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Author: Adam Spry Publisher: SUNY Press ISBN: 1438468814 Category : History Languages : en Pages : 256
Book Description
Explores a little-known history of exchange between Anishinaabe and American writers, showing how literature has long been an important venue for debates over settler colonial policy and indigenous rights. For the Anishinaabegthe indigenous peoples of the Great Lakesliterary writing has long been an important means of asserting their continued existence as a nation, with its own culture, history, and sovereignty. At the same time, literature has also offered American writers a way to make the Anishinaabe Nation disappear, often by relegating it to a distant past. In this book, Adam Spry puts these two traditions in conversation with one another, showing how novels, poetry, and drama have been the ground upon which Anishinaabeg and Americans have clashed as representatives of two nations contentiously occupying the same land. Focusing on moments of contact, appropriation, and exchange,Spry examines a diverse range of texts in order to reveal a complex historical network of Native and non-Native writers who read and adapted each others work across the boundaries of nation, culture, and time. By reconceiving the relationship between the United States and the Anishinaabeg as one of transnational exchange, Our War Paint Is Writers Ink offers a new methodology for the study of Native American literatures, capable of addressing a long history of mutual cultural influence while simultaneously arguing for the legitimacy, and continued necessity, of indigenous nationhood. In addition, the author reexamines several critical assumptionsabout authenticity, identity, and nationhood itselfthat have become common wisdom in both Native American and US literary studies.
Author: Adam Spry Publisher: SUNY Press ISBN: 1438468814 Category : History Languages : en Pages : 256
Book Description
Explores a little-known history of exchange between Anishinaabe and American writers, showing how literature has long been an important venue for debates over settler colonial policy and indigenous rights. For the Anishinaabegthe indigenous peoples of the Great Lakesliterary writing has long been an important means of asserting their continued existence as a nation, with its own culture, history, and sovereignty. At the same time, literature has also offered American writers a way to make the Anishinaabe Nation disappear, often by relegating it to a distant past. In this book, Adam Spry puts these two traditions in conversation with one another, showing how novels, poetry, and drama have been the ground upon which Anishinaabeg and Americans have clashed as representatives of two nations contentiously occupying the same land. Focusing on moments of contact, appropriation, and exchange,Spry examines a diverse range of texts in order to reveal a complex historical network of Native and non-Native writers who read and adapted each others work across the boundaries of nation, culture, and time. By reconceiving the relationship between the United States and the Anishinaabeg as one of transnational exchange, Our War Paint Is Writers Ink offers a new methodology for the study of Native American literatures, capable of addressing a long history of mutual cultural influence while simultaneously arguing for the legitimacy, and continued necessity, of indigenous nationhood. In addition, the author reexamines several critical assumptionsabout authenticity, identity, and nationhood itselfthat have become common wisdom in both Native American and US literary studies.
Author: Adam Spry Publisher: State University of New York Press ISBN: 1438468830 Category : Literary Criticism Languages : en Pages : 256
Book Description
For the Anishinaabeg—the indigenous peoples of the Great Lakes—literary writing has long been an important means of asserting their continued existence as a nation, with its own culture, history, and sovereignty. At the same time, literature has also offered American writers a way to make the Anishinaabe Nation disappear, often by relegating it to a distant past. In this book, Adam Spry puts these two traditions in conversation with one another, showing how novels, poetry, and drama have been the ground upon which Anishinaabeg and Americans have clashed as representatives of two nations contentiously occupying the same land. Focusing on moments of contact, appropriation, and exchange, Spry examines a diverse range of texts in order to reveal a complex historical network of Native and non-Native writers who read and adapted each other's work across the boundaries of nation, culture, and time. By reconceiving the relationship between the United States and the Anishinaabeg as one of transnational exchange, Our War Paint Is Writers' Ink offers a new methodology for the study of Native American literatures, capable of addressing a long history of mutual cultural influence while simultaneously arguing for the legitimacy, and continued necessity, of indigenous nationhood. In addition, the author reexamines several critical assumptions—about authenticity, identity, and nationhood itself—that have become common wisdom in both Native American and US literary studies.
