By Norman K Denzin

Yellowstone. Sacagawea. Lewis & Clark. Transcontinental railroad. Indians as collage mascots. All are iconic figures, symbols of the West within the Anglo-American mind's eye. famous cultural critic Norman Denzin interrogates every one of those icons for his or her cultural which means during this finely woven paintings. half autoethnography, half ancient narrative, half artwork feedback, half cultural conception, Denzin creates a postmodern bricolage of pictures, staged dramas, quotations, recollections and tales that strike to the essence of the yankee dream and the shattered goals of the peoples it subjugated.

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Extra resources for Searching for Yellowstone: Race, Gender, Family, and Memory in the Postmodern West

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Janetski After Yellowstone became a national park in 1872, the presence of Sheepeaters and other Native Americans was perceived as a potential deterrent to tourist traffic by Superintendent P. W. Norris. . To resolve this problem, Norris worked hard to obtain an agreement . . that the Indians would stay out of the park. JANETSKI 2002, 65 SPEAKER 2 Yellowstone Association Institute Early park administrators made a concerted effort to remove Native Americans from the park and, in their absence, created a “history” of Native Americans in Yellowstone that spoke little about native experiences and distorted accounts that did exist.

While we were observing the Indians, . . there were one hundred or more of them watching us from behind a high butte. . This early admonition of our exposure to hostile attack . . renewed in our party the determination to . . keep in a condition of constant preparation. LANGFORD 1972/1905, 910 SPEAKER 1 Narrator The natural world of Native Americans is neither a part of the park nor does it belong to the park. Indians are threats to white nature, as nature is experienced in the park. When Indians appear in the park, they must be under the control of whites, acting out parts whites have created for them.

Buster said Indians didn’t eat chicken. . We didn’t have a troop, only the Boy Scouts Handbook. . ” ELLISON 1996, 6365; ITALICS IN ORIGINAL PROLOGUE SPEAKER 1 Narrator as Dramatist, as Historian This is a coperformance text, with multiple speaking parts—a four-act play of sorts (Denzin 2003a, 184). It can be performed on a simple set, around a seminar table, or from a stage in front of an audience. Images can be projected onto a full-size screen if audiovisual equipment is available. A spotlight can move from speaker to speaker.

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