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Picturing Worlds: Visuality and Visual Sovereignty in Contemporary Anishinaabe Literature
Michigan State University Press, 2020 Paper: 978-1-61186-352-9 | eISBN: 978-1-62896-389-2 Library of Congress Classification PM853.5.S75 2020 Dewey Decimal Classification 897.333
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
Taking up Lisa Brooks’s notion of “spinning the binary” between oral and literary forms and Christopher Teuton’s explication of the graphic mode, this book examines the uses that a range of Anishinaabe authors make of art and artists. Arguing that the mark on a surface—whether it be an ancient pictograph or a contemporary painting—intervenes, in the works under scrutiny, in such artificial divisions as precolonial/oral and postcontact/alphabetically literate societies, the text examines the ways Anishinaabe authors establish frameworks for continuity, resistance, and sovereignty in that “space” where conventional narratives of settlement read rupture. This book is a significant contribution to studies of the ways traditional forms of inscription support and amplify the oral tradition and in turn how both the method and aesthetic of inscription contribute to contemporary literary aesthetics and the politics of representation. See other books on: Material culture in literature | Native American | Ojibwa literature | Visual perception in literature | Visuality See other titles from Michigan State University Press |
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Picturing Worlds: Visuality and Visual Sovereignty in Contemporary Anishinaabe Literature
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
Michigan State University Press, 2020
Paper: 978-1-61186-352-9
eISBN: 978-1-62896-389-2
Paper: 978-1-61186-352-9
eISBN: 978-1-62896-389-2
Taking up Lisa Brooks’s notion of “spinning the binary” between oral and literary forms and Christopher Teuton’s explication of the graphic mode, this book examines the uses
that a range of Anishinaabe authors make of art and artists. Arguing that the mark on a surface—whether it be an ancient pictograph or a contemporary painting—intervenes, in the works under scrutiny, in such artificial divisions as precolonial/oral and postcontact/alphabetically literate societies, the text examines the ways Anishinaabe authors establish frameworks for continuity, resistance, and sovereignty in that “space” where conventional narratives of settlement read rupture. This book is a significant contribution to studies of the ways traditional forms of inscription support and amplify the oral tradition and in turn how both the method and aesthetic of inscription contribute to contemporary literary aesthetics and the politics of representation.
that a range of Anishinaabe authors make of art and artists. Arguing that the mark on a surface—whether it be an ancient pictograph or a contemporary painting—intervenes, in the works under scrutiny, in such artificial divisions as precolonial/oral and postcontact/alphabetically literate societies, the text examines the ways Anishinaabe authors establish frameworks for continuity, resistance, and sovereignty in that “space” where conventional narratives of settlement read rupture. This book is a significant contribution to studies of the ways traditional forms of inscription support and amplify the oral tradition and in turn how both the method and aesthetic of inscription contribute to contemporary literary aesthetics and the politics of representation.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | TOC | REQUEST ACCESSIBLE FILE
