Program of the History of American Indians. Part One: Pre-Columbian Indians. By Pedro Armillas. [Social Science Monographs, Vol. II.] (Washington, D.C.: Pan American Union, 1958. Pp. v, 68.)

1959 ◽  
Vol 16 (1) ◽  
pp. 98-99
Author(s):  
Carmelita Shea
Keyword(s):  
Social Science ◽  
American Indians ◽  
History Of ◽  
Pan American ◽  
American Union

scholarly journals OAS and Canada

2020 ◽  
Vol 1 (1) ◽  
pp. 1-15
Author(s):  
Maxwell Gill
Keyword(s):  
Regional Development ◽  
Organization Of American States ◽  
Member States ◽  
American States ◽  
History Of ◽  
Pan American ◽  
American Union ◽  
Different Levels

The history of Canadian interaction with American states both unilaterally and through the Pan-American Union and Organization of American States is reviewed. The author argues that Canada has historically and continuously supported the OAS, and its member states, at a distance. Canada demonstrates a dichotomy of involvement; in few areas, Canada is deeply involved, and in many other areas, Canada is not at all involved. Canada's pattern of involvement appears to suggest a focus on non-reciprocal regional development as opposed to reciprocating involvement. This is dispite several calls from different levels of government that a broader, more involved level of involement would serve the OAS and its member states better.

White Zombie as Captivity Narrative and the Death of Certainty

2020 ◽  
Vol 2 ◽  
pp. 19-25
Author(s):  
Mark C Anderson
Keyword(s):  
American Indians ◽  
American Slavery ◽  
Captivity Narrative ◽  
Early American ◽  
Arts And Culture ◽  
History Of ◽  
American Black ◽  
The Caribbean ◽  
American Society ◽  
Black Other

Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage Other. The shell of the captivity story, of course, is as old as America. In its earliest incarnation it featured American Indians in the role as savage Other, fiendishly imagined as having been desperate to get their clutches on white females and all that hey symbolized. In this way, it generated much of the emotional heat stoking Manifest Destiny, that is, American imperial conquest both of the continent and then, later, as in the case of Haiti, of the Caribbean Basin. White Zombie must of course be understood in the context of the American invasion and occupation of Haiti (1915-1934). As it revisits the terrain inhabited by the American black Other, it also speaks to the history of American slavery. The Other here is African-American, not surprisingly given the date and nature of American society of the day, typically imagined in wildly pejorative fashion in early American arts and culture. This essay explores White Zombie as a modified captivity narrative, pace Last of the Mohicans through John Ford’s The Searchers (1956), the Rambo trilogy (1982, 1985, 1988), the Taken trilogy (2008, 1012, 2014), even Mario and Luigi’s efforts to rescue Princess Peach from Bowser.

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