http://hdl.handle.net/1974/6145 Mon, 20 May 2013 00:33:15 GMT 2013-05-20T00:33:15Z http://hdl.handle.net/1974/7781 Title: Failure Theatre: An Artist's Statement Authors: Stanley, Sarah Garton Abstract: Failure Theatre: An Artist’s Statement, is an invitation to a rumination on failure. The project is divided into four discreet offers that combine together to form a portrait of failure. A full play text, a manifesto and a choreographed response to research as well as an Artist Statement merge into a pastiche that sheds light on failure’s possible position(s) within the Canadian theatrical milieu. Basing the overall approach on work by Judith Halberstam, Sara Ahmed, Ann Bogart plus several other Feminist, Queer and Performance authors, this thesis examines failure as a force for resistance and change. Description: Thesis (Master, Cultural Studies) -- Queen's University, 2013-01-28 15:45:13.857 Thu, 31 Jan 2013 05:00:00 GMT http://hdl.handle.net/1974/7781 2013-01-31T05:00:00Z http://hdl.handle.net/1974/7563 Title: Decolonizing Anarchism: Expanding Anarcha-Indigenism in Theory and Practice Authors: Lewis, Adam Abstract: In this thesis I argue that anarchism, as a political philosophy and social movement practice committed to resisting all forms of oppression and domination, needs to place colonialism more clearly and consistently at the centre of its analysis of interlocking systems of oppression. I argue that colonialism has largely been absent as a system of domination and oppression within anarchist theory and practice, with the exception of a small number of theorists and activist groups. My contention is that an anti-colonial orientation needs to be further encompassed in part because of anarchism’s commitment to resisting all forms of oppression and domination, but also because anarchist movements carry out and theorize resistance against the backdrop of settler colonial realities and on Indigenous lands. This thesis contributes to these aims by seeking to expand and push further work done on anarcha-Indigenism that examines the possible points of contact and resonance between anarchist and Indigenous politics, philosophy and action. I conceptualize anarcha-Indigenism first as a ‘third space’, following post-colonial theorists, and extend this concept towards an ‘n-dimensional’ space of meeting, where theoretical perspectives can come to engage with one another. This space consists of points of contact and resonance chiefly between Indigenist, anarchist and feminist theory and practice, but also extends to any perspective that might meet the core commitments of anarcha-Indigenism, namely resistance to all forms of oppression and domination. Within the ‘n-dimensional’ space of anarcha-Indigenism I examine the possibilities of anti-colonial research methodology, solidarity relationships between settlers and Indigenous peoples, engagements between anarchist and Indigenous feminisms and contemporary manifestations of anti-colonial anarchist resistance against the 2010 Vancouver Olympics and the Toronto G20. These successive chapters seek to make anti-colonial interventions into anarchist theory and practice as well as further develop the richness of anarcha-Indigenism and its complexities. Overall, I argue that anarcha-Indigenism, as an ‘n-dimensional’ space of meeting can further resistance to all forms of oppression and domination, and has the ability to make anti-colonial interventions into anarchist theory and practice specifically. Description: Thesis (Master, Cultural Studies) -- Queen's University, 2012-09-30 23:49:58.642 Mon, 01 Oct 2012 04:00:00 GMT http://hdl.handle.net/1974/7563 2012-10-01T04:00:00Z http://hdl.handle.net/1974/7518 Title: Terrance Houle and Adrian Stimson: Exploring Indigenous Masculinities Authors: Sutherland, ERIN Abstract: The exhibition “Terrance Houle & Adrian Stimson: Exploring Indigenous Masculinities” showcased the performance art of Terrance Houle (Blood/Ojibway) and Adrian Stimson (Siksika) at the Union Gallery in Kingston, Ontario from March 20th to March 22nd, 2012. Both artists used the occasion to interrogate how Indigenous identities are constructed and perceived. The artists’ interaction with the audience and the space of the gallery itself acted to destabilize lingering colonial beliefs about Indigenous identity. This thesis explores how the Kingston performances investigate the historical construction of Indigenous masculine identities. Through the artists’ own embodiment of historical knowledge (both colonial and Indigenous knowledges) and their interaction with the audience and gallery space, the performances challenged and reimagined colonial perceptions of Indigenous masculine identity as a singular, static form. The performances served to translate alternative knowledges about Indigenous men and models of Indigenous masculinity, a dynamic I analyze in this thesis as a larger set of tactics and effects available to artists decolonizing Indigenous masculinities. Description: Thesis (Master, Cultural Studies) -- Queen's University, 2012-09-25 21:04:21.008 Wed, 26 Sep 2012 04:00:00 GMT http://hdl.handle.net/1974/7518 2012-09-26T04:00:00Z http://hdl.handle.net/1974/7494 Title: INTERROGATING SUSTAINABLE DEVELOPMENT: A CASE STUDY OF LARGE-SCALE MINING IN COLOMBIA Authors: Rivera-Sotelo, AIDA-SOFIA Abstract: In this thesis, I examine the case of the Canadian-based multinational mining corporation GreyStar resources Ltd. in Colombia. Angosturas is GreyStar’s large-scale gold mining project in the sensitive wet highland of páramo de Santurbán in the northeast of the Andes. Although GreyStar has undertaken explorations in this area since 1994, Colombia’s Ministry of Environment denied the environmental license to the company to start with extractions in 2011. I suggest that the government’s decision must be understood in the context of massive mobilizations against the project in large cities such as Bucaramanga and Bogotá as well as the principle of sustainable development (hereafter SD). The latter forms part of the 1991 Colombian constitution, and thus, through this legal presence, is considered to provide environmental protection in the country. Despite this government’s recent ruling, GreyStar (which renamed itself ‘Eco Oro’ after the 2011 decision) and other mining companies (e.g. Ventana Gold) have continued their quest to gain permission to begin with extractions in Santurbán. I explore why these continued attempts to persuade the government regarding extraction licensing is possible. In doing so, I critically investigate the principle of SD, which is central to the resolution by which the Ministry of the Environment denies the environmental license to Eco Oro (GreyStar). In other words, this thesis asks why SD allows for the classification of large-scale mining as a ‘common-good’ activity, which has negative implications on attempts to designate certain ecosystems (e.g. páramo) as common-goods on the basis that there are to be sustained as such, and therefore, an unequivocal moratorium on large-scale mining in these ecosystems is necessary. What and whose common-good does large-scale mining in sensitive ecosystems represent? I argue that in the scope of SD, commoditized nature is vulnerable to the volatility of markets and corporate profitability. This thesis is a criticism of SD and the limitations it places on hearing certain kinds of languages and discourses that resist the key assumptions of SD. The case study allows for addressing a gap in the existing literature, which is the distinctive situation of no legally considered ethnic minorities (e.g. small farmers, small miners, and the cities). Description: Thesis (Master, Cultural Studies) -- Queen's University, 2012-09-24 10:28:50.601 Mon, 24 Sep 2012 04:00:00 GMT http://hdl.handle.net/1974/7494 2012-09-24T04:00:00Z