Philip J. Deloria's Indians In Unexpected Places

The colonization of Native American people has consequently framed Native American society as heteronormative, despite the historical inaccuracies of such a notion. The relationships presented throughout this collection range from sexual, platonic, familial and interracial. Race is "a constant presence" (14) throughout the course of each narrative. Alexie 's stories question of identity as it relates to race and sexuality across a boad spectrum. The nine stories in The Toughest Indian in the World move off the reservation to Seattle or the nearby city of Spokane. The ‘urban Indians’ at the heart of these stories are educated, middle class and sober, and outwardly at least, they are fully integrated into the dominant white society. This paper will explore the trajectory of identity in Alexie 's work and how Toughest Indian demonstates a sense of otherness of Indians in an urban envirnment. This theme is expored through Alexie 's treatment of race and sexuality as demonstrated in two stories: Toughest Indian and John Wayne.

In American Indian Stories, University of Nebraska Press Lincoln and London edition, the author, Zitkala-Sa, tries to tell stories that depicted life growing up on a reservation. Her stories showed how Native Americans reacted to the white man’s ways of running the land and changing the life of Indians. “Zitkala-Sa was one of the early Indian writers to record tribal legends and tales from oral tradition” (back cover) is a great way to show that the author’s stories were based upon actual events in her life as a Dakota Sioux Indian. This essay will describe and analyze Native American life as described by Zitkala-Sa’s American Indian Stories, it will relate to Native Americans and their interactions with American societies, it will

Misrepresentation of Natives on screen throughout the 20th century has had an adverse effect on them. Whether it was positive or negative stereotypes, Natives felt the effect of Hollywood and began to lose their self-identity, their honour, and their pride. Reel Injun takes a look at how movies have defined an entire race and also documents the rebirth of the Native identity after decades of destructive Hollywood movies by interviewing notable Native actors, actresses, and activists. By doing so, director Neil Diamond hopes to silence Hollywood stereotypes and get Hollywood to properly represent the Native people.

In Deborah Miranda’s memoir “Bad Indians”, she uses documents, images, and drawings to expose colonial violence and provides evidence of a history of conquest. There are different types of colonial violence that are depicted throughout her memoir, such as: physical, emotional, sexual, and cultural violence. Additionally, Miranda exposes the nature of colonial violence by providing evidence by implementing particular sources to contribute in confirming the history of conquest throughout the lives of California Mission Indians.

In her book American Indian Stories, Zitkala-Sa's central role as both an activist and writer surfaces, which uniquely combines autobiography and fiction and represents an attempt to merge cultural critique with aesthetic form, especially surrounding such fundamental matters as religion. In the tradition of sentimental, autobiographical fiction, this work addresses keen issues for American Indians' dilemmas with assimilation. In Parts IV and V of "School Days," for example, she vividly describes a little girl's nightmares of paleface devils and delineates her bitterness when her classmate died with an open Bible on her bed. In this groundbreaking scene, she inverts the allegation of Indian religion as superstition by labeling

"Double-consciousness this sense of always looking at one 's self through the eyes of others, of measuring one 's soul by the tape of a world that looks on in amused contempt and pity" (Dubois, 8). W.E.B. Du Bois had a perfect definition of double-consciousness. The action of viewing one 's self through the eyes of others and measuring one 's soul. Looking at all of the thoughts good or bad coming from others. This is present in the main character of the book The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie. The Absolutely True Diary is about a boy named Junior that is fourteen years old and living on the Spokane Reservation. Junior was born with too

In her novel, Bad Indians: A Tribal Memoir, Deborah A. Miranda theorizes that the underlying patronage of her father’s violent behavior arises from the original acts of violence carried out by the Spanish Catholic Church during the era of missionization in California. The structure of her novel plays an essential role in the development of her theory, and allows her to further generalize it to encompass the entire human population. “In this beautiful and devastating book, part tribal history, part lyric and intimate memoir, Deborah A. Miranda tells stories of her Ohlone Costanoan Esselen family as well as the experience of California Indians as a whole through oral histories, newspaper clippings, anthropological recordings, personal reflections, and poems.” Patching together every individual source to create the story of a culture as a whole, Miranda facilitates the task of conceptualizing how Societal Process Theory could play into the domestic violence she experiences growing up as the daughter of a California Indian.

