Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawin... more Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawing that accompanies this article with pencil and crayon on a piece of paper. This Plains Indian tradition, creating representational illustrations of warriors' heroic deeds, dated to antiquity,l Known as "warrior art" or "warrior drawings," these vivid records immortalized bravery: counting coup-touching the living opponent-killing foes, rescuing comrades, taking enemies' horses, and other activities which gained warriors the admiration oftheir compatriots and earned them high status. Warrior art was displayed on buffalo robes, clothing, tipis, and rocks. During the Plains Indian Wars ofthe 1860s and 1870s new surfaces were used for these graphic chronicles: pages of ledger books and other paper produced by the Euroamerican society that ended the Plains Indians' way of life. Portraiture in the Western sense did not exist in Plains Indian art. Instead, warrior-artists incorporated illustrations of objects the intended audience associated with a particular individual: a painted shield, unusual weapon, or special face paint design. Unfortunately, many details associated with these drawings remain beyond our ken because we lack the background information available to the original tribal audience. In warrior art, every picture tells a story...but which story? Fortunately, the means are at hand to unravel some of the meaning in this particular drawing. This image is part ofa collection of Kiowa drawings acquired by a U.S. Army otlicer who served among the Kiowas between 1878-1880. 2 It is mounted on a larger piece of paper on which appears a handwritten notation in ink, likely penned by the officer acting on information provided by a Kiowa informant (possibly the artisl): "White Bear fighting with Pawnees, himself and horse being wounded with the same arrow. White Bear kills both Pawnees with his lance. Observe the blood flowing from their wounds and mouths." So who is White Bear, the English language translation of the Kiowa name Ser~tajnte? A man ofthat name, known historically as Satanta (c. 1830? 1878), was one of the most notable Kiowas of his generation.] More than one
Bucke, at the London Asylum in Canada, embraces such an entity is more questionable. S.E.D. Short... more Bucke, at the London Asylum in Canada, embraces such an entity is more questionable. S.E.D. Shortt's monograph has certainly taken a bold leap, incorporating a general review of the development of Victorian medical psychology with a detailed analysis of data from an Ontario asylum and its keeper, but the result is top-heavy and awkward. The enterprise parallels one of Bucke's, his all-explanatory Cosmic consciousness (1901, many reprints, eight publishers, a German translation in 1975), which derived from a hero-worship of Walt Whitman, an ecstatic experience in an English hansom cab, and more than twenty years cloistered in an asylum superintendency. Consisting of five chapters and over forty pages of annotation, the work reads more like five articles rather roughly stitched together. Chapter 1 is a brief biography rather too full of subjunctives, such as "Bucke might later have felt an affinity.. ." and unnecessary details of famous medical contemporaries. Chapter 3 is too broad in its sweep. Titled 'Toward a secular physiology of a mind', it attempts a complete picture of the nineteenth-century philosophy of mind, and is doomed to be obscure and colourless. The final chapter explores Bucke's use of gynaecological surgery and finds it ineffective but fails to consider the wider surgical assault on mental patients.. By contrast, the rich details of'The human ecology of the London Asylum' (Ch. 2) and the useful discussions in 'The social genesis of etiological speculation' (ch. 4) are of surprising value. About one-fifth of attendants resign annually; the case notes are scant, sometimes reporting as alive those who have been dead for two years; chronicity abounds. Yet "degeneration theory ... lifted alienists from the stigma of therapeutic defeat to the pedestal of social prophecy", and Shortt clarifies usefully this relationship between theory and practice. Compared to the integrated detail of Michael MacDonald, Anne Digby, or Nancy Tomes, this is a slighter work because by reaching at grander themes it has made worryingly trivial mistakes. Who, for example, was Robert Gardiner Hall? Who was James Pritchard? What is a "medical mindset"? We are told of Bucke's "peculiar ways", "his loud laughter", "his fluctuations in mood", his search for a "less strenuous form of medical employment", the political placemanship that got him his job as superintendent. Such loopy incompetence may well have been typical of Victorian alienists, yet is never described as such and it is this failure to distinguish the second-rate from the mad, the relevant from the coincidental, that undermines this work. The detailed analysis ofVictorian psychiatry, both in the asylums and in its social context, goes on apace and provides an exciting research enterprise. Many of these themes are touched on by Shortt, and we urgently need a detailed analysis of the operative practices, for example, of these times. Likewise, the resort to cosmic and utopian notions, and their espousal by cranky physicians, would be in itself an interesting exploration. Victorian lunacy is much "more than interpretation", despite the author's assertion to the contrary.
Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawin... more Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawing that accompanies this article with pencil and crayon on a piece of paper. This Plains Indian tradition, creating representational illustrations of warriors' heroic deeds, dated to antiquity,l Known as "warrior art" or "warrior drawings," these vivid records immortalized bravery: counting coup-touching the living opponent-killing foes, rescuing comrades, taking enemies' horses, and other activities which gained warriors the admiration oftheir compatriots and earned them high status. Warrior art was displayed on buffalo robes, clothing, tipis, and rocks. During the Plains Indian Wars ofthe 1860s and 1870s new surfaces were used for these graphic chronicles: pages of ledger books and other paper produced by the Euroamerican society that ended the Plains Indians' way of life. Portraiture in the Western sense did not exist in Plains Indian art. Instead, warrior-artists incorporated illustrations of objects the intended audience associated with a particular individual: a painted shield, unusual weapon, or special face paint design. Unfortunately, many details associated with these drawings remain beyond our ken because we lack the background information available to the original tribal audience. In warrior art, every picture tells a story...but which story? Fortunately, the means are at hand to unravel some of the meaning in this particular drawing. This image is part ofa collection of Kiowa drawings acquired by a U.S. Army otlicer who served among the Kiowas between 1878-1880. 2 It is mounted on a larger piece of paper on which appears a handwritten notation in ink, likely penned by the officer acting on information provided by a Kiowa informant (possibly the artisl): "White Bear fighting with Pawnees, himself and horse being wounded with the same arrow. White Bear kills both Pawnees with his lance. Observe the blood flowing from their wounds and mouths." So who is White Bear, the English language translation of the Kiowa name Ser~tajnte? A man ofthat name, known historically as Satanta (c. 1830? 1878), was one of the most notable Kiowas of his generation.] More than one
View Company, this doubled window into the past shows a cowboy astride his horse, rope at the rea... more View Company, this doubled window into the past shows a cowboy astride his horse, rope at the ready, surveying a sea of cattle. In the distance, especially keen eyes or a magnifying glass reveal a pair of his compatriots, boxing in the milling herd. The eaplion tells us this image was made at roundup lime on the Sherman Raneh, near "Genesee," Kansas. There is no town ofthal name in the state, but there is a "Geneseo" in Rice County, and the Shennan Ranch was established in adjoining Ellsworth County around 1896. Mounted on a 7" x: 4" piece of cardboard, this is a special kind of photograph: a stereoview. Stereoviews were an immensely popular Victorian era diversion. People gazing upon these double images through stereoscopic viewers equipped with a handle, picture holder, and mask-like lens (some artistically engraved and lined with suede), moved into the third dimension. Each of the paired images reflect a slightly different viewpoint, and the space between views corresponds roughly to the distance between viewers' eyes. The resulting optical effect creates an illusion of depth. Stereoviews were originally made with a single-plate camera equipped with a slide bar. Afterex:posing a picture the photographer inserted a new plate, moved the camera along the slide bar about three inches, and obtained a second image. Later, photographers used special twin-lens cameras. Stereoviews were often sold in sets housed in box:es resembling books. They first appeared in the 1850s and remained popular until the 1930s. Families often gathered in the parlor to enter an ex:otie world featuring pictures of famous or notorious celebrities, natural wonders, far-off places, tribal peoples. inspirational scenes, and vignettes from popular plays. Stereoviewers were forerunners ofJ-D movies, which premiered in 1915 at New York's Astor Theater before an audience wearing spectacles equipped with red and green lenses. Predecessors, also, of the View-Master ® which so entranced folks when it debuted at the 1939 New York World's Fair. The reverse ofthis cowboy stereoview bears a flowing, flowery statement extolling the deity of Progress:
Oklahoma\u27s license plates, which formerly displayed an Osage shield, now depict a representati... more Oklahoma\u27s license plates, which formerly displayed an Osage shield, now depict a representation of Native son Allan Houser\u27s evocative sculpture of a fellow Apache preparing to fire an arrow at the sky. The legend running across the bottom of the plate reads: Native America. This is an apt statement about Oklahoma, site of pre-Columbian Indian settlements, westernmost extension of Mississippian mound building cultures, home for Kiowa and Comanche buffalo hunters, and adopted land of Cherokees and others forced to abandon familiar stomping grounds east of the Mississippi River. On a per capita basis, Oklahoma boasts the nation\u27s largest Native American population. For years Muriel Wright\u27s A Guide to the Indian Tribes of Oklahoma (1951) served as the go-to source for easily accessible snapshot histories of the state\u27s more than forty Native American tribes. But the passage of time highlighted the need for a similar, albeit more contemporary, resource. Blue Clark, prof...
