Variously described as an exchange of gifts, a destruction of property, a system of banking, and a struggle for prestige, the potlatch is considered one of the founding concepts of anthropology. However, the author here dismisses such a theory, arguing the concept was invented by 19th-century Canadian law for the purpose of control. 9 halftones.
During the Enlightenment, Western scholars racialized ideas, deeming knowledge based on reality superior to that based on ideality. Scholars labeled inquiries into ideality, such as animism and soul-migration, “savage philosophy,” a clear indicator of the racism motivating the distinction between the real and the ideal. In their view, the savage philosopher mistakes connections between signs for connections between real objects and believes that discourse can have physical effects—in other words, they believe in magic. Christopher Bracken’s Magical Criticism brings the unacknowledged history of this racialization to light and shows how, even as we have rejected ethnocentric notions of “the savage,” they remain active today in everything from attacks on postmodernism to Native American land disputes. Here Bracken reveals that many of the most influential Western thinkers dabbled in savage philosophy, from Marx, Nietzsche, and Proust, to Freud, C. S. Peirce, and Walter Benjamin. For Bracken, this recourse to savage philosophy presents an opportunity to reclaim a magical criticism that can explain the very real effects created by the discourse of historians, anthropologists, philosophers, the media, and governments.
"The Great Depression of the 1930s was a golden age for advertising, as corporate America sought to retain its customer base in the wake of the Crash of '29. For a struggling paper manufacturer in Cloquet, Minnesota, the times were all the more difficult because it had recently invested in costly new machinery. In desperation, the executives of Northwest Paper called in an ad agent from Chicago to boost sales and save the company. Together, they created an ad campaign that would be one of the longest-running and best-known in American commercial history. The name of the firm and its location in the north woods of Minnesota provided the inspiration for a series of story-ads featuring the adventures of the North West Mounted Police of Canada." "The sixteen artists who worked on the Mountie series between 1931 and 1970 were among the most famous commercial illustrators of their day. The first of these was Hal Foster, who later created the Prince Valiant comic strip. Another, the most prolific "Mountie" artist, was Arnold Friberg, who stayed with the project for thirty-three years. Friberg's Mounted Police pictures are much sought-after by collectors and are still in circulation in the form of calendars, pamphlets, and other printed materials."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This groundbreaking multidisciplinary book presents significant essays on historical indigenous violence in Latin America from Tierra del Fuego to central Mexico. The collection explores those uniquely human motivations and environmental variables that have led to the native peoples of Latin America engaging in warfare and ritual violence since antiquity. Based on an American Anthropological Association symposium, this book collects twelve contributions from sixteen authors, all of whom are scholars at the forefront of their fields of study. All of the chapters advance our knowledge of the causes, extent, and consequences of indigenous violenceÑincluding ritualized violenceÑin Latin America. Each major historical/cultural group in Latin America is addressed by at least one contributor. Incorporating the results of dozens of years of research, this volume documents evidence of warfare, violent conflict, and human sacrifice from the fifteenth century to the twentieth, including incidents that occurred before European contact. Together the chapters present a convincing argument that warfare and ritual violence have been woven into the fabric of life in Latin America since remote antiquity. For the first time, expert subject-area work on indigenous violenceÑarchaeological, osteological, ethnographic, historical, and forensicÑhas been assembled in one volume. Much of this work has heretofore been dispersed across various countries and languages. With its collection into one English-language volume, all future writersÑregardless of their discipline or point of viewÑwill have a source to consult for further research. CONTENTS Acknowledgments Introduction Richard J. Chacon and RubŽn G. Mendoza 1.ÊÊStatus Rivalry and Warfare in the Development and Collapse of Classic Maya Civilization Matt OÕMansky and Arthur A. Demarest 2.ÊÊAztec Militarism and Blood Sacrifice: The Archaeology and Ideology of Ritual Violence RubŽn G. Mendoza 3.ÊÊTerritorial Expansion and Primary State Formation in Oaxaca, Mexico Charles S. Spencer 4.ÊÊImages of Violence in Mesoamerican Mural Art Donald McVicker 5.ÊÊCircum-Caribbean Chiefly Warfare Elsa M. Redmond 6.ÊÊConflict and Conquest in Pre-Hispanic Andean South America: Archaeological Evidence from Northern Coastal Peru John W. Verano 7.ÊÊThe Inti Raymi Festival among the Cotacachi and Otavalo of Highland Ecuador: Blood for the Earth Richard J. Chacon, Yamilette Chacon, and Angel Guandinango 8.ÊÊUpper Amazonian Warfare Stephen Beckerman and James Yost 9.ÊÊComplexity and Causality in Tupinamb‡ Warfare William BalŽe 10.ÊÊHunter-GatherersÕ Aboriginal Warfare in Western Chaco Marcela Mendoza 11.ÊÊThe Struggle for Social Life in Fuego-Patagonia Alfredo Prieto and Rodrigo C‡rdenas 12.ÊÊEthical Considerations and Conclusions Regarding Indigenous Warfare and Ritual Violence in Latin America Richard J. Chacon and RubŽn G. Mendoza References About the Contributors Index
In this innovative history, Paige Raibmon examines the political ramifications of ideas about “real Indians.” Focusing on the Northwest Coast in the late nineteenth century and early twentieth, she describes how government officials, missionaries, anthropologists, reformers, settlers, and tourists developed definitions of Indian authenticity based on such binaries as Indian versus White, traditional versus modern, and uncivilized versus civilized. They recognized as authentic only those expressions of “Indianness” that conformed to their limited definitions and reflected their sense of colonial legitimacy and racial superiority. Raibmon shows that Whites and Aboriginals were collaborators—albeit unequal ones—in the politics of authenticity. Non-Aboriginal people employed definitions of Indian culture that limited Aboriginal claims to resources, land, and sovereignty, while Aboriginals utilized those same definitions to access the social, political, and economic means necessary for their survival under colonialism. Drawing on research in newspapers, magazines, agency and missionary records, memoirs, and diaries, Raibmon combines cultural and labor history. She looks at three historical episodes: the participation of a group of Kwakwaka’wakw from Vancouver in the 1893 World’s Columbian Exposition in Chicago; the work of migrant Aboriginal laborers in the hop fields of Puget Sound; and the legal efforts of Tlingit artist Rudolph Walton to have his mixed-race step-children admitted to the white public school in Sitka, Alaska. Together these episodes reveal the consequences of outsiders’ attempts to define authentic Aboriginal culture. Raibmon argues that Aboriginal culture is much more than the reproduction of rituals; it also lies in the means by which Aboriginal people generate new and meaningful ways of identifying their place in a changing modern environment.
In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.
