Proefschrift--Sociale wetenschappen--Leiden, 1974.

D. Phil. dissertation--University of Oxford, 1991. / Bibliogr. p. 115-128.

No description available.

This dissertation presents the life story of Freda Diesing, artist, teacher, and the first Haida woman known to become a professional carver. Diesing holds the Haida name Skilquewat, which translates as the descriptive phrase "On the trail of Property Woman." This phrase makes an appropriate title, as it reflects both the research process and the form of the written result. Diesing's life is not presented here as a monolith discovered, singular and clearly bounded, but rather as an organic accretive identity, constantly in the process of construction and negotiation. Diesing defines herself in relation to her mother and her grandmother, and her stories tell how they negotiated their own identities during times of rapid cultural change. For all three women changes in Haida culture under pressure from wider Canadian society tended to emphasize the role of women in the domestic sphere, as wives and mothers, while mmimizing their wider political and social impact. Diesing, a woman of mixed ethnic decent, who married late, has no children, lives only on the mainland and grows increasingly independent and active as an elderly widow, resists easy classification. She performs her own identity variably, depending upon her audience. By developing her identity as a Haida artist and teacher Diesing has been able to negotiate a position of continuing respect and influence appropriate to her chiefly heritage, despite inauspicious circumstances in her own life and in the contemporary history of the Haida people. Yet it is not being recognized as an artist or a master carver that has been Diesing's primary intention. Rather she has used her art itself as a tool in achieving a goal she defines as most important: helping both Natives and non-Natives understand and take pride in the indigenous cultural heritage of the Northwest Coast. More than an artist, Freda Diesing is a teacher. Through the stories she tells, and through her own life's example, she reminds us all of the continuing vitality of Northwest Coast cultures, and especially of the important contributions of women in Coastal society.

This dissertation presents the life story of Freda Diesing, artist, teacher, and the first Haida woman known to become a professional carver. Diesing holds the Haida name Skilquewat, which translates as the descriptive phrase "On the trail of Property Woman." This phrase makes an appropriate title, as it reflects both the research process and the form of the written result. Diesing's life is not presented here as a monolith discovered, singular and clearly bounded, but rather as an organic accretive identity, constantly in the process of construction and negotiation. Diesing defines herself in relation to her mother and her grandmother, and her stories tell how they negotiated their own identities during times of rapid cultural change. For all three women changes in Haida culture under pressure from wider Canadian society tended to emphasize the role of women in the domestic sphere, as wives and mothers, while mmimizing their wider political and social impact. Diesing, a woman of mixed ethnic decent, who married late, has no children, lives only on the mainland and grows increasingly independent and active as an elderly widow, resists easy classification. She performs her own identity variably, depending upon her audience. By developing her identity as a Haida artist and teacher Diesing has been able to negotiate a position of continuing respect and influence appropriate to her chiefly heritage, despite inauspicious circumstances in her own life and in the contemporary history of the Haida people. Yet it is not being recognized as an artist or a master carver that has been Diesing's primary intention. Rather she has used her art itself as a tool in achieving a goal she defines as most important: helping both Natives and non-Natives understand and take pride in the indigenous cultural heritage of the Northwest Coast. More than an artist, Freda Diesing is a teacher. Through the stories she tells, and through her own life's example, she reminds us all of the continuing vitality of Northwest Coast cultures, and especially of the important contributions of women in Coastal society. / Arts, Faculty of / Anthropology, Department of / Graduate

