Bibliografie tematiche / Indian art – Columbia Plateau

Letteratura scientifica selezionata sul tema "Indian art – Columbia Plateau"

Autore: Grafiati

Pubblicato: 26 luglio 2024

Ultima modifica: 27 luglio 2024

Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili

Scegli il tipo di fonte:

Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Indian art – Columbia Plateau".

Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.

Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.

Articoli di riviste sul tema "Indian art – Columbia Plateau"

Wells, Merle, e James D. Keyser. "Indian Rock Art of the Columbia Plateau". American Indian Quarterly 18, n. 1 (1994): 101. http://dx.doi.org/10.2307/1185741.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Lukavic, John P. "Beaded Brilliance: Wearable Art from the Columbia River Plateau". Museum Anthropology 30, n. 1 (aprile 2007): 54–56. http://dx.doi.org/10.1525/mua.2007.30.1.54.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Hunn, Eugene. "Columbia Plateau Indian Place Names: What Can They Teach Us?" Journal of Linguistic Anthropology 6, n. 1 (giugno 1996): 3–26. http://dx.doi.org/10.1525/jlin.1996.6.1.3.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Jr., Deward E. Walker,. ": Prophetic Worlds: Indians and Whites on the Columbia Plateau . Christopher L. Miller." American Anthropologist 89, n. 2 (giugno 1987): 481–82. http://dx.doi.org/10.1525/aa.1987.89.2.02a00530.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Cannon, William J. "Rock Art in New Mexico. Polly Schaafsma. Museum of New Mexico Press, Santa Fe, 1992. vii + 175 pp., photographs, maps, works cited, index. ’29.95 (paper). - A Field Guide to Rock Art Symbols of the Greater Southwest. Alex Patterson. Johnson Books, Boulder, Colorado, 1992. xv + 256 pp., illustrations, indexes, bilblography. ’15.95 (paper). - Indian Rock Art of the Columbia Plateau. James D. Keyser. University of Washington Press, Seattle, 1992. 139 pp., photographs, maps, figures, glossary, bibliography, index. ’35.00 (cloth); ’17.50 (paper)." American Antiquity 59, n. 2 (aprile 1994): 379–80. http://dx.doi.org/10.2307/281943.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Keyser, James D., e David S. Whitley. "Sympathetic Magic in Western North American Rock Art". American Antiquity 71, n. 1 (gennaio 2006): 3–26. http://dx.doi.org/10.2307/40035319.

Testo completo

Abstract (sommario):

Much rock art worldwide was traditionally interpreted in terms of “hunting magic,” in part based on the related concept of “sympathetic magic” In the last forty years, these interpretations were disproven in many regions and now are largely ignored as potential explanations for the origin and function of the art. In certain cases this may be premature. Examination of the ethnographic and archaeological evidence from western North America supports the origin of some art in sympathetic magic (often related to sorcery) in both California and the Plains and provides a case for hunting magic as one of a series of ritual reasons for making rock art in the Columbia Plateau. Both case studies emphasize the potential diversity in origin, function, and symbolism of shamanistic rock art.

Gli stili APA, Harvard, Vancouver, ISO e altri

Nickens, Paul R. "Imagining the Multilayered Cultural Landscape: A Template from the Columbia Plateau of North America". Land 11, n. 10 (21 settembre 2022): 1613. http://dx.doi.org/10.3390/land11101613.

Testo completo

Abstract (sommario):

Cultural landscapes encompass a diversity of manifestations of the interaction between humankind and the natural environment occurring in both space and time. In some instances where the human occupation of a specific area or region encompass a continuous and extended timeframe, successive cultural layers yield contrasting and disparate landscapes and heritage values. This “layering” of past cultural landscapes often leads to conflicting modern-day land, cultural resource management, and heritage value issues. A case study is presented from the Hanford Site in south-central Washington state, USA, where the natural landscape comprises prehistoric Native American, historic ethnographic, and historic period non-Indian evidence from over 10,000 years of occupation and use that clearly separate into several culturally and chronologically defined and overlapping cultural landscapes, which can be visualized as layered entities occurring on the same physical space.

