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Bibliografias temáticas / Sweetgrass

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Literatura científica selecionada sobre o tema "Sweetgrass"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Sweetgrass"

1

Boe, A., R. Bortnem e C. Hoss. "`Radora' Sweetgrass". HortScience 33, n.º 7 (dezembro de 1998): 1270. http://dx.doi.org/10.21273/hortsci.33.7.1270.

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2

Cariou, Warren. "Sweetgrass Stories: Listening for Animate Land". Cambridge Journal of Postcolonial Literary Inquiry 5, n.º 3 (30 de agosto de 2018): 338–52. http://dx.doi.org/10.1017/pli.2018.10.

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This article examines Indigenous stories that reveal how the land communicates to humans through medicinal plants. The intention is to address a blind spot in new materialist theory, which Zoe Todd has criticized for its lack of attention to Indigenous forms and practices of relational materialism. The main focus of this essay is Indigenous narratives about the sacred plant sweetgrass (known as (wihkaskwa in Cree; wiingaashk in Anishinaabemowin). Reading Robin Wall Kimmerer’s meditation Braiding Sweetgrass and Drew Hayden Taylor’s novel Motorcycles and Sweetgrass, and watching Jessie Short’s 2016 film Sweet Night, I argue that these artists portray sweetgrass as an intermediary between humans and the land, strengthening Indigenous cultural sovereignty and deepening human relationships by reminding people of their shared embodiment and their shared spiritual-territorial connection. The plant is revealed in these works as a teacher, operating through its scent, texture, and literal rootedness to teach humans about their own connectedness to particular living places.By working at the level of sensation rather than linguistic signification, the sweetgrass is also shown to have an immediate and embodied effect upon the characters in these works. In particular, it offers itself as a gift, and as a conduit of love. I argue that the repeated image of the sweetgrass braid in these works is not exactly a metaphor, but is instead a profound conjoining of the earth and the human body, both submitted to the care of human hands. To braid the earth’s fragrant hair is to treat it in the most intimate way, as a family member or a beloved. It is this human activity of braiding that clarifies the kinship aspect of sweetgrass, showing us that it is not a thing, but a relation. The reciprocity of this relationship shows an Indigenous ethic of engagement with the living material world.

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3

Victor, Janice M., Linda M. Goulet, Karen Schmidt, Warren Linds, Jo-Ann Episkenew e Keith Goulet. "Like Braiding Sweetgrass". International Review of Qualitative Research 9, n.º 4 (dezembro de 2016): 423–45. http://dx.doi.org/10.1525/irqr.2016.9.4.423.

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4

Coats, Karen. "Sweetgrass Basket (review)". Bulletin of the Center for Children's Books 59, n.º 5 (2006): 223. http://dx.doi.org/10.1353/bcc.2006.0008.

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5

Ratner, Megan. "Once Grazing, Now Gone: Sweetgrass". Film Quarterly 63, n.º 3 (2010): 23–27. http://dx.doi.org/10.1525/fq.2010.63.3.23.

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Incorporating interview material with filmmakers Ilisa Barbash and Lucien Castaing-Taylor, this essay discusses the sheepherding documentary Sweetgrass, especially its use of sound and its mournful deconstruction of the Western.

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6

Lang, Harold R., e Alan McGugan. "Cretaceous (Albian–Turonian) foraminiferal biostratigraphy and paleogeography of northern Montana and southern Alberta". Canadian Journal of Earth Sciences 25, n.º 2 (1 de fevereiro de 1988): 316–42. http://dx.doi.org/10.1139/e88-033.

