https://cwrc.cs.ualberta.ca/index.php?title=Special:Contributions&feed=atom&target=KateHigginsonCWRC - User contributions [en]2024-03-28T12:08:09ZFrom CWRCMediaWiki 1.15.1https://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:13:25Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. {related question: Can CWRC devise ways to add critical value to existing digitized collections (be they primary e-text databases, museum catalogue records, or biographical encyclopedia entries)? Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?}<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = Heather Zwicker's emphasis on tools for place-based analysis and multi-media capacities: http://cwrc.cs.ualberta.ca/index.php/CWRC:HeatherZwicker<br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:09:10Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = Heather Zwicker's emphasis on tools for place-based analysis and multi-media capacities: http://cwrc.cs.ualberta.ca/index.php/CWRC:HeatherZwicker<br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:08:43Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = Heather Zwicker's emphasis on place-based analysis and multi-media capacities http://cwrc.cs.ualberta.ca/index.php/CWRC:HeatherZwicker<br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:08:32Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = Heather Zwicker's emphasis on place-based analysis and multi-media capacitieshttp://cwrc.cs.ualberta.ca/index.php/CWRC:HeatherZwicker<br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:07:29Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = http://cwrc.cs.ualberta.ca/index.php/CWRC:HeatherZwicker<br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T20:00:04Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* ''Thick Literary Histories'': I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* ''Indigenous Nation’s Names'': As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* ''Issue-based Analysis'': Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T19:58:52Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* Thick Literary Histories: I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* ''Aboriginal Oral Stories'': This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* Indigenous Nation’s Names As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* Issue-based Analysis Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = present & future<br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T19:57:28Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: <br />
<br />
* Thick Literary Histories I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] <br />
<br />
* Aboriginal Oral Stories This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? <br />
<br />
* Indigenous Nation’s Names As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. <br />
<br />
* Issue-based Analysis Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them?<br />
|scope = broadly applicable<br />
|when = <br />
|keywords = annotate, share, map, historicize, visualize, multi-media, indigenize<br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T19:54:43Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general. My introduction to collaborative humanities computing came a number of years ago as a GRA at Guelph for the Orlando Project.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = In lieu of a single story, I’ll list here a few quite specific research scenarios and challenges I would be keen to see us consider as CWRC develops: * Thick Literary Histories I’m interested in tools that facilitate thick or multi-factored analyses of a particular place at a particular moment in time (something Orlando’s chronological and location tags make possible in many ways). To take an example from my past research, I wanted to get a sense of how local Cree accounts (often preserved in oral or familial histories, or in local newspapers) diverged from more widely-circulated settler histories of Mistahi Maskwa or Chief Big Bear’s involvement in the conflict at Frog Lake during the Métis Resistance of 1885 and to consider these accounts in light of the economic, racial and colonial histories at play in the west and for Mistahi Maskwa’s nation at this moment in time. [I noticed on the wiki that Heather Zwicker made a related note of her interest in tools that allow us to map or visualize or interact with multiple narratives of a particular place: thank you, Heather, for the links you shared!] * Aboriginal Oral Stories This may be beyond CWRC’s scope, but I’m also interested in how the crucial oral nature of much Aboriginal literature or story might be addressed in this type of technological context: working within the bounds of acceptable reproduction, might we consider the inclusion or linking to of sound or video recordings of both older Aboriginal stories (held, for instance, in certain anthropology museum collections) and of more recent literary readings or performance art pieces (like those archived online at Vancouver’s Grunt gallery for instance)? * Indigenous Nation’s Names As a minor note to the above, I’d mention the long-sanding issue of naming or labeling Aboriginal nations within Canadian cultural scholarship. Both out of respect for current Indigenous preferences and protocol around self-naming and for accuracy (to avoid replicating historical misidentifications or misuses of certain labels), there is a need to be aware of how Indigenous content is tagged or identified and of how the Aboriginal nation in question presently prefers to represent or identify itself. * Issue-based Analysis Having traced, as part of my doctoral work, accounts or representations of cross-cultural captivity and confinement in many works that had not ever been classified or discussed as ‘captivity narratives’ per se, I’m interested in how tagging for issues or themes could be used to facilitate the analysis of older works through new or alternate critical lenses. Might literary works in the Early Canadiana Online database, for example, be tagged or otherwise annotated (critically and thematically) by scholars familiar with them? <br />
