DOCSLIB.ORG

Master Document Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Master Document Template Copyright by Lauren Marie Grewe 2017 The Dissertation Committee for Lauren Marie Grewe Certifies that this is the approved version of the following dissertation: “Woven Alike with Meaning”: Sovereignty and Form in Native North American Poetry, 1800-1910 Committee: Matt Cohen, Co-Supervisor James H. Cox, Co-Supervisor Michael Winship Chad Bennett Stephanie Fitzgerald “Woven Alike with Meaning”: Sovereignty and Form in Native North American Poetry, 1800-1910 by Lauren Marie Grewe Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2017 Dedication For my family. Acknowledgements I am grateful for the support of family, friends, and mentors during my time as a graduate student at the University of Texas. My sincere thanks to my co-director and mentor Matt Cohen whose kindness, humor, and intellect made this dissertation possible. Thanks also to my co-director Jim Cox whose measured wisdom and support improved this project at all stages. Michael Winship offered impeccable guidance on book history throughout this dissertation’s evolution, and I remain grateful for his generosity. Chad Bennett gave advice on poetry and poetics, for which I am thankful. Thanks also to Stephanie Fitzgerald who lent her expertise in Native American women’s poetry to the project. The Department of English and the Graduate School have consistently offered travel fellowships for conferences, workshops, and archival research. My thanks to Wayne Lesser, Coleman Hutchison, Liz Cullingford, and Martin Kevorkian. I am grateful to the English Department and Graduate School for the year of fellowship during which I wrote much of this dissertation. Dissertation research took me to archives across the United States and Canada. For their guidance, I thank the librarians at the William Ready Division of Archives and Research Collections at McMaster University in Hamilton, Ontario, especially Bridget Whittle and Renu Barrett, and Professor Daniel Coleman for his hospitality. Thanks also to Saman Jafarian who gave me the best brewery walking tour of Toronto and offered guidance on the public libraries. My thanks also to the librarians at the Helmerich Center for American History at Gilcrease Museum in my hometown of Tulsa, Oklahoma for their help and patience during my research for my chapter on Alex Posey, especially Renee Harvey. Thanks as well to the librarians at Amherst College, especially Mike Kelly and Christina Barber, the American Antiquarian Society for their hospitality v and fellowship, especially Molly O’Hagan Hardy, and the New York Public Library. My thanks as well to the librarians at Bacone College whose collection of Alex Posey’s books began this project, especially Frances Donelson. I have learned much from the teaching and scholarship of the excellent English faculty at Texas including Gretchen Murphy, Evan Carton, Phil Barrish, Neville Hoad, and the late Barbara Harlow, among many others. Patricia Schaub’s excellent work as Graduate Program Coordinator made my life as a graduate student much easier. Matt Cohen’s decision to hire me as a research assistant and later project manager for the Whitman Archive shaped my graduate career and provided a lifelong model for collaboration. Thanks to friends and colleagues Susan Zakaib, Courtney Massie, Brianna Hyslop, Allison Haas, Meredith Coffey, Juandrea Bates, Laura K. Wallace, Alejandro Omidsalar, Emily Lederman, Nikki Gray, Robin Riehl, Rachel Wise, Ty Alyea, Colleen Eils, Erin Cotter, Thomas Lindsay, Sara Saylor, Kirby Brown, Regina Mills, Lauren Gantz, and Meg Vail for helping me remember the important things in life. Thanks to my lifelong friend Lauren Smith for her unflagging support and my new friends Brittany Shane and Chelseaia Charran for providing humor and gossip during many swim workouts and happy hours. My family has been my most important and amazing support system over the course of graduate school. My parents Jill and Terry Grewe have stuck with me through difficult times, and I thank them for their love and support. My grandmother Barbara Tenney encouraged my love of reading from an early age, and I was happy she attended my defense. My aunt Sue Tenney helped me out of many tight spots during my Canadian research trips with uncommon generosity and talked me through writing problems as only a fellow writer can. My siblings, Emily, Kristen, and Jack, continue to be an inspiration to me as we make our ways in the world. Thanks to my kittens Priya and Patrick for the vi happiness they bring. Thanks also to Chris Marshall who makes me smile and laugh every day with his wit and kindness. vii “Woven Alike with Meaning”: Sovereignty and Form in Native North American Poetry, 1800-1910 Lauren Marie Grewe, Ph.D. The University of Texas at Austin, 2017 Co-Supervisors: Matt Cohen and James H. Cox The story of American poetry has developed alongside the idea of America itself, becoming almost synonymous with national sovereignty projects in