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Alternative Contact: Indigeneity, Globalism, and American Studies ed. by Paul Lai and Lindsey Claire Smith (review)

Alternative Contact: Indigeneity, Globalism, and American Studies ed. by Paul Lai and Lindsey... man Alexie by taking apart two of Alexie's films--the more widely watched Smoke Signals and the small independent film The Business of Fancy Dancing--through Gerald Vizenor's "post­Indian warrior" concept. Chapter 8 focuses on Leslie Marmon Silko's popular story "Storyteller." Rader provides an analysis with a pedagogical lens and a focus on literary semiotics. While any of the chapters in the book could be used in a classroom, this chapter is particularly focused on enhancing the classroom conversation. Chapter 9 provides a quick and somewhat rushed look at the ways that public art by and about Native people claims public space and structures. In chapter 10 Rader once again shines with his insightful analysis of the National Museum of the American Indian. He begins by guiding the reader through a brief but important history of the land where the museum is now located. Rader also offers a thorough overview of the design, responses, and critiques of the museum. He adds a new layer of interpretation through his assertion of the museum's "compositional resistance" on a structural level, including how the museum is put together, the building's architecture, the internal layout, and the placement of the museum on the mall http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The American Indian Quarterly University of Nebraska Press

Alternative Contact: Indigeneity, Globalism, and American Studies ed. by Paul Lai and Lindsey Claire Smith (review)

Lee, Susan Savage.
The American Indian Quarterly , Volume 37 (1) – Jun 2, 2013
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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 The University of Nebraska Press.
ISSN
1534-1828
Publisher site
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Abstract

man Alexie by taking apart two of Alexie's films--the more widely watched Smoke Signals and the small independent film The Business of Fancy Dancing--through Gerald Vizenor's "post­Indian warrior" concept. Chapter 8 focuses on Leslie Marmon Silko's popular story "Storyteller." Rader provides an analysis with a pedagogical lens and a focus on literary semiotics. While any of the chapters in the book could be used in a classroom, this chapter is particularly focused on enhancing the classroom conversation. Chapter 9 provides a quick and somewhat rushed look at the ways that public art by and about Native people claims public space and structures. In chapter 10 Rader once again shines with his insightful analysis of the National Museum of the American Indian. He begins by guiding the reader through a brief but important history of the land where the museum is now located. Rader also offers a thorough overview of the design, responses, and critiques of the museum. He adds a new layer of interpretation through his assertion of the museum's "compositional resistance" on a structural level, including how the museum is put together, the building's architecture, the internal layout, and the placement of the museum on the mall

Journal

The American Indian Quarterly – University of Nebraska Press

Published: Jun 2, 2013

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