Gli stili APA, Harvard, Vancouver, ISO e altri

Graham, Karen, Rhonda Camille e Tracey Kim Bonneau. "En’owkin Centre Breastfeeding Art Expo". Canadian Food Studies / La Revue canadienne des études sur l'alimentation 5, n. 2 (23 maggio 2018): 196–203. http://dx.doi.org/10.15353/cfs-rcea.v5i2.289.

Testo completo

Abstract (sommario):

A unique Indigenous-focused Art Expo on the topic of breastfeeding was held at En’owkin Centre at Penticton Indian Band in October and November 2017. The En’owkin Centre is a nationally recognized Indigenous arts and training centre. This review highlights some of the art from the En’owkin Indigenous Expo including six of the Community Art Projects and three Independent Art pieces. The En’owkin Breastfeeding Art Expo was part of a larger Expo (2017-2018) that is a joint partnership with Interior Health and the non-profit social service organization KCR-Community Resources; it was funded by five organizations. With 35 community partners, the project was led by a ten-member steering committee that including two Indigenous members. The Expo offered a full-colour Art Catalogue and a Teacher’s Guide. The larger Expo travelled to six locations in the Interior of British Columbia, and included 15 large community art projects and 65 independent artworks by citizens of central British Columbia, as well as 20 short videos that tell the significant art and health stories. Art is recognized as an important tool for Indigenous people for health and healing. This Expo was an opportunity to celebrate community, art, and breastfeeding. The goals of the Expo were multi-faceted, namely, to increase awareness of the benefits of breastfeeding, to encourage new ways of thinking about health through art, and to support work towards establishing better care for women to breastfeed in the hospital and community.

Gli stili APA, Harvard, Vancouver, ISO e altri

Keyser, James D., e Phillip Cash Cash. "A Carved Quirt Handle from the Warm Springs Reservation: Northern Plains Biographic Art in the Columbia Plateau". Plains Anthropologist 47, n. 180 (febbraio 2002): 51–59. http://dx.doi.org/10.1080/2052546.2002.11932107.

Testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Carney, Molly, Jade d'Alpoim Guedes, Kevin J. Lyons e Melissa Goodman Elgar. "Gendered Places and Depositional Histories: Reconstructing a Menstrual Lodge in the Interior Northwest". American Antiquity 84, n. 3 (3 giugno 2019): 400–419. http://dx.doi.org/10.1017/aaq.2019.30.

Testo completo

Abstract (sommario):

This project considered the deposition history of a burned structure located on the Kalispel Tribe of Indians ancestral lands at the Flying Goose site in northeastern Washington. Excavation of the structure revealed stratified deposits that do not conform to established Columbia Plateau architectural types. The small size, location, and absence of artifacts lead us to hypothesize that this site was once a non-domestic structure. We tested this hypothesis with paleoethnobotanical, bulk geoarchaeological, thin section, and experimental firing data to deduce the structural remains and the post-occupation sequence. The structure burned at a relatively low temperature, was buried soon afterward with imported rubified sediment, and was exposed to seasonal river inundation. Subsequently, a second fire consumed a unique assemblage of plant remains. Drawing on recent approaches to structured deposition and historic processes, we incorporate ethnography to argue that this structure was a menstrual lodge. These structures are common in ethnographic descriptions, although no menstrual lodges have been positively identified in the archaeological record of the North American Pacific Northwest. This interpretation is important to understanding the development and time depth of gendered practices of Interior Northwest groups.

Gli stili APA, Harvard, Vancouver, ISO e altri

Più fonti

Tesi sul tema "Indian art – Columbia Plateau"

Arnett, Christopher Anderson. "Rock art of Nlaka'pamux : indigenous theory and practice on the British Columbia Plateau". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58026.