Author: Gordon Henry Jr. Publisher: State University of New York Press ISBN: 143848254X Category : Literary Criticism Languages : en Pages : 306
Book Description
A celebration of Anishinaabe intellectual tradition. Enduring Critical Poses examines the stories, poems, plays, and histories centered in the Great Lakes region of North America, where the Anishinaabeg live in a space Basil Johnston referred to as "Maazikamikwe," a maternal earth. The Anishinaabeg are a confederacy of many communities, including the Odawa, Saulteaux, Ojibwe, Potawatomi, Oji-Cree, and Algonquin peoples, who share cultural practices and related languages. Bringing together senior scholars and new voices on the Anishinaabe intellectual landscape, this volume specifically explores Ojibwe, Odawa, and Potawatomi culture, language, and literary heritage. Through a tribal-centric framework, the contributors connect various branches of Native American literary studies and celebrate Anishinaabe narrative diversity to offer a single, overarching story of Anishinaabe survival and endurance. Gordon Henry Jr. is an enrolled member of the White Earth Anishinaabe Nation in Minnesota and Professor of American Indian Literature, Creative Writing, and American Indian Studies at Michigan State University. His books include Afterlives of Indigenous Archives: Essays in Honor of the Occom Circle (coedited with Ivy Schweitzer) and The Light People. Margaret Noodin is Professor of English and American Indian Studies and Director of the Electa Quinney Institute for American Indian Education at the University of Wisconsin–Milwaukee. Her books include Bawaajimo: A Dialect of Dreams in Anishinaabe Language and Literature. David Stirrup is Professor of American Literature and Indigenous Studies at the University of Kent, United Kingdom. His books include Picturing Worlds: Visuality and Visual Sovereignty in Contemporary Anishinaabe Literature.
Author: Ariel Zatarain Tumbaga Publisher: University of Arizona Press ISBN: 0816538344 Category : Social Science Languages : en Pages : 225
Book Description
The Yaqui warrior is a persistent trope of the Mexican nation. But using fresh eyes to examine Yoeme indigeneity constructs, appropriations, and efforts at reclamation in twentieth- and twenty-first-century Mexican and Chicana/o literature provides important and vivid new opportunities for understanding. In Yaqui Indigeneity, Ariel Zatarain Tumbaga offers an interdisciplinary approach to examining representations of the transborder Yaqui nation as interpreted through the Mexican and Chicana/o imaginary. Tumbaga examines colonial documents and nineteenth-century political literature that produce a Yaqui warrior mystique and reexamines the Mexican Revolution through indigenous culture. He delves into literary depictions of Yaqui battalions by writers like Martín Luis Guzmán and Carlos Fuentes and concludes that they conceal Yaqui politics and stigmatize Yaqui warriorhood, as well as misrepresent frequently performed deer dances as isolated exotic events. Yaqui Indigeneity draws attention to a community of Chicana/o writers of Yaqui descent: Chicano-Yaqui authors such as Luis Valdez, Alma Luz Villanueva, Miguel Méndez, Alfredo Véa Jr., and Michael Nava, who possess a diaspora-based indigenous identity. Their writings rebut prior colonial and Mexican depictions of Yaquis—in particular, Véa’s La Maravilla exemplifies the new literary tradition that looks to indigenous oral tradition, religion, and history to address questions of cultural memory and immigration. Using indigenous forms of knowledge, Tumbaga shows the important and growing body of literary work on Yaqui culture and history that demonstrates the historical and contemporary importance of the Yaqui nation in Mexican and Chicana/o history, politics, and culture.
Author: Kirby Brown Publisher: University of Oklahoma Press ISBN: 0806161833 Category : Literary Criticism Languages : en Pages : 313
Book Description
The years between Oklahoma statehood in 1907 and the 1971 reemergence of the Cherokee Nation are often seen as an intellectual, political, and literary “dark age” in Cherokee history. In Stoking the Fire, Kirby Brown brings to light a rich array of writing that counters this view. A critical reading of the work of several twentieth-century Cherokee writers, this book reveals the complicated ways their writings reimagined, enacted, and bore witness to Cherokee nationhood in the absence of a functioning Cherokee state. Historian Rachel Caroline Eaton (1869–1938), novelist John Milton Oskison (1874–1947), educator Ruth Muskrat Bronson (1897–1982), and playwright Rollie Lynn Riggs (1899–1954) are among the writers Brown considers within the Cherokee national and transnational contexts that informed their lives and work. Facing the devastating effects on Cherokee communities of allotment and assimilation policies that ultimately dissolved the Cherokee government, these writers turned to tribal histories and biographies, novels and plays, and editorials and public addresses as alternative sites for resistance, critique, and the ongoing cultivation of Cherokee nationhood. Stoking the Fire shows how these writers—through fiction, drama, historiography, or Cherokee diplomacy—inscribed a Cherokee national presence in the twentieth century within popular and academic discourses that have often understood the “Indian nation” as a contradiction in terms. Avoiding the pitfalls of both assimilationist resignation and accommodationist ambivalence, Stoking the Fire recovers this period as a rich archive of Cherokee national memory. More broadly, the book expands how we think today about Indigenous nationhood and identity, our relationships with writers and texts from previous eras, and the paradigms that shape the fields of American Indian and Indigenous studies.
