Marius Barbeau’s Vitalist Ethnology

Table of Contents Land Acknowledgement/Reconnaissance territoriale Abstract Résumé List of Illustrations A Note on Language/Une note sur le langage Foreword Introduction Acknowledgements Section I – Animism to Vitalism: Learning Anthropology at Oxford and Paris Evolutionism: An Escape from Quebec’s Catholicism Chapter 1 – Animism at Oxford, 1907–1910 Tylor’s Animism: A Theory of Interconnecting Life Forms Tylor’s “Intellectualism” Classical Greece before Ethnographic Diversity at Oxford Anthropology, the Classics, and Tylor’s Eclipse Barbeau’s Struggle to Grasp Anthropology Oxford’s Anthropological Society. Chapter 2 – Social Anthropology in Paris En Route Studying Religion with Marcel Mauss Barbeau’s Thesis Securing a Job in Canada Tylor’s Animism versus James’s “Pluriverse” Souls and Solidarity Chapter 3 – Technology: Museum Studies in France and England Museum Studies at Saint-Germain-en-Laye Museology at the Pitt Rivers From Technology to Visual Arts Technology as Art Appreciation Durkheimian Technology as Social Creation Extracurricular Lessons in Art Section II – Vital Voices: Oral Narratives and Songs Part A: Collecting Oral Narratives Chapter 4 – First Fieldwork for Canada’s National Museum Collecting Quebec’s Indigenous Narratives Reporting Back to Oxford Boas Provides a Diffusionist Perspective on Oral Culture The Clergy’s Collaboration Storytelling Preserved across Time and Space Chapter 5 – A Broader Range of Voices: Narratives in Northern British Columbia Critiquing Boas Totemism Revisited Anthropogeography and the Sources of Local Artistry Barbeau’s Intercontinental Anthropogeography of Souls Christian Narratives as Pagan Folk Tales A Program for Ethnological Research in North America Chapter 6 – Creating Literature from Oral Culture Collections Writing for Tourists A Collaborative Publication of First Nations Narratives Writing a World of Song Working with an Illustrator Part B: Ethnomusicology Chapter 7 – Encountering Songs and Singers Songs and Singers in Rural Quebec Note Taking Luddite Fears of Music’s Mechanization Indigenous Songs and Singers Indigenous Voices in the Northwest Transcription Difficulties Consulting Sir Ernest MacMillan Marguerite d’Harcourt’s Transcription Advisory Moving Pictures with Sound Chapter 8 – Performing, Publishing, and Arranging Ethnomusicology Collections Music among Museum Curators Publishing French-Canadian Songs with Sapir Performance and New Music Barbeau’s Compositions Section III – Visions of Vitality: Material Culture and Visual Arts Exploring Europe’s Visual Arts Enduring Oxford Vision of Art A “Pioneer Collector” Part A: Collecting Material Cultures Chapter 9 – Early Museum Work in Ottawa A Meeting Ground of Boasian, Paris, and Oxford Practices Collection Controversies Sapir’s Departure Causes a Rift Chapter 10 – Divergent Perspectives: Curators’ Conflicts Sapir’s Depreciation of Visual Arts Sapir Uses Carl Jung for Culture-and-Personality Theory Alternatives to Sapir’s Intellectualism Chapter 11 – Totem Poles: Collection, Documentation, and Relocation Documenting Gitxsan Totem Poles Totem Poles as Art History Preserving Totem Poles In Situ Barbeau’s Totem Pole Report Totem Pole Restoration Aesthetics Totem Poles as a “Modern Growth” Museumizing Totem Poles The Pole for Paris A French Attempt to Avoid Conservation Problems Barbeau’s Museum Aesthetics Condemned Totem Poles in B.C. Settler Museums William Beynon Raises a Totem Pole at Gitsegukla Part B: Work with Modern Settler Painters and Late Discoveries Chapter 12 – Fieldwork with Settler Society’s Visual Artists Lifelines Art and Souls Drawings versus Photographs Langdon Kihn A. Y. Jackson and Arthur Lismer in Rural Quebec, 1925 An Arts and Crafts Perspective Discovering Louis Jobin Settler Artists in Northwestern B.C., 1926 Chapter 13 – Art and Artifacts: Curating for Urban Galleries, 1926–1927 Art Gallery of Toronto Show, 1926 Homespuns Woodcarvings Placing Quebec Woodcarvers in European Art History Art and Anthropology National Gallery of Canada, 1927 Curatorial Statements Barbeau’s Inclusion of Emily Carr Barbeau’s Appreciation for Carr’s Totem-Pole Paintings Conflict and Damage: Hanging the 1927 Show Carr Sees Opposition to Barbeau’s Co-curation The Demands of a Travelling Show Curating World Fairs Section IV – Abroad Again and Late Works on Haida Gwaii Chapter 14 – Barbeau’s 1931 “Holiday” in France and England: Historicizing Indigenous Handcrafts Working at the Trocadéro Paris between the Wars Mauss Shifts Barbeau’s Vision Seaward Visiting England’s Museums Paris and the Intercontinental “Origins” of Totem Poles The Paris Totem Pole Chapter 15 – Late Fieldwork on Haida Gwaii: Argillite Carving Barbeau’s Talks on Northwest Coast Craftsmanship, 1939 The Unique Properties of Argillite Scrimshaw as a Product of Boredom Boston Whalers among the Haida Haida Myths: Illustrated in Argillite Carvings, 1953 Lingering Classicism from Oxford Making Sense of Argillite Collections Tsimshian Myths versus Haida Carvings Museum Evidence for Argillite Carvings’ Marine Travels Narrative Themes of Argillite Carvings Haida Carvers in Argillite, 1957 Musical Instruments Carved of Argillite Plate and Dish Makers and Miniature Totems Beynon’s Contribution to the Argillite Volumes Conclusion Bibliography Notes Index