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When a man lives to be a hundred he has many tales to tell. When that man is Dan Kennedy of the Carry the Kettle First Nation in Saskatchewan, his hundred-year-old memories and personal recollections are a part of Canada's heritage. As Chief Ochankugahe he witnessed the final days of Pre-Contact Assiniboine Sioux society, the turmoil of the Indian Wars, Ghost Dance, the Homestead Era and the Residential Schools. Educated at St. Boniface College, the chief is an articulate, reflective commentator as well as an eye-witness to history. Despite the extreme human trials covered in the book, including famine and war, the Chief uses humour and compassion and is writes without rancour.
Depicting Canada’s Children is a critical analysis of the visual representation of Canadian children from the seventeenth century to the present. Recognizing the importance of methodological diversity, these essays discuss understandings of children and childhood derived from depictions across a wide range of media and contexts. But rather than simply examine images in formal settings, the authors take into account the components of the images and the role of image-making in everyday life. The contributors provide a close study of the evolution of the figure of the child and shed light on the defining role children have played in the history of Canada and our assumptions about them. Rather than offer comprehensive historical coverage, this collection is a catalyst for further study through case studies that endorse innovative scholarship. This book will be of interest to scholars in art history, Canadian history, visual culture, Canadian studies, and the history of children.
Studying postcolonial literatures in English can (and indeed should) make a human rights activist of the reader – there is, after all, any amount of evidence to show the injustices and inhumanity thrown up by processes of decolonization and the struggle with past legacies and present corruptions. Yet the human-rights aspect of postcolonial literary studies has been somewhat marginalized by scholars preoccupied with more fashionable questions of theory. The present collection seeks to redress this neglect, whereby the definition of human rights adopted is intentionally broad. The volume reflects the human rights situation in many countries from Mauritius to New Zealand, from the Cameroon to Canada. It includes a focus on the Malawian writer Jack Mapanje. The contributors’ concerns embrace topics as varied as denotified tribes in India, female genital mutilation in Africa, native residential schools in Canada, political violence in Northern Ireland, the South African Truth and Reconciliation Commission, and the discourse of the Treaty of Waitangi. The editors hope that the very variety of responses to the invitation to reflect on questions of “Literature and Human Rights” will both stimulate further discussion and prompt action. Contributors are: Edward O. Ako, Hilarious N. Ambe, Ken Arvidson, Jogamaya Bayer, Maggie Ann Bowers, Chandra Chatterjee, Lindsey Collen, G.N. Devy, James Gibbs, J.U. Jacobs, Karen King–Aribisala, Sindiwe Magona, Lee Maracle, Stuart Marlow, Don Mattera, Wumi Raji. Lesego Rampolokeng, Dieter Riemenschneider, Ahmed Saleh, Jamie S. Scott, Mark Shackleton, Johannes A. Smit, Peter O. Stummer, Robert Sullivan, Rajiva Wijesinha, Chantal Zabus
In the late 1960s and early 1970s, Canada witnessed an explosion in the production of literary works by Aboriginal writers, a development that some critics have called the Native Renaissance. In Before the Country, Stephanie McKenzie explores the extent to which this growing body of literature influenced non-Native Canadian writers and has been fundamental in shaping our search for a national mythology. In the context of Northrop Frye's theories of myth, and in light of the attempts of social critics and early anthologists to define Canada and Canadian literature, McKenzie discusses the ways in which our decidedly fractured sense of literary nationalism has set indigenous culture apart from the mainstream. She examines anew the aesthetics of Native Literature and, in a style that is creative as much as it is scholarly, McKenzie incorporates the principles of storytelling into the unfolding of her argument. This strategy not only enlivens her narrative, but also underscores the need for new theoretical strategies in the criticism of Aboriginal literatures. Before the Country invites us to engage in one such endeavour.
The development of literature in Canada with an eye to its multicultural, multiethnic, multilingual nature. From modest colonial beginnings, literature in Canada has arrived at the center stage of world literature. Works by English-Canadian writers -- both established writers such as Margaret Atwood and new talents such as Yann Martel -- make regular appearances on international bestseller lists. French-Canadian literature has also found its own voice in the North American and francophone worlds. "CanLit" has likewise developed into a staple of academic interest, pursued in Canadian Studies programs in Canada and around the world. This volume draws on the expertise of scholars from Canada, Germany, Austria, and France, tracing Canadian literature from the indigenous oral tradition to thedevelopment of English-Canadian and French-Canadian literature since colonial times. Conceiving of Canada as a single but multifaceted culture, it accounts for specific characteristics of English- and French-Canadian literatures, such as the vital role of the short story in English Canada or that of the chanson in French Canada. Yet special attention is also paid to Aboriginal literature and to the pronounced transcultural, ethnically diverse character ofmuch contemporary Canadian literature, thus moving clearly beyond the traditions of the two founding nations. Contributors: Reingard M. Nischik, Eva Gruber, Iain M. Higgins, Guy Laflèche, Dorothee Scholl, Gwendolyn Davies, Tracy Ware, Fritz Peter Kirsch, Julia Breitbach, Lorraine York, Marta Dvorak, Jerry Wasserman, Ursula Mathis-Moser, Doris G. Eibl, Rolf Lohse, Sherrill Grace, Caroline Rosenthal, Martin Kuester, Nicholas Bradley, Anne Nothof, Georgiana Banita, Gilles Dupuis, and Andrea Oberhuber. Reingard M. Nischik is Professor of American Literature at the University of Constance, Germany.
