Methodologies for Global Native Literary Studies
Publication Year: 2012
What might be gained from reading Native literatures from global rather than exclusively local perspectives of Indigenous struggle? In Trans-Indigenous, Chadwick Allen proposes methodologies for a global Native literary studies based on focused comparisons of diverse texts, contexts, and traditions in order to foreground the richness of Indigenous self-representation and the complexity of Indigenous agency.
Through demonstrations of distinct forms of juxtaposition—across historical periods and geographical borders, across tribes and nations, across the Indigenous–settler binary, across genre and media—Allen reclaims aspects of the Indigenous archive from North America, Hawaii, Aotearoa New Zealand, and Australia that have been largely left out of the scholarly conversation. He engages systems of Indigenous aesthetics—such as the pictographic discourse of Plains Indian winter counts, the semiotics of Navajo weaving, and Maori carving traditions, as well as Indigenous technologies like large-scale North American earthworks and Polynesian ocean-voyaging waka—for the interpretation of contemporary Indigenous texts. The result is a provocative reorienting of the call for Native intellectual, artistic, and literary sovereignty that fully prioritizes the global Indigenous.
Published by: University of Minnesota Press
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Title Page, Other Works in the Series, Copyright, Dedication
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Support for this project was generously provided by a grant-in-aid from the Division of Arts and Humanities at The Ohio State Univer-sity; a Lannan Summer Institute in American Indian Studies at the imagining Indigenous Cultures: The Pacific Islands” at the East-West Center at the University of Hawaii–Manoa; a CIES Senior Fulbright ...
Introduction: Ands turn Comparative turn Trans-
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Indians, he said. They’re pretty much like Maoris, aren’t they?3 Jacq carter, “comparatively Speaking, there Is No Struggle”Many of us are drawn to the comparative: to projects involving one or more ands, to processes of thinking between or among, to conclu-sions that hinge on like and unlike. As students, we choose “compare ...
Part I: Recovery / Interpretation
...recovery. n. 1. An act, instance, process, or duration of recovering. 2. A return to a normal condition. 3. Something gained or restored interpretation. n. 1. The act, process, or result of interpreting; explanation. 2. A representation of the meaning of a work of art ...
Chapter 1: "Being" Indigenous "Now": Resettling "The Indian Today" within and beyond the U.S. 1960s
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Resettling “The Indian Today” within and beyond the U.S. 1960sThe Fall 1965 issue of the Mid-Continent American Studies Journal, published at the University of Kansas, deserves special mention here because its collection of articles does attempt to let the Indian stand trialized society—to give some meaning to values that operate in ...
Chapter 2: Unsettling the Spirit of ’76: American Indians Anticipate the U.S. Bicentennial
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I guess we’re saying that we have the right to read the Declaration of 3 Vernon Bellecourt in an interview by Richard Ballard, July 1973We need to examine the state of the modern Indian social movement and try to anticipate some of the things that can be done to make 1976 a celebration of independence for American Indians as well as ...
Part II: Interpretation / Recovery
...interpretation. n. 1. The act, process, or result of interpreting; explanation. 2. A representation of the meaning of a work of art recovery. n. 1. An act, instance, process, or duration of recovering. 2. A return to a normal condition. 3. Something gained or restored in recovering. 4. The act of obtaining usable substances from unusable ...
Chapter 3: Pictographic, Woven, Carved: Engaging N. Scott Momaday’s “Carnegie, Oklahoma, 1919” through Multiple Indigenous Aesthetics
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...engaging N. Scott Momaday’s “Carnegie, oklahoma, 1919” through The juxtapositions of the 2006 exhibit Manawa—Pacific Heartbeat: A Celebration of Contemporary Maori and Northwest Coast Art may have struck some viewers as unprecedented, perhaps as exotic or “unique.” In fact, they were built on a foundation of at least twenty-five years ...
Chapter 4: Indigenous Languaging: Empathy and Translation across Alphabetic, Aural, and Visual Texts
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...empathy and Translation across Alphabetic, Aural, and Visual TextsI think the comparison will show why American culture is enriched, not weakened, by opening the curriculum to these “new” regions of our heartland—regions which the Big Guns want us to think are deserts, but which I see as lands of plenty, filled with herbs of healing. ...
Chapter 5: Siting Earthworks, Navigating Waka: Patterns of Indigenous Settlement in Allison hedge Coke’s Blood Run and Robert Sullivan’s Star Waka
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The stars are very important to me mythically. To think of losing the In a 1986 interview with Louis Owens (Choctaw/Cherokee), N. Scott Momaday warns that increasing light pollution in the U.S. desert Southwest represents far more than a technical problem for astrono-mers or an aesthetic nuisance for artists and romantics who turn their ...
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About the Author
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Chadwick Allen is professor of English at The Ohio State University. He is the author of Blood Narrative: Indigenous Identity in American ...
Page Count: 336
Publication Year: 2012
Series Title: Indigenous Americas