This thesis presents the results of three independent but related studies of aspects of the Mw 7.8 2012 Haida Gwaii earthquake, which was the second largest Canadian earthquake in recorded history. This event ruptured an area of roughly 150 by 40 km on a gently northeast-dipping thrust fault off the west coast of Moresby Island, British Columbia. This event was felt over 1600 km away from the epicentre, and produced tens of thousands of aftershocks. Adjacent to the mainshock fault plane is the Queen Charlotte Fault, the site of the largest event recorded in Canada: the 1949 Ms 8.1 strike-slip earthquake whose rupture extended as far south as this 2012 event and roughly as far north as an Mw 7.5 strike slip event which occurred on 5 January 2013. The 2012 thrust event was a surprise to some members of the seismological community as it ruptured a slab offshore of a major strike slip boundary. This earthquake therefore presents an excellent opportunity to constrain the tectonics and seismic hazard off the northwest coast of British Columbia. Herein a Coulomb stress transfer analysis is performed using finite fault models which incorporate both seismological and geodetic data. Static stress changes are projected onto optimally-oriented fault planes, determined using regional tectonic stresses in addition to mainshock stress; nodal planes, determined by aftershock centroid moment tensors; and onto the Queen Charlotte Fault. I find that aftershocks are generally consistent with Coulomb stress changes using optimal planes and known nodal planes, although the latter have slightly higher percentages of events consistent with triggering. I find that the Queen Charlotte Fault experienced stress changes greater than the empirically-determined threshold for triggering. This is particularly important as the southern extent of this fault is believed to lie in a seismic gap going back at least 116 years. With added stress from the mainshock and a lack of post-mainshock seismicity occurring in this seismic gap, it is a likely location for future earthquakes on this portion of the plate boundary. To obtain estimates of rupture parameters, an empirical Green's function technique and directivity analysis is performed. This method constrains rupture kinematics of the mainshock using systematic azimuthal variations in relative source time functions. My results indicate a rupture that progressed mainly to the northwest and updip. Subevent analysis confirms the existence of at least two subevents, with the first being roughly twice as large as the second. The results herein are similar to those found using finite fault inversion, but are better able to explain observed surface wave amplification at Alaskan seismic stations. My findings help support the idea that strong surface wave shaking may have resulted in delayed-onset dynamic triggering of the 2013 Craig event, through an unknown but intermediate mechanism that accounts for the two-month hiatus. Finally, an attempt was made to relocate all offshore aftershocks for this sequence by improving locations for events during a two-week ocean bottom seismometer deployment. This dataset includes a wider range of source-station azimuths and decreases the minimum source-receiver distance, relative to locations that only use land stations. My locations therefore represent the best-constrained depths for M greater than or equal to 3 offshore aftershocks occurring during the two-week deployment, and help constrain reasonable depth estimates from other relocation techniques. For events located using only ocean bottom seismometers I determine the time residual between observed and predicted phase arrivals at land stations to be used as a correction for all aftershocks recorded at land stations through the entire aftershock sequence. Although I was not able to find consistent time residuals I present suggestions for future implementations of this technique to this dataset, and discuss challenges associated with location of offshore earthquakes in regions with sparse regional seismic networks. All of these findings contribute to a more thorough understanding of this 2012 earthquake, as well as the tectonics of southern Haida Gwaii. I pay particular attention to identification of hazard within a seismic gap south of Moresby Island, and the northwest rupture directivity of the 2012 mainshock. / Graduate / 0373 / tiegan.hobbs@gmail.com

The purpose of this thesis is to identify the art work of the Haida Indian artist Tom Price (c.l860 - 1927). It is not yet generally realized that Haida art was predominantly the product of only a small number of artists whose individual styles are distinctly recognizable. Much of the diversity in local and regional styles within Haida art can be explained by isolating and examining the works of the dozens of practising artists - discovering where and when they worked, how much they influenced the art around them, how traditional they were in their art, or how innovative. The immediate problem is to document these individual styles. Art has been collected from the Northwest Coast Indian t peoples since the late Eighteenth Century when the first explorers made trading contacts with the native people. But it was collected sporadically and at first only as a curiosity or souvenir art. In the late Nineteenth Century ethnologists began to collect the Northwest Coast Indian art for museums of anthropology and natural history. They recorded the names of artists but rarely in connection with their works of art. Only recently has Northwest Coast Indian art been shown in major art exhibits in Paris, Montreal, Vancouver, etc. And only recently have art historians realized the significance of the individual art styles within the art. The work of a few Nineteenth Century masters stands out. Museums in North America and Europe unknowlingly collected only the works of the best artists working at the time. Tom Price was one of these outstanding artists. He worked in the late Nineteenth and early Twentieth Centuries. Chapter III is a discussion of the complex and ancient tradition of Haida art with which Tom Price would have been familiar, and how it was modified in the Nineteenth Century due to increasing contact with the white man. The role of the artist in Haida society is also discussed in Chapter III, emphasizing the point that personal innovation was inherent in the art tradition. Chapter IV deals with the documented information on the life and works of Tom Price. My chief informant is Tom Price's daughter-in-law. She and other Haida people remember Tom Price as one of the artists working in Skidegate up until 1927. They remember the collectors who purchased his work, and that he went to Victoria to sell work quite frequently. But published information on Haida artists and their works, such as the descriptive works of Marius Barbeau on argillite and totem poles, are inaccurate and confused. This is partly because his informants were not familiar enough with the artists or the art styles about which he was writing. Documented information from acquisition files and museum records is equally as disappointing because the material was not collected by art historians. There is very rarely an entry in the information catalogues for the name of the artist. The exact origin of the works is often not known because museums purchased in bulk from central bargaining points such as Port Simpson or Victoria, or they purchased complete private collections. They rarely differentiated between the place of manufacture and the purchasing point in the records. Furthermore, the date in museum records may refer to the date of acquisition rather than to the date of manufacture. The significance of this is that very few Haida works of art are reliably documented and two or three sources should be consulted before an attribution is made based on the documentation which does exist. Chapter V is a series of comparisons of works of art by Tom Price and other Haida artists, some of which are documented, showing the wide range of styles possible in Haida art. In Chapter VI, I begin with documented pieces by Tom Price, and I isolate design elements, or distinctive motifs from these works. Then I compare the documented works with other similar works in terms of the design elements, the compositional arrangement of those elements, the types of crests and myths illustrated, the method of carving or painting, the dates, and the places where the works were collected, and by whom. Stylistically the works form a coherent group and the documented information tends to reinforce the hypothesis that they were all done by the same man, Tom Price. In addition to clarifying the role of the artist in Haida society, and the significance of individual artists’styles in Haida art, this thesis highlights the artistic achievements of one man. This has never been done in depth before, and it is necessary that it he done before a more realistic aesthetic appreciation of the art is possible. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Thesis (Ph. D.)--Columbia University, 1929. / Without thesis note. Bibliography: p. [171]-172.

