Figuring America

Author(s):  
Kate Flint

This chapter discusses the place of the Native American in the British cultural imagination from the time of American independence up to the early decades of the twentieth century. The iconic image of the Indian is not only inseparable from the expansion and the internal policies of the new nation during the nineteenth century, and from the country's reflections concerning its history and its national identity, but is also central to Britain's conceptualization of the whole American continent. Additionally, the Indian is a figure charged with significance when it comes to Britain's interpretation of her whole imperial role and her responsibility toward indigenous peoples. In other words, the Indian is a touchstone for a whole range of British perceptions concerning America during the long nineteenth century and plays a pivotal role in the understanding and imagining of cultural difference. But transatlantic crossings were not limited to visual and textual representations. A significant number of Native Americans visited Britain in the long nineteenth century, and this book explores their engagement with that country, its people and institutions, and these visitors' perceptions of the development of modern, urban, industrialized life. Their reactions—whether curiosity, shock, resistance, or enthusiasm—show them to have been far from the declining and often degenerate race that popular culture frequently made them out to be.

1969 ◽  
Vol 38 (1) ◽  
pp. 88-105
Author(s):  
John P. Marschall

In spite of the nativism that agitated the United States during the second quarter of the nineteenth century, the Catholic Church experienced a noticeable drift of native American converts from other denominations. Between 1841 and 1857 the increased number of converts included a significant sprinkling of Protestant ministers. The history of this movement, which had its paradigm in the Oxford Movement, will be treated more in detail elsewhere. The purpose of this essay is simply to recount the attempt by several converts to establish a religious congregation of men dedicated to the Catholic apostolate among native Americans.


2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.


2001 ◽  
Vol 66 (3) ◽  
pp. 517-525 ◽  
Author(s):  
Sissel Schroeder

Based on a model derived from an analysis of contemporary maize yields in Tennessee, Baden and Beekman claim that Mississippian yields would have ranged between 8 bu/acre (501.7 kg/ha) and 30 bu/acre (1,881.3 kg/ha). Using nineteenth-century observations of Native American farmers, I noted in 1999 that available maize yields ranged between 3.7 and 42.67 bu/acre (232.1 to 2,676.3 kg/ha), with a mean of 18.9 bu/acre (1,185.4 kg/ha) for groups that did not have plows. Consumptive yields would have been lower, probably closer to an average of 10 bu/acre (627.2 kg/ha). In this paper, I clarify the differences between potential yields, available yields to illustrate the advantages of my approach. I discuss some factors that affect maize plants prior to harvest, leading to available yields that may be lower than potential yields, and conditions that reduce the quantity of maize kernels available for consumption after the harvest. Baden and Beekman argue that modern agricultural technology provides a more reasonable baseline analog for modeling ancient maize productivity than nineteenth-century Native American technologies. In contrast, I explore agricultural yield data for Native Americans and Euroamericans from a number of tribes and states for 1850, 1867, and 1878. A comparison of these data shows that, overall, yields obtained by Native American farmers tend to be lower than yields for contemporaneous Euroamerican farmers. My approach using agricultural productivity data from nineteenth-century Native Americans, coupled with a consideration of potential, available, and consumptive yields, provides a plausible foundation for the evaluation of late prehistoric yields.


2009 ◽  
Vol 43 (1) ◽  
pp. 89-100
Author(s):  
SARAH MARTIN

The article considers the political impact of the historical novel by examining an example of the genre by Native American novelist James Welch. It discusses how the novel Fools Crow represents nineteenth-century Blackfeet experience, emphasizing how (retelling) the past can act in the present. To do this it engages with psychoanalytic readings of historical novels and the work of Foucault and Benjamin on memory and history. The article concludes by using Bhabha's notion of the “projective past” to understand the political strength of the novel's retelling of the story of a massacre of Native Americans.