the nineteenth and early twentieth centuries. During this time the figure of the Indian was, in poetry, customarily depicted as melancholy and moribund, a noble savage making way for a supposedly superior civilization and race. Yet indigenous North American poets also composed and published poetry and participated in reading communities during this time. Examining this poetry reveals how indigenous writers manipulated poetic genres to contest U.S. hegemony and assert sovereignties from the sexual to the tribal to the national. Indeed, understanding early indigenous poets’ formal choices and poetic communities challenges critical narratives of American poetry’s history as having been linear and progressive, demanding a new way of organizing the study of American poetry. In this dissertation, I argue that early Native North American poets chose to write in specific poetic genres in response to local, national, and international publishing worlds. Each chapter examines how indigenous poets comment on the practice and form viii of poetry, thus speaking to a diverse community of poets and readers through a variety of verse traditions. Jane Johnston Schoolcraft draws from multiple cultural traditions as she manipulates time and genre through her mourning poems, ballads, and lyrics in the Anishinaabe world of the Great Lakes. In the Chicago area, Simon Pokagon uses insurgent practices of appropriation to criticize and revise colonialist American poetry through cross-racial citations and borrowings in his birchbark pamphlets and novel. As public literary tastes shift from poems to legends at the turn of the twentieth century, E. Pauline Johnson helps invent a different kind of modernist poetry that challenges representations of indigenous peoples as pre-modern. Alex Posey composes skeptical elegies, dialect poems, and political newspaper verse from western and Creek literary forms in Indian Territory to heal a divided Creek Nation, practicing poetic appropriations that offered ways of relating to genre that remain powerful for Native American poets today. ix Table of Contents List of Figures ....................................................................................................... xii Introduction ..............................................................................................................1 American Historical Poetics and Genre Theory .............................................6 “Unreal and Ahistorical”: Poetry and Indigenous Historicity ......................10 Chapter Outline .............................................................................................15 Chapter 1: “Too violent an application”: Genre, Gender, and Power in the Poetry of Jane Johnston Schoolcraft .............................................................................18 Introduction ...................................................................................................18 A Miscodeed Methodology: Reading Schoolcraft’s Poetry through Anishinaabe Stories ..................................................................................................26 Reading and Writing Practices at Sault Ste. Marie .......................................31 The Muzzeniegun or Literary Voyager: Social Effects of Schoolcraft’s Poetic Publications in a Manuscript Magazine ...............................................40 Schoolcraft’s Formal Adaptations of the Elegy, Sonnet, and Ballad ...........53 The Kinship Demands of Schoolcraft’s Letter-Poems .................................69 Conclusion ....................................................................................................76 Chapter 2: The Birchbark Print Archive: Simon Pokagon’s Poetic Adaptations ..80 Introduction ...................................................................................................80 Archival Loss and Reconstructive Desire: Recovering Pokagon’s Collaborative Authorship and Multi-Generic Compositional Practices through Digitization ..........................................................................................84 Potawatomi History and Removal by the United States Government ..........89 Stolen Poetry in Simon Pokagon’s Birchbark Pamphlets .............................95 Copyright and Poetic Excerpts in Queen of the Woods, a Potawatomi Romance and Temperance Novel ......................................................................109 Conclusion ..................................................................................................119
Load more

Recommended publications
  • The Sculptures of Upper Summit Avenue