L'A. reprend, dans une perspective critique, la these presentee par John C.Ewers dans son liv... more L'A. reprend, dans une perspective critique, la these presentee par John C.Ewers dans son livre Les influences blanches precoces dans la peinture indienne des Plaines: George Catlin et Carl Bodmer parmi les Mandan, 1932-1834 (Ewers, 1957). En fait, la question n'est pas tant de savoir s'il y a eu contact entre les tribus indiennes des Plaines et la culture occidentale, que de savoir si ce contact a amene un changement culturel
... Tim McCoy remembers the West: An autobiography. Post a Comment. CONTRIBUTORS: Author: McCoy, ... more ... Tim McCoy remembers the West: An autobiography. Post a Comment. CONTRIBUTORS: Author: McCoy, Tim. Author: McCoy, Ronald. PUBLISHER: University of Nebraska Press (Lincoln). SERIES TITLE: YEAR: 1988. PUB TYPE: Book (ISBN 0803281552 [pbk]). ...
Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawin... more Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawing that accompanies this article with pencil and crayon on a piece of paper. This Plains Indian tradition, creating representational illustrations of warriors' heroic deeds, dated to antiquity,l Known as "warrior art" or "warrior drawings," these vivid records immortalized bravery: counting coup-touching the living opponent-killing foes, rescuing comrades, taking enemies' horses, and other activities which gained warriors the admiration oftheir compatriots and earned them high status. Warrior art was displayed on buffalo robes, clothing, tipis, and rocks. During the Plains Indian Wars ofthe 1860s and 1870s new surfaces were used for these graphic chronicles: pages of ledger books and other paper produced by the Euroamerican society that ended the Plains Indians' way of life. Portraiture in the Western sense did not exist in Plains Indian art. Instead, warrior-artists incorporated illustrations of objects the intended audience associated with a particular individual: a painted shield, unusual weapon, or special face paint design. Unfortunately, many details associated with these drawings remain beyond our ken because we lack the background information available to the original tribal audience. In warrior art, every picture tells a story...but which story? Fortunately, the means are at hand to unravel some of the meaning in this particular drawing. This image is part ofa collection of Kiowa drawings acquired by a U.S. Army otlicer who served among the Kiowas between 1878-1880. 2 It is mounted on a larger piece of paper on which appears a handwritten notation in ink, likely penned by the officer acting on information provided by a Kiowa informant (possibly the artisl): "White Bear fighting with Pawnees, himself and horse being wounded with the same arrow. White Bear kills both Pawnees with his lance. Observe the blood flowing from their wounds and mouths." So who is White Bear, the English language translation of the Kiowa name Ser~tajnte? A man ofthat name, known historically as Satanta (c. 1830? 1878), was one of the most notable Kiowas of his generation.] More than one
Bucke, at the London Asylum in Canada, embraces such an entity is more questionable. S.E.D. Short... more Bucke, at the London Asylum in Canada, embraces such an entity is more questionable. S.E.D. Shortt's monograph has certainly taken a bold leap, incorporating a general review of the development of Victorian medical psychology with a detailed analysis of data from an Ontario asylum and its keeper, but the result is top-heavy and awkward. The enterprise parallels one of Bucke's, his all-explanatory Cosmic consciousness (1901, many reprints, eight publishers, a German translation in 1975), which derived from a hero-worship of Walt Whitman, an ecstatic experience in an English hansom cab, and more than twenty years cloistered in an asylum superintendency. Consisting of five chapters and over forty pages of annotation, the work reads more like five articles rather roughly stitched together. Chapter 1 is a brief biography rather too full of subjunctives, such as "Bucke might later have felt an affinity.. ." and unnecessary details of famous medical contemporaries. Chapter 3 is too broad in its sweep. Titled 'Toward a secular physiology of a mind', it attempts a complete picture of the