Mining sick: Creatively unsettling normative narratives about industry,environment, extraction,and the health geographies of rural,remote, northern,and Indigenous communities in British Columbia

Rural, remote, northern, and Indigenous communities on Turtle Island are routinely—as Cree Elder Willie Ermine says—pathologized. Social science and health scholarship, including scholarship by geographers, often constructs Indigenous human and physical geographies as unhealthy, diseased, vulnerable, and undergoing extraction. These constructions are not inaccurate: peoples and places beyond urban metropoles on Turtle Island live with higher burdens of poor health; Indigenous peoples face systemic violence and racism in colonial landscapes; rural, remote, northern, and Indigenous geographies are sites of industrial incursions; and many rural and remote geographies remain challenging for diverse Indigenous peoples. What, however, are the consequences of imagining and constructing people and places as “sick”? Constructions of “sick” geographies fulfill and extend settler (often European white) colonial narratives about othered geographies. Rural, remote, northern, and Indigenous geographies are discursively “mined” for narratives of sickness. This mining upholds a sense of health and wellness in southern, urban, Euro‐white‐settler imaginations. Drawing from multi‐year, relationship‐based, cross‐disciplinary qualitative community‐informed experiences, and anchored in feminist, anti‐colonial, and anti‐racist methodologies that guided creative and humanities‐informed stories, this paper concludes with different stories. It unsettles settler‐colonial powers reliant on constructing narratives about sickness in others and consequently reframes conversations about Indigenous well‐being and the environment.     

En tiempos del condestable Dávalos: Enrique de Aragón,poeta quejoso en Crónica. Año de 1420, de Jerónimo de la Escosura

Infants of Aragon are very important figures in the history and literature of the nineteenth century, but it is rare that one of them, Don Enrique, is the protagonist. This work analyzes the romantic story Cronica. Año de 1420, published by Jerónimo de la Escosura in 1839. In it, Enrique de Aragón is a cunning courtier and a poet in love, and he manages to change history because he changes the story with his verses.     

Jaume Cabré's Viatge d’hivern and the Short Story Cycle

Critics have been uncertain as to the genre of Catalan writer Jaume Cabré's 2000 book, Viatge d’hivern. The confusion, I argue, is due to the fact that the volume is a short story cycle, a literary form situated midway between the novel and the short story collection. Forrest Ingram differentiates among composed, arranged, and completed cycles, and Cabré's comments in his Epilogue to Viatge d’hivern indicate that the book is an example of the third category. While he composed its fourteen narratives over a period of years, when he revised them for inclusion in a single volume he discovered that various threads, some secret and others more obvious, connected the stories. In this essay I examine ways in which theme, structure, and motifs, as well as recurrent imagery and wording, form a web of associations among the individual units of Viatge d’hivern.     

The Jacob Story: Between Oral and Written Modes

In this article I examine the relations between Jacob’s putative oral story and the pre-Priestly narrative. I argue that Hosea’s prophecy presents the version of Jacob's oral story related in his time and antedated by many years the composition of the story-cycle in its written form. Comparison of Hosea’s prophecy and Jacob’s narrative indicates the thorough way in which the exilic author worked the oral story he received in order to fit it to his ideological messages and religious concepts. To further examine the relations between the oral and written modes, I discuss the episode of the treaty between Laban and Jacob (Gen 31,45–54) in light of a Mari letter (A.3592). Comparison of the two episodes indicates that part of the biblical narrative rests on the oral story and other part was written by the late author. Evidently, the long process of oral transmission, the growth of the narratives in its course, and the creative reworking of the author make it impossible to either isolate the early oral layer within the present story-cycle or to date the stages of its growth in the oral process of transmission.     

我国最早向西方“佛朗机”学习的人──汪鋐传略考

本文简要介绍了汪 的生平传略,并认为他是中国最早率军抗击西方葡萄牙殖民者“佛朗机”入侵的要臣,也是引进西方先进武器：“佛朗机铳”并进行大规模推广使用的第一人。     

试论温峤

温峤墓是迄今为止南京地区发现的墓主身份明确、地位最高的东晋勋臣墓葬。本依据考古发现及献资料,对温峤家世、事迹和葬地进行比较全面的考察。     

论谷崎润一郎短篇小说的艺术特色

谷崎润一郎是日本唯关派文学大师。当前国内学者对其研究主要集中于其长篇小说方面,对其短篇小说尤其是其艺术特色研究甚少。本文欲从细腻的心理描写、精巧的奇妙构思、新颖的题材选取和独特的艺术视角等方面,解读其短篇小说集所呈现的艺术特色。     

Norman Duncan's First Short Story Cycle,The Soul of the Street: Correlated Stories of the New York Syrian Quarter

Norman Duncan (1871–1916) is best known as the Canadian expatriate author of adventure stories set in the fishing ports of Newfoundland at the turn of the last century. But Duncan, who was at the time a journalist in New York, began his career as a fiction writer in quite different territory. His first book was the mostly forgotten short story cycle The Soul of the Street: Correlated Stories of the New York Syrian Quarter (1900). In providing analysis of that book's cyclical structure and sociopolitical themes, the present essay shows that The Soul of the Street deserves to be better known for comprehensive literary-historical, political-cultural, and aesthetic reasons that should continue, some hundred years after its publication, to have an engaging, and indeed an increasing, relevance for our multicultural urban world.     

FEELING IS BELIEVING, OR LANDSCAPE AS A WAY OF BEING IN THE WORLD

This article is work‐in‐progress, an orientation of thought towards possibilities for individual human beings to diminish the distance between outer and inner landscapes imposed by cultural norms and happenstances such as exile. The dominance of visual landscapes and visual perceptions is seen as a pivotal problem, to be solved by the engagement of all the senses in landscape discourse and formation. All the senses are engaged in earliest childhood, as they have been in ‘primitive’ societies. While returning to either a state of childhood or primitivism is an impossible dream, it is possible to edge closer to human nature by engaging and honing all the senses, especially the ‘earth‐bound senses’ of feel, smell and taste. Cultivating those senses and developing discourse about them, and incorporating them into landscape formation and enjoyment, is much more difficult than having a discourse about sight and hearing, for which there is a rich and well‐developed symbolic language and which can be shared through various types of media. The way towards a deeper discourse about the earth‐bound senses, and the way out of the tyranny of the visual, is to be found in stories, as several thinkers suggest. The story told is autobiographical and literary – a mode of geographic writing that I developed in a 2004 book (Bunk?e 2004a), in which the complex dilemmas of home and road were explored. This article shows how in the early 1970s I defined the individual's landscape as ‘a unity in one's surroundings perceived through all the senses’, with imagination as the key human faculty. And I tell the story of how through complex circumstances, a visually and emotionally repugnant landscape became emotionally and intellectually attractive, with a scent, not a picture or image causing the initial attraction. The external and internal landscapes are thus unified, resulting in a sense of timelessness and placelessness of deep existential significance for the person.