    The Sculptures of Upper Summit Avenue PUBLIC ART SAINT PAUL: STEWARD OF SAINT PAUL’S CULTURAL TREASURES Art in Saint Paul’s public realm matters: it manifests Save Outdoor Sculpture (SOS!) program 1993-94. and strengthens our affection for this city — the place This initiative of the Smithsonian Institution involved of our personal histories and civic lives. an inventory and basic condition assessment of works throughout America, carried out by trained The late 19th century witnessed a flourishing of volunteers whose reports were filed in a national new public sculptures in Saint Paul and in cities database. Cultural Historian Tom Zahn was engaged nationwide. These beautiful works, commissioned to manage this effort and has remained an advisor to from the great artists of the time by private our stewardship program ever since. individuals and by civic and fraternal organizations, spoke of civic values and celebrated heroes; they From the SOS! information, Public Art Saint illuminated history and presented transcendent Paul set out in 1993 to focus on two of the most allegory. At the time these gifts to states and cities artistically significant works in the city’s collection: were dedicated, little attention was paid to long Nathan Hale and the Indian Hunter and His Dog. term maintenance. Over time, weather, pollution, Art historian Mason Riddle researched the history vandalism, and neglect took a profound toll on these of the sculptures. We engaged the Upper Midwest cultural treasures. Conservation Association and its objects conservator Kristin Cheronis to examine and restore the Since 1994, Public Art Saint Paul has led the sculptures.
    [Show full text]
  • Order of Exercises from the Pilgrim Statue Dedication – June 6, 1885
    FROM THE ARCHIVES: ORDER OF EXERCISES FROM THE PILGRIM STATUE DEDICATION – JUNE 6, 1885 Since its founding in 1806, the New England Society has made many cultural contributions both in New York and in New England. The most recognizable locally is the statue of The Pilgrim located near the East 72nd Street entrance to Central Park. In 1884, the New England Society commissioned prominent 19th century American sculptor John Quincy Adams Ward to create a statue in memory of the landing of the Pilgrims at Plymouth Rock. The Pilgrim is a bronze sculpture and features the classical figure of a sturdy Pilgrim holding his trusted flintlock musket in his right hand, standing atop a granite pedestal designed by Richard Morris Hunt. John Quincy Adams Ward (1830-1910), known as the “Dean of American Sculptors”, was a major contributor to the public spaces in New York. Ward’s sculptures include the George Washington statue on the steps of Federal Hall in lower Manhattan, the marble pediment sculptures for the New York Stock Exchange, and of course, The Pilgrim. The Pilgrim, situated at the foot of the eponymous Pilgrim Hill, is one of several well- known sculptures by Ward standing in Central Park, including Indian Hunter (1864), Seventh Regiment Memorial (1869) and William Shakespeare (1872). Indian Hunter was the first sculpture in Central Park by an American artist and is one of the oldest outdoor displays in the Park. The statue’s pedestal was designed by Ward’s good friend and frequent collaborator, Richard Morris Hunt (1827-1895). Hunt, one of New York’s leading 19th century architects, designed many City landmarks such as the Metropolitan Museum of Art, the pedestal of the Statue of Liberty as well as many Fifth Avenue mansions.
    [Show full text]
  • American Sculpture: Revolution to Rebellion
    American Sculpture: Revolution to Rebellion Alice Levi Duncan In 1976, as a celebration of the Bicentenary of the United States, the Whitney Museum of American Art presented an exhibition entitled Two Hundred Years of American Sculpture. The exhibition and accompanying catalogue focused on the origins and history of American sculpture from the political Revolution of 1776 to the artistic one of the late 20th century. The study incorporated the influences of native aboriginal art and folk art traditions on the devel- opment of an American art, while emphasizing the impor- tance of both academic and modern artistic activity originating in Europe. The exhibition and catalogue created new academic as well as collecting interest in this area of American art. It would be ludicrous to separate this branch of fine arts from “foreign influence” and then attempt to explain the quantity and quality of sculpture produced in the United States as an inevitable response to America’s growth. The extraordinary creativity and production of sculpture by American artists can only be appreciated once its depend- ence on European roots has been “forgiven”. The reliance on Europe for artistic training, technical support and critical approval did not diminish until after the Civil War. However the body of work produced from 1840-1940 is important as part of an international artistic movement and should not be considered a distant relation. The sculpture produced by American sculptors during that period was as accomplished artistically and technically as those from Europe, albeit the majority was primarily mainstream and not innovative in style or method. Yet this body of work, made by artists constantly seeking an American idiom, predicts the extraordinary artistic develop- ments that followed in the second half of the 20th Century, 1 which turned the international spotlight to one centered on Figure 1.
