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Rediscovery of Hubbard's Rock

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Picture Galley (place cursor on pictures to read captions)

Pages 13 to 18
Comments by Rudy Mauro on NL Studies papers, The Naming Compulsion and The Language of Faith and American Exceptionalism

Comments by Rudy Mauro on NL Studies Papers

Rudy Mauro, host of the websites, Back to the Labrador Wilds, and The Search for Hubbard's Rock, comments on the 2011 Newfoundland and Labrador Studies research paper, The Naming Compulsion in Dillon Wallace's The Lure of the Labrador Wild and Mina Hubbard's A Woman's Way Through Unknown Labrador, by Jonathan Parsons:
          Jonathan Parsons' 20-page thesis deals with the impact of place naming by explorers on aboriginal culture, with emphasis on the adverse effect of the geographic "naming compulsion" of Dillon Wallace and Mina Hubbard, on the sensitivities of the Labrador Innu.
          The author appears to harbour a strong, genuine concern about the hurt experienced by aboriginal people at the hands of colonialists. He begins with the premise that the books of Wallace and Mrs. Hubbard are little more than testaments to "imperial domination". He cites the works of Edward Said and Paul Carter, among others, in support of his theories. (Said is an American-Palestinian literary theorist and advocate of Palestinian rights; Carter, the Australian historian, writer, philosopher, and infuriating [to some] postmodernist, has a long-term interest in the poetic mechanisms of colonialist mapping and marking). 
          Parsons does a thorough job of denigrating the Labrador work of Dillon Wallace, lumping him in with Grenfell, whom he characterizes as a representative of "the first imperial force to culturally occupy Labrador and impose alien customs", Great Britain. Throughout his discourse, however, Parsons fails to conceal the true source of his irritation, and the probable driving force behind his whole paper--the audacity of one Rudy Mauro in persuading the former Canadian Permanent Committee on Geographical Names to officially bestow the name of poet Rudyard Kipling on a peak in the Labrador range christened Kipling Mountains by Dillon Wallace in 1903 (Kipling, Parsons apparently believes, is the personification of empire and colonialism).
          Parsons is a PhD student and contract instructor in the English department of Memorial University of Newfoundland, birthplace of the scholarly 2005 biography, The Woman Who Mapped Labrador: The Expedition Diary of Mina Hubbard.  One can imagine the atmosphere, on the 100th anniversary of Mina's journey, as word spread through the corridors of academia that an unknown interloper was attempting to cast aspersions on the work of the darling of members of the History and English departments of Memorial, Saskatchewan and British Columbia universities (one of whom [from Memorial], in 2005 performed the role of Mina in an on-location,100th anniversary re-enactment of the great lady's departure from North West River). How could anyone, someone is reported to have asked at the time, be so mischievous as to question Mina's attaching of that wonderful name, "Lion Heart Mountains", to the Labrador range traversed by her [lion-hearted] husband in 1903?
          Parsons does whatever he can to comfort his colleagues at Memorial in that regard. Setting aside Wallace's well-documented naming of the Kipling Mountains two years before Mina set eyes on them, a fact that she herself was very much aware of, Parson's employs his peculiar logic to make the irrelevant point that Mina's name for the range may be every bit as valid as that of Dillon Wallace and "Mauro-Wallace III". He fails to note that Mina's naming gesture is a monumental example of her burning desire to discredit Wallace at every opportunity, equalled only by the misrepresentative inscriptions on Hubbard's grave that so offended Hubbard's sister and Wallace's wife.

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All images and content are Rudy Mauro 2005.  No form of reproduction, including copying or saving on digital images file, or the alteration or manipulation of said images, is authorized without the written permission of Rudy Mauro.
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