Catlin's Lament


Book Description

The first book to probe the conflicted attitudes that shaped and constrained noted painter George Catlin, famous for his 19th century paintings of vanishing Native American culture. Forces readers to rethink their understanding of the artist--despite his advocacy for Native peoples.







Modernity and Its Other


Book Description

Machine generated contents note: List of Illustrations Preface Acknowledgments Introduction Part 1. Views of Modernity: Internal/External Discovery 1. Crevecoeur: British America before and during the Revolutionary Upheaval 2. Philip Freneau: After the Revolution 3. Moreau de Saint-Mery: Fin de Siecle Part 2. Views of the Other: Travels in "Indian Territory" 4. The Zero Degree of the Other: Indian Violence and "Adventure" with Indians 5. Accounts of Travel in New France: Lahontan and Charlevoix 6. Anglo-American Travelers: John Lawson and Jonathan Carver 7. Travels of William Bartram, Quaker Botanist 8. Fur Traders: Alexander Mackenzie and Jean-Baptiste Trudeau Epilogue: Into the Nineteenth Century--George Catlin Conclusion Appendix: Chronology of Historical Events, Travels, and Publications Notes Bibliography Index




Literary Transnationalism(s)


Book Description

Goethe in 1827 famously claimed that national literatures did not mean very much anymore, and that the epoch of world literature was at hand. Since the turn of the twenty-first century, in the so-called "transnational turn" in literary studies, interest in world literature, and in how texts move beyond national or linguistic boundaries, has peaked. The authors of the 18 articles making up Literary Transnationalism(s) reflect on how literary texts move between cultures via translation, adaptation, and intertextual referencing, thus entering the field of world literature. The texts and subjects treated range from Caribbean, American, and Latin American literature to European migrant literatures, from the uses of pseudo-translations to the organizing principles of world histories of literature, from the dissemination of knowledge in the middle ages to circulation of literary journals and series in the nineteenth and twentieth centuries. Contributors include, amongst others, Jean Bessière, Johan Callens, Reindert Dhondt, César Domínguez, Erica Durante, Ottmar Ette, Kathleen Gyssels, Reine Meylaerts, and Djelal Kadir. Authors discussed comprise, amongst others, Carlos Fuentes, Ernest Hemingway, Edouard Glissant.




Mound City


Book Description

Nearly one thousand years ago, Native peoples built a satellite suburb of America's great metropolis on the site that later became St. Louis. At its height, as many as 30,000 people lived in and around present-day Cahokia, Illinois. While the mounds around Cahokia survive today (as part of a state historic site and UNESCO world heritage site), the monumental earthworks that stood on the western shore of the Mississippi were razed in the 1800s. But before and after they fell, the mounds held an important place in St. Louis history, earning it the nickname “Mound City.” For decades, the city had an Indigenous reputation. Tourists came to marvel at the mounds and to see tribal delegations in town for trade and diplomacy. As the city grew, St. Louisans repurposed the mounds—for a reservoir, a restaurant, and railroad landfill—in the process destroying cultural artifacts and sacred burial sites. Despite evidence to the contrary, some white Americans declared the mounds natural features, not built ones, and cheered their leveling. Others espoused far-fetched theories about a lost race of Mound Builders killed by the ancestors of contemporary tribes. Ignoring Indigenous people's connections to the mounds, white Americans positioned themselves as the legitimate inheritors of the land and asserted that modern Native peoples were destined to vanish. Such views underpinned coerced treaties and forced removals, and—when Indigenous peoples resisted—military action. The idea of the “Vanishing Indian” also fueled the erasure of Indigenous peoples’ histories, a practice that continued in the 1900s in civic celebrations that featured white St. Louisans “playing Indian” and heritage groups claiming the mounds as part of their own history. Yet Native peoples endured and in recent years, have successfully begun to reclaim the sole monumental mound remaining within city limits. Drawing on a wide range of sources, Patricia Cleary explores the layers of St. Louis’s Indigenous history. Along with the first in-depth overview of the life, death, and afterlife of the mounds, Mound City offers a gripping account of how Indigenous histories have shaped the city’s growth, landscape, and civic culture.




History's Shadow


Book Description

Answers thought-provoking questions about who Native Americans were, where they came from, and how long ago, and explains how such issues have forced Americans to confront not only the meaning of the history of Native Americans, but of their own history as well.




Montana Wild Life


Book Description




Natural Protest


Book Description

From Jamestown to 9/11, concerns about the landscape, husbanding of natural resources, and the health of our environment have been important to the American way of life. Natural Protest is the first collection of original essays to offer a cohesive social and political examination of environmental awareness, activism, and justice throughout American history. Editors Michael Egan and Jeff Crane have selected the finest new scholarship in the field, establishing this complex and fascinating subject firmly at the forefront of American historical study. Focused and thought-provoking, Natural Protest presents a cutting-edge perspective on American environmentalism and environmental history, providing an invaluable resource for anyone concerned about the ecological fate of the world around us.




Great Plains Quarterly


Book Description




Framing First Contact


Book Description

Representations of first contact—the first meetings of European explorers and Native Americans—have always had a central place in our nation’s historical and visual record. They have also had a key role in shaping and interpreting that record. In Framing First Contact author Kate Elliott looks at paintings by artists from George Catlin to Charles M. Russell and explores what first contact images tell us about the process of constructing national myths—and how those myths acquired different meanings at different points in our nation’s history. First contact images, with their focus on beginnings rather than conclusive action or determined outcomes, might depict historical events in a variety of ways. Elliott argues that nineteenth-century artists, responding to the ambiguity and indeterminacy of the subject, used the visualized space between cultures meeting for the first time to address critical contemporary questions and anxieties. Taking works from the 1840s through the 1910s as case studies—paintings by Robert W. Weir, Thomas Moran, and Albert Bierstadt, along with Catlin and Russell—Elliott shows how many first contact representations, especially those commissioned and conceived as official history, speak blatantly of conquest, racial superiority, and imperialism. Yet others communicate more nuanced messages that might surprise contemporary viewers. Elliott suggests it was the very openness of the subject of first contact that allowed artists, consciously or not, to speak of contemporary issues beyond imperialism and conquest. Uncovering those issues, Framing First Contact forces us to think about why we tell the stories we do, and why those stories matter.




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