ABSTRACT

In this paper, I explore notions of performance and presence as ways to characterize Iroquoian animal effigy pipes beyond the purview of representational thought. In crafting such devices, enhancing them with animal parts, and establishing corporeal connections with animal ondaki through the act of smoking, it is argued that animal others were effectively re-represented or revealed to pipe smokers. Through an analysis of animal effigy pipes housed at the Royal Ontario Museum, and with evidence marshalled from the archaeological record and early documentary sources such as the Jesuit Relations, it is suggested that the meaning of these pipes obtained through their use rather than aesthetic appeal, and that much of this meaning turned on immanence and world making rather than representation or mediation.

摘要

在这篇论文中，我探索了表演和存在的概念，作为表征易洛魁人动物雕像管道的方式，超出了代表性思想的范围。在制作此类装置、用动物部分增强它们以及通过吸烟行为与动物Ondaki建立身体联系时，有人认为动物其他人被有效地重新代表或暴露给吸烟者。通过对皇家安大略博物馆内的动物雕像管道的分析，以及从考古记录和早期文献资料（如耶稣会关系）中整理出的证据，有人认为这些管道的意义是通过它们的使用而不是审美吸引力获得的，而且这种意义的大部分在于内在性和世界创造，而不是表现或中介。