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008 080226s2008 mnua b s001 0 eng d
010 _a 2007031468
011 _aBIB MATCHES WORLDCAT
020 _a0816648468
_qhc
_qalk. paper
020 _a9780816648467
_qhc
_qalk. paper
020 _a0816648476
_qpb
_qalk. paper
020 _a9780816648474
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035 _a(ATU)b11300255
035 _a(OCoLC)164570487
040 _aDLC
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050 0 0 _aN8217.I5
_bG38 2008
082 0 0 _a704.942
_222
100 1 _aGaudio, Michael,
_eauthor.
_91065791
245 1 0 _aEngraving the savage :
_bthe New World and techniques of civilization /
_cMichael Gaudio.
246 3 _aEngraving the savage :
_bThe New World and techniques of civilisation
264 1 _aMinneapolis :
_bUniversity of Minnesota Press,
_c[2008]
264 4 _c©2008
300 _axxv, 207 pages :
_billustrations ;
_c26 cm
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
504 _aIncludes bibliographical references (pages 167-199) and index.
505 0 _aIntroduction: White pebbles in the dark forest -- Savage marks: the scriptive techniques of early modern ethnography -- Making sense of smoke: engraving and ornament in de Bry's America -- Flatness and protuberance: reforming the image in Protestant print culture -- The art of scratch: wood engraving and picture-writing in the 1880s.
520 _a"In 1585, the British painter and explorer John White created images of Carolina Algonquian Indians. These images were collected and engraved in 1590 by the Flemish publisher and printmaker Theodor de Bry and were reproduced widely, establishing the visual prototype of North American Indians for European and Euro-American readers. In this innovative analysis, Michael Gaudio explains how popular engravings of Native American Indians defined the nature of Western civilization by producing an image of its "savage other." Going beyond the notion of the "savage" as an intellectual and ideological construct, Gaudio examines how the tools, materials, and techniques of copperplate engraving shaped Western responses to indigenous peoples. Engraving the Savage demonstrates that the early visual critics of the engravings attempted-without complete success-to open a comfortable space between their own "civil" image-making practices and the "savage" practices of Native Americans-such as tattooing, bodily ornamentation, picture-writing, and idol worship. The real significance of these ethnographic engravings, he contends, lies in the traces they leave of a struggle to create meaning from the image of the American Indian. The visual culture of engraving and what it shows, Gaudio reasons, is critical to grasping how America was first understood in the European imagination. His interpretations of de Bry's engravings describe a deeply ambivalent pictorial space in between civil and savage-a space in which these two organizing concepts of Western culture are revealed in their making. Michael Gaudio is assistant professor of art history at the University of Minnesota."--Publisher description.
588 _aMachine converted from AACR2 source record.
650 0 _aIndians in art
_9331170
650 0 _aDifference (Philosophy) in art
_9373256
650 0 _aArt
_xReproduction.
_9313992
650 0 _aPrints
_xTechnique
_9322744
651 0 _aAmerica
_xDiscovery and exploration
_xEuropean
_xHistoriography.
907 _a.b11300255
_b26-03-18
_c27-10-15
942 _cB
945 _a704.942 GAU
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999 _c1181457
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