    [Show full text]
  • Chief Simon Pokagon : “The Indian Longfellow”
    Chief Simon Pokagon : “The Indian Longfellow” David H. Dickason* Pokagon is now an almost forgotten name except among those travelers in the Midwest who visit the Potawatomi Inn in Indiana’s Pokagon State Park or the small village of Pokagon in Cass County, Michigan. But during his lifetime Chief Simon Pokagon of the Potawatomi’ was known to many because of his two visits with Lincoln at the White House, his appearance as unassuming guest of honor and orator for the Chicago Day celebrations at the Columbian Exposition, his various other public addresses, and his articles on Indian subjects in national magazines.2 His most extensive literary work, the prose-poetry romance of the forest entitled O-Gi- Maw-Kwe Mit-I-ma-Ki (Queen of the Woods), was in type but not yet published at the time of his death in 1899. His contemporary reputation was such that the editor of the Review of R<eviews referred to “this distinguished Pottawattomie chieftain” as “one of the most remarkable men of our time. His great eloquence, his sagacity, and his wide range of information mark him as a man of excep- tional endowments.”a A feature article in the Arena spoke of “this noble representative of the red-man” as “simple-hearted and earnest.”‘ Looked on as the “best educated full-blood Indian of his time,”5 he was called the “ ‘Longfellow of his * David H. Dickason is professor of English at Indiana University, Bloomington, Indiana. 1 For a biographical study of his father, Chief Leopold, with brief notes on Simon, see Cecelia Bain Buechner, The Pokagons (Indiana Historical Society Publications, Vol.
    [Show full text]
  • New-York Historical Society Luce Center Audio Tour STOP LIST 402 ULPIUS GLOBE 403 WASHINGTON's INAUGURAL CHAIR 404 FEDERAL HA
    New-York Historical Society Luce Center Audio Tour STOP LIST 402 ULPIUS GLOBE 403 WASHINGTON’S INAUGURAL CHAIR 404 FEDERAL HALL RAILING 405 CIVIL WAR DRAFT WHEEL 406 PEWTERER’S BANNER 407 LORD CORNBURY 408 CHIEF CORNPLANTER 409 BULLS AND BEARS IN THE MARKET 410 PEALE FAMILY PORTRAIT 411 AUDUBON NICHE PAINTINGS 412 TONTINE COFFEE HOUSE 413 FLAGS ON 57TH STREET, WINTER 1918 414 TIFFANY DRAGONFLY LAMP 415 LAFAYETTE PUNCH BOWL 416 THOMAS NAST JUG 417 TIFFANY ICE CREAM DISH 418 BEEKMAN COACH 419 PHYFE TOOL CHEST 420 THE INDIAN HUNTER 421 ABRAHAM LINCOLN MAQUETTE 422 JOHN RAMAGE MINIATURE DESK 423 LIVINGSTON DRESSING TABLE 424 CHECKERS UP AT THE FARM 425 DYING INDIAN CHIEF 426 NAPOLEON’S CHAIR 427 WASHINGTON’S CAMP BED 428 SLAVE SHACKLES 429 NOAH’S ARK TOY 402. ULPIUS TERRESTRIAL GLOBE This globe of the world is both beautiful and historical. It’s made of copper, and we know the maker’s name... Euphrosynus Ulpius. And we know he made it in Rome in 1542. The maps and names on it are based on the explorations of Giovanni da Verrazzano, the first European known to have sailed into New York harbor. That was in 1524, only 18 years before Ulpius made this globe The globe is important to us because it’s the first to show where New York City could be found. Of course, the name New York is not on the globe. But if you look closely you can find where it would be. The names on the globe are in Latin and Italian, but you should be able to find the peninsula of Florida.
