By Pauline Turner Strong
This e-book reexamines the Anglo-American literary style referred to as the “Indian captivity narrative” within the context of the advanced historic perform of captivity throughout cultural borders in colonial North the US. This distinct and nuanced research of the connection among perform and illustration at the one hand, and identification and alterity at the different. it truly is a tremendous contribution to cultural stories, American stories, local American stories, women’s stories, and historic anthropology.
Read or Download Captive Selves, Captivating Others: The Politics and Poetics of Colonial American Captivity Narratives PDF
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Extra resources for Captive Selves, Captivating Others: The Politics and Poetics of Colonial American Captivity Narratives
Example text
See Williams 1977:108-114,121-127. 13. Vaughan and Richter (1980:77) refer to a convergence of practices between the two major language families in the Northeast, the Iroquoians and the Algonquians. 1 extend the term to include, in addition, the convergence of these complex Native American practices with European practices. See also Haefeli and Sweeney 1995 and Salisbury 1997. 14. In addition to Foucault and Said, I have been particularly influenced by the lectures and writings of Bernard S. Cohn (1983, 1985, 1996), John Comaroff and Jean Comaroff (1992), Raymond D.
8. S. Capitol Building, see Strong 1995. For the captive in nineteenth-century sculpture, see Kasson 1990. 9. The quoted terms are'found in Weber 1968:3-62; 1949 (1904):191; and 1977:107. 10. Also relevant is the concept of "type" as used by Marshall Sahlins in analyzing the initial Hawaiian perception of Captain Cook. The British captain entered Hawaiian culture and history, writes Sahlins, as "an instance of a received category, the worldly token of a presupposed type" (1981:7). However, I have chosen to consider the Captive Self and Captivating Savage as "typifications" rather than "types" for two reasons.
Before the burial his "image"—either his face or his entire body—was preserved for continued scrutiny, as there are charges "for making a mold of hard earth of the tartar manf's] image to be cast in wax" (72-75). While Frobisher did not take the unfortunate captive's body when he led a mining expedition to Baffin Island the following year, he did take a 26 Indian Captives, English Captors portrait with him, which was shown to an Inuit man captured on that expedition. The circumstances of the second capture resemble those of the first, the captive being "enticed" within grabbing distance by trade goods.