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Joseph Nicolar’s The Life and Traditions of the Red Man tells the story of his people from the first moments of creation to the earliest arrivals and eventual settlement of Europeans. Self-published by Nicolar in 1893, this is one of the few sustained narratives in English composed by a member of an Eastern Algonquian-speaking people during the nineteenth century. At a time when Native Americans’ ability to exist as Natives was imperiled, Nicolar wrote his book in an urgent effort to pass on Penobscot cultural heritage to subsequent generations of the tribe and to reclaim Native Americans’ right to self-representation. This extraordinary work weaves together stories of Penobscot history, precontact material culture, feats of shamanism, and ancient prophecies about the coming of the white man. An elder of the Penobscot Nation in Maine and the grandson of the Penobscots’ most famous shaman-leader, Old John Neptune, Nicolar brought to his task a wealth of traditional knowledge. The Life and Traditions of the Red Man has not been widely available until now, largely because Nicolar passed away just a few months after the printing of the book was completed, and shortly afterwards most of the few hundred copies that had been printed were lost in a fire. This new edition has been prepared with the assistance of Nicolar’s descendants and members of the Penobscot Nation. It includes a summary history of the tribe; an introduction that illuminates the book’s narrative strategies, the aims of its author, and its key themes; and annotations providing historical context and explaining unfamiliar words and phrases. The book also contains a preface by Nicolar’s grandson, Charles Norman Shay, and an afterword by Bonnie D. Newsom, former Director of the Penobscot Nation’s Department of Cultural and Historic Preservation. The Life and Traditions of the Red Man is a remarkable narrative of Native American culture, spirituality, and literary daring.
The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.
This fascinating account of Ezra Pound and Italian Fascism allows the reader to understand the causes and results of Pound's ideology and actions.
Compact, inexpensive anthology features contributions from Jonathan Edwards, Anne Bradstreet, Benjamin Franklin, Thomas Paine, Nathaniel Hawthorne, Edgar Allan Poe, Frederick Douglass, Walt Whitman, and many others. Includes introductory notes and suggestions for further reading.
(Partial summary, p. 334-339) A protestant missionary view of the economic and moral situation on Flathead in the early 1920's.
Democratic Humanism and American Literature illustrates the interplay between democratic assumptions and literary performance in the America's classic nineteenth-century writers--Emerson, Thoreau, Hawthorne, Melville, Cooper, Poe, Whitman, Twain, and James. Harold Kaplan suggests that these major figures' works are linked by the myths of genesis of a new political culture. Challenged by the democratic ideal, and committed to it, they wrote prophetic books in the American liberal tradition and endowed its ethical intelligence. The task of stating a new and undefined freedom was always implicit and often in the foreground of the writing of these nineteenth-century giants. As the author describes the situation, "the free man had to decide in what sense he was bound by nature or could master it; in what sense he was committed to his society and could reconcile his freedom with it." These classic writers devoted their work to examining this dialectic of values; Kaplan sees their complex and polarized democratic consciousness as seminal in the imaginative tradition they generated. What is unique in that tradition of values is the rivalry of criticism with affirmations of faith. "The highly original ethical trait involved here is based on the capacity of a political society to use its negations against itself and survive." The author suggests that in our own time moral judgments are more likely to be the province of activist politics than literature. His new introduction relates the theme of the book to cultural and political developments in the American experience of modernity and adds a discussion of Wallace Stevens and William Carlos Williams to the figures treated in the original edition. Since tendencies to develop ideological and idiosyncratic responses to extrinsic events have grown stronger over time, it is more important than ever for scholars and students alike to recover a "moral imagination"--the force that gave rise to the great literary works of the nineteenth century. To describe that force is Harold Kaplan's goal in Democratic Humanism and American Literature.