Ulteriori informazioni
Norman Denzin shows how artistic representations of Little Big Horn demonstrate the changing perceptions¿often racist¿of Native America by the majority culture in this multilayered performance ethnography
Sommario
Chapter One: A Good Day to Die: The Battle of Many Names, Part One Chapter Two: Whose Last Stand: The Early Paintings Chapter Three: A Brewery Buys a Painting: Aneheuser-Bush and Cassilly Adams Chapter Four: Whose Custer? Chapter Five: Killing Custer: Reading Red Horse Chapter Six: Here Custer Fell Chapter Seven: Custer, Cody, Sitting Bull, and Wild West Shows Chapter Eight: Buffalo Bill's Museum, Custer and Western Art Chapter Nine: Art, Robber Barons and the New West Chapter Ten: The Last Rodeo Notes References Index About the Author
Info autore
Norman K. Denzin is Distinguished Professor of Communications, College of Communications Scholar, and Research Professor of Communications, Sociology, and Humanities at the University of Illinois, Urbana-Champaign.
Riassunto
Norman Denzin shows how artistic representations of Little Big Horn demonstrate the changing perceptions—often racist—of Native America by the majority culture in this multilayered performance ethnography
