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Scott B. Vickers - Native American identities: from stereotype to archetype in art and literature

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Issues of identity and authenticity present perennial challenges to both Native Americans and critics of their art. Vickers examines the long history of dehumanizing depictions of Native Americans while discussing such purveyors of stereotypes as the Puritans, the Bureau of Indian Affairs, and Hollywood. These stereotypes abetted a national policy robbing Indians of their cultural identity. As a contrast to these, he examines the work of white authors and artists such as Helen Hunt Jackson, Oliver La Farge, the Taos Society of Artists, and Frank Waters, who created more archetypal fictional Indian characters. In the second half of the book, Vickers explores the work of Indian artists and writers, such as Edgar Heap of Birds, Jaune Quick-to-See Smith, Linda Hogan, and Sherman Alexie who craft humanizing new images of authenticity and legitimacy, bridging the gap between stereotype and archetype. This is an essential book for all readers with an interest in the tragic history of Indian-white conflict. Vickers is one of the few to consider artists and writers in relation to each other. He offers a refreshingly commonsensical approach.-Herta Wong, University of California Berkley

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title Native American Identities From Stereotype to Archetype in Art and - photo 1

title:Native American Identities : From Stereotype to Archetype in Art and Literature
author:Vickers, Scott B.
publisher:University of New Mexico
isbn10 | asin:0826319319
print isbn13:9780826319319
ebook isbn13:9780585161655
language:English
subjectIndians of North America--Ethnic identity, Indians in literature, Indians in art, Indians of North America--Cultural assimilation, Stereotype (Psychology)
publication date:1998
lcc:E98.E85V53 1998eb
ddc:305.897
subject:Indians of North America--Ethnic identity, Indians in literature, Indians in art, Indians of North America--Cultural assimilation, Stereotype (Psychology)
Page iii
Native American Identities
From Stereotype to Archetype in Art and Literature
Scott B. Vickers

Page v
Dedicated to the memory of my mother,
Adelle, and father, William, whose passion
for learning and generosity of spirit
inspired me always, and to my other
human and animal allies, especially Mark,
Luke, Molly, Alexander, and Fanny
For Frank Waters, whose kiva-like heart
gracefully entertained the gods
of a civilization not his own
Page vi
1998 by Scott B. Vickers
All rights reserved.
First edition
Library of Congress Cataloging-in-Publication Data
Vickers, Scott B., 1947
Native American identities: from stereotype to archetype in art
and literature / Scott B. Vickers.1st ed.
p cm.
Includes bibliographical references and index.
ISBN 0-8263-1931-9 (cloth).ISBN 0-8263-1886-X (pbk.)
1. Indians of North AmericaEthnic identity. 2. Indians in
literaure. 3. Indians in art. 4. Indians of North American
Cultural assimilation. 5. Stereotype (Psychology) I. Title.
E98.E85V53 1998
305.897dc21 98-9993
CIP
Page vii
CONTENTS
Acknowledgments
ix
Preface
xi
1
Introduction
Stereotypes and Archetypes
1
Part 1: The Language of Conquest
2
Necessity Is the Mother of Reinvention
The Semiology and Psychology of Conquest
15
3
Wroughten Scoundrels
Bad Indians, Good Indians
35
4
Portraits of Dishonor
The Legacy of Helen Hunt Jackson
45
5
A Recapitulation of Indianness
Laughing Boy and Slim Girl
55
6
The Enchantment of the Disenfranchised
Artistic Images of the Pueblo Indian
65
7
Grounds for Mythification
Frank Waters in "The Red Atlantis"
85
Part 2: From Stereotype to Archetype
8
From Western Art to Archetype
The Path of the Spirit in Modern Indian Art
107
9
The Storytellers
Transforming the Oral Tradition
125
10
Conclusion
Resistance in the Blood
159
Notes
167
Bibliography
179
Index
187

Page ix
ACKNOWLEDGMENTS
The inspiration for researching, writing, and compiling this manuscript has come from many diverse resources and people whose contributions I would like now to acknowledge. I hope this work will repay in some part their financial, professional, and emotional support. My parents, Bill and Adelle, have given me immense encouragement and support during all of my academic career, and I hope they are at last thankful that I have finished something I started; I only wish that my mother had lived to see its publication. Professor Kent Casper and the Humanities Department at the University of Colorado at Denver were generous enough to award me two tuition grants toward the completion of the original manuscript, as well as showing genuine concern for my academic livelihood. I am also indebted to Professor Charles Moone and Bradford Mudge of the University of Colorado at Denver, and to Professor Paul Zolbrod of Allegheny College, for their advice and reading of this manuscript during its various manifestations, for which they have received no compensation but its publication. I am indebted to Atlatl, a Phoenix resource group for those researching Indian artists, for providing me access to those whose illustrations are included in this book, and to Hachivi Edgar Heap of Birds, Jaune Quick-to-See Smith, and Diego Romero for providing the works themselves.
I would also like to thank Tom and Marilyn Auer and Michael Evans-Smith of The Bloomsbury Review for introducing me to the rich world of modern multicultural literature and for ideas and resources they have provided during my research. Bob Nauman, a doctoral candidate at the University of New Mexico, was instrumental in helping me find a focus for the dis-
Page x
cussion and has been an inspiration and resource on Indian artists and the history of Indian art. Barbara Guth, my editor at the University of New Mexico Press, has given me every chance to make this book as good as it could be, so I must bear full responsibility for any failings herein. Above all, I would like to thank my longtime companion, Mark Waddell, for making considerable personal and financial sacrifices that I might reach this watermark in my life. I say with all humility that I could not have done it without all of their support, encouragement, and love.
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