LEADER 04108nam 2200661 450 001 9910820714803321 005 20230807212522.0 010 $a0-8173-8798-6 035 $a(CKB)3710000000337353 035 $a(EBL)1921164 035 $a(SSID)ssj0001402213 035 $a(PQKBManifestationID)12596402 035 $a(PQKBTitleCode)TC0001402213 035 $a(PQKBWorkID)11358165 035 $a(PQKB)11291521 035 $a(MiAaPQ)EBC1921164 035 $a(OCoLC)900540837 035 $a(MdBmJHUP)muse35799 035 $a(Au-PeEL)EBL1921164 035 $a(CaPaEBR)ebr11008294 035 $a(EXLCZ)993710000000337353 100 $a20150131h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aIndians playing Indian $emulticulturalism and contemporary Indigenous art in North America /$fMonika Siebert 210 1$aTuscaloosa, Alabama :$cThe University of Alabama Press,$d2015. 210 4$dİ2015 215 $a1 online resource (238 p.) 300 $aDescription based upon print version of record. 311 $a0-8173-1855-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction: Indigeneity and Multicultural Misrecognition -- Indigeneity and the Dialectics of Recognition at the National Museum of the American Indian -- Atanarjuat and the Ideological Work of Indigenous Filmmaking -- Palimpsestic Images : Contemporary American Indian Digital Fine Art and the Ethnographic Photo Archive -- Of Turtles, Snakes, Bones, and Precious Stones : Jimmie Durham's Indices of Indigeneity -- Fictions of the Gruesome Authentic in LeAnne Howe's Shell Shaker -- Conclusion: Unsettling Misrecognition. 330 2 $a"In Indians Playing Indian, Monika Siebert explores the appropriation, or misappropriation, of Native American cultural heritage for political and commercial ends, and the innovative ways in which indigenous artists in a range of media have responded to these developments. Contemporary indigenous people in North America confront a unique predicament. As legal and diplomatic practice in the early twenty first century returns to the recognition of their status as citizens of historic sovereign nations, popular culture continues to depict them as cultural minorities on the par with other ethnic Americans. This popular misperception of indigeneity as culture rather than as a historically developed political status sustains the myth of America as a refuge to the world's immigrants and a home to successful multicultural democracies. But it fundamentally misrepresents indigenous people who have experienced a history of colonization rather than a tradition of immigration on the continent. Contemporary indigenous cultural production is caught up in this phenomenon of multicultural misrecognition as well. The current flowering of indigenous literature, cinema, and visual arts is typically taken as evidence that Canada and the United States have successfully broken with their colonial pasts to become thriving nations of many cultures, where Native Americans, along other minorities, enjoy full freedom to represent their cultural difference"--$cProvided by publisher. 606 $aIndian arts$zNorth America 606 $aArts and society$zUnited States 606 $aArts and society$zCanada 606 $aIndians of North America$xIntellectual life 606 $aIndians of North America$zCanada$xIntellectual life 607 $aUnited States$xEthnic relations 607 $aCanada$xEthnic relations 615 0$aIndian arts 615 0$aArts and society 615 0$aArts and society 615 0$aIndians of North America$xIntellectual life. 615 0$aIndians of North America$xIntellectual life. 676 $a704.03/97 686 $aART041000$aLIT004060$aSOC021000$2bisacsh 700 $aSiebert$b Monika$f1965-$01711981 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910820714803321 996 $aIndians playing Indian$94103733 997 $aUNINA LEADER 04603oam 22008054 450 001 9910961072603321 005 20241205215857.0 010 $a9780822378761 010 $a0822378760 024 7 $a10.1515/9780822378761 035 $a(CKB)3710000000133394 035 $a(OCoLC)891395108 035 $a(CaPaEBR)ebrary10887936 035 $a(SSID)ssj0001062858 035 $a(PQKBManifestationID)11583561 035 $a(PQKBTitleCode)TC0001062858 035 $a(PQKBWorkID)11017957 035 $a(PQKB)10950627 035 $a(MiAaPQ)EBC3007878 035 $a(OCoLC)1139388609 035 $a(MdBmJHUP)muse79248 035 $a879384733 035 $a(DE-B1597)554156 035 $a(DE-B1597)9780822378761 035 $a(OCoLC)1226679192 035 $a(PPN)200759361 035 $a(Perlego)1465099 035 $a(EXLCZ)993710000000133394 100 $a20140508d2000 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aQueering the color line $erace and the invention of homosexuality in American culture /$fSiobhan Somerville 210 1$aDurham :$cDuke University Press,$d2000. 215 $a1 online resource (273 p.) 225 1 $aSeries Q 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9780822324430 311 08$a0822324431 311 08$a9780822324072 311 08$a0822324075 320 $aIncludes bibliographical references (pages [221]-247) and index. 327 $tScientific Racism and the Invention of the Homosexual Body --$tThe Queer Career of Jim Crow: Racial and Sexual Transformation in Early Cinema --$tInverting the Tragic Mulatta Tradition: Race and Homosexuality in Pauline E. Hopkins's Fiction --$tDouble Lives on the Color Line: "Perverse" Desire in The Autobiography of an Ex-Coloured Man --$t"Queer to Myself As I Am to You": Jean Toomer, Racial Disidentification, and Queer Reading. 330 $a"Queering the Color Line transforms previous understandings of how homosexuality was "invented" as a category of identity in the United States beginning in the late nineteenth century. Analyzing a range of sources, including sexology texts, early cinema, and African American literature, Siobhan B. Somerville argues that the emerging understanding of homosexuality depended on the context of the black/white "color line," the dominant system of racial distinction during this period. This book thus critiques and revises tendencies to treat race and sexuality as unrelated categories of analysis, showing instead that race has historically been central to the cultural production of homosexuality. At about the same time that the 1896 Supreme Court Plessy v. Ferguson decision hardened the racialized boundary between black and white, prominent trials were drawing the public's attention to emerging categories of sexual identity. Somerville argues that these concurrent developments were not merely parallel but in fact inextricably interrelated and that the discourses of racial and sexual "deviance" were used to reinforce each other's terms. She provides original readings of such texts as Havelock Ellis's late nineteenth-century work on "sexual inversion," the 1914 film A Florida Enchantment, the novels of Pauline E. Hopkins, James Weldon Johnson's Autobiography of an Ex-Coloured Man, and Jean Toomer's fiction and autobiographical writings, including Cane. Through her analyses of these texts and her archival research, Somerville contributes to the growing body of scholarship that focuses on discovering the intersections of gender, race, and sexuality." -- Publisher's description. 410 0$aSeries Q. 606 $aGender identity$zUnited States$xHistory 606 $aRace awareness$zUnited States$xHistory 606 $aHomosexuality in literature 606 $aHomosexuality in motion pictures 606 $aRace relations in literature 606 $aRace relations in motion pictures 606 $aCulture in motion pictures 615 0$aGender identity$xHistory. 615 0$aRace awareness$xHistory. 615 0$aHomosexuality in literature. 615 0$aHomosexuality in motion pictures. 615 0$aRace relations in literature. 615 0$aRace relations in motion pictures. 615 0$aCulture in motion pictures. 676 $a305.3/0973 700 $aSomerville$b Siobhan B$01805682 801 0$bNDD 801 1$bNDD 801 2$bNDD 906 $aBOOK 912 $a9910961072603321 996 $aQueering the color line$94354416 997 $aUNINA