Abstract

The contemporary artist Bonnie Devine (b 1952), a member of the Serpent River First Nation in Ontario, Canada, works in a wide range of media to address the cultural and environmental consequences of uranium mining that occurred in her community. Uranium extraction in the area has resulted in numerous devastations, including radioactive contamination of all fifty-five miles of the Serpent River. In this study, I use ecocritical methodologies to examine how local environmental conditions, Anishinaabe cosmologies, and histories of Cold War resource extraction inform Devine’s animated film Rooster Rock: The Story of Serpent River (2002). The work demonstrates her intensive investigation of the unique properties of uranium, its effect on place, beings and ontologies, and the ways Ontarian uranium mining dovetails with the artist’s personal history. Additionally, this article calls attention to divergent and overlapping modes of knowledge and valuation practiced by Indigenous and Euro-American participants in this history.

摘要

当代艺术家邦妮·迪瓦恩（Bonnie Devine，生于 1952 年）是加拿大安大略省蛇河原住民的成员，她在多种媒体中进行创作，以解决她所在社区发生的铀矿开采对文化和环境造成的后果。该地区的铀矿开采造成了许多破坏，包括蛇河全长五十五英里的放射性污染。在这项研究中，我使用生态批评方法来研究当地环境条件、Anishinaabe 宇宙论和冷战资源开采历史如何影响迪瓦恩的动画电影《公鸡岩：蛇河的故事》（2002）。该作品展示了她对铀的独特性质、其对地点、存在和本体的影响以及安大略省铀矿开采与艺术家个人历史的契合方式的深入研究。此外，本文还提请人们注意这段历史中原住民和欧美参与者所实践的不同和重叠的知识和评估模式。