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Books > Social sciences > Sociology, social studies > Ethnic studies > Indigenous peoples
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How are natures and animals integrated inclusively into research
projects through Multispecies Ethnography? While preceded by a
vision that seeks to question holistically how scientists can
integrate natures and animals into research projects through
Multispecies Ethnography, this book focuses on inter- and
multidisciplinary collaboration. From an examination of the
interfaces between social and natural science-oriented disciplines,
a complex view of natures, humans, and animals emerges. The
insights into interdependencies of different disciplines illustrate
the need for a Multispecies Ethnography to analyze
HumansAnimalsNaturesCultures. While the methodology is innovative
and currently not widespread, the application of Multispecies
Ethnography in areas of research such as climate change, species
extinction, or inequalities will allow new insights. These research
debates are closely interwoven, and the methodological inclusion of
the agency of natures and animals and the consideration of
Indigenous Knowledge allow new insights of holistic multispecies
research for the different disciplines. Multispecies Ethnography
allows for positivist, innovative, attentive, reflexive and complex
analyses of HumansAnimalsNaturesCultures.
Who were the First Americans? Where did they come from? When did
they get here? Are they the ancestors of modern Native Americans?
These questions might seem straightforward, but scientists in
competing fields have failed to convince one another with their
theories and evidence, much less Native American peoples. The
practice of science in its search for the First Americans is a
flawed endeavor, Robert V. Davis tells us. His book is an effort to
explain why. Most American history textbooks today teach that the
First Americans migrated to North America on foot from East Asia
over a land bridge during the last ice age, 12,000 to 13,000 years
ago. In fact, that theory hardly represents the scientific
consensus, and it has never won many Native adherents. In many
ways, attempts to identify the first Americans embody the conflicts
in American society between accepting the practical usefulness of
science and honoring cultural values. Davis explores how the
contested definition of "First Americans" reflects the unsettled
status of Native traditional knowledge, scientific theories,
research methodologies, and public policy as they vie with one
another for legitimacy in modern America. In this light he
considers the traditional beliefs of Native Americans about their
origins; the struggle for primacy-or even recognition as
science-between the disciplines of anthropology and archaeology;
and the mediating, interacting, and sometimes opposing influences
of external authorities such as government agencies, universities,
museums, and the press. Fossil remains from Mesa Verde, Clovis, and
other sites testify to the presence of First Americans. What
remains unsettled, as The Search for the First Americans makes
clear, is not only who these people were, where they came from, and
when, but also the very nature and practice of the science
searching for answers.
The faking of Native American art objects has proliferated as their
commercial value has increased, but even a century ago experts were
warning that the faking of objects ranging from catlinite pipes to
Chumash sculpture was rampant. Through a series of historical and
contemporary case studies, Janet Catherine Berlo engages with
troubling and sometimes confusing categories of inauthenticity.
Based on decades of research as well as interviews with curators,
collectors, restorers, replica makers, reenactors, and Native
artists and cultural specialists, Not Native American Art examines
the historical and social contexts within which people make
replicas and fakes or even invent new objects that then become
"traditional." Berlo follows the unexpected trajectories of such
objects, including Northwest Coast carvings, "Navajo" rugs made in
Mexico, Zuni mask replicas, Lakota-style quillwork, and Mimbres
bowl forgeries. With engaging anecdotes, the book offers a rich and
nuanced understanding of a surprisingly wide range of practices
that makers have used to produce objects that are "not Native
American art."
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