Native American Oral Practice and the Popular Novel; Or, Why Mourning Dove Wrote A Western

Lamont, Victoria

doi:10.1353/wal.2005.0007

Cited by 4 publications

(1 citation statement)

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“…Western American literary scholar Christine Bold (2012) describes the western formula as comprising the following components: the fictionalizing of historic events to benefit the ruling classes; the laconic white cowboy, who is an 'untutored natural gentleman'; white triumphalism; and the oppression of women, immigrants and people of colour (327). In addition, the western is a tool of colonization, representing Indigenous cultures as past, dying, savage, or irrelevant (Humphreys 2010;Lamont 2005). Mourning Dove counters this representation by reconfiguring the western to be a multiracial, cross-cultural space of respect and community.…”

Section: Introductionmentioning

confidence: 99%

Creating a Playable Academic Edition of Mourning Dove’s Cogewea or How Games can Decolonize

Humphreys

2019

KULA

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Digital games have the tools and capacity to build interactive worlds that can both share knowledge and decolonize. Even though games have been accused of reinforcing white supremacist systems that tend to privilege profit over humanity, digital games by Indigenous and Indigenist artists and scholars provide evidence that games have the tools to facilitate decolonization. Along these lines, this paper is an exploration of how digital games can help to decolonize and reframe how Indigenous literature is read in the postsecondary classroom, specifically academic editions of Indigenous literatures.

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Section: Introductionmentioning

confidence: 99%

Creating a Playable Academic Edition of Mourning Dove’s Cogewea or How Games can Decolonize

Humphreys

2019

KULA

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Did Indians Read Dime Novels?: Re-Indigenising the Western at the Turn of the Twentieth Century

Bold

2016

New Directions in Popular Fiction

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“Truer ’n Hell”: Lies, Capitalism, and Cultural Imperialism in Owen Wister’s The Virginian , B. M. Bower’s The Happy Family , and Mourning Dove’s Cogewea

Humphreys¹

2010

wal

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This essay investigates the social and national implications of lying in the popular Western formula through a close reading of three works that cross gender and cultural lines: Owen Wister’s The Virginian (1902), Bertha Muzzy (B.M.) Bower’s The Happy Family (1907), and Mourning Dove’s Cogewea (1927). In the popular Western formula, lying is a narrative convention with a didactic purpose. The liar is usually a cowboy, whose acts of linguistic deception perform specific cultural work, organizing characters into economic and racial strata. The cowboy liar can legitimately lie only to certain groups or social members within specific contexts, thus defining those who either possess or lack the cultural capital to demand honesty. In contrast, Mourning Dove reconfigures the convention of lying in the popular western to support an Indigenous worldview, in which each individual in the collective community of the ranch has value beyond capitalist, neo-colonial definitions of worth. As such, Mourning Dove’s Western opposes the discourse of capitalism—with its requisite social disparities—that underpins both Bower’s and Wister’s Westerns.

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Native American Oral Practice and the Popular Novel; Or, Why Mourning Dove Wrote A Western

Cited by 4 publications

References 18 publications

Creating a Playable Academic Edition of Mourning Dove’s Cogewea or How Games can Decolonize

Creating a Playable Academic Edition of Mourning Dove’s Cogewea or How Games can Decolonize

Did Indians Read Dime Novels?: Re-Indigenising the Western at the Turn of the Twentieth Century

“Truer ’n Hell”: Lies, Capitalism, and Cultural Imperialism in Owen Wister’s The Virginian , B. M. Bower’s The Happy Family , and Mourning Dove’s Cogewea

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