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In Albian–Turonian time, the interior of North America was flooded by a seaway extending from the present Gulf of Mexico to the Arctic Ocean. Detailed studies of this interval north and south of the Canada – United States international border have not usually been integrated. The present foraminiferal biostratigraphic study includes a 38 000 km2 area straddling the Alberta–Montana border from the Lewis thrust in the west to the Sweetgrass Hills in the east, including the Sweetgrass Arch.Stratigraphic cross sections and isopach maps of six Albian – early Turonian stratigraphic units prepared from 57 surface and subsurface sections demonstrate that sedimentation was controlled primarily by (i) sporadic volcanism to the west and (ii) tectonic activity coincident with the present location of the Sweetgrass Arch.The occurrence of the late Cenomanian planktonic foraminifer, Rotalipora cushmani, in association with three other keeled species, suggests an east–west marine connection between the eastern Pacific and Western Interior. This interpretation is consistent with the facies model described by Kauffman, the paleogeographic model developed in the present study, reported gastropod paleozoogeographic data, and reevaluation of pelecypod and ammonite paleozoogeographic interpretations.

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7

Waldron, Dara. "Film symbiosis: Embodied spectatorship and sensory (auto)ethnography in Lucien Castaing-Taylor and Ilisa Barbash’s Sweetgrass". Moving Image Review & Art Journal (MIRAJ), The 12, n.º 1 (1 de abril de 2023): 43–61. http://dx.doi.org/10.1386/miraj_00105_1.

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This article explores the 2009 observational-ethnographic documentary film Sweetgrass by Lucien Castaing-Taylor and Ilisa Barbash. Focusing on visual cues within the observational form (a film that documents the herding of sheep across the Absaroka-Beartooth Mountains for the last time), the article draws on ethnographic and autoethnographic strains to explore the relationship between the embodied spectator and on-screen animal. Sweetgrass, in addition to several moving image works, is explored as sensory ethnography that incorporates a form of spectator address based on the idea of symbiosis. The article situates ‘the nonhuman stare’ as fundamental to this, drawing on the film phenomenology of Vivian Sobchak to consolidate this view. Sweetgrass, the article maintains, aestheticizes the non-human for specific reasons. It adds an ethical purpose to the observational documentation of herding sheep across the mountains – a salvage operation of type – and a sensory experience of ‘living with’ associated with the farming culture represented on-screen. In addition to exploring the film as a sensory object in this way, the article devises a methodology bringing autoethnographic research concerning symbiotic human–non-human animal relationships, in line with explorations of the embodied film spectator.

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8

Luomala, Nancy, Erin Younger, Jaune Quick-to-See Smith, Lucy Lippard e Frederick Dockstader. "Women of Sweetgrass, Cedar and Sage". Woman's Art Journal 9, n.º 1 (1988): 42. http://dx.doi.org/10.2307/1358363.

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9

Winslow, S. "Propagation Protocol for Hierochloe odorata Sweetgrass". Native Plants Journal 1, n.º 2 (1 de setembro de 2000): 102–3. http://dx.doi.org/10.3368/npj.1.2.102.

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10

Jobst, Jack. "Sweetgrass and Smoke (review)". Hemingway Review 22, n.º 2 (2003): 102–4. http://dx.doi.org/10.1353/hem.2003.0009.

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Teses / dissertações sobre o assunto "Sweetgrass"

1

Butler, Tamara T. "Sweetgrass and Saltwater: Reclaiming the Classroom for the Preservation of South Carolina Gullah-Geechee Culture". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243903850.

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2

Butler, Tamara Tiesha. "Sweetgrass and saltwater reclaiming the classroom for the preservation of South Carolina Gullah-Geechee culture /". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243903850.

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3

"Sweetgrass basketry: The political ecology of an African American art in the South Carolina Lowcountry". COLLEGE OF CHARLESTON, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=1450460.

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4

Smith, Mary. "Weaving the sweetgrass and porcupine quill birch box into a methodology: the living stories of chronic kidney disease for First Nations People". Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9308.