Testo completo

Abstract (sommario):

The ethnographic and archaeological data on Nlaka’pamux Interior Salish rock art is among the richest of its kind in North America and offers a rare opportunity to study indigenous rock art in the historical and cultural context of its production. Direct historical and cultural continuity offer the advantage of foregrounding indigenous taxonomy and interpretation. With multiple sources available (ethnographic texts, historical texts, archaeological data and localized indigenous knowledge) Nlaka’pamux rock art can be detached from western theory and studied empirically (temporally and spatially) as a material signature of practice within a circumscribed territory. Nlaka’pamux rock painting, according to oral tradition, is an ancient practice. Many rock paintings visible today appeared on certain landforms after the arrival of Europeans and pathogens (smallpox) on the east coast of North America. Oral traditions state that Nlaka’pamux knew of European presence prior to face to face contact and took active measures to mitigate the impact using culturally prescribed means —speeches, dances and rock painting which occurred at 50 or so locations throughout the territory along travel corridors as early as the 16th century and into the 20th century. In all its phases, Nlaka’pamux rock painting is a pro-active historically contingent act of intervention with protection, demographic revitalization and intergenerational memory in mind.
Arts, Faculty of
Anthropology, Department of
Graduate

Gli stili APA, Harvard, Vancouver, ISO e altri

Seaton, Anne. "Historic Structures Report: Lone Pine Indian Shaker Village, a Nineteenth Century Fishing Settlement in The Dalles, Wasco County, Oregon". Thesis, University of Oregon, 1996. http://hdl.handle.net/1794/24503.

Testo completo

Abstract (sommario):

155 p.
Lone Pine Indian Shaker Village, located in The Dalles, Oregon, is the last remaining example of a late nineteenth century fishing settlement, a resource type that once proliferated along the banks of the Columbia River. Lone Pine Indian Shaker Village is also significant for its association with mixed heritage settlement, Native American fishing traditions, and the Indian Shaker Religion, a religion unique to the Northwest. This is an historical and architectural study of the village which includes the historical context and detailed description of the built environment, as it exists today and has evolved over time. Photographs, measured drawings, oral interviews and archival research are used to document and analyze the history and built environment of the village. Also included is a discussion of Treatment and Use options, followed by the author's recommendation for preservation and use of the village complex as an interpretive site. Today the village complex is vacant and suffers from neglect, and on November 19, 1996 the Indian Shaker Church collapsed under snow loads. Although an unfortunate event, it brings the issue of preservation of the entire site to the forefront. If no management plan is developed this valuable piece of Northwest cultural history will be lost forever.
Keepers of the Preservation Education Fund's H. Ward Jandl Fellowship

Gli stili APA, Harvard, Vancouver, ISO e altri

Crosby, Marcia Violet. "Indian art/Aboriginal title". Thesis, 1994. http://hdl.handle.net/2429/5212.

Testo completo

Abstract (sommario):

In 1967, the Vancouver Art Gallery held an exhibition entitled Arts of the Raven: Masterworks by the Northwest Coast Indian in celebration of Canada’s centennial. The following thesis discusses the way in which the curators of the Arts of the Raven exhibit constructed the Northwest Coast “Indian-Master” artist as a strategy that figured into a larger, shifting cultural field. The intention of the exhibit organizers was to contribute to the shift from ethnology to art. While this shift can be dated to the turn of the century, this thesis deals primarily with the period from 1958-1967, a decade described by the preeminent First Nations’ political leader, George Manuel, as the time of “the rediscovery of the Indian”. How the formation of an Indian-master artist (and his masterworks) intervened in art historical practice, and dovetailed with the meaning that the affix “Indian” carried in the public sphere, is considered. In the 1960s, this meaning was fostered, in part, through a reassessment of Canada’s history in preparation for the centennial. This event drew attention to the historical relationship between Canada and aboriginal peoples through public criticism of the government by public interest groups, Indian organizations, and civil rights and anti-poverty movements. The category of mastery, which functions as a sign of class, taste and prestige in European art canons, “included” the Indian under the rubric of white male genius. Yet the Indian as a sign of upward mobility was incommensurable with the Native reality in Canada at the time. In other words, the exhibit produced an abstract equality that eclipsed the concrete inequality most First Nations peoples were actually experiencing. This thesis concludes by arguing that the Arts of the Raven exhibit came to serve the important purpose of creating a space for the “unique individual-Indian” from which collective political First Nations voices would speak.

