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Queen Victoria in contact zone dialogues in western Canada
Sarah Carter

. 20 Quoted in Celia Haig-Brown, ‘Seeking honest justice in a land of strangers: Nahnebahwequa’s struggle for land’, Journal of Canadian Studies , 36:4 (Winter 2002), 147. See also Donald B. Smith, Mississauga Portraits: Ojibwe Voices from Nineteenth-Century Canada (Toronto: University of Toronto Press, 2013

in Mistress of everything
Paul Henley

–30. 17 Griffiths ( 2002 ), 236–7, 276–8. Colin Browne reports that a pre-existing Hiawatha pageant first filmed in Ontario in 1903 involving an Ojibwe cast, was then filmed on two further occasions with a Mohawk cast, in 1908 in Quebec and again, in Montreal, in 1911. Remarkably, this last version is reported to have been in colour (Browne 2014 ), 175–6. 18 Jordan ( 1992 ), 154–7, 176

in Beyond observation
Native American orphans and sovereignty
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

learns about this history, she reflects: ‘We were shaped out of this land by the hands of gods. Or maybe it was that we embodied the land. And in some way I could not yet comprehend, it also embodied my mother, both of them stripped and torn’ (ibid.: 228). Through Loretta and particularly through Hannah, Hogan compares the abuse of Native women to the exploitation of the land. Ultimately, Hannah is represented as possessed – another form of captivity. Suffering from loss of soul, Hannah is a windigo figure, a demon-like figure from Cree and Ojibwe mythology which is

in Making home