This research contributes to the emerging dialogue concerning power relationships and the alliances that are challenging current frameworks in an attempt to create positive change. Worldwide, local people in rural places are threatened by development paradigms and conflicting social, political, economic, and ecological values. Large-scale development, such as the Enbridge Northern Gateway Project (NGP), provide a tangible example of our failing systems and make the interplay of these elements palpable. Increasingly, communities are coalescing to challenge the current models and economically motivated agendas threatening Indigenous sovereignty and local lifeways. Central to these coalitions are Indigenous peoples who are aligning with non-Indigenous neighbours to renegotiate power relationships. This research examines these dynamic alliances and uses Haida Gwaii’s resistance to the NGP as an example of the formidable strength of community coalitions mobilized by intersecting values. To contextualize the NGP within the broader discourse, I problematize Canada’s environmental assessment process and consider how media portrays the growing resistance to the proposed project. Drawing on information presented through the environmental assessment, I analyze the main messages and shared values of Haida Gwaii citizens opposed to the NGP. This thesis focuses on this unanimous and galvanizing resistance, which is largely motivated by the reliance on local food sources and an embodied connection to Haida Gwaii shared by Island citizens. The continued denial of Aboriginal title and rights was inherent throughout this consideration and is an underlying theme throughout the analyses. / Graduate

This thesis is about four historical collections of Haida argillite carvings now at the National Museum of Scotland, the University of Aberdeen Museums and the Perth Museum and Art Gallery. Since the early nineteenth century Haida artists have carved argillite, a carbonaceous shale, into objects featuring Haida and European-inspired motifs, for trade or sale to non-Haida others. Scots Colin Robertson, William Mitchell, James Hector and John Rae acquired argillite as part of broader collections from the Northwest Coast of Canada made during the middle decades of the nineteenth century. Each of these men was employed by, or affiliated with the Hudson’s Bay Company. This thesis questions how the meanings and statuses of these objects, collected and deposited in Scottish museums between the 1820s and 1860s, have changed over the nearly two centuries of their existence. Research at these three museums, and at British and Canadian archives, provided the material that shed light on the historical circumstances of the approximately 30 objects constituting these collections. Semi-structured interviews with Haida carvers, community members and experts, and with museum curators elicited insights into the ways these objects are made meaningful today. The thesis examines the collections in four key contexts. First, it explores the ways in which they have been displayed and interpreted at the three museums, shedding light on the trajectories by which museums have represented the objects of others. Secondly, it describes the context in which the argillite carvings were produced, circulated and collected by sketching the social and political character of the Northwest Coast as it transformed through the decades of the fur trade to European colonization. How these objects transformed in status and value according to the agendas of their collectors is the third context, which reflects the character of relationships between Indigenous peoples and newcomers. Finally, I resituate these collections in the context of contemporary Haidas’ perspectives on the value and meaning of argillite carving(s), and propose that these objects can be understood as “inalienable commodities.” The argillite carvings in these Scottish museum collections are objects of exchange, produced and circulated in the contact zone of the mid-nineteenth century Northwest Coast. As such, they are windows into relationships between Indigenous and European people during this period. Collected as curiosities but remade into objects of science, biography and art, this study traces their shifting statuses as they have moved through various regimes of value. This thesis therefore characterizes the exchanges that have occurred around these objects as ongoing and dynamic.