2014 ◽  
Vol 2 (2) ◽  
pp. 289
Author(s):  
ISMAEL DE OLIVEIRA GEROLAMO

<p><strong>Resumo:</strong> Neste trabalho discutimos como a noção de cultura popular torna-se elemento central para os debates em torno do nacionalismo nas esferas cultural e artística. Exploraremos, mais especificamente, as ideias de Mário de Andrade sobre o nacionalismo musical, tendo em vista a importância dessas ideias e suas possíveis ressonâncias nas discussões acerca da música popular no Brasil durante o século XX. A busca por uma “essência do povo” que constituiria a base de uma nação é ponto de referência para esse debate. Essas ideias, surgidas na Europa, ainda no século XIX, ligadas ao movimento romântico e a atuação dos folcloristas, ganham força no Brasil principalmente a partir do século XX e irão permear inúmeros debates em momentos distintos da história republicana do país.</p><p><strong>Palavras-chave:</strong> Nacionalismo Musical – Mário de Andrade – Música Popular.</p><p> </p><p><strong>Abstract:</strong> In this paper, we discuss how the idea of popular culture becomes central to debates about nationalism in culture and art. We will explore more specifically the ideas of Mário de Andrade on musical nationalism, regarding the importance of these ideas and their possible resonances in discussions of popular music in Brazil during the twentieth century. The search for a "people's essence" that form the basis of a nation is in the core of this debate. These ideas emerged in Europe in the nineteenth century and are connected to the Romantic movement and actions of folklorists and will bulk in Brazil mostly from the twentieth century, when they will be part of numerous debates in distinguished moments in the country’s history.</p><p><strong>Keywords:</strong> Musical Nationalism – Mário de Andrade – Popular Music.</p>


Author(s):  
Brooks Blevins

It may have been the first novel written by anyone who ever called the Ozarks home. If so, then it’s almost certainly not what you would expect. First published in 1854, The Life and Adventures of Joaquín Murieta, the Celebrated California Bandit would likely have taken its place in the dustbin of history alongside other dime novels of the nineteenth century if not for two “firsts” and a link with a twentieth-century American pop-cultural icon. The fictionalized tale of an actual Sonoran-born bandit in Mexican California is believed to be both the first novel penned by a Native American and the first published in California, two hefty firsts that are unlikely to make room for our humble regional claim in the author’s biographical entry anytime soon. Nor will his roots in the hills of Oklahoma and Arkansas earn billing over the assertion by some scholars that the novel inspired Johnston McCulley’s creation of the heroic Mexican character Zorro in 1919....


Author(s):  
Robert J. Cromwell

The origins of historical archaeology in the Pacific Northwest of North America in the mid-twentieth century concentrated on the excavations of British terrestrial fur trade forts, but little synthesis and inter-site comparisons of available data has been completed. This chapter presents a comparative typological analysis of these early-nineteenth-century British and Chinese ceramic wares recovered from the Northwest Company’s Fort Okanogan (ca. 1811–1821), Fort Spokane (ca. 1810–1821), Fort George (ca. 1811–1821) and the Hudson’s Bay Company’s Fort Vancouver (ca. 1825–1860). This study helps to reveal the extent that early Victorian ideals gave precedence to the supply of British manufactured goods to these colonial outposts on the opposite side of the world and what the presence of these ceramic wares may reveal about the complex interethnic relationships and socioeconomic statuses of the occupants of these forts and the Native Americans who engaged in trade with these forts.


Author(s):  
John M. Coward

In the second half of the nineteenth century, Americans swarmed to take in a raft of new illustrated journals and papers. Engravings and drawings of “buckskinned braves” and “Indian princesses” proved an immensely popular attraction for consumers of publications like Frank Leslie's Illustrated Newspaper and Harper's Weekly. This book charts a social and cultural history of Native American illustrations—romantic, violent, racist, peaceful, and otherwise—in the heyday of the American pictorial press. These woodblock engravings and ink drawings placed Native Americans into categories that drew from venerable “good” Indian and “bad” Indian stereotypes already threaded through the culture. The book's examples show how the genre cemented white ideas about how Indians should look and behave—ideas that diminished Native Americans' cultural values and political influence. The book's powerful analysis of themes and visual tropes unlock the racial codes and visual cues that whites used to represent, and marginalize, native cultures already engaged in a twilight struggle against inexorable westward expansion.


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