nineteenth-century philosophy of mind, and is doomed to be obscure and colourless. The final chapter explores Bucke's use of gynaecological surgery and finds it ineffective but fails to consider the wider surgical assault on mental patients.. By contrast, the rich details of'The human ecology of the London Asylum' (Ch. 2) and the useful discussions in 'The social genesis of etiological speculation' (ch. 4) are of surprising value. About one-fifth of attendants resign annually; the case notes are scant, sometimes reporting as alive those who have been dead for two years; chronicity abounds. Yet "degeneration theory ... lifted alienists from the stigma of therapeutic defeat to the pedestal of social prophecy", and Shortt clarifies usefully this relationship between theory and practice. Compared to the integrated detail of Michael MacDonald, Anne Digby, or Nancy Tomes, this is a slighter work because by reaching at grander themes it has made worryingly trivial mistakes. Who, for example, was Robert Gardiner Hall? Who was James Pritchard? What is a "medical mindset"? We are told of Bucke's "peculiar ways", "his loud laughter", "his fluctuations in mood", his search for a "less strenuous form of medical employment", the political placemanship that got him his job as superintendent. Such loopy incompetence may well have been typical of Victorian alienists, yet is never described as such and it is this failure to distinguish the second-rate from the mad, the relevant from the coincidental, that undermines this work. The detailed analysis ofVictorian psychiatry, both in the asylums and in its social context, goes on apace and provides an exciting research enterprise. Many of these themes are touched on by Shortt, and we urgently need a detailed analysis of the operative practices, for example, of these times. Likewise, the resort to cosmic and utopian notions, and their espousal by cranky physicians, would be in itself an interesting exploration. Victorian lunacy is much "more than interpretation", despite the author's assertion to the contrary.
Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawin... more Sometime in the 18705, an anonymous Kiowa living in Indian Territory-now Oklahoma-made the drawing that accompanies this article with pencil and crayon on a piece of paper. This Plains Indian tradition, creating representational illustrations of warriors' heroic deeds, dated to antiquity,l Known as "warrior art" or "warrior drawings," these vivid records immortalized bravery: counting coup-touching the living opponent-killing foes, rescuing comrades, taking enemies' horses, and other activities which gained warriors the admiration oftheir compatriots and earned them high status. Warrior art was displayed on buffalo robes, clothing, tipis, and rocks. During the Plains Indian Wars ofthe 1860s and 1870s new surfaces were used for these graphic chronicles: pages of ledger books and other paper produced by the Euroamerican society that ended the Plains Indians' way of life. Portraiture in the Western sense did not exist in Plains Indian art. Instead, warrior-artists incorporated illustrations of objects the intended audience associated with a particular individual: a painted shield, unusual weapon, or special face paint design. Unfortunately, many details associated with these drawings remain beyond our ken because we lack the background information available to the original tribal audience. In warrior art, every picture tells a story...but which story? Fortunately, the means are at hand to unravel some of the meaning in this particular drawing. This image is part ofa collection of Kiowa drawings acquired by a U.S. Army otlicer who served among the Kiowas between 1878-1880. 2 It is mounted on a larger piece of paper on which appears a handwritten notation in ink, likely penned by the officer acting on information provided by a Kiowa informant (possibly the artisl): "White Bear fighting with Pawnees, himself and horse being wounded with the same arrow. White Bear kills both Pawnees with his lance. Observe the blood flowing from their wounds and mouths." So who is White Bear, the English language translation of the Kiowa name Ser~tajnte? A man ofthat name, known historically as Satanta (c. 1830? 1878), was one of the most notable Kiowas of his generation.] More than one
