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From Poverty to Assimilation: Thomas Jefferson on Native Americans as Indigent People
Views:202Thomas Jefferson has long been noted for his vested academic interest in Native Americans, whom he considered to be a doomed, yet, through assimilation, a redeemable race—who in his view were people living in poverty; an aspect of Jefferson’s vision of the indigenous peoples of North America which has so far been ignored. This essay therefore claims that Jefferson’s general concern with them was also fueled by his understanding of Native Americans as people whose way of life relegated them into the condition of indigence by definition—a state Jefferson wished to alleviate. Drawing on Jefferson’s ideas of political economy, combined with a perspective provided by early American poverty studies, I argue that his republican ideal of free-holding male household heads was also a key to his conception of Native American poverty as well as to his solution to it. In his view, gender roles and practices within the Native communities prevented male heads from adapting to the Euro-American ideals. In Jefferson’s eyes, women’s contribution to basic activities of sustenance, thus, rendered their spouses incapable of providing for their families by the Euro-American standard of the gender division of labor. He regarded them as indigents because of their actual mode of sustenance, but a desirable shift to white ways, Jefferson implied, held the promise for them to get out of destitution. (ZV)
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Through A Xenophobic Lens: Degeneration Theory in W. Christy Cabanne’s Martyrs of the Alamo
Views:134At the turn of the twentieth century, social theories developed in both the U.S. and Europe suggested that those at the top, or those most well endowed with good genetics, would stay that way, while those with poor genetics had little hope of changing their circumstances. Degeneration theory, as this concept was called when it took root in the United States from the late 1890s, before it had evolved to formally become eugenics in the 1910s, and beyond. While eugenics offices opened in Berlin in 1905, in England in 1907-08, and in the United States in 1910, there were many forms of it, including degeneration theory. What bound all the theories together was the notion of biology and heredity.
Westerns like Martyrs of the Alamo became a vehicle to explore these concerns because they inundated everyday Americans with illustrations of national identity. Films like these often mixed fantasy with ideology. This is clearly evident in W. Christy Cabanne’s anti-Mexican sentiment in Martyrs of the Alamo. Examining Cabanne’s film through the lens of degeneracy theory provides a greater understanding of American social concerns in the 1910s. These concerns, characterized by xenophobic depictions of immigrants, particularly Mexicans, culminated in the linking of immigrant bodies and disease with heredity and genetics, namely through theories of degeneration . Cabanne’s Martyrs of the Alamo suggests, through the reproduction of the conflict surrounding the Alamo Mission, that the alternative to “race suicide” is a fantasy of American heroism, collectivism, and cultural exclusion. (SS and TZCS)
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“Another spirit, other thoughts, another colouring”: Performances of Race in Antonín Dvořák’s Symphony No. 9 From the New World
Views:212The Czech composer Antonín Dvořák wrote his Symphony No. 9 in E minor (From the New World) in 1893 while he served as the director of the National Conservatory of Music in New York City. In the work, he intended to portray the US and establish its musical vernacular. Dvořák believed that a truly American school of classical composition must evoke the character of its indigenous and folk music which he identified with Native American and African American styles. Through a musicological analysis, the essay offers cultural criticism of how the symphony represents these musical traditions and, in turn, the indigenous and black peoples who produced them. I argue that the symphony alludes to Native and black Americans in inaccurate and, at times, objectionable terms, but does so through a musical aesthetic that warrants a more nuanced conclusion about the racial content of the composition. (NS-Y)