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--Pointed, absorbing novel about an indigenous artist’s long journey of creativity and coming-of-awareness from White Earth Reservation to Paris
This companion volume to an exhibition at the National Museum of the American Indian in New York reveals how Anishinaabe (also known in the United States as Ojibwe or Chippewa) artists have expressed the deeply rooted spiritual and social dimensions of their relations with the Great Lakes region. Featuring 70 color images of visually powerful historical and contemporary works, Before and After the Horizon is the only book to consider the work of Anishinaabe artists overall and to discuss 500 years of Anishinaabe art history.
“Sovereignty” is perhaps the most ubiquitous term in American Indian writing today—but its meaning and function are anything but universally understood. This is as it should be, David J. Carlson suggests, for a concept frequently at the center of various—and often competing—claims to authority. In Imagining Sovereignty, Carlson explores sovereignty as a discursive middle ground between tribal communities and the United States as a settler-colonial power. His work reveals the complementary ways in which legal and literary texts have generated politically significant representations of the world, which in turn have produced particular effects on readers and advanced the cause of tribal self-determination. Drawing on western legal historical sources and American Indian texts, Carlson traces a dual genealogy of sovereignty. Imagining Sovereignty identifies the concept as a marker, one that allows both the colonizing power of the United States and the resisting powers of various American Indian nations to organize themselves and their various claims to authority. In the process, sovereignty also functions as a point of exchange where these claims compete with and complicate one another. To this end, Carlson analyzes how several contemporary American Indian writers and critics have sought to fuse literary practices and legal structures into fully formed discourses of self-determination. After charting the development of the concept of sovereignty in natural law and its permutations in federal Indian policy, Carlson maps out the nature and function of sovereignty discourses in the work of contemporary Native scholars such as Russel Barsh, Gerald Taiaiake Alfred, D’Arcy McNickle, and Vine Deloria, and in the work of more expressly literary American Indian writers such as Craig Womack, Elizabeth Cook-Lynn, Gerald Vizenor, and Francisco Patencio. Often read in opposition, the writings of these indigenous authors emerge in Imagining Sovereignty as a coherent literary and political tradition—one whose varied discourse of sovereignty aptly reflects American Indian people’s diverse political contexts.
Communicates information about the histories, contemporary presence, and various other facts of the Native peoples of the United States. From publisher description.
Youth resistance has become a pressing global phenomenon, to which many educators and researchers have looked for inspiration and/or with chagrin. Although the topic of much discussion and debate, it remains dramatically under-theorized, particularly in terms of theories of change. Resistance has been a prominent concern of educational research for several decades, yet understandings of youth resistance frequently lack complexity, often seize upon convenient examples to confirm entrenched ideas about social change, and overly regulate what "counts" as progress. As this comprehensive volume illustrates, understanding and researching youth resistance requires much more than a one-dimensional theory. Youth Resistance Research and Theories of Change provides readers with new ways to see and engage youth resistance to educational injustices. This volume features interviews with prominent theorists, including Signithia Fordham, James C. Scott, Michelle Fine, Robin D.G. Kelley, Gerald Vizenor, and Pedro Noguera, reflecting on their own work in light of contemporary uprisings, neoliberal crises, and the impact of new technologies globally. Chapters presenting new studies in youth resistance exemplify approaches which move beyond calcified theories of resistance. Essays on needed interventions to youth resistance research provide guidance for further study. As a whole, this rich volume challenges current thinking on resistance, and extends new trajectories for research, collaboration, and justice.
Paying attention to the uses that Anishinaabe authors make of visual images and marks made on surfaces such as rock, bark, paper, and canvas, David Stirrup argues that such marks—whether ancient pictographs or contemporary paintings—intervene in artificial divisions like that separating precolonial/oral from postcontact/alphabetically literate societies. Examining the ways that writers including George Copway, Jane Johnston Schoolcraft, Gordon Henry, Louise Erdrich, Gerald Vizenor, and others deploy the visual establishes frameworks for continuity, resistance, and sovereignty in that space where conventional narratives of settlement read rupture. This book is a significant contribution to studies of the ways traditional forms of inscription support and amplify the oral tradition and in turn how both the method and aesthetic of inscription contribute to contemporary literary aesthetics and the politics of representation.
Gerald Vizenor's Native Provenance challenges readers to consider the subtle ironies at the heart of Native American culture and oral traditions such as creation and trickster stories and dream songs. A respected authority in the study of Native American literature and intellectual history, Vizenor believes that the protean nature of many creation stories, with their tease and weave of ironic gestures, was lost or obfuscated in inferior translations by scholars and cultural connoisseurs, and as a result the underlying theories and presuppositions of these renditions persist in popular literature and culture. Native Provenance explores more than two centuries of such betrayal of native creativity. With erudite and sweeping virtuosity, Vizenor examines how ethnographers and others converted the inherent confidence of native stories into uneasy sentiments of victimry. He explores the connection between Native Americans and Jews through gossip theory and strategies of cultural survivance, and between natural motion and ordinary practices of survivance. Other topics include the unique element of native liberty inherent in artistic milieus; the genre of visionary narratives of resistance; and the notions of historical absence, cultural nihilism, and victimry. Native Provenance is a tour de force of Native American cultural criticism ranging widely across the terrains of the artistic, literary, philosophical, linguistic, historical, ethnographic, and sociological aspects of interpreting native stories. Native Provenance is rife with poignant and original observations and is essential reading for anyone interested in Native American cultures and literature.
In Art for an Undivided Earth Jessica L. Horton reveals how the spatial philosophies underlying the American Indian Movement (AIM) were refigured by a generation of artists searching for new places to stand. Upending the assumption that Jimmie Durham, James Luna, Kay WalkingStick, Robert Houle, and others were primarily concerned with identity politics, she joins them in remapping the coordinates of a widely shared yet deeply contested modernity that is defined in great part by the colonization of the Americas. She follows their installations, performances, and paintings across the ocean and back in time, as they retrace the paths of Native diplomats, scholars, performers, and objects in Europe after 1492. Along the way, Horton intervenes in a range of theories about global modernisms, Native American sovereignty, racial difference, archival logic, artistic itinerancy, and new materialisms. Writing in creative dialogue with contemporary artists, she builds a picture of a spatially, temporally, and materially interconnected world—an undivided earth.
The 20th century has witnessed crucial changes in our perceptions of Europe. Two World Wars and many regional conflicts, the end of empires and of the Eastern Bloc, the creation and expansion of the European Union, and the continuous reshaping of Europe’s population through emigration, immigration, and globalization have led to a proliferation of images of Europe within the continent and beyond. While Eurocentrism governs current public debates in Europe, this book takes a special interest in literary and cinematographic imaginings of Europe that are produced from more distant, decentred, or peripheral vantage points and across differences of political power, ideological or ethnic affinity, cultural currency, linguistic practice, and geographical location. The contributions to this book demonstrate how these particular imaginings of Europe, often without first-hand experience of the continent, do not simply hold up a mirror to Europe, but dare to conceive of new perspectives and constellations for Europe that call for a shifting of critical positions. In so doing, the artistic visions from afar confirm the significance of cultural imagination in (re)conceptualizing the past, present, and future of Europe. This book was originally published as a special issue of the Journal of Postcolonial Writing.