Gli stili APA, Harvard, Vancouver, ISO e altri

Hawker, Ronald W. "Accumulated labours : First Nations art in British Columbia, 1922-1961". Thesis, 1998. http://hdl.handle.net/2429/9487.

Testo completo

Abstract (sommario):

In this dissertation, I chart the conflicting and shifting assertions of meaning for Northwest Coast objects in Canada through a series of representational projects implemented between 1922 and 1961, beginning in January 1922, with the prosecution by the Department of Indian Affairs of participants in the Cranmer potlatch. The intersection between the concept of the 'fatal impact' or death of First Nations societies under European modernization, federal assimilationist policies, the government's exercise of disciplinary control, and the expansion of public museum collections was explicitly illustrated when the Lekwiltok, Mamalillikulla, and the Nimpkish peoples surrendered over seventeen cases of ceremonial objects in exchange for suspended sentences for violating the potlatch ban. The dissertation concludes by examining the Gitanyow agreement, engineered between 1958 and 1961, in which Gitanyow laws, histories and territories would be published by the government of British Columbia in exchange for the removal and replication of four crest poles. The raising of the poles' replicas in 1961 coincided with Canadian parliament's approval of the enfranchisement of First Nations people, the theoretical end to the era of assimilation in Canada. These events bookend a period in which representation continued to be entwined with politica and social conditions created by the Indian Act that depended on promulgating views that First Nations lifeways were vanishing. However, production of Northwest Coast objects retained significance throughout this period, such objects playing complex and multifaceted roles. Because of the symbolic and financial value many Euro-Canadians attached to First Nations objects, "art" proved an avenue for communicating First Nations-related social, political and economic issues. The objects produced or displayed between 1922 and 1961 operated through the projects I describe in the intertwined transformative processes of identity construction and boundary marking among individual First Nations groups and within Canadian national identity. Through these projects, important steps were taken in formulating two major characteristics of the post-1960 period: 1. a burgeoning market in Northwest Coast objects constructed as "traditional;" and 2. First Nations activism for land claims and self-determination using "tradition" and "art" as a platform in activism for land claims and self-determination.

Gli stili APA, Harvard, Vancouver, ISO e altri

Dawn, Leslie Allan. "How Canada stole the idea of Native art : the Group of Seven and images of the Indian in the 1920’s". Thesis, 2002. http://hdl.handle.net/2429/12940.

Testo completo

Abstract (sommario):

This thesis examines the conflicted relationships between the construction of a national culture and identity located in landscape painting and the continuing presence of Native art and identity in Canada in the 1920s. It contends that the first was predicated on the assumed disappearance of the second. The first of five case studies examines and questions the validation of the Group of Seven at the imperial centre: the British Empire Exhibitions held at Wembley in 1924 and 1925, from which Native presence was excluded. The critical responses, collected and republished in Canada, are analyzed to show the unspoken influences of British landscape traditions, the means by which Group paintings were used to re-territorialize the nation, and to destabilize the myth of an essential Canadian national consciousness. The first confrontation between Canadian native and Native art occurred when a small group of Northwest Coast carvings was included within a related exhibition in Paris in 1927. The French critical responses validated the Native pieces but withheld recognition of the Group's works as national and modern. The reviews were collected but suppressed. The third study examines the work of the American artist Langdon Kihn. He was employed by the Canadian National and Canadian Pacific Railways to work with the folklorist/ethnologist Marius Barbeau in producing images of the Stoney in Alberta and Gitksan in British Columbia. His ambiguous works supported claims to Native presence and cultural continuity, which ran contrary to repressive government policies, but were critically disciplined to ensure a message of discontinuity. The fourth investigates a program to restore the poles of the Gitksan, while changing their meaning to one signifying cultural decrepitude. Gitksan resistance testified to their agency, cultural continuity and identity. The fifth examines a program fostered by Barbeau to turn the Gitksan and their poles into the subjects of Canadian painting as "background" for the emerging nation's identity. This confrontation, which included Jackson, Carr and others, foregrounded all the problems. The exhibition which resulted in 1927 unsuccessfully attempted to join Canadian native and Native art and effect closure on the "narration of the nation".

