(Re)mapping Landscapes: De-normalizing “Manifestalgia” or How Is the Imaginative Poetic Panorama Being Re-Indigenized in Queer and Feminist Indigenous Arts
Landscapes have had an instrumental role in the construction of U.S. and Canadian nation-states from the nineteenth century onwards, consistently accompanying the collective imagination of these nations in their journey towards a sense of a “unified” identity. Nevertheless, such representations natu...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/ejas, |
|---|---|
| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Anglais |
| Baskı/Yayın Bilgisi: |
European journal of American studies
2026
|
| Konular: | |
| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | Landscapes have had an instrumental role in the construction of U.S. and Canadian nation-states from the nineteenth century onwards, consistently accompanying the collective imagination of these nations in their journey towards a sense of a “unified” identity. Nevertheless, such representations naturalized Judeo-Christian settler heteronormative values and spatiotemporal visions of extraction upon Indigenous peoples and nature; visions that generally left (queer and Two-Spirit) Indigenous subjects out of the frame. One such vision that this paper identifies is that of “Manifestalgia,” combining the narratives of Manifest Destiny and a nostalgic utopianism, that—as depicted in the paintings—requires Indigenous bodies to have vanished since the very moment of arrival for settler futures to be imaginatively justified. This paper initiates thus an interdisciplinary dialogue between art and poetry that interrogates the settler-colonial rhetoric through the lens of queer Indigenous “(re)mapping.” By approaching the visual and poetic works of artists and authors such as Kent Monkman (Two-Spirit, Cree, ocêkwi sîpiy, Fisher River Cree Nation, Treaty 5), Tommy Pico (Kumeyaay Nation), and Jana-Rae Yerxa (Anishnabee, Treaty 3), this article approaches the re-indigenization of imaginative landscapes not only as visual phenomena but as embodied forms of queer Indigenous (re)mapping, thus foregrounding queer Indigenous resurgence and futurities. |
|---|