Poverty hits children hardest in the world. When I was younger, the Armenians had faced the hard facts of poverty after they break up with the Soviet Union, war with Azerbaijan, and a devastating earthquake. My family moved into our motherland Armenia while our nation was going through these huge dramatic changes. Furthermore the poor economy and inflation destroyed numerous hopes and futures. In the novel, The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie, Arnold Spirit, describes his hardships involving poverty living on Spokane reservation. The people on the reservation are stuck in a prison of poverty. They are imprisoned there due to lack of resources and general contempt from the outside world, so they are left with little chance for success. Like Arnold, I also went through hardships regarding poverty and education.

Until fairly recently the popular culture of American literature and film did not attempt to study the true representations of Indians in North America. Instead they chose to concentrate on the romanticized/savage version of Native people: which is an idealistic view of a Native with long, beautiful flowing hair riding on a horse obsessed with chanting and praying to the savageness of a rowdy, wild Native causing unnecessary mayhem to the white people. This portrayal of Native people in mass media had led to the stereotyping of Natives, which in turn had ricocheted into real life. Not only do non-natives succumb to these ideals, but Natives do as well.

Institutional structures have the power to configure adolescent growth through repression and liberation. The capability that adolescents have to create their own destiny and choose their own social institution can be limited, but not impossible. In Trites article, “Do I dare disturb the universe?” the author argues that kids have personal power, whether they acknowledge it and use it to their own advantage or not. Michel Foucault declares that “Power is everywhere; not because it embraces everything, but because it comes from everywhere” (Trites). Power is inevitable, there will never be no such thing as power in this world; it will never diminish or fade. Trites also conveyed that, “power not only acts on a subject but, in a transitive

“Film is more than the instrument of a representation; it is also the object of representation. It is not a reflection or a refraction of the ‘real’; instead, it is like a photograph of the mirrored reflection of a painted image.” (Kilpatrick) Although films have found a place in society for about a century, the labels they possess, such as stereotypes which Natives American are recognized for, have their roots from many centuries ago (Kilpatrick). The Searchers, a movie directed by John Ford and starred by John Wayne, tells the story of a veteran of the American Civil War and how after his return home he would go after the maligned Indians who killed his family and kidnapped his younger niece. After struggling for five years to recover

Throughout world history, it is evident that Native Americans have struggled in society ever since the landing of Christopher Columbus in North America. Ever since the film industry began in the 1890s, Native Americans have been depicted in many negative ways by film makers. One particular way film makers degrade Native Americans by making their white characters convert into Indians or “go Native” and eventually they always become better than the original Indians in the film. This notion has been repeated in many films, three significant films were it is evident is in The Searchers, Little Big Man, and Dances with Wolves.

Typically referred to as ‘Indians’ in popular culture, Native Americans were traditionally seen in Westerns as the antagonists. The Western genre typically tells the story of the colonisation and discovery of America, which saw the major Hollywood studios revive the interest in the Western. Westerns draw on “historical actuality, a romantic philosophy of nature, and the concept of the […] savage” (Saunders, 2001, p. 3). Westerns often split the “depiction of the Indian, with the cruel and treacherous [Indian] balanced by the faithful [Indian]” (Saunders, 2001, p. 3) which resulted in the portrayals of Native Americans witnessed in films today.

Almost all teens experience some sort of an identity crisis. They struggle with finding a clearer sense of themselves. Arnold Spirit Jr., a 14-year-old reservation Indian, faces an identity crisis when he leaves his reservation to go to school in Reardan, a town inhibited by white people. To begin, Arnold moves between different settings, and when he does, there is a change in his identity. Moreover, there is a change in his character as he moves between cities. Finally, Arnold experiences an identity crisis as well as conflicts with his community. In The Absolutely True Diary of a Part-Time Indian by Sherman Alexie, the author uses literary elements to emphasize that one’s racial and ethnic identity changes depending on the social surrounding.

Native American representations in film is particularly important in influencing public opinion regarding depictions and beliefs of what Native people are like. Often associated with popular film in the United States is an Anglo constructed representation of a dated, drunken, and traditionally dressed Native person that seems to perpetuate these stereotypes. Because some shows are so popular in the United States, the effects can be powerful. The influence of these pictures comes from the large viewing audience, the cultural majority of the audience, and a failure to accept modernity of Natives. Still in the twenty-first century, there are several representations like this that imitate stereotypes, impact the majority culture, and negatively impact Native American communities. In this essay, I will analyze a case of this stereotyping of Natives in a modern comedy television show called Family Guy.