Placing Identity: Town, Land, and Authenticity in Nunavut, Canada

Recent demographic changes have made settlement patterns in the Canadian Arctic increasingly urban. Iqaluit, capital of Canada’s newest territory, Nunavut, is home to the largest concentration of Inuit and non-Inuit populations in the Canadian North. Despite these trends, Inuit cultural identity continues to rest heavily on the perception that to learn how to be authentically Inuit (or to be a better person), a person needs to spend time out on the land (and sea) hunting, fishing, trapping, and camping. Many Inuit also maintain a rather negative view of urban spaces in the Arctic, identifying them as places where Inuit values and practices have been eclipsed by Qallunaat (‘‘white people’’) ones. Some Inuit have even gone so far as to claim that a person is no longer able to be Inuit while living in towns like Iqaluit. This article examines those aspects of Canadian Inuit identity, culture, and tradition that disfavor the acceptance of an urban cultural identity. Based on ethnographic research conducted on Baffin Island in the mid 1990s and early 2000s, the many ways Iqaluit and outpost camp Inuit express the differences and similarities between living on the land and living in town are described. Then follows an examination of how the contrast of land and town is used in the rhetoric of Inuit politicians and leaders. Finally, a series of counterexamples are presented that favor the creation of an authentic urban Inuit identity in the Arctic, including recent attempts on the part of the Nunavut Territorial Government to make education and wage employment in the region more reliant on Inuit Qaujimajatuqangit, or Inuit traditional knowledge.1

Can Developing Women Create Primitive Art? and Other Questions of Value, Meaning and Identity in the Circulation of Janakpur Art

In this article, I examine the values and meanings that adhere to objects made by Maithil women at a development project in Janakpur, Nepal – objects collectors have called ‘Janakpur Art’. I seek to explain how and why changes in pictorial content in Janakpur Art – shifts that took place over a period of five or six years in the 1990s – occurred, and what such a change might indicate about the link between Maithil women’s lives, development, and tourism. As I will demonstrate, part of the appeal for consumers of Janakpur Art has been that it is produced at a ‘women’s development project’ seeking to empower its participants. And yet, the project’s very successes threaten to displace the producers (and what they produce) from their perceived qualities/identities as ‘traditional’ and ‘primitive,’ thereby bringing into question the authenticity of the ‘art’ they produce. The conundrum begs this question: can developing women produce primitive art?

Transnationalism and Identity: the Concept of Community in Ghanaian Literature and Contemporary Ghanaian Culture

In my thesis, I use anthropology, literature, and adinkra, an indigenous art, to study Ghanaian concepts of community from an interactive standpoint. While each of these disciplines has individually been used to study the concept of community, the three have not previously been discussed in relation to one another. I explore the major findings of each field—mainly that in anthropology, transnational informants find communities upheld; in literature, transnational characters find the opposite; and in adinkra, there are elements of both continuity and dissolution—to discuss Ghanaian constructs of community in the transnational world. Throughout time, there have always been transnational individuals and concepts, but as globalization continues, transnationalism has become an ever-more vital topic, and combined with the common anthropological discussion of tradition and modernity, its influence on developing countries, like Ghana, is significant. Therefore, in my thesis, I explore how differing conceptions of community present themselves in each discipline, and how those divergences create a new understanding of place and identity.

Psychological Real Estate: Fractured Female Identity in the Victorian Novel

"Psychological Real Estate: Fractured Female Identity in the Victorian Novel" examines the use of domestic space in three Victorian novels, Charlotte Bronte's Jane Eyre (1847), Mary Elizabeth Braddon's Lady Audley's Secret (1862), and George Eliot's Middlemarch (1871-2). Because Victorian gender identity was conceived of in spatial terms, this thesis explores how the three female authors use complicated domestic environments to engage the problem of conventional Victorian femininity. In the Victorian mindset, a woman's place is confined to the home, or private sphere; however, even the private sphere is intruded upon by public spaces. Expected to conform to the Victorian formulation of femininity in public spaces within the home, women had only their private spaces to cultivate the unique, individualistic aspects of their selves. This thesis explores the ways in which the female protagonists negotiate these gender encoded spaces to argue that because Victorian women had to maintain separate and often disparate identities within domestic space, their identities became problematically fractured. Additionally, in each of these texts, the authors use the failure or loss of the estate, the structure which rigidly upholds the gendered binaries, to expose the harm such fracturing identity formulation caused for Victorian society as a whole. This thesis concludes by examining the final residences of the female characters and arguing that the authors use these final private spaces to assert more feminist re-envisionings of their society's construction of femininity.