Author: Scott Richard Lyons Publisher: SUNY Press ISBN: 1438464452 Category : Literary Criticism Languages : en Pages : 348
Book Description
Advances critical conversations in Native American literary studies by situating its subject in global, transnational, and modernizing contexts. Since the rise of the Native American Renaissance in literature and culture during the American civil rights period, a rich critical discourse has been developed to provide a range of interpretive frameworks for the study, recovery, and teaching of Native American literary and cultural production. For the past few decades the dominant framework has been nationalism, a critical perspective placing emphasis on specific tribal nations and nationalist concepts. While this nationalist intervention has produced important insights and questions regarding Native American literature, culture, and politics it has not always attended to the important fact that Native texts and writers have also always been globalized. The World, the Text, and the Indian breaks from this framework by examining Native American literature not for its tribal-national significance but rather its connections to global, transnational, and cosmopolitan forces. Essays by leading scholars in the field assume that Native American literary and cultural production is global in character; even claims to sovereignty and self-determination are made in global contexts and influenced by global forces. Spanning from the nineteenth century to the present day, these analyses of theories, texts, and methodsfrom trans-indigenous to cosmopolitan, George Copway to Sherman Alexie, and indigenous feminism to book historyinterrogate the dialects of global indigeneity and settler colonialism in literary and visual culture.
Author: Fowzia Karimi Publisher: Deep Vellum Publishing ISBN: 1646050037 Category : Fiction Languages : en Pages : 353
Book Description
Debut novel about a young family forced to flee their war-ravaged homeland, forced to leave behind everything & everyone beloved & familiar. Old family photographs & lush watercolor paintings based on medieval illuminated manuscripts interweave with remembrances, ghost stories/stories of the war dead, & fairy tales to conjure a story of war, of emigration & immigration, the remarkable human capacity to experience love & wonder amidst destruction & loss, & how to create beauty out of horror.
Author: Mindy Johnson Publisher: Disney Editions ISBN: 9781484727812 Category : Art Languages : en Pages : 0
Book Description
From the earliest origins of animated imagery, the colorful link between paper and screen was created by legions of female artists working on the slick surface of celluloid sheets. With calligraphic precision and Rembrandtesque mastery, these women painstakingly brought pencil drawings to vibrant, dimensional life. Yet perhaps as a reflection of the transparent canvas they created on, the contributions and history of these animation artists have remained virtually invisible and largely undocumented, until now. Walt Disney's pioneering efforts in animation transformed novelty cartoons into visual masterpieces, establishing many "firsts" for women within the entertainment industry along the way. Focusing on talent, Disney sought female story specialists and concept artists to expand the scope and sensibility of his storytelling. Upon establishing the first animation-training program for women, ink pens were traded for pencils as ladies made their way into the male-laden halls of animation. World War II further opened roles traditionally held by men, and women quickly progressed into virtually every discipline within animation production. Disney's later development of the Xerox process and eventual digital evolution once again placed women at the forefront of technological advancements applied to animated storytelling. In her latest landmark book, Ink & Paint: The Women of Walt Disney's Animation, author Mindy Johnson pulls back the celluloid curtain on the nearly vanished world of ink pens, paintbrushes, pigments, and tea. From the earliest black-and-white Alice Comedies to the advent of CAPS and digital animation, meet the pioneering women who brought handrendered animated stories to vibrant, multicolored life at Walt Disney Studios and beyond. Extensively researched with the full support of the entire Walt Disney Studios archival resources, plus a multitude of private collections, firsthand accounts, newly discovered materials, and production documentation, as well as never-before-seen photography and artwork, this essential volume redefines the collective history of animation.
Author: Adam Spry
Author: Adam Spry
Author: Adam Spry
Author: Gordon Henry Jr.
Author: Ariel Zatarain Tumbaga
Author: Joelle Rostkowski
Author: Kirby Brown
Author: Scott Richard Lyons
Author: Fowzia Karimi
Author: Mindy Johnson
Author: