The fur trade was the impetus for much of the exploration and discovery of North America. The essays in Dark Storm Moving West trace three phases of westward exploration: naval and fur trade ventures on the Pacific coast; traders progress along interior rivers and lakes; and the transcontinental Lewis and Clark expedition, which used maps based on fur trade surveys. Author Barbara Belyea poses challenging questions about the rapid expansion, its effects on Native populations, European versus Native cartography, cultural definitions of space, and communication of traditions.
"Amer-European settlement of the Great Plains transformed bountiful Native soil into pasture and cropland, distorting the prairie ecosystem as it was understood and used by the peoples who originally populated the land. Settlers justified this transformation with the unexamined premise of deficiency, according to which the Great Plains region was inadequate in flora and fauna and the region lacking in modern civilization. Drawing on history, sociology, art, and economic theory, Frances W. Kaye counters the argument of deficiency, pointing out that, in its original ecological state, no region can possibly be incomplete. Goodlands examines the settlers' misguided theory, discussing the ideas that shaped its implementation, the forces that resisted it, and Indigenous ideologies about what it meant to make good use of the land. By suggesting methods for redeveloping the Great Plains that are founded on native cultural values, Goodlands serves the region in the context of a changing globe."--Publisher's website.
Since its launch in 1987, the History of Cartography series has garnered critical acclaim and sparked a new generation of interdisciplinary scholarship. Cartography in the European Enlightenment, the highly anticipated fourth volume, offers a comprehensive overview of the cartographic practices of Europeans, Russians, and the Ottomans, both at home and in overseas territories, from 1650 to 1800. The social and intellectual changes that swept Enlightenment Europe also transformed many of its mapmaking practices. A new emphasis on geometric principles gave rise to improved tools for measuring and mapping the world, even as large-scale cartographic projects became possible under the aegis of powerful states. Yet older mapping practices persisted: Enlightenment cartography encompassed a wide variety of processes for making, circulating, and using maps of different types. The volume’s more than four hundred encyclopedic articles explore the era’s mapping, covering topics both detailed—such as geodetic surveying, thematic mapping, and map collecting—and broad, such as women and cartography, cartography and the economy, and the art and design of maps. Copious bibliographical references and nearly one thousand full-color illustrations complement the detailed entries.
The World of the American West is an innovative collection of original essays that brings the world of the American West to life, and conveys the distinctiveness of this diverse, constantly changing region. Twenty scholars incorporate the freshest research in the field to take the history of the American West out of its timeworn "Cowboys and Indians" stereotype right up into the major issues being discussed today, from water rights to the presence of the defense industry. Other topics covered in this heavily illustrated, highly accessible volume include the effects of leisure and tourism, western women, politics and politicians, Native Americans in the twentieth century, and of course, oil. With insight both informative and unexpected, The World of the American West offers perspectives on the latest developments affecting the modern American West, providing essential reading for all scholars and students of the field so that they may better understand the vibrant history of this globally significant, ever-evolving region of North America.
How the West Was Drawn explores the geographic and historical experiences of the Pawnees, the Iowas, and the Lakotas during the European and American contest for imperial control of the Great Plains during the eighteenth and nineteenth centuries. David Bernstein argues that the American West was a collaborative construction between Native peoples and Euro-American empires that developed cartographic processes and culturally specific maps, which in turn reflected encounter and conflict between settler states and indigenous peoples. Bernstein explores the cartographic creation of the Trans-Mississippi West through an interdisciplinary methodology in geography and history. He shows how the Pawnees and the Iowas—wedged between powerful Osages, Sioux, the horse- and captive-rich Comanche Empire, French fur traders, Spanish merchants, and American Indian agents and explorers—devised strategies of survivance and diplomacy to retain autonomy during this era. The Pawnees and the Iowas developed a strategy of cartographic resistance to predations by both Euro-American imperial powers and strong indigenous empires, navigating the volatile and rapidly changing world of the Great Plains by brokering their spatial and territorial knowledge either to stronger indigenous nations or to much weaker and conquerable American and European powers. How the West Was Drawn is a revisionist and interdisciplinary understanding of the global imperial contest for North America’s Great Plains that illuminates in fine detail the strategies of survival of the Pawnees, the Iowas, and the Lakotas amid accommodation to predatory Euro-American and Native empires.
