Arguing against general analyses of colonialism, he proposes that a historicized, ethnographic investigation of colonialism would best lead to a fruitful discussion of its continued effects.
This landmark collection by an international group of scholars and public intellectuals represents a major reassessment of French colonial culture and how it continues to inform thinking about history, memory, and identity. This reexamination of French colonial culture, provides the basis for a revised understanding of its cultural, political, and social legacy and its lasting impact on postcolonial immigration, the treatment of ethnic minorities, and national identity.
Colonial Legacies in Chicana/o Literature and Culture exposes the ways in which colonialism is expressed in the literary and cultural production of the U.S. Southwest, a region that has experienced at least two distinct colonial periods since the sixteenth century. Vanessa Fonseca-Chávez traces how Spanish colonial texts reflect the motivation for colonial domination. She argues that layers of U.S. colonialism complicate how Chicana/o literary scholars think about Chicana/o literary and cultural production. She brings into view the experiences of Chicana/o communities that have long-standing ties to the U.S. Southwest but whose cultural heritage is tied through colonialism to multiple nations, including Spain, Mexico, and the United States. While the legacies of Chicana/o literature simultaneously uphold and challenge colonial constructs, the metaphor of the kaleidoscope makes visible the rupturing of these colonial fragments via political and social urgencies. This book challenges readers to consider the possibilities of shifting our perspectives to reflect on stories told and untold and to advocate for the inclusion of fragmented and peripheral pieces within the kaleidoscope for more complex understandings of individual and collective subjectivities. This book is intended for readers interested in how colonial legacies are performed in the U.S. Southwest, particularly in the context of New Mexico, Texas, and Arizona. Readers will relate to the book’s personal narrative thread that provides a path to understanding fragmented identities.
How does material culture become data? Why does this matter, and for whom? As the cultures of Indigenous peoples in North America were mined for scientific knowledge, years of organizing, classifying, and cataloguing hardened into accepted categories, naming conventions, and tribal affiliations – much of it wrong. Cataloguing Culture examines how colonialism operates in museum bureaucracies. Using the Smithsonian’s National Museum of Natural History as her reference, Hannah Turner organizes her study by the technologies framing museum work over two hundred years: field records, the ledger, the card catalogue, the punch card, and eventually the database. She examines how categories were applied to ethnographic material culture and became routine throughout federal collecting institutions. As Indigenous communities encounter the documentary traces of imperialism while attempting to reclaim what is theirs, this timely work shines a light on access to and return of cultural heritage.
Explores how American Indian businesses and organizations are taking on images that were designed to oppress them. How and why do American Indians appropriate images of Indians for their own purposes? How do these representatives promote and sometimes challenge sovereignty for indigenous people locally and nationally? American Indians have recently taken on a new relationship with the hegemonic culture designed to oppress them. Rather than protesting it, they are earmarking images from it and using them for their own ends. This provocative book adds an interesting twist and nuance to our understanding of the five-hundred year interchange between American Indians and others. A host of examples of how American Indians use the so-called White Mans Indian reveal the key images and issues selected most frequently by the representatives of Native organizations or Native-owned businesses in the late twentieth and early twenty-first centuries to appropriate Indianness.
Contemporary Media Culture and the Remnants of a Colonial Past examines contemporary representations of colonialism, by developing a historically and culturally specific theory of neocolonialism in U.S. media culture. Noting how colonialism never officially ended in the United States, Kent A. Ono draws together race, gender, sexuality, and nation to examine neocolonialism in popular media narratives. The book asks, «What are the lingering traces within contemporary culture that provide evidence not only of what colonialism was but also of what it continues to be today?» Offering five case studies on Buffy the Vampire Slayer, the sale of the Seattle Mariners, Mighty Morphin Power Rangers, Pocahontas, and Star Trek: The Next Generation--and providing current media examples in the introduction and conclusion, the book documents the persistence of colonialism in media culture. White vigilantism, prototypical colonial rescue plots, and cloaked and not-so-hidden anxieties about racial and national miscegenation all contribute towards a continuation of colonialism and a neocolonial mind-set. The book's critical examination from a historical and cultural perspective makes it possible to alter colonialism for future generations.
Commodity culture and colonialism are intimately related and mutually constitutive. This book analyses the transformation of local cultures in the context of global interaction in the period 1851-1914. It also demonstrates methodologies and theoretical approaches from this field of study, and puts these into practise in the case studies presented.
Sharkey examines the history of the Anglo-Egyptian Sudan (1898-1956) and the Republic of Sudan that followed in order to understand how colonialism worked on the ground, affected local cultures, influenced the rise of nationalism, and shaped the postcolonial nation state.