Abstract
A number of postmodernist currents of thought have rejected the modernist faith in a stable, autonomous self and the natural culture it inhabits, as a pernicious fiction, achieved only at the expense of a marginalized other. They have proposed instead a model of self, and culture that James Clifford describes variously as “syncretic” and “inauthentic,” achieved via “parodic invention.” This essay argues instead for a dialectical view of self and culture, exploring the weaknesses of both modernist and postmodernist models through an analysis of the 1990 film, Dances With Wolves, and the critical debate that has attended it.
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