|scope = <br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T18:53:16Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = Canadian and Aboriginal Story, Writing & Visual Culture<br />
|selfDescription = My academic interests include early and contemporary Canadian and Aboriginal literatures; representations of captivity in colonial contact zones (primarily in Turtle Island/North America and Australia); issues of repatriation; visual culture (especially photography); historiography; and aspects of gender, race, and aboriginality in general.<br />
|project = My doctoral dissertation, “Caught Up: Indigenous Re/presentations of Colonial Captivity,” examined the repression of, recovery of, and Indigenous response to, representations of pathogenic colonial practices of capturing and confining Indigenous peoples in the lands claimed by Canada, the United States, and Australia. My current project turns to a different aspect of Indigenous self-representation: the curative cultural practice of what I am calling “creative repatriation” or the conceptual (non-literal) relocation—through diverse artistic means, self-definition, and/or reference to Indigenous epistemologies—of First Nations items or subjects from (neo)colonial settings back to(wards) their communities of origin. The project aims to augment understandings of art’s value as a vehicle of self-definition, cultural recuperation and decolonization.<br />
|story = <br />
|scope = <br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T18:37:07Z<p>KateHigginson: </p>
<hr />
<div>{{StoryTemplate<br />
|name = Kate Higginson<br />
|email = kate [at] kateh [dot] ca<br />
|role = SSHRC Postdoctoral Fellow<br />
|inst = Institute for Comparative Studies in Literature, Art & Culture<br />
|field = <br />
|selfDescription = <br />
|project = <br />
|story = <br />
|scope = <br />
|when = <br />
|keywords = <br />
|related-stories = <br />
|related-tools = <br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:%27Thick,%27_Indigenized,_and_Issue-specific_AnalysisGeneral:'Thick,' Indigenized, and Issue-specific Analysis2010-05-28T18:35:05Z<p>KateHigginson: Created page with '{{StoryTemplate |name = |email = |role = |inst = |field = |story = |scope = |when = |keywords = |related-stories = |related-tools = }}'</p>
<hr />
<div>{{StoryTemplate<br />
|name =<br />
|email =<br />
|role =<br />
|inst =<br />
|field =<br />
|story =<br />
|scope =<br />
|when =<br />
|keywords =<br />
|related-stories =<br />
|related-tools =<br />
}}</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/General:IndexGeneral:Index2010-05-28T18:34:29Z<p>KateHigginson: </p>
<hr />
<div>= CWRC User Stories =<br />
* [[Story:CWRCasResearchHomePage]]<br />
* [[Story:VisualizingSemanticStructure]]<br />
* [[Story:VisualizingSocialNetworks]]<br />
* [[Story: Breadboard scenario]]<br />
* [[Story:Hysteria and Creativity in Eighteenth-Century Writing by Women]]<br />
* [[Story:Mapping Theatrical Relationships]]<br />
* [[Story: Visualising the Charter]]<br />
* [[Story: Representing Responsibility in Nineteenth-Century Canadian Law and Literature]]<br />
* [[Story: Legal Advice to Women in the Eighteenth Century]]<br />
* [[Story: Make ‘em Laugh: Images of Law in Eighteenth Century Popular Culture]]<br />
* [[Story:Producing New Woman Playwrights]]<br />
* [[Story: From Digital Archive to Living Knowledge Site]]<br />
* [[Story:From Queen Victoria to the Sensation Writers]]<br />
* [[Story:"Blue Sky" Possibilities for Victorian Research]]<br />
* [[Story:Female Diagnosticians and Healers in Eighteenth-Century Britain]]<br />
* [[Story: Editing Modernism in Canada]]<br />
* [[Story: A CWRC research scenario test page]]<br />
* [[Story:Mashing Texts Personas - Kate]]<br />
* [[Story:Mashing Texts Personas - Cheryl]]<br />
* [[Story:Mashing Texts Personas - Ian]]<br />
* [[Story:Mashing Texts Personas - Sidney]]<br />
* [[Story:Lives and Writing - Isobel]]<br />
* [[Story:Contextualizing Advertisements]]<br />
* [[Story:Is CWRC (part of) a Metafeminist Project?]]<br />
* [[Story:'Thick,' Indigenized, and Issue-specific Analysis]]<br />
*[[Story: TestStory]]</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/User:KateHigginsonUser:KateHigginson2010-05-28T18:13:43Z<p>KateHigginson: </p>
<hr />
<div>SSHRC Postdoctoral Fellow<br />
<br />
Institute for Comparative Studies in Literature, Art & Culture, Carleton University<br />
<br />
E-mail: kate [at] kateh [dot] ca <br />
<br />
Web: www.kateh.ca [http://www.kateh.ca]<br />
<br />
Mail: c/o ICSLAC, 201 St. Patrick's Building, 1125 Colonel By Drive, Carleton University, Ottawa, Ontario, Canada, K1S 5B6.<br />
<br />
Phone: 613. 520. 2600 x 6761<br />
<br />
Fax: 613. 520. 2564</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/User:KateHigginsonUser:KateHigginson2010-05-28T18:12:05Z<p>KateHigginson: Replaced content with '[http://www.kateh.ca]'</p>
<hr />
<div>[http://www.kateh.ca]</div>KateHigginsonhttps://cwrc.cs.ualberta.ca/index.php/User:KateHigginsonUser:KateHigginson2010-05-28T18:10:28Z<p>KateHigginson: Created page with 'SSHRC Postdoctoral Fellow Institute for Comparative Studies in Literature, Art & Culture Carleton University E-mail: kate [at] kateh [dot] ca Web: www.kateh.ca Mail: c/o ICSLAC…'</p>
<hr />
<div>SSHRC Postdoctoral Fellow<br />
Institute for Comparative Studies in Literature, Art & Culture<br />
Carleton University<br />
<br />
E-mail: kate [at] kateh [dot] ca <br />
Web: www.kateh.ca<br />
Mail: c/o ICSLAC, 201 St. Patrick's Building, 1125 Colonel By Drive,<br />
Carleton University, Ottawa, Ontario, Canada, K1S 5B6.<br />
Phone: 613. 520. 2600 x 6761<br />
Fax: 613. 520. 2564</div>KateHigginson