Excerpt from The Owl Sacred Pack of the Fox Indians I may add that the works of Watkins and Lacombe on Cree, Cuoq on Algonkin, and Baraga on Chippewa have more than once been of great service to me in working out both the translation and the list of stems, as have also the works of Jones on Fox. The punctuation of the Indian text and the English translation has been made to correspond as closely as possible. The only essential point to note is that it has not always been feasible to make the commas correspond. The paragraphing (which is the same in both) has been done largely with a view to English usage. However, it has often been possible to take advantage of the well-known feature of Algonquian languages that identity and difference in third persons are kept apart by means of grammatical devices. The text, as stated above, was written out by Alfred Kiyana in the current syllabary, on which see Jones in the Boas Anniversary Volume, pages 88-93. It was subsequently dictated a couple of times by Edward Davenport, and thus phonetically restored by me. The second dictation was in order to correct spelling-pronunciations, as the Fox are not accustomed to read letters or other documents writ ten in the current syllabary aloud. When they first attempt it they are very apt to read the syllables with conventionalized values, thus la, le, li, lo as pa, pe, pi, po, irrespective of the fact that these values are likely to be wrong in any given instance, for la, etc., may equally well represent pA, pa, pi, pu, as well as other alternatives. I had previously trained Edward Davenport to read nearly correctly; and with the second dictation blemishes arising in this manner have, I think, been practically eliminated. A few visual errors have been corrected by me. There is another source of error which may occur in restoring a text dictated from a manuscript written in the current syllabary, and one difficult to control, namely, owing to the deficient phonetic character of the syllabary homographs may occur; that is, a word in the syllabary may be capable of two distinct phonetic restorations both equally justifiable but with entirely different meanings; and the wrong word may be dictated. An example is a ya ga te lei, which may be equally well aiya' kwatag "as far as light goes," or aiya' gwAtag in a pile. Fortunately homographs are not very frequent. It may be noted that a second dictation will not always remove blemishes of this nature; the word cited above was twice dictated with the wrong value. A grammatical analysis and the context are the only safe correctives to eliminate defects of this character. If I have spent much space in pointing out errors which are liable to occur in recording texts dictated from manuscripts written in the current syllabary, it is because they have hitherto been ignored. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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"According to Cherokee tradition, the place of creation is Kituwah, located at the center of the world and home of the most sacred and oldest of all beloved or mother towns. Just by entering Kituwah, or indeed any village site, Cherokees reexperience the creation of the world, when the water beetle first surfaced with a piece of mud that later became the island on which they lived. People of Kituwah is a comprehensive account of the spiritual worldview and lifeways of the Eastern Cherokee people, from the creation of the world to today. Building on vast primary and secondary materials, native and non-native, this book provides an in-depth look not only at what the Cherokees perceive and understand--their notions of space and time, marriage and love, death and the afterlife, healing and traditional medicine, and rites and ceremonies--but also at how their religious life evolved both before and after the calamitous coming of colonialism and Christianity. Through the collaborative efforts of John D. Loftin and Benjamin E. Frey, this book offers an in-depth understanding of Cherokee culture and society"--

This set reprints key journal articles originally published between 1915 and 1995, and covers all of the major assessments of Bloomfield's work.

Filmmaker, musicologist, painter, ethnographer, graphic designer, mystic, and collector of string figures and other patterns, Harry Smith (1923-1991) was among the most original creative forces in postwar American art and culture, yet his life and work remain poorly understood. Today he is remembered primarily for his Anthology of American Folk Music (1952)--an idiosyncratic collection of early recordings that educated and inspired a generation of musicians and roots music fans--and for a body of innovative abstract and nonnarrative films. Constituting a first attempt to locate Smith and his diverse endeavors within the history of avant-garde art production in twentieth-century America, the essays in this volume reach across Smith's artistic oeuvre. In addition to contributions by Paul Arthur, Robert Cantwell, Thomas Crow Stephen Fredman, Stephen Hinton, Greil Marcus, Annette Michelson, William Moritz, and P. Adams Sitney, the volume contains numerous illustrations of Smith's works and a selection of his letters and other primary sources.