Abstract This article focuses on the cultural landscape of Val-d’Or (Quebec, Canada) to assess how the geographical and historical erasure of indigenous peoples is materialised in frontier places. Val-d’Or is an industrial mining town of about thirty-two thousand people in Quebec's middle north, near the Ontario border. Although Val-d’Or is situated in the unceded territory of the Quebec Anishinabeg, known as Anishinabeg Aki, references to the ‘pioneering’ activities of migrants to the region dominate its iconography, subsuming preexisting indigenous territorialities and understandings of the land. Evidence of this is found in the urban landscape: whether through the distinct silhouette of the old Lamaque mine headframe, remnants of the Bourlamaque company village, or the large number of place names with a reference to gold, the space of Val-d’Or functions as a comprehensive geosymbol of frontierism via mineral extraction. Our analysis demonstrates not only that indigenous people never vacated these lands, but that they are willing to inscribe their presence in the mining landscape as a symbol of cohabitation and reconciliation. Taking a critical perspective on this ‘resurgent’ landscape, we explore the potentialities and limitations of decolonisation through hybrid place iconographies, especially as they relate to areas associated with industrialism, resource extraction and the idea of the frontier.

中文翻译：

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Pekedamkam：加拿大瓦尔多尔的边疆主义和土著景观的发掘

摘要 本文关注 Val-d'Or（加拿大魁北克）的文化景观，以评估土著人民的地理和历史擦除如何在边境地区具体化。Val-d'Or 是魁北克中北部的一个工业矿业城镇，人口约 32,000 人，靠近安大略省边界。尽管 Val-d'Or 位于魁北克 Anishinabeg 未割让的领土内，被称为 Anishinabeg Aki，但该地区移民的“开拓性”活动在其肖像画中占主导地位，包含了先前存在的土著领土和对土地的理解。在城市景观中可以找到这方面的证据：无论是通过古老的 Lamaque 矿井架的独特轮廓、Bourlamaque 公司村庄的遗迹，还是大量与黄金有关的地名，Val-d'Or 的空间通过矿物开采作为前沿的综合地理符号。我们的分析不仅表明土著人民从未腾出过这些土地，而且他们愿意将他们的存在铭记在采矿景观中，作为同居与和解的象征。我们以批判性的视角看待这种“复兴”的景观，通过混合地方图像来探索非殖民化的潜力和局限性，尤其是当它们与工业主义、资源开采和前沿理念相关的领域时。但他们愿意将他们在采矿领域的存在铭记为同居与和解的象征。我们以批判性的视角看待这种“复兴”的景观，通过混合地方图像来探索非殖民化的潜力和局限性，尤其是当它们与工业主义、资源开采和前沿理念相关的领域时。但他们愿意将他们在矿业领域的存在铭记为同居与和解的象征。我们以批判性的视角看待这种“复兴”的景观，通过混合地方图像来探索非殖民化的潜力和局限性，尤其是当它们与工业主义、资源开采和前沿理念相关的领域时。