sloane

Electronic Thesis and Dissertation Repository

This dissertation examines how early-to-mid twentieth century American poetry is preoccupied with objects that unsettle the divide between nature and culture. Given the entanglement of these two domains, I argue that American modernism is “dirty.” This designation leads me to sketch what I call “dirty modernism,” which includes the registers of waste, energy, animality, raciality, and the sensual. Reading these registers, I turn to what I call “ecological objects,” or representations of how nature and culture come together, which includes trash, natural resources, inanimals, and tools. Through an ecocritical mode of analysis, I introduce dirty modernism with the Baroness Elsa …