By Chantal Nadeau
Fur Nation strains the interwoven relationships among sexuality, nationwide id, and colonialism. Chantal Nadeau exhibits how Canada, a white settler colony, bases its lifestyles and its nationhood on a fancy sexual economic climate in response to girls wrapped in fur.
Nadeau strains the centrality of fur via a sequence of fascinating case experiences, including:
* Hollywood's tackle the 330 yr heritage 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 girls' - 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 girl copy and fur, that is either a vital think about monetary improvement, and a strong image wherein the country itself is conceived and commodified. Fur Nation demonstrates that, for Canada, fur quite is the cloth of a kingdom.
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Additional resources for Fur Nation: From the Beaver to Brigitte Bardot (Writing Corporealities)
Sample text
As I demonstrate in the following pages, while pivotal to the fur market and the Company’s commercial activities, the association between fur ladies and the HBC has been a marriage at odds. Indeed, such misfit associations are visible though the marginalized traces left by the fur ladies throughout the fur economy: from the crucial role played by native women in the culture of trading from the beginning of the fur trade exchanges, or the ambiguous agency of the daughters of the empire who crossed the ocean to become the diplomatic wives of the company in the nineteenth century, and in a less romantic fashion, the contribution of female fur entrepreneurs and trappers in the development of the fur trade regional economies.
I suggest that the links between the fur business and male homosocial and homoerotic culture are inextricably configured in one of the most popular and popularized tales of origin of the Canadian nation: the founding of the Hudson’s Bay Company. In this chapter, I reconfigure the making of this story of origins as a sensual enterprise, in which the obviously male homosocial quality of the trade is sealed in the corporate skin/fabric. As the Company’s motto a skin for a skin’s worth illustrates, the close bonds between skins propel a series of trading movements in which bodies, masculinity and nationhood are sexualized.
Indeed, such misfit associations are visible though the marginalized traces left by the fur ladies throughout the fur economy: from the crucial role played by native women in the culture of trading from the beginning of the fur trade exchanges, or the ambiguous agency of the daughters of the empire who crossed the ocean to become the diplomatic wives of the company in the nineteenth century, and in a less romantic fashion, the contribution of female fur entrepreneurs and trappers in the development of the fur trade regional economies.
