Abstract
ABSTRACT In this paper, I explore notions of performance and presence as ways to characterize Iroquoian animal effigy pipes beyond the purview of representational thought. In crafting such devices, enhancing them with animal parts, and establishing corporeal connections with animal ondaki through the act of smoking, it is argued that animal others were effectively re-represented or revealed to pipe smokers. Through an analysis of animal effigy pipes housed at the Royal Ontario Museum, and with evidence marshalled from the archaeological record and early documentary sources such as the Jesuit Relations, it is suggested that the meaning of these pipes obtained through their use rather than aesthetic appeal, and that much of this meaning turned on immanence and world making rather than representation or mediation.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
