By Ute Lischke, David T. McNab
ISBN-10: 0889204608
ISBN-13: 9780889204607
ISBN-10: 0889204845
ISBN-13: 9780889204843
ISBN-10: 1417599669
ISBN-13: 9781417599660
“The such a lot we will be able to wish for is that we're paraphrased correctly.” during this assertion, Lenore Keeshig-Tobias underscores one of many major matters within the illustration of Aboriginal peoples by means of non-Aboriginals. Non-Aboriginal humans usually fail to appreciate the sheer variety, multiplicity, and transferring identities of Aboriginal humans. for that reason, Aboriginal everyone is usually taken out in their personal contexts.
Walking a Tightrope performs a tremendous function within the dynamic historic means of ongoing switch within the illustration of Aboriginal peoples. It locates and examines the multiplicity and specialty of Aboriginal voices and their representations, either as they painting themselves and as others have characterised them. as well as exploring views and methods to the illustration of Aboriginal peoples, it additionally seems at local notions of time (history), land, cultures, identities, and literacies. till those are understood via non-Aboriginals, Aboriginal humans will stay misrepresented―both as members and as teams.
by means of acknowledging the complicated and targeted felony and ancient prestige of Aboriginal peoples, we will be able to start to comprehend the tradition of local peoples in North the United States. till then, given the energy of stereotypes, local humans have come to count on no higher illustration than a paraphrase.
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Additional info for Walking a Tightrope: Aboriginal People and Their Representations (Aboriginal Studies)
Sample text
11 The Great Plains Warrior The warrior in full headdress is perhaps the world’s most enduring “Indian” image. Based on Plains warrior regalia, the image became fixed in the world’s collective mind. The “winning of the West” was a relatively brief phenomenon in American history—beginning right after the us Civil War and ending with the slaughter of the Lakota at Wounded Knee in 1890 (the next year Frederick Jackson Turner declared that there was no more frontier in America). Of course, within this twenty-five-year period the images of Crazy Horse and Sitting Bull and “Custer’s Last Stand,” were created.
26 I suspect that anyone who enters the Canadian Museum of Civilization, in Hull, Quebec, will be struck by the fact that it is an “Indian” village scene from the Northwest that has been chosen to occupy the most prominent public space in this very “national” museum. In this essay, images used by corporations have been presented, yet Indigenous imagery is also widely used by governments on coins, paper money, stamps, flags, and coats of arms (as we saw, above). 27 Again, the Canadian government is asking all of us to interpret Aboriginal imagery as equal to Canadian identity—quite a radical answer to the question of who am I?
14 rcap, 16–17. 15 Winona Wheeler, “Thoughts on the Responsibilities of Indigenous/Native Studies,” The Canadian Journal of Native Studies 21, 1 (2001): 97–104. 16 On this subject see Francis, The Imaginary Indian. 17 Marcia Crosby, “Construction of the Imaginary Indian,” in Vancouver Anthology: The Institutional Politics of Art, ed. Stan Douglas (Vancouver: Talonbooks, 1991), 266–91 . Mann, a Seneca woman of the Bear Clan, also shows the extensive misrepresentations of Iroquoian women by Europeans in her book, noted above in endnote 13.
Walking a Tightrope: Aboriginal People and Their Representations (Aboriginal Studies) by Ute Lischke, David T. McNab
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