    [Show full text]
  • Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material
    http://oac.cdlib.org/findaid/ark:/13030/tf9p3012wq Online items available Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Finding Aid by Mary W. Elings, Project Archivist and Eva M.M. Garcelon, Project Archivist The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1998 The Regents of the University of California. All rights reserved. BANC PIC 1963.002:0001-1886 1 Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Collection number: BANC PIC 1963.002:0001-1886 The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Finding Aid by: Mary W. Elings, Project Archivist Eva M.M. Garcelon, Project Archivist Date Completed: September 1998 Encoded by: Campbell Crabtree Gabriela A. Montoya Funding: Finding aid and digital representations of archival material funded in part by a grant from the Library Services and Technology Act (LSTA). © 1998 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Robert B. Honeyman, Jr. Collection of Early Californian and Western American Pictorial Material Collection Number: BANC PIC 1963.002:0001-1886 Collector: Honeyman, Robert B. Extent: 2371 items: oil paintings, watercolors, drawings, lithographs, engravings, etchings, lettersheets, clipper cards, ephemera, objects, etc.2271 digital objects Repository: The Bancroft Library. Berkeley, California 94720-6000 Languages Represented: English Access Restricted originals.
    [Show full text]
  • Physiognomy Illustrated ; Or, Nature's Revelations of Character
    (Hmull W^nmpU^ ^Vbitm]^ THE GIFT OF K..\\S3 03 ^.bs^%. i Cornell University Library BF851.S59 P5 1891 Physiognomy illustrated : or Nature' 3 1924 028 949 786 olin The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028949786 No. 1. Charlemagne, though unable to write his own name, pro- moted schools, aits, civilization,' and was the most powerful and enter- prising monarch of his day. No. 2. James Boswell, the celebrated biographer of Dr. Samuel Johnson, He resembled Johnson as a fly does an elephant, while his self- assurance and impudence have rarely been equalled. of Ceylon. No. 3. CiNGHAiiESE, a gentleman from the mountains No. 4. John Locke, a distinguished philosopher. His head does not, No. 5. Tasmanian, an aboriginee of Tasmania. while his face does, manifest his cruel and cannibal habits. genius. No. 6. LOKD Btkon, a poet of marvellous described in Shakespeare's No. 7. Cassius, a famous Roman general, "Julius Caesar." clergyman. No. 8. Kbt. Rowland Hill, an English poet, and physiognomist. No. 9. Lavatbb, an eloquent Swiss preacher, feeble face indicates, he No. 10. Paul I., Emperor of Russia, as his was one of the weakest rulers in Europe. Physiognomy Illustrated; OK, NATURE'S REVELATIONS OF CHARACTER. A DESCRIPTION OF THE MENTAL, MORAL, AND VOLITIVE DISPOSITIONS OF MANKIND, AS MANIFESTED IN THE HUMAN FORM AND COUNTENANCE. By JOSEPH SIMMS, M.D. THIS WOBK IB THE FRUIT 01* NEARLY TWENTY YXIASB' DILIGENT OBSERTATION OP NATURE, AND PRESENTS A NEW AND COMPLETE ANALYSIS AND CLASSITICATION OF THE POWERS OF THE HUMAN MIND AND BODY, TOGETHER WITH THE PHYSIOGNOMICAL SIGNS BY WHICH EVERY FACUI/TY IS DISCLOSED.
