"The Only Good Indian Is a Dead Indian": History and Meaning of a Proverbial Stereotype

Mieder, Wolfgang

doi:10.2307/541345

Cited by 32 publications

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“…Moreover Native Americans are frequently viewed as uncivilized "savages" that are outcasts of dominant society. Historically, this perception of the "uncivilized savage" has been intertwined with an even more demeaning proverbial stereotype suggesting that "the only good Indian is a dead Indian" (see Mieder, 1993 for an historical overview). Researchers have also identified stereotypes indicating that European Americans view Native Americans as unreliable, distrustful, suspicious, unpatriotic, and lazy individuals (e.g.…”

Section: Sentencing Native Americans 311mentioning

confidence: 98%

Sentencing Native Americans in US Federal Courts: An Examination of Disparity

Franklin¹

2011

Justice Quarterly

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Existing sentencing literature largely focuses on the study of white, AfricanAmerican, and to a lesser extent, Hispanic offenders. Unfortunately, very little is known about the sentencing of Native American offenders, especially in the federal courts. To address this shortcoming, the current study employs United States Sentencing Commission data for the fiscal years 2006-2008 to examine the comparative punishment of Native Americans. Consistent with the focal concerns perspective and its reliance on perceptions of race-based threat, findings demonstrate that Native Americans are often sentenced more harshly than white, African-American, and Hispanic offenders. Moreover, race-genderage interactions indicate that during the incarceration decision, young Native American males receive the most punitive sentences, surpassing the punishment costs associated with being a young African-American or Hispanic male. These findings highlight the importance of directing increased attention toward the sentencing of this understudied offender population.

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Section: Sentencing Native Americans 311mentioning

confidence: 98%

Sentencing Native Americans in US Federal Courts: An Examination of Disparity

Franklin¹

2011

Justice Quarterly

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“…From the perspective of humour research, the studies on joking class-based slurs, which may be masked by ethnic stereotypes, are relevant to the present analysis, especially those by Dundes (1971), Davies (1982;1987;1990;1991;1998;1999;, Laineste (2008), Kuipers (2006), Davies (2010), andBerger (1998). These works contribute to the theoretical framework of the study as well as those on lingua-cultural aspects of slurs (Mieder 1993;1996;Coinnigh 2009) and linguistic exponents of stereotypes (Bartmiński 2003).…”

Section: The Meme From a Cross-linguistic And Cross-cultural Perspectivementioning

confidence: 98%

Typowy Janusz and Bad Luck Brian: On meme characters from a cross-linguistic and cross-cultural perspective

Szerszunowicz

2018

EJHR

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The Poles’ observations regarding the reality of the last decades motivated the creation of certain meme characters deeply set in the Polish culture and reflecting the new social phenomena which have come into existence recently. The examples of such persons include the characters named Janusz, Grażyna, Seba and Karyna. Previously, the names had no connotative potential and they were not used as components of idiomatic expressions. In the modern Polish, the names function as labels evoking many features (personality, given intellectual potential, appearance, stereotypized behaviour etc.). For instance, Janusz is a man in his fifties, with a beer belly and reddish face, unattractive, with very limited knowledge in a field in which he himself considers to be an expert, complaining and stressing that life was much better in communist times, wearing unfashionable clothes, putting on sandals and white socks. It is worth adding that because of the connotations, the name is used in the expression typowy Janusz/janusz and in the construction Janusze/janusze + a discipline/area of activity, e.g. janusze biznesu. Both in informal communication and in the journalese discourse, their belonging to labels is of importance – the names evoke complex pictures. As culture-bound items, such units are interesting from a cross-linguistic and cross-cultural perspective. They will be analyzed and compared with the character of the English-language Bad Luck Brian memes.

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“…17 The film opens with Nachwihiata and his parents sneaking out to an open field so that father and son may play lacrosse. The pastoral scene is interrupted by the arrival of three men on horseback-two white men and a Kickapoo police officer; the latter restrains the mother, while the others beat Nachwihiata's father and lasso and hogtie the boy for delivery to the local train station and transport to Haskell.…”

Section: Resistance and The Boarding School Narrativementioning

confidence: 99%

Transforming Captivity Narratives in Kevin Willmott’s The Only Good Indian (2009)

Mielke¹

2016

American Studies

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The Indian captivity narrative genre, or "accounts of non-Indians held by Indians," has long been described as establishing both a triumphalist narrative of national progress and a template for American identity, in contrast with American Indian identity.1 As often noted, the Indian captivity narrative is marked by its perpetual metamorphosis, as well as its status "as the archetype of American culture, or its foundation text."2 Richard Slotkin, in his trilogy on the myth of the American frontier, traces the critical function of the captivity narrative, alongside the story of the Indian fighter, in the development of the colonial project and then national ideology beginning in the seventeenth century. The two figures of the frontier myth that Slotkin identifies-the captive and the Indian fighter-were "codified and systematized" in James Fenimore Cooper's nineteenth-century frontier romances and have persisted in various permutations through popular literature, theater, art, and film to the present day.3 While political exigencies informed those permutations, so did cultural confrontation. Focusing in particular on the key roles of gender and familial relations in the genre, June Namias concludes, "The popularity of the captive story came from a fascination with both the other and the self. One's own culture, one's own family, one's own gender, that whole complex of Anglo-American culture one inherited by being raised on the American continent, was brought into relief." 4The captivity narrative prompted such reflection, argues Joshua David Bellin, and exhibited in a multiplicity of ways the intercultural exchanges that pro-

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"The Only Good Indian Is a Dead Indian": History and Meaning of a Proverbial Stereotype

Cited by 32 publications

References 0 publications

Sentencing Native Americans in US Federal Courts: An Examination of Disparity

Sentencing Native Americans in US Federal Courts: An Examination of Disparity

Typowy Janusz and Bad Luck Brian: On meme characters from a cross-linguistic and cross-cultural perspective

Transforming Captivity Narratives in Kevin Willmott’s The Only Good Indian (2009)

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