Download PDF by Scott B. Vickers: Native American identities: from stereotype to archetype in
By Scott B. Vickers
Problems with id and authenticity current perennial demanding situations to either local american citizens and critics in their artwork. Vickers examines the lengthy historical past of dehumanizing depictions of local americans whereas discussing such purveyors of stereotypes because the Puritans, the Bureau of Indian Affairs, and Hollywood. those stereotypes abetted a countrywide coverage robbing Indians in their cultural identification. As a distinction to those, he examines the paintings of white authors and artists corresponding to Helen Hunt Jackson, Oliver l. a. Farge, the Taos Society of Artists, and Frank Waters, who created extra archetypal fictional Indian characters. within the moment half the booklet, Vickers explores the paintings of Indian artists and writers, similar to Edgar Heap of Birds, Jaune Quick-to-See Smith, Linda Hogan, and Sherman Alexie who craft humanizing new photos of authenticity and legitimacy, bridging the distance among stereotype and archetype. this can be a necessary e-book for all readers with an curiosity within the tragic historical past of Indian-white clash. "Vickers is without doubt one of the few to think about artists and writers relating to one another. He bargains a refreshingly commonsensical approach."-Herta Wong, college of California Berkley
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Extra info for Native American identities: from stereotype to archetype in art and literature
Jung. " The word continued to be used by Gnostics, alchemists, and philosophers to denote a primal form or "material" (like "archetypal light" or "archetypal stone"), which they supposed to be the originary creative element of the universe. " Jung's concern with archetypes, like that of this discussion, is one of manifestation and transformation. " What makes the Jungian concept of the archetypes useful in this discussion is their antithetical form and function in contrast to stereotypes, and the Page 7 implication that, unlike stereotypes projected onto individuals from the outside, archetypes derive from within the individual via either the "personal unconscious" ("a more or less superficial layer") or the ''collective unconscious" ("which does not derive from personal experience and is not a personal acquisition but is inborn").
It is not right to torture your bodies or handle poisonous snakes in your ceremonies [as did the Hopi and other shamanistic societies]. 22 Ruth Underhill, once a worker in the bureau, remembers the Hopi response to a similar exhortation made by a white official who, witnessing the "simulat[ed] sexual intercourse" of the Koshare or clown kachina dancers during Page 21 a Soyal (winter solstice) ceremony, cried out, "Indecent! And with children present. " "The Hopi priest," recalls Underhill, looked both amazed and sad.
Ruth Underhill, a noted ethnographer of American Indians, has intimated how this profound change in the status of a myth can cause the deepest confusion and dissociation: Myth and ritual, which may be twins developed from the same ovum, can grow apart until the relationship is barely recognizable. To the thinker and seer, the belief was the religion and the ceremony simply its servant. To the Indian layman, the ceremony was the essential. 8 Myth, once separated from the imaginative and regenerative dramaturgy that was its human exercise, then becomes the province of the priesthood, the papacy, or the theologian, and as such loses much of its vitality and human usefulness.
Native American identities: from stereotype to archetype in art and literature by Scott B. Vickers