The commercial hunting of harp seal pups galvanized animal rights in the s, culminating in the banning of sealskin products in Europe and the curtailment of trade in the United States. The seal in animal rights discourse is a type of object that needs saving in the form of protective measures to keep her safe from the rapacious greed of capitalism.
However, in Indigenous discourse, the seal is another relative, a relation whose presence makes all certainties about hierarchy, use-value, moral exemption, and human exceptionalism impossible. This essay re-thinks the figural dimensions of seals in Yupiit and Inuit storytelling practices alongside debates around over-harvesting, competing global interests, and animal rights to develop current activism for environmental justice for both humans and seals in a time of rapid change.
Inuit stories, legal statutes, and environmental conservation rhetoric all appear to be different, if not contradictory, types of narratives. Nevertheless, when read together, they reveal a shared ethics of care for the wellbeing of the seal. This care, I suggest, momentarily frees seals from their entrapment in an economy of use and provides a basis for understanding the North as a lived environment.
It contends that, for Steffler, the poem is its own ecosystem, one that sits in precarious balance with the world around it. The poems in this collection are exploratory rather than expository; their attempts to discover the self in nature are as ephemeral, slippery, and paradoxical as the language that gives them life. As a result, this article argues, Annabel is an intersex text in which everything is revealed to be more than one thing at any given time, a philosophy of people and places also found in the ecocriticism of Glen A.
Love and Lawrence Buell. The often difficult lives of the canine and human misfits that populate the novel, alongside their sometimes unexpected actions and decisions, call attention to the inadequacy of ecological and economic narratives that would promise full and perfect, if cutthroat, functionality.
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Both dogs and humans in Wild Dogs embody rankling remainders of the common-sense predator-prey binary; in the process, they initiate forms of care and relationship unaccounted for by the speculative presumptions of neoliberal biopolitics. I then explore how Coupland responds to these challenges by stretching form in two directions.
First, he juxtaposes and recycles a series of stories in a manner that capitalizes on lateral, shortened forms of attention, leading readers to detect larger patterns of significance within a database of what might initially seem like insignificant or banal details.
The latter opens new possibilities for conceiving of a collective, networked mode of political agency in the era of social media and global scale effects. PDF Front Matter. Travis V.
That Night We Were Ravenous. Poems. First Printing.
Mason Abstract EN: Critics have long noted a discrepancy between Canadian landscape and the imported European literary forms early Canadian writers used to describe a young country. Wanda Campbell Abstract EN: The island, and the fresh water island in particular, is a recurring motif in the work of early Canadian women writers. Allison K. Athens Abstract EN: The commercial hunting of harp seal pups galvanized animal rights in the s, culminating in the banning of sealskin products in Europe and the curtailment of trade in the United States.
Jessica L. It's here that they will make their last stand.
The fog lifts and they realize that just as at every other shrine, this one has a perimeter of silent worshippers—zombies standing in a huge circle around it. In an earlier encounter near a smaller pile of objects, they were able to blend in by staring and "worshipping" with the zombies, slinking away when the undead returned their attention to their strange shrine.
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But it doesn't work this time: The zombie with the baby doll shrieks, bringing the horde on to their location. Therese Marie-Ginette Guay , who had to kill her wife the previous day, refuses to run, instead allowing the zombies to swarm her. Celine Brigitte Poupart stands and fights, swinging her machete through the swarm until she too is brought down.
The zombies close in on Zoe, but right in time Tania leads them away, drawing the zombie's attention to the accordion she carries on her back. Zoe makes her way back to the bunker only to find it piled with dead zombies, defeated by Bonin during his retreat.
Bonin is still alive, but the bite in his neck spells his doom. He shares a joke with Zoe and sends her out with the shotgun he had intended to use on himself. Now there is only Zoe, who sets out on her own, discovering Tania's accordion along the way.
She comes across a smaller shrine, this one of children's toys, but doesn't run into any more zombies. After her long day of walking, a racecar driver seen at the very beginning of the movie picks her up on a forlorn highway. Maybe together they'll have better luck than Bonin, Tania and the others lost along the way. After the credits, Ravenous returns to the shrine of chairs. While Celine, Bonin and Tania managed to kill most of the zombie horde worshipping there, they are now zombie worshippers themselves.
That Night We Were Ravenous
While the ending of Ravenous is in some ways traditional—everyone dies—it can feel a little enigmatic, thanks to the aura of mystery built around zombie behavior. In Romero's zombie movies, the flesh eaters retain some of their habits from life. In Dawn of the Dead , zombies gather at the mall, instinct returning them to the place where they socialized in life.
In Land of the Dead , a zombie gas station attendant keeps at his post, meaninglessly squirting gas in imitation of how he'd once behaved.
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Ravenous takes a more mystical approach.
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