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Aesthetics. --- Documentary films --- Indian aesthetics. --- Indian art. --- Indians --- Visual anthropology. --- History and criticism. --- Ethnic identity.

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What happens when a Native or indigenous person turns a video camera on his or her own culture? Are the resulting images different from what a Westernized filmmaker would create, and, if so, in what ways? How does the use of a non-Native art-making medium, specifically video or film, affect the aesthetics of the Native culture? These are some of the questions that underlie this rich study of Native American aesthetics, art, media, and identity. Steven Leuthold opens with a theoretically informed discussion of the core concepts of aesthetics and indigenous culture and then turns to detailed examination of the work of American Indian documentary filmmakers, including George Burdeau and Victor Masayesva, Jr. He shows how Native filmmaking incorporates traditional concepts such as the connection to place, to the sacred, and to the cycles of nature. While these concepts now find expression through Westernized media, they also maintain continuity with earlier aesthetic productions. In this way, Native filmmaking serves to create and preserve a sense of identity for indigenous people.

Aesthetics. --- Documentary films --- Indian aesthetics. --- Indian art. --- Indians --- Visual anthropology. --- History and criticism. --- Ethnic identity.

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A long-overdue comparative study of the American voice in hemispheric poetry, Poet-Chief brings cross-cultural and interdisciplinary considerations to the work of Whitman and Neruda. Nolan proposes American Indian poetics as the model for the poets' own poetics. Whitman and Neruda wrote from an Americanist perspective. Both developed an oral, tribal poetics and assumed shamanic voices and personae in their major works, Leaves of Grass and Canto General. In addition they each presented the initiatory journey of a shaman in "The Sleepers" and "Alturas de Macchu Picchu." Despite the historical, cultural, and individual distinctions between their works, they both celebrate a tribal community and assume the functions of what Whitman calls the "poet-chief." These points of intersection between the poetics of Whitman, Neruda, and the American Indian clarify the nature of that broader voice identified as the native in American poetry. This fresh reading of two major American poets helps to break through the partitions that separate the native, English, and Spanish poetic responses to the American hemisphere.

Literature, Comparative --- Literature and anthropology --- Oral tradition --- Indians in literature. --- Indians --- Poetics. --- Comparative literature --- Indian aesthetics. --- Indians in literature --- Indian aesthetics --- Poetics --- English --- Languages & Literatures --- American Literature --- Poetry --- Aesthetics, Indian --- Indians of North America --- Aesthetics --- Indians of Central America in literature --- Indians of Mexico in literature --- Indians of North America in literature --- Indians of South America in literature --- Indians of the West Indies in literature --- Tradition, Oral --- Oral communication --- Folklore --- Oral history --- Anthropology and literature --- Anthropology --- Philology --- Aborigines, American --- American aborigines --- American Indians --- Amerindians --- Amerinds --- Pre-Columbian Indians --- Precolumbian Indians --- Ethnology --- Indigenous peoples --- American and Chilean. --- Chilean and American. --- Aesthetics. --- American and Chilean --- Chilean and American --- Technique --- History and criticism --- Civilization --- Whitman, Walt, --- Neruda, Pablo, --- Reyes, Neftalí Ricardo, --- Basoalto, Neftalí Ricardo Reyes, --- Nīrūdā, Bāblū, --- Reyes Basoalto, Neftalí, --- Nieh-lu-ta, --- Nieluda, --- Reyes Basualto, Neftalí, --- Basualto, Neftalí Reyes, --- Nerūtā, Pāplō, --- Nerouda, Pamplo, --- Bosoalto, Neftali Ricardo Reyes, --- נערודא, פאבלא --- 聶鲁达, --- Ouïtman, Ouōlt, --- Uitman, Uolʹt, --- Uitmen, Uot, --- Uitmen, Uolt, --- Viṭman̲, Vālṭ, --- Vālṭ Viṭman̲, --- Witʻŭmŏn, --- Ṿiṭman, Ṿolṭ, --- Vālṭviṭman̲, --- Waltvitmen, --- Whitman, Walter, --- Huiteman, --- Veeitman, --- Уитмен, Уолт, --- ויטמן, וולט, --- װיטמאן, װאלט, --- ويتمن، والت، --- Vitmen, Volt, --- Uitman, Uollt, --- Huiteman, Huate, --- 華特·惠特曼, --- Neruda, Pablo