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The thunderstorm encroaches, the smoky raven like clouds float over my spirit. This writing takes place at a time of mourning, a deep and lonesome sadness for family relations who have passed over the last few years, many having died of kidney disease. Yet, I cannot escape this feeling that has filled the silent spaces and the deeper meanings that lie behind spoken words. These are the words of my relations, the words that fill these empty pages, the words of an enduring past and present. As I begin, I wonder, how will I shape these passages into an articulation that may bring an illumination of all that has happened over the last few months since the inception and then ethics approval of this work. So here I shall offer an understanding of the background that brought this study forward. I will recount the progression of thought that precipitated the methodology. Like water that flows and is fluid, this writing has become realized to be ever changing, boundless and repelling conventionality. It is not just a story about living with kidney disease, this is a passage that motions and travels through history making interconnections amidst the broader social, political and contextually traditional and creative ways of being. Through the methodology of the sweetgrass porcupine quill box, living stories came forth within the context of a First Nations community. Sharing circles involving ten participants conveyed the living stories of kidney disease that illumined the significance of Indigenous Knowledge, relationality, cultural safety and equitable access.
Graduate
2020-04-19

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Livros sobre o assunto "Sweetgrass"

1

Monroe, Mary Alice. Sweetgrass. Don Mills, Ontario: MIRA, 2005.

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2

Monroe, Mary Alice. Sweetgrass. Toronto, Ontario: MIRA, 2009.

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3

Monroe, Mary Alice. Sweetgrass. Don Mills, Ontario: MIRA Books, 2005.

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4

Monroe, Mary Alice. Sweetgrass. Don Mills, Ont: MIRA Books, 2006.

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5

Randles, Slim. Sweetgrass mornings. Albuquerque: University of New Mexico Press, 2010.

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6

Dufault, Robert J. Stalking the Wild Sweetgrass. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-5903-3.

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7

United States. Bureau of Land Management. Kevin Rim/Sweetgrass Hills raptor survey. [Mont.]: U.S. Department of the Interior, Bureau of Land Management, 1988.

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8

Dormaar, Johan F. Sweetgrass Hills: A natural and cultural history. Lethbridge, Alta: Lethbridge Historical Society, 2003.

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9

Gallery, Thunder Bay Art. Cedar and sweetgrass: Works from the permanent collection. Thunder Bay, Ont: Thunder Bay Art Galley, 1991.

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10

Raven, Margot Theis. Circle unbroken: The story of the sweetgrass basket. New York: Farrar, Straus and Giroux, 2003.

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Mais fontes

Capítulos de livros sobre o assunto "Sweetgrass"

1

Dufault, Robert J. "Sweetgrass Biology". In Stalking the Wild Sweetgrass, 83–86. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_13.

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2

Dufault, Robert J. "Sweetgrass Horticulture: Environmental Considerations". In Stalking the Wild Sweetgrass, 87–93. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_14.

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3

Dufault, Robert J. "Introduction". In Stalking the Wild Sweetgrass, 1–11. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_1.

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4

Dufault, Robert J. "Second Site of Large-Scale Sweetgrass Plantings: McLeod Plantation, James Island". In Stalking the Wild Sweetgrass, 51–62. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_10.

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5

Dufault, Robert J. "Third Site of Large-Scale Sweetgrass Plantings: Dill Sanctuary, James Island". In Stalking the Wild Sweetgrass, 63–67. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_11.

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6

Dufault, Robert J. "Alternative Ways to Access Sweetgrass". In Stalking the Wild Sweetgrass, 69–82. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_12.

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7

Dufault, Robert J. "Seedling Cultural Practices". In Stalking the Wild Sweetgrass, 95–105. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_15.

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8

Dufault, Robert J. "Field Production Practices". In Stalking the Wild Sweetgrass, 107–14. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_16.

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9

Dufault, Robert J. "Concluding Thoughts". In Stalking the Wild Sweetgrass, 115–16. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_17.

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10

Dufault, Robert J. "Afterthoughts". In Stalking the Wild Sweetgrass, 117–18. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5903-3_18.

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