Gli stili APA, Harvard, Vancouver, ISO e altri

Helweg, Priya Anne. ""Why shouldn’t we live in technicolor like everybody else..."¹ evolving traditions : Professional Northwest coast First Nations women artists". Thesis, 1995. http://hdl.handle.net/2429/3570.

Testo completo

Abstract (sommario):

In this study I interviewed fourteen professional, First Nations women artists who work predominantly in the so-called men's style of Northwest Coast art. I conclude that these artists challenge the rigid dichotomy set forth in the literature between men's and women's art by successfully working as carvers and designers in the formline style.

Gli stili APA, Harvard, Vancouver, ISO e altri

Phillips, Kimberly Jean. "Making meaning in totemland: investigating a Vancouver commission". Thesis, 2000. http://hdl.handle.net/2429/10730.

Testo completo

Abstract (sommario):

In the years immediately following World War II in Vancouver, native Northwest Coast images and objects were frequently made visible in the public spaces of the city, claimed and exchanged physically and symbolically in events involving both aboriginal and non-native participants. Like the political and social relations surrounding them, the meaning and purpose of these objects and images was, arguably, pliable and constantly shifting. The Totemland Pole, commissioned in 1950 by Vancouver's fledgling Totemland Society, and designed by local Kwakwaka'wakw carver Ellen Neel, was one such object-as-symbol. Numerous individuals and communities, aboriginal as well as non-native, were implicated in the object's production. Following anthropologist Anthony Cohen's work on social symbols in The Symbolic Construction of Community, I argue that while the symbol itself was held in common, its meaning varied with its participants' unique orientations to it. The differently motivated parties, specifically the work's creator, Ellen Neel, and its commissioners, the Totemland Society, attributed divergent meaning to the Totemland Pole simultaneously. As Cohen suggests, I propose that this difference did not lead to argument. Rather it was the form of the Totemland Pole itself, its impreciseness or "malleability," within the particular socio-political climate of its production, which enabled these divergent meanings to co-exist. In order to investigate ways in which the Totemland Pole was understood simultaneously as symbolically meaningful, this project attempts to map out the subject positions of and relations of power between Ellen Neel and the members of the Totemland Society, in relation to the particulars of the local historical moment. The forgotten details of the Totemland Commission and the lack of a legitimizing discourse of Neel's production, both fuelled by the gendered, class and race inflected politics of knowledge construction, have necessitated that the concept of absence be fundamental to my project. I have therefore approached the Totemland Commission from a number of surrounding institutional and social discourses, which form trajectories I see as intersecting at the site of the Totemland Pole. Any one of these trajectories may have been taken as the singular approach for the investigation of such an object. However, I wish to deny the autonomy normally granted these discursive fields, emphasizing instead the ways they are interdependent and may operate in tandem to enrich our understanding of an object which was the result of, and relevant to, shared histories.

Gli stili APA, Harvard, Vancouver, ISO e altri

Miller, Lorrie. "Learning to be proud : First Nations women’s stories of learning, teaching, art and culture". Thesis, 1995. http://hdl.handle.net/2429/4323.

Testo completo

Abstract (sommario):

Six First Nations women artists tell their stories about learning their art and culture. Previous research has paid little attention to the learning experiences of First Nation women artists. Ethnographic research methods were used in this qualitative study. Field research included video and audio recorded intensive open-ended interviews with three Coastal Salish women from Sechelt, British Columbia, and three Cree women from Pukatawagan, Manitoba, as they tel l how essential learning and teaching, art and culture are to them, their children and their communities. This study shows that there is a need for curricular reform and teacher education reform so that the school experiences for First Nations students will reflect and be sensitive to their histories, traditions and overall cultural identities. From testimonies presented in this thesis, it is evident that effective teaching of relevant cultural art content that results in meaningful learning leads to increased self knowledge, confidence and pride.

Gli stili APA, Harvard, Vancouver, ISO e altri

Wan, LiLynn. ""Out of Many Kindreds and Tongues": Racial Identity and Rights Activism in Vancouver, 1919-1939". 2011. http://hdl.handle.net/10222/13504.

