University of Victoria Journals
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A Discursive Construct of Race in America: The Jim Crow Analogy and the Study of Mass Incarceration
No full textA very specific racial discourse defined the Jim Crow era in the United States. Many believed that overturning the laws of segregation and oppression that defined the Jim Crow era through court decisions and legislation would fundamentally change racial discourse in the United States. However, in the 1990s and 2000s, scholarship on the mass incarceration of black American men emerged which invoked the Jim Crow analogy. This scholarship claimed that the racial caste system that had defined the Jim Crow era had simply evolved and was as present as ever. The utilization of the Jim Crow analogy suggests that as a society, the United States has maintained the same racial realities since the turn of the 20th century. Scholars have set up opposing camps in favour of and against the use of the Jim Crow analogy. This paper attempts to explore the divide that has emerged in the study of mass incarceration. 
Sander Verhaegh, "Working from Within: The Nature and Development of Quine’s Naturalism."
No full textOral History and Cultural Preservation in Larissa Lai’s The Tiger Flu
No full textLarissa Lai’s The Tiger Flu (2018) explores a potential future of environmental devastation and biologically innovative magical realism. This essay focuses on Lai’s preoccupation with forms of cultural preservation and the ways in which the changeable nature of language in oral histories ensures the dissemination and preservation of the most important parts of culture. By examining how Lai contrasts female-dominated oral history with corporate monopoly, rampant militarism, and questionable biological experimentation, this essay will navigate the ways in which Lai proposes that our current attempts toward cultural preservation are lacking
Knitting for our Lives: The Appropriation of Cowichan Sweaters by the Hudson’s Bay During the 2010 Vancouver Olympics
No full textIn 2010, the Hudson’s Bay Company (HBC) produced a mass-manufactured sweater as a part of the official merchandise for the Vancouver Winter Olympics. The sweater turned into a national media controversy, with reporters and the public questioning whether the HBC committed an act of appropriation. In local and provincial newspapers, representatives of the Cowichan Nation stated that the HBC sweater shared many of the same characteristics as a Cowichan sweater. The Cowichan sweater is a traditional Indigenous hand-knitted item crafted by several Coast Salish bands throughout Vancouver Island and the mainland of British Columbia; the main producers of the sweater are knitters from the Cowichan Nation, located in what is now known as Duncan, BC.In my paper, I will analyze how the HBC’s imitations alter the Cowichan sweater’s aesthetics, as well as affect those who create the original garments. I will argue that the creation of the HBC Olympic sweater constitutes as a form of cultural appropriation since the spinoff sweaters have appropriated designs, which derive from traditional forms of knowledge and traditional practices of blanket weaving. Secondly, I will demonstrate that the Cowichan people have an economic reliance on knitting, noting that this art is either a main or supplementary income for families who may already have a high need for economic assistance. Finally, I suggest that such acts of appropriation misrepresent Cowichan peoples and are a continuation of colonization. Without respecting Indigenous traditional practices and disregarding the economic impact of appropriation, there is a perpetuation of oppression for the Cowichan peoples, as well as any Indigenous nation facing appropriation. This is especially important as appropriation of Indigenous cultures
Water + Pigment + Paper: Experiments in Watercolour from the AGGV Collection, Victoria: Art Gallery of Victoria, 30 January – 23 May, 2016,
No full textDrawing exclusively from the Art Gallery of Greater Victoria’s (AGGV) permanent collection, the exhibition Water + Pigment + Paper: Experiments in Watercolour from the AGGV Collection brought together over one hundred watercolour paintings spanning nearly two hundred years of production from the late 1700s to the first decades of the Twentieth Century