By Chantal Nadeau
Fur Nation strains the interwoven relationships among sexuality, nationwide identification, and colonialism. Chantal Nadeau exhibits how Canada, a white settler colony, bases its lifestyles and its nationhood on a fancy sexual economic system in response to girls wrapped in fur.
Nadeau strains the centrality of fur via a sequence of interesting case stories, including:
* Hollywood's tackle the 330 yr historical past of the Hudson Bay corporation, based to use Canada's wealthy fur resources
* the lifetime of a postwar fur model photographer
* a Fifties musical referred to as Fur Lady
* the conflict among Brigitte Bardot's anti-fur activists and the fur industry.
Nadeau highlights the relationship among 'fur women' - girls donning, exploiting or selling furs - and the beaver, image of Canada and nature's grasp builder. She indicates how, in postcolonial Canada, the kingdom is sexualised round lady copy and fur, that's either an important consider monetary improvement, and a strong image wherein the country itself is conceived and commodified. Fur Nation demonstrates that, for Canada, fur rather is the material of a state.
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Additional info for Fur Nation: From the Beaver to Brigitte Bardot (Writing Corporealities)
Part of the answer to these questions is embedded in a repositioning of subalternity as a series of touches, of critical intimacies. Subalternity is less a status, an identity, than a complex nexus of relationships that make women simultaneously and alternatively symbolic commodity, economic makers, and sexual traders. Through the series of points of contact between fur and skin, subalternity evokes an extension. If for Spivak, subalternity has a definite geographic quality, let’s stretch this quality through its transversality/ transnationality to reach that of the female tissue.
Using the Hollywood production Hudson’s Bay (I. Pichel, 1940–1), a ﬁlm that maps the origins of a nation onto stories of male bonding and beaver hunts, this chapter seeks to uncover the fascination – cultural and political – with return to the wilderness as the epitome of national unity and triumphant colonialism. “Displacing” such idyllic visions, I show how the double articulation between the homosocial wilderness and the commodiﬁcation of the beaver constitutes a critical space in which the ties between geography, sexuality, and bodies incite a sexualization of the grand narrative .
I battle to reveal a female subject – here the fur lady – as a producer and reproducer. Through these two apparently inseparable dimensions of subjectivity and experience, the female agency is shaped by a form of “transnational literacy” to echo Spivak, “a sense of the political, economic, and cultural position of the various national origin places in the ﬁnancialization of the globe” (Spivak 1996: 295). With regard to the speciﬁcities of popular and fantastic stories of the fur trade, this re-productive mediation is necessarily reenacted within the contours and conditions of the colony and the nation.