Drawing on research in newspapers, magazines, agency and missionary records, memoirs, and diaries, Raibmon combines cultural and labor history. She looks at three historical episodes: the participation of a group of Kwakwaka’wakw from Vancouver in the 1893 World’s Columbian Exposition in Chicago; the work of migrant Aboriginal laborers in the hop fields of Puget Sound; and the legal efforts of Tlingit artist Rudolph Walton to have his mixed-race step-children admitted to the white public school in Sitka, Alaska. Together these episodes reveal the consequences of outsiders’ attempts to define authentic Aboriginal culture. Raibmon argues that Aboriginal culture is much more than the reproduction of rituals; it also lies in the means by which Aboriginal people generate new and meaningful ways of identifying their place in a changing modern environment.
In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach.
In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance, and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory.
Sean Harvey explores the morally entangled territory of language and race in this intellectual history of encounters between whites and Native Americans in the eighteenth and nineteenth centuries. Misunderstandings about the differences between European and indigenous American languages strongly influenced whites’ beliefs about the descent and capabilities of Native Americans, he shows. These beliefs would play an important role in the subjugation of Native peoples as the United States pursued its “manifest destiny” of westward expansion.
Over time, the attempts of whites to communicate with Indians gave rise to theories linking language and race. Scholars maintained that language was a key marker of racial ancestry, inspiring conjectures about the structure of Native American vocal organs and the grammatical organization and inheritability of their languages. A racially inflected discourse of “savage languages” entered the American mainstream and shaped attitudes toward Native Americans, fatefully so when it came to questions of Indian sovereignty and justifications of their forcible removal and confinement to reservations.
By the mid-nineteenth century, scientific efforts were under way to record the sounds and translate the concepts of Native American languages and to classify them into families. New discoveries by ethnologists and philologists revealed a degree of cultural divergence among speakers of related languages that was incompatible with prevailing notions of race. It became clear that language and race were not essentially connected. Yet theories of a linguistically shaped “Indian mind” continued to inform the U.S. government’s efforts to extinguish Native languages for years to come.
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