The Hopi people of northeastern Arizona have always been known as great long distance runners. This article examines Hopi runners at Sherman Institute, an off-reservation Indian boarding school in Riverside, California. When Hopis succeeded on the Sherman Institute crosscountry team between 1912 and 1930, their cultural identities challenged white American perceptions of modernity and placed them in a context that had national and international dimensions. These dimensions linked Hopi runners to other athletes from different parts of the world, including Ireland and Japan, and they caused non-Natives to reevaluate their understandings of sports, nationhood, and the cultures of American Indian people. Furthermore, this article examines Hopi agency, and the complex and various ways Hopi runners navigated between tribal dynamics, school loyalties, and a country that closely associated sports with U.S. nationalism. It calls attention to certain cultural philosophies of running that connected Hopi runners to their village communities, and the internal and external forces that strained these ties when Hopis competed in national and international running events.
This essay examines a scene from Lee Changdong's film Burning (2018) as part of a larger discussion around class conflict. A Korean filmic adaptation of a short story originally by Japanese author Haruki Murakami, Burning tells the story of Jeong-su, a poor farmer who is caught in a love triangle with Hae-mi, an old classmate, and her new boyfriend, Ben, a mysterious, wealthy socialite. In a pivotal scene, Lee turns the camera on Hae-mi as she dances to a song by Miles Davis, creating a filmic parallel to Murakami's liminal spaces and forcing the audience to question reality. Through a consideration of textual and paratextual material, I argue that the director Lee Chang-dong uses music and dance to critique toxic masculinity through subtle sound editing techniques and narrative and metaphorical signifiers of class and power. Ultimately, Lee breaks from the source material to simultaneously express and nullify Hae-mi's agency and place her at the heart of the narrative.
For all the times Horace Mann has been quoted on one subject or another, the following passage has somehow escaped educational historians' notice.If a savage will learn how to swim, he can fasten a dozen pounds' weight to his back, and transport it across a narrow river, or other body of water of moderate width. If he will invent an ax, or other instrument, by which to cut down a tree, he can use the tree for a float, and one of its limbs for a paddle, and can thus transport many times the former weight, many times the former distance. Hollowing out his log, he will increase, what may be called, its tonnage, -or, rather its poundage,-and, by sharpening its ends, it will cleave the water both more easily and more swiftly. Fastening several trees together, he makes a raft, and thus increases the buoyant power of his embryo watercraft.
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