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The Haida world is a misty archipelago a hundred stormy miles off the coasts of British Columbia and Alaska. For a thousand years and more before the Europeans came, a great culture flourished in these islands. The masterworks of classical Haida sculpture, now enshrined in many of the world's great museums, range from exquisite tiny amulets to magnificent huge housepoles. Classical Haida literature is every bit as various and fine. It extends from tiny jewels crafted by master songmakers to elaborate mythic cycles lasting many hours. The linguist and ethnographer John Swanton took dictation from the last great Haida-speaking storytellers, poets and historians from the fall of 1900 through the summer of 1901. His Haida hosts and colleagues had been raised in a wholly oral world where the mythic and the personal interpenetrate completely. They joined forces with their visitor, consciously creating a great treasury of Haida oral literature in written form. Poet and linguist Robert Bringhurst has worked for many years with these century-old manuscripts, which have waited until now for the broad recognition they deserve.
A richly diverse anthology of Native American literatures draws on the work of more than two hundred tribes across the United States and Canada and provides information on the historical and cultural contexts of the stories, songs, prayers, and orations.
An Overview of Northwest Coast Mythology - Jay Miller The 1983 Nez Perce General Council Archaeological Panel - James Lawyer Abstracts of Papers, 42nd Annual Northwest Anthropological Conference The North West Company Fort at Tongue Point, Oregon - Ronald C. Corbyn Aboriginal Coast Salish Food Resources: A Compilation of Sources - Judith Krieger
The Northwest Coast of North America was home to dozens of Native peoples at the time of its first contact with Europeans. The rich artistic, ceremonial, and oral traditions of these peoples and their preservation of cultural practices have made this region especially attractive for anthropological study. Coming to Shore provides a historical overview of the ethnology and ethnohistory of this region, with special attention given to contemporary, theoretically informed studies of communities and issues. The first book to explore the role of the Northwest Coast in three distinct national traditions of anthropology- American, Canadian, and French-Coming to Shore gives particular consideration to the importance of Claude Levi-Strauss and structuralism, as well as more recent social theory in the context of Northwest Coast anthropology. In addition contributors explore the blurring boundaries between theoretical and applied anthropology as well as contemporary issues such as land claims, criminal justice, environmentalism, economic development, and museum display. The contribution of Frederica de Laguna provides a historical background to the enterprise of Northwest Coast anthropology, as do the contributions of Claude Levi-Strauss and Marie Mauze. Marie Mauze is a senior researcher at the Centre National de la Recherche Scientifique in Paris. Her books include Present Is Past: Some Uses of Tradition in Native Societies. Michael E. Harkin is a professor of anthropology at the University of Wyoming and the editor of Reassessing Revitalization Movements: Perspectives from North America and the Pacific Islands (Nebraska 2004). Sergei Kan is a professor of anthropology and Native American studies at Dartmouth College and author of Memory Eternal: Tlingit Culture and Russian Orthodox Christianity through Two Centuries.
Long known as the Cannibal Dance, the Hamat̓sa is among the most important hereditary prerogatives of the Kwakwa̱ka̱ꞌwakw of British Columbia. In the late nineteenth century, as anthropologists arrived to document the practice, colonial agents were pursuing its eradication and Kwakwa̱ka̱ꞌwakw were adapting it to endure. In the process, the dance – with dramatic choreography, magnificent bird masks, and an aura of cannibalism – entered a vast library of ethnographic texts. Writing the Hamat̓sa offers a critical survey of attempts to record, describe, and interpret the dance over four centuries. Going beyond postcolonial critiques of representation that often ignore Indigenous agency in the ethnographic encounter, Writing the Hamat̓sa focuses on forms of textual mediation and Indigenous response that helped transofrm the ceremony from a set of specific performances into a generalized cultural icon. This meticulous work illuminates how Indigenous people contribute to, contest, and repurpose texts in the process of fashioning modern identities under settler colonialism.
Being in Being contains three masterpieces by legendary Haida mythteller Skaay of the Qquuna Qiighawaay. The shortest recounts the high points of the legend of his family. The longest, Raven Travelling, is the most complex version of the story of the Raven ever recorded on the Northwest Coast. The third is The Qquuna Cycle, the largest and most complex literary work in any Native Canadian language. It is a poem of epic length and one of the true masterpieces of North American literature.
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