WANTED: Young, skinny, wiry fellows not over eighteen. Must be expert riders. Willing to risk death daily. Orphans preferred. When Colton Wescott sees this sign for the Pony Express, he thinks he has the solution to his problems. He's stuck with his ma and two younger sisters on the wrong side of the Sierra Nevada Mountains, with no way to get across. They were on the wagon train heading to California when Pa accidentally shot Colton and then galloped away. Ma is sick, and Colton needs money to pay the doctor. He'd make good money as a Pony rider. he also needs to get to California to deliver freedom papers to Ma's sister, a runaway slave. The Pony Express could get him there too... Does Colton have what it takes to be a Pony Express rider? And if so, will traveling the dangerous route over the mountains bring him closer to family, freedom, and everything he holds dear?
March 5th 2012 marks the 500th birthday of map-maker Gerhard Kremer, aka Mercator. There are many wishing the Flemish map maker well! From blogs to books the man who has shaped for many our world view is celebrated as often as vilified. Four centuries later, Arno Peters created what many see as a fair view of our world, but others see as a distorted or misleading map! Across the centuries it is maps that link these men and their impact on current human activity. This landmark book - How Maps Change Things: A Conversation About the Maps We Choose and the World We Want - looks at maps by these two men and others. This examination goes beyond maps as nouns, as tactile objects that show locations and distances. "Maps are verbs ... don't be fooled" we are told at the outset of How Maps Change Things. The book examines maps as change agents, reflecting intentions and setting agendas, stating who has what, and who has not. What are the messages sent by maps? What were Mercator, Peters and other map makers setting out to do with each of their creations? Ward Kaiser, author, publisher, pastor, and historian was instrumental in bringing the Peters Equal Area Map to North America. He has been leading the discussion of what maps mean and the power of maps in framing human activities. In How Maps Change Things Kaiser takes a passionate view of how maps illustrate and influence the significant paths humans pursue. Rather than looking for definitive answers, Kaiser focuses on asking thought-provoking questions. "What does our world, through the view of maps, really look like and what does the perspective (or frame of reference or bias) of the viewer mean to the map and its view? Are all maps simply propaganda for the hidden agenda of the map-maker? What is the world we get and what is the world we want ... and who cares and why?" Kaiser has stimulated an impressive and important conversation.
From Dixieland to Frisco Bay is a must read for those who yearn for a simpler time. Rufus Franklin Stephenson's honest and colorful account of his life growing up on a sharecrop cotton farm in the South, and his later career as a railroader, is a touching reminder that faith and family are all one needs to overcome even the most difficult circumstances. His rich experiences, sparkling humor and profound insight make the poems and stories of From Dixieland to Frisco Bay an uplifting read that one will not soon forget.
The largest known collection of ledger art ever acquired by one individual is Mark Lansburgh’s diverse assemblage of more than 140 drawings, now held by the Hood Museum of Art at Dartmouth College and catalogued in this important book. The Cheyennes, Crows, Kiowas, Lakotas, and other Plains peoples created the genre known as ledger art in the mid-nineteenth century. Before that time, these Indians had chronicled the heroic achievements of their warriors and chiefs on rock, buffalo robes, and tipi covers. As they came into increasing contact with American traders, the artists recorded their experiences in pencil and crayon drawings on paper bound in ledger or account books. The drawings became known as ledger art. This volume presents in full color the Lansburgh collection in its entirety. The drawings are narratives depicting Plains lifeways through Plains eyes. They include landscapes and scenes of battle, hunting, courting, ceremony, incarceration, and travel by foot, horse, train, and boat. Ledger art also served to prompt memories of horse raids and heroic exploits in battle. In addition to showcasing the Lansburgh collection, Ledger Narratives augments the growing literature on this art form by providing seven new essays that suggest some of the many stories the drawings contain and that look at them from innovative perspectives. The authors—scholars of art history, anthropology, history, and Native American studies—touch on such themes as gender, social status, sovereignty, tribal and intertribal politics, economic exchange, and confinement and space in a changing world. The Lansburgh collection includes some of the most arresting examples of Plains Indian art, and the essays in this volume help us see and hear the multiple narratives these drawings relate.
Alberta's iconic river has been dammed and plumbed, made to spin hydro-electric turbines, and used to cleanse Calgary. Artificial lakes in the mountains rearrange its flow; downstream weirs and ditches divert it to irrigate the parched prairie. Far from being wild, the Bow is now very much a human product: its fish are as manufactured as its altered flow, changed water quality, and newly stabilized and forested banks. The River Returns brings the story of the Bow River's transformation full circle through an exploration of the recent revolution in environmental thinking and regulation that has led to new limits on what might be done with and to the river.
