Buffalo Dancer: The Biography of an Image.

This dissertation is the first book-length study to bridge American and Native American art histories and Native studies. To do so, it develops methods of image biography, or following a particular image through space and time. The image in question begins as Karl Bodmer’s watercolor portrait of a Numak'aki [Mandan] Benók Óhate [buffalo bull society] leader, later titled Mandan Buffalo Dancer (1834). Starting from its creation point in Indian Territory, the narrative subsequently tracks Mandan Buffalo Dancer in and out of various historical and cultural contexts, forms, and genres across the nineteenth and twentieth centuries, in both Native American and non-Native settings. Tracing how this story’s various agents utilized print (broadly construed as processes of technological image reproduction), I argue that nineteenth-century systems of racial oppression, based on visual criteria of difference, emerged in part through the very mechanics by which print operates. These mechanics underwrote not only a system of racial notation--the very language of “stereotype,” “cliché,” and “racial typing” belie their sourcing in print technologies--but also a larger, wide-ranging system of knowledge reproduction and distribution that facilitated the containment of Native peoples under the logics of Manifest Destiny. Simultaneously, Native American communities employed print (or auratic cultural practices that reproduce social memory) to promote the continuation of Native societies. These two long histories of print fed the rise of Native political activism in the 1960s and 1970s, as Native communities and artists worked to transform the historical effects of Manifest Destiny’s print enterprise. Writing these histories in parallel, this project produces an infrastructural study of print image production and valuation. It develops a critical, historical, and cross-cultural language for North American print studies. Finally, in assembling its archive of paintings, prints, drawings, photographs, diaries and letters, advertisements, archaeological artifacts, architecture, journalism, ethnological reports, political cartoons, museum displays, literature, and Native language, this study boldly re-imagines its methodological contact zone, whereby Native histories challenge long-standing paradigms of American art history, visual and material culture takes a significant place in Native studies, and Native art history interprets its objects through local languages, histories, and cosmologies.PHDHistory of ArtUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/133439/1/kkronan_1.pd

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the institution for the year 1881.

Annual Report of the Smithsonian Institution. 16 May. SMD 109,47-1, v2, 839p. [1994) Research related to the American Indian; Indian bread; Indian remains in Georgia and Illinois

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the Institution for the year ending June 30, 1891

Annual Report of the Smithsonian Institution. [3002] Research concerned with the American Indian

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the Institution for the year ending June 30, 1891

Annual Report of the Smithsonian Institution. [3002] Research concerned with the American Indian

Maritime expressions:a corpus based exploration of maritime metaphors

This study uses a purpose-built corpus to explore the linguistic legacy of Britain’s maritime history found in the form of hundreds of specialised ‘Maritime Expressions’ (MEs), such as TAKEN ABACK, ANCHOR and ALOOF, that permeate modern English. Selecting just those expressions commencing with ’A’, it analyses 61 MEs in detail and describes the processes by which these technical expressions, from a highly specialised occupational discourse community, have made their way into modern English. The Maritime Text Corpus (MTC) comprises 8.8 million words, encompassing a range of text types and registers, selected to provide a cross-section of ‘maritime’ writing. It is analysed using WordSmith analytical software (Scott, 2010), with the 100 million-word British National Corpus (BNC) as a reference corpus. Using the MTC, a list of keywords of specific salience within the maritime discourse has been compiled and, using frequency data, concordances and collocations, these MEs are described in detail and their use and form in the MTC and the BNC is compared. The study examines the transformation from ME to figurative use in the general discourse, in terms of form and metaphoricity. MEs are classified according to their metaphorical strength and their transference from maritime usage into new registers and domains such as those of business, politics, sports and reportage etc. A revised model of metaphoricity is developed and a new category of figurative expression, the ‘resonator’, is proposed. Additionally, developing the work of Lakov and Johnson, Kovesces and others on Conceptual Metaphor Theory (CMT), a number of Maritime Conceptual Metaphors are identified and their cultural significance is discussed