Testo completo

Abstract (sommario):

This dissertation examines “race” politics in Vancouver during the interwar period as one origin of human rights activism. Race-based rights activism is a fundamental element of the modern human rights movement and human rights consciousness in Canada. The rhetoric of race-based rights was problematic from its inception because activists asserted equality rights based on an assumption of racial difference – a paradox that persists in human rights rhetoric today. While the late interwar period marks the origin of modern rights rhetoric, it also reveals a parallel turning point in the history of “race.” The racial categories of “Oriental” and “Indian” originated as discursive tools of colonial oppression. But during the interwar period, these categories were being redefined by activists to connote a political identity, to advocate for rights and privileges within the Canadian nation. While many scholars interpret the driving force behind the Canadian “rights revolution” as a response to the work of civil libertarians and the events of the Second World War, I argue that changing interpretations of rights were also a result of activism from within racialized communities. Interwar Vancouver was a central site for Canadian “race” politics. This type of political activism manifested in response to a range of different events, including a persistent “White Canada” movement; the Indian Arts and Crafts revival; conflict over the sale of the Kitsilano Reservation; the 1936 Golden Jubilee celebrations; sustained anti-Oriental legislation; and a police campaign to “clean up” Chinatown. At the same time, economists and intellectuals in Vancouver were beginning to recognize the importance of international relations with Pacific Rim countries to both the provincial and national economies. When “whiteness” was articulated by businessmen and politicians in City Hall, it was most often used as a means of defending local privileges. In contrast, the “Indian” and “Oriental” identities that were constructed by activists in this period were influenced by transnational notions of human rights and equality. The racial identities that were formed in this local context had an enduring influence on the national debates and strategies concerning rights that followed.

Gli stili APA, Harvard, Vancouver, ISO e altri

Libri sul tema "Indian art – Columbia Plateau"

D, Keyser James, Oregon Archaeological Society e United States. Forest Service. Pacific Northwest Region., a cura di. Columbia Plateau rock art. [Portland?]: United States Dept. of Agriculture, Forest Service, Pacific Northwest Region, 1998.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Keyser, James D. Indian rock art of the Columbia Plateau. Seattle: University of Washington Press, 1992.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Grafe, Steven L. Beaded brilliance: Wearable art from the Columbia River Plateau. Oklahoma City, Okla: National Cowboy & Western Heritage Museum, 2006.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Gallery, Donald Sheehan, a cura di. The Columbia and Plateau: The Roger J. Bounds Foundation, Inc. Collection exhibition, October 16-December 9, 1990, Sheehan Gallery, Whitman College, Walla Walla, Washington. Walla Walla, Wash: The Gallery, 1990.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Keyser, James D. Visions on stone: The rock art of the Columbia Plateau. 2^a ed. Portland, Or: Oregon Archaeological Society, 2003.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Museum of the Plains Indian and Crafts Center (U.S.), a cura di. Historic and contemporary plateau and plains cradles. [Browning, Mont.] (Intersection U.S. Highways 2 and 89, Browning, 59417): U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1995.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Arizona, Museum of Northern, a cura di. Images on stone: The prehistoric rock art of the Colorado Plateau. Flagstaff, AZ: Museum of Northern Arizona Press, 1992.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Grafe, Steven Leroy. The origins of floral-design beadwork in the southern Columbia River Plateau. [Albuquerque, N.M.?]: The Author, 1999.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Hartley, Ralph J. Rock art on the northern Colorado plateau: Variability in content and context. Aldershot, Hampshire, Great Britain: Avebury, 1992.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

D, Keyser James, a cura di. Columbia Plateau rock art: The Butte Creek sites : Steiwer Ranch and Rattlesnake shelter : Owl Cave. Portland, Or: Oregon Archeological Society, 1998.

Cerca il testo completo

Gli stili APA, Harvard, Vancouver, ISO e altri

Più fonti

Capitoli di libri sul tema "Indian art – Columbia Plateau"

Pritzker, Barry M. "The Plateau". In A Native American Encyclopedia, 249–90. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195138979.003.0005.

