Uinigumasuittuq: the Pan-Arctic Sea Woman Tradition As a Source of Law and Literary Theory
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! ! UINIGUMASUITTUQ: THE PAN-ARCTIC SEA WOMAN TRADITION AS A SOURCE OF LAW AND LITERARY THEORY by Sarah Anne Brandvold A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in COMPARATIVE LITERATURE Department of Modern Languages and Cultural Studies University of Alberta © Sarah Anne Brandvold, 2018 Brandvold ii! ABSTRACT Although the pan-Inuit unikkaaqtuaq (story) of the origin of the Sea Woman is quite well-known among anthropologists, folklorists, and Religious Studies scholars, to date very little attention has been given to either the broader Sedna tradition, or its individual performances, as serious, canonical literature. This thesis thus endeavours to offer a literary reading of Alexina Kublu’s “Uinigumasuittuq: She who never wants to get married” as both an exemplary work of Inuit verbal art and as a living source of law and literary theory. The structure of my thesis is as follows: the Introduction and Methodology chapters clarify in detail the philosophical and methodological underpinnings of my approach, while the bulk of the remainder of my thesis is a close reading of Kublu’s own ‘performance’ of the story, followed by a Conclusion. The close reading itself is divided into three chapters, each roughly corresponding to the three narrative divisions within the story —herein referred to as The Dog Husband, The Storm Bird, and The Creation of the Sea Mammals— all of which are preceded by the respective sections of Kublu’s text, each of which is itself quoted in full. The chapter entitled “Unikkaaqtuat Poetics” describes the manner in which Kublu’s own highly contextualized performance of the text functions as a source of meta-literary critical theory, speaking as it does to issues of translation and presentation, oral-literary conventions and themes, and characterization and paradox. The chapter entitled “Kinship and Community Governance,” while continuing to pay close attention to the aesthetics of Kublu’s text, goes on to describe the manner in which twentieth-century colonialist incursions into Inuit physical and intellectual life sought to undermine the longstanding kinship structures that provided the foundation of traditional law and governance in traditional Inuit society, and suggests that, given this context, Kublu’s own performance of the tale functions as a life-giving act of ‘decolonial love.’ The chapter entitled “Uinigumasuittuq and Violence Against Women” describes the manner in which Kublu’s text Brandvold iii! speaks powerfully to the pressing issue of violence against Indigenous women and girls in Canada. Although the brutal act of gender-based violence at the heart of the Sedna story is frequently ‘softened’ or rewritten in other contemporary versions of the tale, most likely to stave off concerns that the tale somehow endorses violence against women, I argue that, on the contrary, this deeply disturbing, climactic act of violence —as well as the devastating consequences attending to this act of violence— actually warn against violence and mistreatment. Finally, in the Conclusion, I suggest some possible ways in which Canadian readers and auditors might respond to the Sea Woman story. Brandvold iv! ACKNOWLEDGEMENTS ! This project was funded in large part by the Social Sciences and Humanities Research Council (SSHRC) of Canada. I am also deeply grateful to the University of Alberta, Department of Modern Languages and Cultural Studies (MLCS), for providing me with funding and employment for much of my degree, and I would like to thank all of the MLSC faculty, staff, and students for having provided me with a stimulating and supportive academic environment in which to complete my studies. I would like to thank my two thesis supervisors, Keavy Martin and Laura Beard for agreeing to lend their expertise and support to this project, for their generous support and encouragement, and for providing me with incredibly helpful and detailed feedback and direction. I could not have picked a better committee! I would also like to thank my family, my partner Nathan and our two children, for their love and support throughout this process. Finally, I would like to thank the community of Iqaluit and the many friends we made during our time in the North. ! ! Brandvold v! TABLE OF CONTENTS ! ABSTRACT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!""! ACKNOWLEDGEMENTS !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"#! CHAPTER 1: INTRODUCTION!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! $! 1. THE SEA WOMAN""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""" #! 2. POSITIONALITY AND AUDIENCE"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""" $! 3. CANONICAL TEXTS, CANONICAL LITERATURES """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""" %! 4. INDIGENOUS LITERATURE AS A PRACTICE OF SOVEREIGNTY""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""" &! 5. ANGUSUGJUK NANUILLU / ANGUSUGJUK AND THE POLAR BEARS """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""#'! 6. ISUMA, LITERARY THEORY, AND THE LIMITS OF OBJECTIVE KNOWLEDGE """"""""""""""""""""""""""""""""""""""""""""""""#(! 7. ETYMOLOGICAL “AMATEURISM”: THE HERMENEUTICS OF “LOVE” """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""#)! CHAPTER 2: METHODOLOGY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!%$! 1. STORIES AS SOCIAL ACTIVITIES""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""'#! 2. THE UNIKKAAQTUAT GENRE """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""''! 3. ORAL LITERATURE AND THE TEXTUAL CONTINUUM """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""'*! 4. UINIGUMASUITTUQ AS A SOVEREIGN DISPLAY TERRITORY """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""+#! 5. IQ AS PHENOMENOLOGICAL KNOWLEDGE""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""++! 6. UNIKKAAQTUAT AS LAW"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""+$! 7. OUTLINE OF CLOSE READING """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""(,! UINIGUMASUITTUQ: SHE WHO NEVER WANTS TO GET MARRIED!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!&&! CHAPTER 3: UNIKKAAQTUAT POETICS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!&'! 1. CONTEXT AND FRAMING """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""(%! 2. TRANSLATION AND PRESENTATION"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""$*! 3. ARNAQTAQALAUQSIMAVUQ …"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""*#! 4. CHARACTERIZATION AND LAW"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""*(! 5. THE ANIMAL SPOUSE""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""*)! 6. PARADOX AND LAW """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""%'! 7. POETICS AND LAW """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""%(! 8. CONCLUSION: LAW AND RELATIONALITY"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""%)! UINIGUMASUITTUQ [CONT.]!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!($! CHAPTER 4: KINSHIP AND COMMUNITY GOVERNANCE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!()! 1. BACKGROUND AND CONTEXT """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""")+! 2. UINIGUMASUITTUQ’S DESIRE """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""")*! 3. ‘DOUBLY LISTENING’ """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""&,! 4. KINSHIP AND TRADITIONAL LAW"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""&+! 5. NEW NAMES, NEW SCHOOLS """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""&*!