This volume contains fifteen Oowekyala Wakashan texts originally recorded at Rivers Inlet Village on the British Columbia coast with interlinear English translations and general comments on the language and culture.
The Handbook of Native American Literature is a unique, comprehensive, and authoritative guide to the oral and written literatures of Native Americans. It lays the perfect foundation for understanding the works of Native American writers. Divided into three major sections, Native American Oral Literatures, The Historical Emergence of Native American Writing, and A Native American Renaissance: 1967 to the Present, it includes 22 lengthy essays, written by scholars of the Association for the Study of American Indian Literatures. The book features reports on the oral traditions of various tribes and topics such as the relation of the Bible, dreams, oratory, humor, autobiography, and federal land policies to Native American literature. Eight additional essays cover teaching Native American literature, new fiction, new theater, and other important topics, and there are bio-critical essays on more than 40 writers ranging from William Apes (who in the early 19th century denounced white society's treatment of his people) to contemporary poet Ray Young Bear. Packed with information that was once scattered and scarce, the Handbook of NativeAmerican Literature -a valuable one-volume resource-is sure to appeal to everyone interested in Native American history, culture, and literature. Previously published in cloth as The Dictionary of Native American Literature
An archival and ethnographic account of Coast Tsimshian feast traditions with emphasis on their role as forms of discourse shaped by idiosyncratic textual conventions.
In an incisive and wide-ranging critique of ethno-history and historical anthropology, Michael E. Harkin develops an innovative approach to understanding the profound cultural changes experienced during the past century by the Heiltsuks (Bella Bella), a Northwest Coast Indian group. Between 1880 and 1920, the Heiltsuks changed from one of the most traditional and aggressive groups on the Northwest Coast to paragons of Victorian virtues. Why and how did this dramatic transformation occur? These questions, Harkin contends, can best be answered by tracing the changing views the Heiltsuks had of themselves and of their past as they encountered colonial powers. Rejecting many of the common methods and assumptions of ethnohistorians as unwittingly Eurocentric or simplistic, Harkin argues that the multiple perspectives, motives, and events constituting the Heiltsuks' world and history can be productively conceived of as dialogues, ongoing series of culturally embedded communicative acts that presuppose previous acts and constrain future ones. Historical transformations in three of these dialogues, centering on the body, material goods, and concepts of the soul, are examined in detail.
A study of the development of contemporary Inuit literature, in both Inuktitut and English, including a discussion of its themes, structures and roots in oral tradition. The author concludes that a strong continuity persists between the two narrative forms despite apparent differences in subject matter and language.
Narratives from different genres of Rock Cree oral literature in northwestern Manitoba, together with interpretive and comparative commentary are presented.
Long known as the Cannibal Dance, the Hamat̓sa is among the most important hereditary prerogatives of the Kwakwa̱ka̱ꞌwakw of British Columbia. In the late nineteenth century, as anthropologists arrived to document the practice, colonial agents were pursuing its eradication and Kwakwa̱ka̱ꞌwakw were adapting it to endure. In the process, the dance – with dramatic choreography, magnificent bird masks, and an aura of cannibalism – entered a vast library of ethnographic texts. Writing the Hamat̓sa offers a critical survey of attempts to record, describe, and interpret the dance over four centuries. Going beyond postcolonial critiques of representation that often ignore Indigenous agency in the ethnographic encounter, Writing the Hamat̓sa focuses on forms of textual mediation and Indigenous response that helped transofrm the ceremony from a set of specific performances into a generalized cultural icon. This meticulous work illuminates how Indigenous people contribute to, contest, and repurpose texts in the process of fashioning modern identities under settler colonialism.
Abstracts of Master’s and Doctoral thesis completed at Canadian universities between 1970-1982 dealing with ethnographic, archaeological, linguistic, and physical anthropological topics relevant to Canada’s Native peoples.