front cover of Creek Indian History
Creek Indian History
A Historical Narrative of the Genealogy, Traditions and Downfall of the Ispocoga or Creek Indian Tribe of Indians by One of the Tribe, George Stiggins (1788-1845)
George Stiggins
University of Alabama Press, 2003
George Stiggins, a Creek Indian half blood living in Alabama, wrote this history more than 150 years ago. Raised in the white culture by his father, an English trader, Stiggins nevertheless lived in close contact with the Creeks because his mother was a full blood of the Natchez tribe, part of the Creek Confederacy.

Stiggins writes with firsthand knowledge of the tribes in the central southeast—the Alabamas, Natchez, Abekas, Uchees, and others. He tells of their origins, their towns and chiefs, and their way of life, he traces critical events leading to the Creek War—the battles of Burnt Corn and Fort Mims—and details the roles of the Indian leaders involved. In “Tecumseh and the Age of Prophecy,” he describes how the powerful influence of prophets, such as Josiah Francis and Jim Boy, who incited the Creeks to civil war as the confederacy split into war and peace factions. Stiggin’s account of William Weatherford’s controversial role in the Creek War has special value because Weatherford was Stiggins’s brother-in-law. His descriptions of religious and social aspects of the Creek lifeways make this work prime source material.

William Wyman’s notes and introduction put the Stiggins account into historical perspective and trace its circuitous route to publication. First issued in 1989, Creek Indian History has become an important primary document for the study of Native American history and culture.
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front cover of Mantegna and Painting as Historical Narrative
Mantegna and Painting as Historical Narrative
Jack M. Greenstein
University of Chicago Press, 1992
In this extraordinary explication of one of the most enigmatic and influential works of the Renaissance, the Uffizi Circumcision of Christ, Jack M. Greenstein reassesses the nature and goals of high humanist narrative painting.

"Greenstein has raised the level of sophistication of the historical criticism of Renaissance painting by at least one whole notch; at the same time, he has written a book for everyone interested in problems of interpretation."—David Summers, University of Virginia
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