Visions And Voices

This new resource from Oxford University Press introduces students to the development of Canada through the varied and rich perspectives of the Aboriginal, British, Francophone, and other groups. It also introduces students, in language they will understand, to active and responsiblecitizenship at the local, provincial, national and global levels. Components include Student Text, CD-ROM, Teacher's Resource, and Website.

A selection of essays and reviews published over the past twenty-five years in the Berkshire Eagle, Chicago Review, the Chicago Tribune, Magill's Literary Annual, The World & I, and other journals and collections, Voices and Visions offers engaging discussions of a wide range ...

Sampling virtually all of the old-time styles within the musical traditions still extant in north Georgia, Folk Visions and Voices is a collection of eighty-two songs and instrumentals, enhanced by photographs, illustrations, biographical sketches of performers, and examples of their narratives, sermons, tales, and reminiscences.

The text of the catalogue section of the book comes primarily from the actual words of artists represented in the collection, and those of their friends and families, gathered through interviews. Together, these narratives and the beautifully reproduced body of paintings tell the fascinating story of Native American painting in modern America.

Representing some of our finest established and emerging scholars on the subject of ethnographic research, this collection tackles the different issues and questions today's ethnographers face.

Some experiences go beyond ordinary reason. What does it mean when mystics see visions? And what does the Church teach about supernatural events like these? This is a book that takes these questions seriously.

In Strong Hearts, popular visions of American Indians are challenged by artists and writers for whom self-representation is often as much a political as an artistic statement. For example: the darkly emotional scenes staged by Carm Little Turtle; Larry McNeil's metaphorical images of eagle feathers; Zig Jackson's satirical pictures of tourists photographing Indians; Maggie Steber's intimate portrayal of the Wildcat family; images of joy and pain captured by the children in the "Shooting Back from the Reservation" project; and Jeffrey Thomas's close-up portraits of traditional powwow dancers. Three distinguished authors write about the struggle to overcome stereotyped perceptions of Native Americans. Paul Chaat Smith, cultural critic and writer, compares the nineteenth-century arms race that nearly wiped out his Comanche ancestors to the way in which the camera has been used to form unyielding perceptions of Native people. Theresa Harlan, curator at the C. N. Gorman Museum, tells how constructed mythologies about Native people threaten not only their cultures but their very survival. Photographer and educator Jolene Rickard regards contemporary Native image-making as "documents of our sovereignty, both politically and spiritually". In their essays, all three show how the photographers in Strong Hearts use the camera to represent Native American people today. One hundred twenty-five images by thirty-four Native American photographers are complemented by poetry that echoes ancient story-telling traditions.