View Company, this doubled window into the past shows a cowboy astride his horse, rope at the rea... more View Company, this doubled window into the past shows a cowboy astride his horse, rope at the ready, surveying a sea of cattle. In the distance, especially keen eyes or a magnifying glass reveal a pair of his compatriots, boxing in the milling herd. The eaplion tells us this image was made at roundup lime on the Sherman Raneh, near "Genesee," Kansas. There is no town ofthal name in the state, but there is a "Geneseo" in Rice County, and the Shennan Ranch was established in adjoining Ellsworth County around 1896. Mounted on a 7" x: 4" piece of cardboard, this is a special kind of photograph: a stereoview. Stereoviews were an immensely popular Victorian era diversion. People gazing upon these double images through stereoscopic viewers equipped with a handle, picture holder, and mask-like lens (some artistically engraved and lined with suede), moved into the third dimension. Each of the paired images reflect a slightly different viewpoint, and the space between views corresponds roughly to the distance between viewers' eyes. The resulting optical effect creates an illusion of depth. Stereoviews were originally made with a single-plate camera equipped with a slide bar. Afterex:posing a picture the photographer inserted a new plate, moved the camera along the slide bar about three inches, and obtained a second image. Later, photographers used special twin-lens cameras. Stereoviews were often sold in sets housed in box:es resembling books. They first appeared in the 1850s and remained popular until the 1930s. Families often gathered in the parlor to enter an ex:otie world featuring pictures of famous or notorious celebrities, natural wonders, far-off places, tribal peoples. inspirational scenes, and vignettes from popular plays. Stereoviewers were forerunners ofJ-D movies, which premiered in 1915 at New York's Astor Theater before an audience wearing spectacles equipped with red and green lenses. Predecessors, also, of the View-Master ® which so entranced folks when it debuted at the 1939 New York World's Fair. The reverse ofthis cowboy stereoview bears a flowing, flowery statement extolling the deity of Progress:
Oklahoma\u27s license plates, which formerly displayed an Osage shield, now depict a representati... more Oklahoma\u27s license plates, which formerly displayed an Osage shield, now depict a representation of Native son Allan Houser\u27s evocative sculpture of a fellow Apache preparing to fire an arrow at the sky. The legend running across the bottom of the plate reads: Native America. This is an apt statement about Oklahoma, site of pre-Columbian Indian settlements, westernmost extension of Mississippian mound building cultures, home for Kiowa and Comanche buffalo hunters, and adopted land of Cherokees and others forced to abandon familiar stomping grounds east of the Mississippi River. On a per capita basis, Oklahoma boasts the nation\u27s largest Native American population. For years Muriel Wright\u27s A Guide to the Indian Tribes of Oklahoma (1951) served as the go-to source for easily accessible snapshot histories of the state\u27s more than forty Native American tribes. But the passage of time highlighted the need for a similar, albeit more contemporary, resource. Blue Clark, prof...
L'A. reprend, dans une perspective critique, la these presentee par John C.Ewers dans son liv... more L'A. reprend, dans une perspective critique, la these presentee par John C.Ewers dans son livre Les influences blanches precoces dans la peinture indienne des Plaines: George Catlin et Carl Bodmer parmi les Mandan, 1932-1834 (Ewers, 1957). En fait, la question n'est pas tant de savoir s'il y a eu contact entre les tribus indiennes des Plaines et la culture occidentale, que de savoir si ce contact a amene un changement culturel
... Tim McCoy remembers the West: An autobiography. Post a Comment. CONTRIBUTORS: Author: McCoy, ... more ... Tim McCoy remembers the West: An autobiography. Post a Comment. CONTRIBUTORS: Author: McCoy, Tim. Author: McCoy, Ronald. PUBLISHER: University of Nebraska Press (Lincoln). SERIES TITLE: YEAR: 1988. PUB TYPE: Book (ISBN 0803281552 [pbk]). ...
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