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"India retains one of the richest painting traditions in the history of global visual culture, one that both parallels aspects of European traditions and also diverges from it. While European artists venerated the landscape and landscape paintings, it is rare in the Indian tradition to find depictions of landscapes for their sheer beauty and mood, without religious or courtly significance. There is one glorious exception: Painters from the city of Udaipur in Northwestern India specialized in depicting places, including the courtly worlds and cities of rajas, sacred landscapes of many gods, and bazaars bustling with merchants, pilgrims, and craftsmen. Their court paintings and painted invitation scrolls displayed rich geographic information, notions of territory, and the bhāva, or feel, emotion, and mood of a place. This is the first book to use artistic representations of place to trace the major aesthetic, intellectual, and political shifts in South Asia over the long eighteenth century. While James Tod, the first British colonial agent based in Udaipur, established the region's reputation as a principality in a state of political and cultural deterioration, author Dipti Khera uses these paintings to suggest a counter-narrative of a prosperous region with beautiful and bountiful cities, and plentiful rains and lakes. She explores the perspectives of courtly communities, merchants, pilgrims, monks, laypeople, and officers, and the British East India Company's officers, explorers, and artists. Throughout, she draws new conclusions about the region's intellectual and artistic practices, and its shifts in political authority, mobility, and urbanity"--

Painting --- Art and society --- Political aspects --- History --- History --- Udaipur (Rajasthan, India) --- Udaipur (Rajasthan, India) --- Intellectual life --- Agra. --- Allison Busch. --- AnaSagar Lake. --- Andrew Topsfield. --- Aurangzeb. --- Barry Flood. --- British East India Comapny. --- British India. --- Chanchal Dadlani. --- Climate Change and the Art of Devotion. --- Court Painting at Udaipur. --- Cynthia Talbot. --- David Dean Shulman. --- Debra Diamond. --- Francesca Orsini. --- Frederic Church. --- From Stone to Paper. --- Garden and Cosmos. --- Heidi Pauwels. --- Imke Rajamani. --- Indian aesthetics. --- Indian artistic practices. --- Indian painting. --- Jagniwas lake palace. --- James Tod. --- Jennifer Raab. --- Jodhpur. --- Kai Singh. --- Katherine Butler Schofield. --- Krishna. --- Lake Pichola. --- Maharana Amar Singh. --- Mapping an Empire. --- Margrit Pernau. --- Matthew Edney. --- Mewar. --- Mimesis across Empires. --- Mobilizing Krishna's World. --- Molly Emma Aitken. --- Monsoon Feelings. --- More than Real. --- Mughal India. --- Mughal empire. --- Mughal. --- Natasha Eaton. --- Norbert Peabody. --- Objects of Translation. --- Poetry of Kings. --- Princes and Painters in Mughal Delhi. --- Raj Singh. --- Rajasthan. --- Rajput. --- Rajsamand Lake. --- Ramya Sreenivasan. --- Romita Ray. --- Salivahana. --- Sangram Singh. --- Shah Janan. --- Shirine Hamadeh. --- Sisodia Rajputs. --- South Asian art. --- South India. --- Sugata Ray. --- The City's Pleasures. --- The Intelligence of Tradition in Rajput Court Painting. --- Under the Banyan Tree. --- Vittoria Di Palma. --- Wasteland a History. --- William Dalrymple. --- William Hodges. --- Yuthika Sharma. --- aesthetics. --- art and empire. --- art and religion. --- art history. --- court painting. --- early modern art. --- eighteenth-century India. --- global eighteenth century. --- history of early modern South Asian art. --- history of landscape. --- land of kings. --- late Mughal. --- letter-scrolls. --- long eighteenth century. --- monsoons. --- political imaginary. --- precolonial South Asia. --- sensory histories. --- tamasa. --- tamasha. --- thakurs.