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Colonialism and Modern Architecture in Germany, by Itohan Osayimwese
The Art Bulletin Pub Date : 2020-01-02 , DOI: 10.1080/00043079.2020.1670591
Paul B. Jaskot

the politics of an attempted coup, a series of political cartoons, postcards, photographs, a telltale railway map of Cody’s tour, Wild West promotional materials, and artistic caricatures of Cody and his masculinist cowboys. Transnational Frontiers functions best at the level of textual analysis and individual encounter. Burns’s research tracing relations between Wild West Indian performers and French artists and fans is often stunning. The second-order analyses are equally powerful. Her linkage of the regional politics that joined the West rhetorically with the French Camargue are convincingly demonstrated. The moments when she turns to individual identity formations—Baroncelli’s desperate need to get close to Indians; Ištá Ská’s pragmatic move into the Indian Office—are crystalline examples that speak analytically to the ways people situated themselves in enormous and complicated discursive fields. In the end, however, Transnational Frontiers often functions as a series of brilliant readings and interlaced analyses that are reluctant to coalesce around a unifying question, and thus struggle to offer a central argument that is not essentially descriptive. That argument goes something like this: in France, the American West functioned as a discursive site that served interests and enabled struggles over meaning and identity among French artists, regionalists, and cultural producers; American Indian travelers; and American performers and artists. The book is much more than that. Its fullness, however, rests at the level of the second-order question. The introduction makes this clear, articulating a series of methodological and historiographical positions that situate the book in empire and nationalism, transnationalism and cultural transfer, American Indian history and politics, French primitivism and colonialism, Native American cosmopolitanism and survivance, and the authenticity politics of the West. No central argument emerges from this array of queries; rather, as Burns notes in the conclusion, the aim is “to reentangle objects that were not necessarily separated in the period but have been separated in subsequent historiography” (166). Thus, the conclusion is not summative but rather epilogic, with its major consequence being a series of questions for future research. Notwithstanding, Transnational Frontiers is a delightful work. It is of catalog size, with high-quality paper, copious images, and excellent reproduction. Particularly winning are the connections drawn between characters such as Joë Hamman, Rosa Bonheur, and Folco de Baroncelli, among others who appear in different guises across chapters. Perhaps most important, Burns has consistently located American Indian people at the very center of each of her chapters. Her insistence on using Lakota language names and orthographies—she translates and consistently uses every single Lakota name— transforms the reading experience, forcing an engagement with Ištá Ská, Íŋyaŋ Matȟó, Ógle Lúta, Siŋté Máza, and Sam Matȟó Išnála, among others, on their own terms. Lakota Wild West figures familiar to those with even a passing interest in Cody’s spectacle—Rocky Bear and Red Shirt, for example—will never be the same. In that context, one cannot help but appreciate Burns’s willingness to move boldly into speculative correspondences, to imagine the possibilities for serious political dialogue between Indian subjects and non-Indian artists that credits everyone present with vitality, intelligence, and engagement. Western historians and Native studies scholars may both wonder if there is anything new to be said about the frontier, or about the Wild West show or its American Indian performers; after all, several works have seemed to offer definitive final words. The answer provided in Transnational Frontiers is an unequivocal “yes,” and Emily C. Burns demonstrates that the frontier’s critical elements are indeed to be found in visual and material culture.

中文翻译:

