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Place and Native American Indian history and culture
No full textReview«Place remains a native concept rich with political meaning for North American culture as a whole, and for the world as a whole. This volume undertakes a broad and deep exploration of what the sense of place has meant in specific Indian cultures, in the works of particular native artists, and in the religious outlook that binds North American indigenous cultures inwardly and connects them to a place in the natural landscape in the outward forms of tribal life.» (From the foreword by Alan Trachtenberg)«It is not hard to feel, think, and say that Indigenous land, culture, and community are the foremost elements in the life of the Indigenous peoples of the Americas. The past and future depend upon those elements, and nothing can be sustained without the acceptance of these elements as foremost. Literature as the practical and rhetorical expression of land, culture, and community therefore is essential in order to fully understand the cultural existence of the Indigenous world of the Americas. Because Indigenous literature is understood to be derived from Indigenous oral tradition, at times it may seem removed from the cultural life of Indigenous American people. But it is not removed. Many Indigenous authors of poetry, fiction, plays, essays, etc. are fluent in today’s mass languages including English, Spanish, and French which are also obviously colonial languages, and so they publish their works in such languages. This does not mean they are speaking from positions of only being colonized subjects necessarily but it does mean they are recognizing the efficacy of such languages – and they presume it is the best way to reach the largest public audience. And it is also the way they express their sovereignty as Indigenous cultural beings who are cognizant of their role in leading the world to a better place and time. Indigenous literature concerned with land, culture, and community of the Indigenous Americas is the clearest direction toward a better place and time.» (Simon J. Ortiz, July 2006)About the AuthorThe Editor: Joy Porter is Associate Dean of the Faculty of Arts and Humanities and lecturer on American and Native American history and literature within the Department of American Studies at the University of Wales, Swansea, U.K. She is the author of To Be Indian: The Life of Seneca-Iroquois Arthur Caswell Parker, 1881-1955 and co-editor of The Cambridge Companion to Native American Literature
Place and Native American Indian history and culture
No full textReview«Place remains a native concept rich with political meaning for North American culture as a whole, and for the world as a whole. This volume undertakes a broad and deep exploration of what the sense of place has meant in specific Indian cultures, in the works of particular native artists, and in the religious outlook that binds North American indigenous cultures inwardly and connects them to a place in the natural landscape in the outward forms of tribal life.» (From the foreword by Alan Trachtenberg)«It is not hard to feel, think, and say that Indigenous land, culture, and community are the foremost elements in the life of the Indigenous peoples of the Americas. The past and future depend upon those elements, and nothing can be sustained without the acceptance of these elements as foremost. Literature as the practical and rhetorical expression of land, culture, and community therefore is essential in order to fully understand the cultural existence of the Indigenous world of the Americas. Because Indigenous literature is understood to be derived from Indigenous oral tradition, at times it may seem removed from the cultural life of Indigenous American people. But it is not removed. Many Indigenous authors of poetry, fiction, plays, essays, etc. are fluent in today’s mass languages including English, Spanish, and French which are also obviously colonial languages, and so they publish their works in such languages. This does not mean they are speaking from positions of only being colonized subjects necessarily but it does mean they are recognizing the efficacy of such languages – and they presume it is the best way to reach the largest public audience. And it is also the way they express their sovereignty as Indigenous cultural beings who are cognizant of their role in leading the world to a better place and time. Indigenous literature concerned with land, culture, and community of the Indigenous Americas is the clearest direction toward a better place and time.» (Simon J. Ortiz, July 2006)About the AuthorThe Editor: Joy Porter is Associate Dean of the Faculty of Arts and Humanities and lecturer on American and Native American history and literature within the Department of American Studies at the University of Wales, Swansea, U.K. She is the author of To Be Indian: The Life of Seneca-Iroquois Arthur Caswell Parker, 1881-1955 and co-editor of The Cambridge Companion to Native American Literature
The Story of Native North America
No full texthttps://www.historytoday.com/reviews/story-native-north-americ
Native America: A New Narrative
No full textDavid Treuer’s new book reaches the reader garlanded in praise from the world’s most revered arbiters of taste. It is a New York Times bestseller; the paper admires the way it ‘suggests the need for soul-searching’. Vanity Fair likes its ‘hopeful vision of the past and future of Native Americans’. The Economist calls it ‘sweeping, essential history’. Books on Native American history are often ignored. Why is this one different
Native America: A New Narrative
No full textDavid Treuer’s new book reaches the reader garlanded in praise from the world’s most revered arbiters of taste. It is a New York Times bestseller; the paper admires the way it ‘suggests the need for soul-searching’. Vanity Fair likes its ‘hopeful vision of the past and future of Native Americans’. The Economist calls it ‘sweeping, essential history’. Books on Native American history are often ignored. Why is this one different
The Story of Native North America
No full texthttps://www.historytoday.com/reviews/story-native-north-americ
Historical and cultural contexts to Native American literature
No full textLiterature tells truths about the past that history cannot articulate. This is a truism with particular resonance in the Native American context because until the watershed years of the late 1960s and early 1970s Indians were either ignored or grossly misrepresented by conventional histories. Typically, histories that did focus exclusively upon Indian concerns limited their approach, either to the history of Indian policy or frontier conflict, or, in the case of anthropological studies, to tribal histories with narratives that ended before 1900. By comparison, Native American literature across time has voiced a different experience of American history. It has voiced a different relationship to historical ''facts'' and a different consciousness of the past itself. Therefore this chapter does more than simply orientate the reader through setting out a version of the Indian past in outline and linking it to aspects of Indian literature. Just as importantly, it considers how the past is conceptualized within Native cultures at the tribal and cross-tribal level and how this has informed the literary projects of specific Native writers. The great transformative power of Indian literature from any era derives in part from its ability to invoke a past with direct implications for the present. Indians, after all, are not just fictional, they are real. The strength and agency of Indian America today testifies to the survival of diverse Indian nations and individuals in spite of a brutal colonial past. However, the larger context for Indian urban and reservation life remains one of endemic disadvantage rooted firmly in the history of colonialism. Such impoverishment stacks the odds against Native peoples throughout the United States, including within the richer states like Alaska, home to 86,000 natives. The National Academy of Public Administration reported in 1999 that 31 percent of all Indians lived below the poverty line, compared to 13 percent within the US population as a whole. Again in October 2002 the US Census Bureau reported that the lowest US median household income of all was at Buffalo County, South Dakota, home of the Crow Creek Indian Reservation
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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