reasonable and viable.” See: Chip Colwell-Chanthaphonh and T.J. Ferguson. “Memory Pieces and Footprints: Multivocality and the Meanings of Ancient Times and Ancestral Places among the Zuni and Hopi,” American Anthropologist, Vol. 108, Issue 1, pp.148-166, ISSN 0002-7294, specifically citing pages 148 and 159 respectively.
23 Schama, Simon: “Clio Has a Problem,” The New York Times Magazine, 9/5/91.
24 MacIntyre, Alaisdair. Three Rival Versions of Moral Enquiry: Encylopaedia, Geneology, and Tradition (Notre Dame: University of Notre Dame Press, 1990), p. 235.
25 Mithlo, Nancy Marie. “’The Red Man’s Burden’: The Politics of Inclusion in Museum Settings,” American Indian Quarterly, Summer & Fall 2004, Vol. 28, NOs. 3 & 4, p.760.
A recent exhibit at the National Museum of the American Indian, entitled “Listening to Our Ancestors: The Art of Native Life Along the North Pacific Coast,” well illustrated this concept. Not only did members of the respective tribes select pieces for the exhibit, but they provided the voices concerning the contextual framework and meaning of such objects. The interesting thing to note in regard to our position on pots is, as the catalogue suggests, that the “objects” are “seen” in so many ways. For example, among the old people of the Tlinglit, everything “tells a story, even something as small as an abalone earring.” Among the Tsimshian, it is not just shaman who use a mask to “see beyond the present world and uses his insight to look after the people:’
“Through abstract images, too, Tsimshian carvers, painters, and weavers capture more than what is seen–the essence of things and their interrelatedness.”
This suggests not only a different purpose for the object outside of use, but implies the real purpose of ceremonial regalia is really to transmit stories and meaning through the object. The object as vehicle thus still differs from an object to be regarded as independent, a living subject in-and-of-itself. Robert Joseph, ed. Listening To Our Ancestors: The Art of Native Life Along the North Pacific Coast (Washington, DC: Smithsonian Institution, 2005), p. 164 and pp. 104-105, respectively.
26 See: Chip Colwell-Chanthaphonh and T.J. Ferguson. “Memory Pieces and Footprints: Multivocality and the Meanings of Ancient Times and Ancestral Places among the Zuni and Hopi,” American Anthropologist, Vol. 108, Issue 1, pp.148-166, ISSN 0002-7294, specifically citing pages 148 and 159 respectively.
27 The interesting point of this reference is the foundation of the phrase. Note, from Wikipedia: “Lennon composed the song by combining three separate songs he had been working on. Additionally, when he learned that a teacher at his old primary school was having his students analyze Beatles’ lyrics, he added on a verse of specifically nonsensical words designed to confuse listeners.” Retrieved from: http://en.wikipedia.org/wiki/I_Am_the_Walrus
28 George Landow makes this reference to Rorty as being the philosopher of hypertextuality: http://www. scholars.nus.edu.sg/cpace/ht/jhup/nrorty.html Richard Rorty, Philosophy and the Mirror of Nature, 378; as quoted by George Landow. For note on pour-soi and en-soi, see: Existentialism divides the world into two categories. One category are called en-soi, things that can be analyzed rationally, like a rock. The second category are pour-soi, things that emote; beings. A thing cannot feel unhappy about being a thing, it has no emotions; a rock is perfectly satisfied being a rock. A being must always therefore compare itself with the thing, and be envious of its ability to just be, cited in Wikipedia, Retrieved from: http://en.wikipedia.org/wiki/Pour_soi
29 This is where Mithlo falls into the same trap that others coming before her.
30 Mithlo, op cit, p. 745.
Further evidence for this in Hopi culture can be seen in quotations from Chip Colwell-Chanthaphonh and T.J. Ferguson article, “Memory Pieces and Footprints: Multivocality and the Meanings of Ancient Times and Ancestral Places among the Zuni and Hopi,” cited above: “According to Donald Dawahongnewa, “The shrines are alive, and I
feel emotional about that.” (p.157); “Hopi advisors expressed a range of emotional
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