    [Show full text]
  • Pond Carousel
    Pond The southeast corner of Central Park was from its inception, and continues to be today, the most heavily used Park entrance. Fully half of all Park visitors enter by way of Grand Army Plaza. In the 19th century it was the first destination of a carriage ride north from the growing city to the Park. Olmsted and Vaux, who designed Central Park in 1858, intended the Pond landscape to welcome visitors and offer an instant haven from the city, which it continues to do to this day. The placid shores of The Pond offer visitors to Central Park an instant haven from the City. The comma-shaped Pond is situated below street level, which has the effect of muting the urban cacophony and creating a surprising calm. The gracefully-shaped Gapstow Bridge arches over the northeast end of the Pond, framing the picturesque scene. This is the second bridge of the same name on this site. The original, whose design is attributed to Jacob Wrey Mould, was built in 1874. One of the most unusual bridges in the Park, it was made of stone abutments, with cast-iron filigree and two semi-circular wooden arches. The wooden arches and flooring deteriorated, and the bridge was replaced in 1896 by the present simple stone structure made from unadorned Manhattan schist (the local bedrock). The nearby Cop Cot (Scottish for little house on the crest of the hill) — the Park's largest rustic wood structure — is perched on a large rock outcrop at the Sixth Avenue entrance, providing a splendid view of the Pond below.
    [Show full text]
  • Simon Pokagon – I Write from Quite a Distance from This Man
    Chicago’s First Urban Indians – the Potawatomi by John N. Low A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in The University of Michigan 2011 Doctoral Committee: Professor Gregory E. Dowd (Chair) Professor Philip J. Deloria Professor Raymond A. Silverman Associate Professor Vicente M. Diaz © John N. Low ________________________________________________________________________ 2011 Dedication To Irving (Hap) McCue and Daniel (Danny) Rapp – two elders who taught me more than they ever realized; and to my parents, Wilma and Joseph, who gave me opportunity. ii Acknowledgements Every book has many authors and the same is true for this dissertation. I am indebted to many individuals, institutions, and communities for making my work possible. I owe much to the Williams/Daugherty family who made their grandfather’s papers available to me. I am also grateful for the kind assistance from the staffs at the Chicago History Museum archives, the special collections at the Clarke Memorial Library at Central Michigan University, Western Michigan University, the Rackham Graduate Library and the Bentley Library at the University of Michigan, the Harold Washington Library in Chicago, the Grand Rapids Public Museum, the Logan Museum at Beloit College, the Chicago American Indian Center, the Regenstein Library at the University of Chicago, the D’Arcy McNickle Center and special collections at the Newberry Library in Chicago, Pokagon State Park, and the Great Lakes Regional Branch of the National Archives. I also substantially benefitted from the financial support afforded by the award of a five year Rackham Merit Fellowship at the University of Michigan – without which I could not have pursued my dream of returning to academia.
    [Show full text]
  • Anishinaabe Warriors, Soldiers, and Veterans from Pontiac's War
    “Both the Honor and the Profit”: Anishinaabe Warriors, Soldiers, and Veterans from Pontiac’s War through the Civil War by Michelle K. Cassidy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2016 Doctoral Committee: Professor Gregory Evans Dowd, Co-Chair Associate Professor Michael Witgen, Co-Chair Professor Susan Juster Associate Professor Scott Richard Lyons Professor Tiya Miles © Michelle K. Cassidy 2016 Acknowledgements During my last year in graduate school, I went on a “final” research trip to Anishinaabe places in western Michigan. I started in Hart and worked my way up to Petoskey, stopping at various county seats to look at government records and land deeds. On my first day, while I was doing research at the County Clerk’s office in Hart, a man wearing a veteran’s ball cap walked in and requested information about several individuals whose last names—associated with Euro- Odawa fur trading families—caught my attention. As he waited for the vital records, he asked why I was sitting in a corner with giant books and we began talking. He knew about the Odawaag in Company K that I was researching and he said he was a descendent of a Company K soldier. We talked about the Odawa soldiers but our conversation quickly turned to contemporary Odawa politics. This dissertation is comprised of many such conversations—both fortuitous and planned—and the encouragement and generosity of many. I would not have written a dissertation on indigenous peoples if I had not taken Michael Witgen’s American Indian history class as an undergraduate.