Testo completo

Abstract (sommario):

Abstract The Plateau region is physically defined by two major river systems, the Columbia and the Fraser. Some 240,000 square miles of land east of the Coast Range (British Columbia) and the Cascade Range (Washington and Oregon) are drained by these rivers. Plateau Indian territory encompassed presentday eastern Washington; eastern Oregon; extreme northeastern California; northern Idaho; extreme western Montana; and interior portions of British Columbia. Aboriginal population estimates for the Columbia Plateau range between 50,000 and 60,000 people.

Gli stili APA, Harvard, Vancouver, ISO e altri

Callieri, Pierfrancesco. "The Southeastern Regions of the Persian Empire on the Indo-Iranian Frontier". In The Oxford History of the Ancient Near East Volume V, 837—C63P206. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190687663.003.0063.

Testo completo

Abstract (sommario):

Abstract This chapter covers five territories of the Persian Empire, which in Bruno Jacob’s interpretation of the imperial territorial organization correspond to different degrees and concepts of administrative geography, with Arachosia representing the only “Great Satrapy.” While only Sattagydia still presents problems in its precise geographical identification, all these regions—except for Drangiana—belong to the “Indo-Iranian frontier,” for whose understanding the (rare) written sources must be combined with the representations of their peoples in the Persian Empire’s official art, especially as bearers of the imperial throne: their cultural orientation is evident in the fact that the Arachosian and the Drangianian are shown wearing Iranian dress, whereas the Sattagydian, the Gandaran, the Indian, and the Gedrosian wear Indian dress. The chapter endeavors to trace the manifestation of an imperial presence in the frontier satrapies through a detailed analysis of the archaeological sources, which show in particular the important role of Drangiana within the Iranian plateau. Due to methodological issues, the evidence from the sites of Charsada and Taxila is problematic. However, the sound methodology of the excavations at Kandahar, Akra, and Barikot allows for a more secure interpretation of the archaeological sequence, in which some features attesting to a Persian imperial presence can be isolated. The chapter therefore also stresses the need for renewed, methodologically sound excavations at Charsada and Taxila.

Gli stili APA, Harvard, Vancouver, ISO e altri

Atti di convegni sul tema "Indian art – Columbia Plateau"

Leslie, Kenneth. "Haidawood: A Social Media Approach to Indigenous Language Revitalization". In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2016. http://dx.doi.org/10.4087/fghy9004.

Testo completo

Abstract (sommario):

British Columbia is home to 34 different Indigenous languages, most of which are in danger of losing fluency due to the combined effects of introduced diseases and assimilationist Indian Residential Schools. The Haida language, or Xaad Kil (pronounced “haad kill”), is considered critically endangered with only 9 elderly fluent speakers left. Many Haida believe that revitalizing Xaad Kil is important for keeping their culture alive: they see Xaad Kil as a cultural keystone that keeps worldview, artistic expression, food gathering, dances, stories, and songs integrated together as a unified whole. Xaad Kil also helps assert Aboriginal land rights: identification of traditional place names demonstrates use and occupation of lands since time immemorial. Xaad Kil names of medicinal plants and foods also contain important environmental information. Indigenous communities are adopting a range of strategies to revitalize their languages, including: master-apprentice programs, early childhood immersion programs, and technological approaches such as audio databases, language apps, and social media projects like Haidawood. Learning Xaad Kil can be a challenge: there are limited resources and often language learners are overwhelmed with obstacles. Haidawood helps make Haida language learning fun by bringing Haida stories to life using the power of stop motion animation and embracing an “aesthetic of accessibility” that creates beautiful art out of readily available materials, including carved puppet faces and sets made from cardboard. Haidawood seeks to help revitalize the Haida language, facilitate inter-cultural understanding, and inspire other communities to preserve and share their own stories.

Gli stili APA, Harvard, Vancouver, ISO e altri

Offriamo sconti su tutti i piani premium per gli autori le cui opere sono incluse in raccolte letterarie tematiche. Contattaci per ottenere un codice promozionale unico!