Reproduction of the original: Algic Researches, Comprising Inquiries Respecting the Mental Characteristics of the North American Indians, Vol. 1 of 2 by Henry Rowe Schoolcraft
Reproduction of the original: Algic Researches, Comprising Inquiries Respecting the Mental Characteristics of the North American Indians, Vol. 2 of 2 by Henry Rowe Schoolcraft
This book, in two volumes, breathes fresh air empirically, methodologically, and theoretically into understanding the rich ceremonial lives, the philosophical-religious knowledge, and the impressive material feats and labor organization that distinguish Hopewell Indians of central Ohio and neighboring regions during the first centuries CE. The first volume defines cross-culturally, for the first time, the “ritual drama” as a genre of social performance. It reconstructs and compares parts of 14 such dramas that Hopewellian and other Woodland-period peoples performed in their ceremonial centers to help the soul-like essences of their deceased make the journey to an afterlife. The second volume builds and critiques ten formal cross-cultural models of “personhood” and the “self” and infers the nature of Scioto Hopewell people’s ontology. Two facets of their ontology are found to have been instrumental in their creating the intercommunity alliances and cooperation and gathering the labor required to construct their huge, multicommunity ceremonial centers: a relational, collective concept of the self defined by the ethical quality of the relationships one has with other beings, and a concept of multiple soul-like essences that compose a human being and can be harnessed strategically to create familial-like ethical bonds of cooperation among individuals and communities. The archaeological reconstructions of Hopewellian ritual dramas and concepts of personhood and the self, and of Hopewell people’s strategic uses of these, are informed by three large surveys of historic Woodland and Plains Indians’ narratives, ideas, and rites about journeys to afterlives, the creatures who inhabit the cosmos, and the nature and functions of soul-like essences, coupled with rich contextual archaeological and bioarchaeological-taphonomic analyses. The bioarchaeological-taphonomic method of l’anthropologie de terrain, new to North American archaeology, is introduced and applied. In all, the research in this book vitalizes a vision of an anthropology committed to native logic and motivation and skeptical of the imposition of Western world views and categories onto native peoples.
Claimed by many to be the most frequently documented artifact in American archeology, Dighton Rock is a forty-ton boulder covered in petroglyphs in southern Massachusetts. First noted by New England colonists in 1680, the rock's markings have been debated endlessly by scholars and everyday people alike on both sides of the Atlantic. The glyphs have been erroneously assigned to an array of non-Indigenous cultures: Norsemen, Egyptians, Lost Tribes of Israel, vanished Portuguese explorers, and even a prince from Atlantis. In this fascinating story rich in personalities and memorable characters, Douglas Hunter uses Dighton Rock to reveal the long, complex history of colonization, American archaeology, and the conceptualization of Indigenous people. Hunter argues that misinterpretations of the rock's markings share common motivations and have erased Indigenous people not only from their own history but from the landscape. He shows how Dighton Rock for centuries drove ideas about the original peopling of the Americas, including Bering Strait migration scenarios and the identity of the "Mound Builders." He argues the debates over Dighton Rock have served to answer two questions: Who belongs in America, and to whom does America belong?
This book offers a comprehensive look at musical representations of native America from the pre colonial past through the American West and up to the present. The discussion covers a wide range of topics, from the ballets of Lully in the court of Louis XIV to popular ballads of the nineteenth century; from eighteenth-century British-American theater to the musical theater of Irving Berlin; from chamber music by Dvoˆrák to film music for Apaches in Hollywood Westerns. Michael Pisani demonstrates how European colonists and their descendants were fascinated by the idea of race and ethnicity in music, and he examines how music contributed to the complex process of cultural mediation. Pisani reveals how certain themes and metaphors changed over the centuries and shows how much of this “Indian music,” which was and continues to be largely imagined, alternately idealized and vilified the peoples of native America.
Lester Grabbe here distills his wide body of work on the subject of prophecy. The volume considers prophecy in different cultural contexts across ancient Israel and surrounding areas. Beginning with a consideration of prophecy in the Hebrew Bible, Grabbe then looks at it as phenomenon in the ancient near east, including Mesopotamia, Egypt and the Levant. From this background in the immediate context of ancient Israel, Grabbe then widens the cultural lens to consider prophecy in more global environments, including Africa and the Americas, and recent examples of pseudo-biblical prophets such as Joseph Smith. In the final part of the book Grabbe then analyses these different prophetic types and forms, looking at the continuing traditions of prophecy alongside their ancient roots.