    [Show full text]
  • The Art of the Bronze Founder, Especially in Its Relation to The
    TS 570 .116 Copy 1 THE ART of the BRONZE FOUNDER Especially in its relation to the casting- of bronze statuary. and other sculptural work BY WILLIAM DONALD MITCHELL The pictures of sculptures shown by lantern slides in this lecture are ex- clusively of work cast in bi'onze by the Jno. Williams, Inc. Bronze Foundry This lecture in its original form was delivered at Teachers College, Columbia University, February 24th, 1913. Connecticut State Teachers' Association, High School Building, Hartford, Connecticut, October 24th, 1913. Connecticut State Teachers' Association, Hillhouse High School, New Haven, Connecticut, October 24th, 1913. Young Men's Christian Association, Twenty-third Street Branch, New York City, March 11th, 1914. Revised and printed in 1916. / Copyright 1916 by Jno. Williams, Inc. New York i" MAV 15 1916 PRB6S OF GIBBS & VAN Vl_ECK. tNC. NEW YORK ©CI,A4 3 08 8 9 Dedicated to the memory of John Williams who founded in 1875 the business which now bears the name Jno. Williams, Inc. Important work by the following sculptors has been cast m bronze by the Jno. Williams, Inc. Bronze Foun- dry. Examples are shown in the lantern shdes illustrat- ing the lecture, "The Art of the Bronze Founder." Adams, Herbert MacCarthy, Hamilton AiTKEX, Robert I. ^L\cXEIL, Hermon Amateis, Louis McKenzie, R. Tait Apel, Marie Mears, Helen Farnswop.th Banks, John" Lisney Morris, Paul Winters Bitter, Karl Manship, Paul Brenner, Victor D. Miller, Burr C. Barnhorn, Clement J. Martiny, Philip BoRGLUM, GlTZON Mitchell, Guernsey Boyle, John J. Mayer, L. C. BissELL, George E. Miranda, Fernando Bachman, Max Xeandboss, Sigurd Butensky", Jules M.
    [Show full text]
  • Annotated Bibliography. Second Edition. National Council Of
    DOCMMENT RESUME. ED 176 308 CS 205 153 AUTHOR Stensland, Anna Lee; Faddir;'Aune M. s T TLE Lititrature by and about the American Indian: An Annotated Bibliography. Second Edition. IN,STITUTpN National Council of Teachers of English, Urbana, PUB DATE 79.' NOTE 389p. AVAILABLE FROM National Council of Teachers of English, 1111 Kenyon, Road, Urbana, Illinois 61801(Stock Nc. 29846, $6.66 member, $6.75 non-Member) EDRS PRICE MF01/P016. Plus Posage. DESCRIPTORS, *Ameridan Indian Culture; *American Indians; *Amrican Literature; Biographies; Elementary Secondary Education; English Instruction; Fiction; Mythology; *Reading Material Selectior; Teaching' Tethniques ABSTRACT BotI a discussion of teaching American Indian litSrature and an annotated bibliography of books by and about American.Indians are includeeroin-this .book.. The section on teaching the literatUre of the Ameritan'Indian discusses important themes in Indian literature, Indian stereotypeb inliterature, and Indian literature of the mid-seventies. Aids for the teacher inclUdi guides to curriculum planning, stiggestions far a basic library ofndian literature, and.a list of soUrCes cf additional materials: Capsule ibiograpilies of 54 of the more prolific or better kncwr American . to,Indian scholars and mriters7are presented..Topics in tke annotated bibliography include Myth., legend, oratory, and poetry; fiction; biography and autobiovraphfl histcry; traditional life and culture; modern fife and problems; ancl.music, Sits, and crafts. A directo of publishs, an author index, and a title index are included: (MKM) I v re. ****************46**************************************************** . * Reproduction8 supplied by-EDRS are the best that can be made * * from the original document. * ************************************************************************ co ,0 Literature by and about the American Indian Lu dm PAIrrlAINT OP HEALTH, E DUCATION I WILPARI N TIhlI.
    [Show full text]