Papers by Cory A Willmott
Fascinating Challenges: Studying Material Culture with Dorothy Burnham by Judy Thompson, Judy Hall, Leslie Tepper (review)
University of Toronto Quarterly, 2002
university of toronto quarterly, volume 72, number 1, winter 2002/3 benefit fully from Belton=s m... more university of toronto quarterly, volume 72, number 1, winter 2002/3 benefit fully from Belton=s much more embracing sense of visual culture, many will have to unlearn, or at least suspend, what they have been told is the truth about art history. To replace the inevitable resistance with a freer and more revealing sense of the meanings of the visual, the ideal, I think, would be to read Sights of Resistance first, as one=s introduction to the study of visual culture. (MARK A. CHEETHAM)
Algonquian Papers - Archive, Dec 1, 1997
FIVE. Beyond Selves and Others: Embodying and Enacting Meta-Narratives with a Difference
Designing, Producing and Enacting Nationalisms: Contemporary Amerindian Fashions in Canada
Page 1. ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com © Cop... more Page 1. ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com ashgate.com © Copyrighted Material © Copyrighted Material Chapter Eight Designing, Producing and Enacting Nationalisms: Contemporary Amerindian Fashions in Canada Cory Willmott ...
ObjectLessons: An Ojibway ArtifactUnraveled. TheCaseofthe Bag with the Snake Skin Strap
I Resume This paper explores the ways in which Anishnaabe oral traditions may help to realize nat... more I Resume This paper explores the ways in which Anishnaabe oral traditions may help to realize national self-determination. Zeek Cywink relates a few stories that illustrate characteristics of Anishnaabe storytelling traditions. Cory Silverstein compares and analyzes Anishnaabe, American and Canadian War of 1812 narratives to show how historical narratives reflect and influence social and political structures, as well as national identities. We argue that not only do the contents of stories have practical lessons to impart, but also their narrative form and social function serve to promote understanding and enactment of the traditional socio-political structures that are fundamental to Anishnaabe self-determination. Cet article presente les fa~ons dont les traditions orales anishnaabe peuvent contribuer a la realisation de I'autodetermination de la nation. Zeek Cywink raconte quelques recits qui iIIustrent les caracteristiques des contes anishnaabes. Cory Silverstein compare les ...
FIVE. Beyond Selves and Others: Embodying and Enacting Meta-Narratives with a Difference
Fascinating Challenges: Studying Material Culture with Dorothy Burnham by Judy Thompson, Judy Hall, Leslie Tepper (review)
University of Toronto Quarterly, 2002
university of toronto quarterly, volume 72, number 1, winter 2002/3 benefit fully from Belton=s m... more university of toronto quarterly, volume 72, number 1, winter 2002/3 benefit fully from Belton=s much more embracing sense of visual culture, many will have to unlearn, or at least suspend, what they have been told is the truth about art history. To replace the inevitable resistance with a freer and more revealing sense of the meanings of the visual, the ideal, I think, would be to read Sights of Resistance first, as one=s introduction to the study of visual culture. (MARK A. CHEETHAM)
Papers of the twenty-eighth Algonquian …, 1997
Textile history, 2005
Museum records indiscriminately use the term 'strouds' for all kinds of woollen trade c... more Museum records indiscriminately use the term 'strouds' for all kinds of woollen trade cloth used in Native American artefacts. The term is frequently encountered in fur trade journals and literature of all kinds. Yet, in histories of the British woollen industry there seems to be little ...
Textile history, 2005
Museum records indiscriminately use the term 'strouds' for all kinds of woollen trade c... more Museum records indiscriminately use the term 'strouds' for all kinds of woollen trade cloth used in Native American artefacts. The term is frequently encountered in fur trade journals and literature of all kinds. Yet, in histories of the British woollen industry there seems to be little ...
Clothed encounters: The power of dress in relations between Anishnaabe and British peoples in the Great Lakes region, 1760--2000
Aristotle first postulated our current Western conception that there are five senses. He chose fi... more Aristotle first postulated our current Western conception that there are five senses. He chose five in order to align the senses with the five elements in his philosophical system (Classen 1993:2). Not only the number of senses, but also their rank order, varies across time and space. Marshal McCluhan (and Fiore 1967), Michel Foucault (1994 [1970]), Walter Ong (1982) and others have noted the privileging of the visual in Western culture. Their theories suggest that the rise of print literacy caused a shift in the "loci of meaning" (Diamond et al 1994:102-103) because vision thereby became the primary sense for gathering knowledge. Indeed, Ong has been criticized for creating a false dichotomy between the visuality of Western culture and an essentialized "Other" to which sound, smell and taste are central (Feld 2005:184). Yet, Tim Ingold (2004), David Howes (1991), Veronica Strang (2005), Constance Classen (1993) and others have demonstrated the cross-cultural variability of the rank order of the senses across many different case studies. In 1 This paper is still in an exploratory stage. I welcome feedback from readers who may have light to shed on any unresolved questions it raises. Permission to publish the image on Slide One courtesy of the Minnesota Historical Society
Marketing New Nationalisms: Patriotic Identities within and Beyond Museological Borders in the People’s Republic of China
ABSTRACT [NOTE: This is a work in progress. I welcome feedback. Please also see the attached powe... more ABSTRACT [NOTE: This is a work in progress. I welcome feedback. Please also see the attached powerpoint.] In China, heritage collecting has a long history among the elite landed gentry and members of monastic communities. Public museums, however, did not appear until the rise of Chinese nationalism, and the adoption of Western educational models, during the first half of the twentieth century. The proliferation of public institutions devoted to the collection, study, and display of heritage items on Western museological principles was spurred on by the unearthing of ancient archeological sites as a consequence of accelerated construction and public works projects. From the 1950s until the 1980s, many of these heritage sites, artifacts, and cultural institutions languished in neglect, or were actively destroyed. Since the early 1990s, however, national economic liberalization programs have focused on exhibitory modernity both as a strategy for inspiring national patriotism at home, and for gaining legitimacy abroad as an economically modern nation-state. Simultaneously, regional authorities have invested in representational practices as a means of marketing local culture. Both central and regional exhibitory practices stimulate foreign and domestic tourism. In both contexts, museological principles have spilled over into the seemingly opposed realms of spiritual and economic public spheres, as well as into domestic spaces. This paper compares case studies of contemporary Chinese museums in Beijing, the capital, and in Sichuan Province. It likewise examines museological representations in temples, historic towns, and marketplaces in both locations. It thereby sheds light on museum praxis in the context of tensions in emerging Chinese nationalisms among economic ideologies as well as among diverse regions and ethnic groups.
The cross-stitch medallion in figure was collected by my grandmother, Katherine Willmott, in the ... more The cross-stitch medallion in figure was collected by my grandmother, Katherine Willmott, in the early 1920s when she was a missionary in Renshow, Sichuan Province, West China. Many years after I inherited it, I learned that it depicts a folk narrative called "White Snake; Black Snake" that was traditionally performed both on stage in the legitimate theaters and in Chinese shadow puppet dramas (Highbaugh n/d:6).
Material Culture Review Revue De La Culture Materielle, 2008
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Papers by Cory A Willmott