Itohan Osayimwese的德国殖民主义与现代建筑

政变企图政治,一系列政治漫画,明信片,照片,科迪之旅的讲故事铁路地图,狂野西部宣传材料以及科迪和他的男性牛仔的艺术讽刺画。跨国边界在文本分析和个人遭遇方面发挥最佳作用。伯恩斯(Burns)对印度西部狂野表演者与法国艺术家和歌迷之间关系的研究往往令人震惊。二阶分析同样强大。令人信服地证明了她与西方国家在口头上与法国卡马格结盟的地区政治之间的联系。当她转向个人身份认同的那一刻——Baroncelli迫切需要接近印度人。伊斯塔·斯卡(IštáSká)务实地迁入印度办公室-就是一些水晶般的例子,从分析上可以证明人们在巨大而复杂的话语领域中所处的位置。然而,最后,跨国疆界常常起着一系列辉煌的阅读和交错的分析作用,不愿在一个统一的问题上融合在一起,因此很难提供一个本质上不是描述性的中心论据。这种论点是这样的:在法国,美国西部作为一个话语场所,为利益服务,并促进了法国艺术家,区域主义者和文化生产者在意义和身份上的斗争;美国印第安旅客;以及美国的表演者和艺术家。这本书远不止于此。然而,它的充实性在于二阶问题。简介清楚地阐明了这一点,阐明了一系列方法论和史学立场,这些观点将这本书放在帝国和民族主义,跨国主义和文化转移,美洲印第安人的历史和政治,法国原始主义和殖民主义,美洲原住民世界主义和生存以及墨西哥的真实性政治中。西部。从这一系列查询中没有出现中心论点。相反,正如伯恩斯在结论中指出的那样,其目的是“重新缠绕在那个时期不一定分离但在随后的历史学中已经分离的物体”(166)。因此,结论不是概括性的,而是概括性的,其主要后果是一系列需要进一步研究的问题。尽管如此,跨国边境还是一项令人愉快的工作。它是目录大小,使用高质量的纸张,图像丰富,再现效果极佳。特别获胜的是乔·哈曼(JoëHamman),罗莎·邦海(Rosa Bonheur)和福尔科·德·巴伦切利(Folco de Baroncelli)等角色之间的联系,这些角色以不同的形式出现在各章中。也许最重要的是,伯恩斯始终把美洲印第安人放在每个章节的中心。她坚持使用Lakota语言名称和拼字法-她翻译并始终使用每个Lakota名称-改变了阅读体验,迫使与IštáSká,ÍŋyaŋMatȟó,ÓgleLúta,SiŋtéMáza和SamMatȟóIšnála等人互动他们自己的条件。那些甚至对科迪奇观感兴趣的人(例如洛基熊和红衫军)都熟悉拉科塔荒野西部的人物,他们将永远不会一样。在这种情况下,人们不禁会欣赏伯恩斯愿意大胆地投身于投机信件中,想像印度人与非印度艺术家之间进行严肃的政治对话的可能性,这种对话使在场的每个人都充满活力,智慧和参与。西方历史学家和本土研究学者可能都想知道,关于边疆,狂野西部的表演或美洲印第安人的表演是否有什么新鲜的话要说?毕竟,几件作品似乎提供了明确的最终结论。跨国疆界提供的答案是明确的“是”,而艾米丽·C·伯恩斯(Emily C. Burns)证明,在视觉和物质文化中确实可以找到前沿的关键要素。想象一下在印度人与非印度艺术家之间进行严肃的政治对话的可能性,这种对话使在场的每个人都充满活力,智慧和参与度。西方历史学家和本土研究学者可能都想知道,关于边疆,狂野西部的表演或美洲印第安人的表演是否有什么新鲜的话要说?毕竟,几件作品似乎提供了明确的最终结论。跨国疆界提供的答案是明确的“是”,而艾米丽·C·伯恩斯(Emily C. Burns)证明,在视觉和物质文化中确实可以找到前沿的关键要素。想像一下,印度人与非印度艺术家之间进行严肃的政治对话的可能性,这种对话使与会的每个人都充满活力,智慧和参与度。西方历史学家和本土研究学者可能都想知道,关于边疆,狂野西部的表演或美洲印第安人的表演是否有什么新鲜的话要说?毕竟,几件作品似乎提供了明确的最终结论。跨国疆界提供的答案是明确的“是”,而艾米丽·C·伯恩斯(Emily C. Burns)证明,在视觉和物质文化中确实可以找到前沿的关键要素。或有关“狂野西部”演出或其美洲印第安人表演者的信息;毕竟,几件作品似乎提供了明确的最终结论。跨国疆界提供的答案是明确的“是”,而艾米丽·C·伯恩斯(Emily C. Burns)证明,在视觉和物质文化中确实可以找到前沿的关键要素。或有关“狂野西部”演出或其美洲印第安人表演者的信息;毕竟,几件作品似乎提供了明确的最终结论。跨国疆界提供的答案是明确的“是”,而艾米丽·C·伯恩斯(Emily C. Burns)证明,在视觉和物质文化中确实可以找到前沿的关键要素。
更新日期:2020-01-02
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