In this study of the Canadian novelist Margaret Laurence, recent narratological models provide the theoretical framework for a textual analysis that aims at complementing previous thematic critiques. The chief focus is on The Stone Angel and The Diviners, which the conclusion then presents in the context of the other novels in Laurence's Manawaka cycle. Consideration of the published works is rounded off with genetic comparison of the novelist's typescript drafts and an evaluation of the manuscript notes kept in the archives of McMaster and York Universities. The central structural principle of The Stone Angel is its dovetailing of past and present scenes. Temporal arrangement, reflecting the frequency and duration of Hagar's memories, reveals the hold of memory over the central character and her attempts to suppress her fear of mortality. Hagar-as-narrator manipulates character-presentation and description to her own advantage. In a basically oppositional structure, her need for control is reflected in the neat ordering of the narrative. The verbal texture of the novel serves to establish a value system that insists on the superiority of imported culture over Western Canadian forms. The Diviners shares a number of narrative similarities with The Stone Angel, but the latter's formal rigidity has yielded, by the time Laurence writes her last novel, to the concept of multiplicity - characters, time planes, perspectives and narrative voices (including metafictional commentaries). Textual coherence is secured via narrative strategies (including typography, generational paradigms, repetition, parallelism, intertextuality, and tropological patterning) that render the novel readable and present experience as ordered in a time of cultural flux and personal crisis.
In this book, Barton Barbour presents the first comprehensive history of Fort Union, the nineteenth century's most important and longest-lived Upper Missouri River fur trading post. Barbour explores the economic, social, legal, cultural, and political significance of the fort which was the brainchild of Kenneth McKenzie and Pierre Chouteau, Jr., and a part of John Jacob Astor's fur trade empire. From 1830 to 1867, Fort Union symbolized the power of New York and St. Louis, and later, St. Paul merchants' capital in the West. The most lucrative post on the northern plains, Fort Union affected national relations with a number of native tribes, such as the Assiniboine, Cree, Crow, Sioux, and Blackfeet. It also influenced American interactions with Great Britain, whose powerful Hudson's Bay Company competed for Upper Missouri furs. Barbour shows how Indians, mixed-bloods, Hispanic-, African-, Anglo-, and other Euro-Americans living at Fort Union created a system of community law that helped maintain their unique frontier society. Many visiting artists and scientists produced a magnificent graphic and verbal record of events and people at the post, but the old-time world of fur traders and Indians collapsed during the Civil War when political winds shifted in favor of Lincoln's Republican Party. In 1865 Chouteau lost his trade license and sold Fort Union to new operators, who had little interest in maintaining the post's former culture. Barton H. Barbour is Professor of History at Boise State University and author of Jedidiah Smith: No Ordinary Mountain Man, also published by the University of Oklahoma Press.
This collection of papers focuses on Canadian Native history since 1763 and presents an overview of official Canadian Indian policy and its effects on the Indian, Inuit, and Metis. Issues and themes covered include colonial Indian policy, constitutional developments, Indian treaties and policy, government decision-making and Native responses reflecting both persistence and change, and the broad issue of aboriginal and treaty rights.
Though some believe that the Indian treaties of the 1870s achieved a unity of purpose between the Canadian government and First Nations, in From Treaties to Reserves D.J. Hall asserts that - as a result of profound cultural differences - each side interpreted the negotiations differently, leading to conflict and an acute sense of betrayal when neither group accomplished what the other had asked. Hall explores the original intentions behind the government's policies, illustrates their attempts at cooperation, and clarifies their actions. While the government believed that the Aboriginal peoples of what is now southern and central Alberta desired rapid change, the First Nations, in contrast, believed that the government was committed to supporting the preservation of their culture while they adapted to change. Government policies intended to motivate backfired, leading instead to poverty, starvation, and cultural restriction. Many policies were also culturally insensitive, revealing misconceptions of Aboriginal people as lazy and over-dependent on government rations. Yet the first two decades of reserve life still witnessed most First Nations people participating in reserve economies, many of the first generation of reserve-born children graduated from schools with some improved ability to cope with reserve life, and there was also more positive cooperation between government and First Nations people than is commonly acknowledged. The Indian treaties of the 1870s meant very different things to government officials and First Nations. Rethinking the interaction between the two groups, From Treaties to Reserves elucidates the complexities of this relationship.