
Contents
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Trunk and Branch: Constitutional Pictography Trunk and Branch: Constitutional Pictography
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The Storyteller: Interpenetrating Literacies and Legalities The Storyteller: Interpenetrating Literacies and Legalities
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New Word Cinemas and Wood Theaters New Word Cinemas and Wood Theaters
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Islands of Pictography, Lakes of Paint Islands of Pictography, Lakes of Paint
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3 Pictography, Law, and Earth: Gerald Vizenor, John Borrows,and Louise Erdrich
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Published:January 2020
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Abstract
This chapter continues to explore the poetics of pictography, especially its relation to the law. It examines the uses of Anishinaabe pictography in contemporary legal contexts, challenging the notion that the law must necessarily inhere in alphabetic writing, let alone in the colonialist inscriptive norms of the nation. Explaining how pictography elicits a loosened relation between sign and signified, this chapter develops a semiotic theory of nonisomorphy to analyze uses of pictography in the work of several Anishinaabe scholars and writers: in John Borrows’s advocacy of “jurisgenerative multiperspectivalism” in Drawing Out Law, in Gerald Vizenor’s conception of social irony and ironic constitutionalism (theorizing Vizenor’s authorship of the Constitution of the White Earth Nation in 2007–8 to be coextensive with his creative uses of pictographic amphiboly in Summer in the Spring), and in Louise Erdrich’s figuration of ecological literacy and reciprocity in Books and Islands in Ojibwe Country. This chapter also engages the scholarship of Edmund Burke, Lisa Brooks, Seyla Benhabib, and Elizabeth Povinelli to argue that pictographic indeterminacy can consolidate public spheres and political communities with special ability to adjust over time, to meet present social pressures, and to negotiate inter-societal collaboration.
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