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\"David Neel was an infant when his father, a Kwakwaka'wakw artist, died, triggering events that would separate him from the traditions of his homeland. When the aspiring photographer saw a mask carved by an ancestor in a Texas museum twenty-five years later, the encounter inspired him to return home and follow in his father's footsteps. Drawing on memory, legend, and his own art, Neel recounts his struggle to reconnect with his culture and become an accomplished Kwakwaka'wakw artist. His memoir is a testament to the strength of the human spirit to overcome great obstacles and to the power and endurance of Indigenous culture and art.\"-- Provided by publisher.

Explorer and writer Alexandra David Neel is known first and foremost for her adventures in and travel stories about Tibet. The lengthy correspondence she maintained with her husband Philippe Neel was published posthumously. These letters, which are unmistakably unique, were the only link between the couple throughout their thirty-seven years of marriage. The present study focuses on the difficult early stages of this union, namely the years from 1904 to 1911 - a time when their matrimonial relationship quickly became a mere epistolary connection. This marriage, at first deemed a \"folly\" by this feminist turned out to be a great opportunity and marked the onset of a new life for Alexandra. Indeed, those first letters walk the reader through a remarkable example of individual transcendence but, even more importantly, they reveal the argumentative strategy deployed by the woman writer to convince her husband to let her trace her own path. The persuasiveness of this amazing woman eventually led her husband to offer her what she longed for deep down inside: traveling to a faraway land to nurture her writing creativity.

Discussions around the notion of 'home' have been sparked by the surge in displacement, migratory movements, and travel, leading to a rethinking of 'home' as a construct. Whether leave-taking is voluntary (long-term travelers) or enforced (political exiles and refugees), the question of home becomes problematized. This article examines Alexandra David-Néel's Voyage d'une Parisienne à Lhassa (My Journey to Lhasa, 1927). Having chosen to remain on the road for four decades, David-Néel provides an excellent case for the exploration of the notion of belonging. The analysis leads to a new paradigm of the home, upending the categorical distinction home/mobility.

Explorer and writer Alexandra David Neel is known first and foremost for her adventures in and travel stories about Tibet. The lengthy correspondence she maintained with her husband Philippe Neel was published posthumously. These letters, which are unmistakably unique, were the only link between the couple throughout their thirty-seven years of marriage. The present study focuses on the difficult early stages of this union, namely the years from 1904 to 1911 – a time when their matrimonial relationship quickly became a mere epistolary connection. This marriage, at first deemed a “folly” by this feminist turned out to be a great opportunity and marked the onset of a new life for Alexandra. Indeed, those first letters walk the reader through a remarkable example of individual transcendence but, even more importantly, they reveal the argumentative strategy deployed by the woman writer to convince her husband to let her trace her own path. The persuasiveness of this amazing woman eventually led her husband to offer her what she longed for deep down inside: traveling to a faraway land to nurture her writing creativity. Alexandra David Néel, exploratrice et écrivaine est connue en particulier, pour ses pérégrinations et récits de voyages sur le Tibet. La longue correspondance qu'elle entretint avec son mari Philippe Neel, fut publiée après sa mort. Cette correspondance, pour le moins originale, constitua le seul lien entre les deux époux durant leurs trente-sept années de mariage. Cette étude porte sur les débuts difficiles de cette union, entre 1904 et 1911, où leur lien matrimonial se transforma rapidement en lien épistolaire. Ce mariage, considéré comme une « folie » par cette féministe se révéla être une grande opportunité et le départ d'une nouvelle vie pour Alexandra. Ces lettres renferment la démonstration d'une transcendance per-sonnelle et l’art de convaincre car l'épistolière parvient à conduire son mari de la laisser déployer ses ailes vers son grand voyage en Inde Alexandra David Néel, exploradora y escritora, es famosa por sus peregrinaciones y sus relatos de viaje al Tíbet. La larga correspondencia que mantuvieron su esposo Philippe Néel y ella fue publicada tras su muerte. Aquel compendio de cartas, diferente y original, constituyó el principal lazo matrimonial entre los dos durante sus treinta y siete años de casados. Este estudio se centra sobre los comienzos difíciles de aquella unión, a través de las cartas escritas entre 1904 y 1911, cuando emprendió su viaje hacía la India. Aquel matrimonio, considerado por Alexandra David Néel como una «locura», resultó ser una gran oportunidad y el comienzo de una nueva vida para ella. Aquellas cartas contienen la demostración de una trascendencia personal y de una escritura persuasiva ya que la exploradora consigue que su marido la invite a perseguir sus sueños: alimentar su escritura a través de un lejano viaje.

The French writer and explorer Alexandra David-Néel (1868–1969) is internationally renowned for being the first Western woman to reach, in 1924, Tibet's onetime forbidden capital of Lhasa. Her personal recounting of this treacherous expedition, in Voyage d'une parisienne à Lhassa, is considered one of the most compelling travelogues ever written in French. As a maverick figure of French Orientalism, David-Néel was introduced to Chinese readers long ago. Yet a close look at her reception in China brings to light some of the most tangled aspects of West–East cross-cultural representation, such as clichéd exoticism, translatorial censorship, forgery of ideologically edifying discourses, and so forth. Through a series of philological investigations of some heavily modulated Chinese translations of David-Néel's writings, I show that the tripartite, interpretive dynamic between France, Tibet, and modern-day China cannot simply be reduced to a dualistic, unilateral, and static power pattern, since we see that the Chinese, despite being themselves “Oriental,” could, advisedly or unconsciously, produce falsified images of another “Oriental” entity placed at a less advantageous position through a French medium.

The French writer and explorer Alexandra David-Neel (1868-1969) is internationally renowned for being the first Western woman to reach, in 1924, Tibet's onetime forbidden capital of Lhasa. Her personal recounting of this treacherous expedition, in Voyage d'une parisienne a Lhassa, is considered one of the most compelling travelogues ever written in French. As a maverick figure of French Orientalism, David-Neel was introduced to Chinese readers long ago. Yet a close look at her reception in China brings to light some of the most tangled aspects of West-East cross-cultural representation, such as cliched exoticism, translatorial censorship, forgery of ideologically edifying discourses, and so forth. Through a series of philological investigations of some heavily modulated Chinese translations of David-Neel's writings, I show that the tripartite, interpretive dynamic between France, Tibet, and modern-day China cannot simply be reduced to a dualistic, unilateral, and static power pattern, since we see that the Chinese, despite being themselves \"Oriental,\" could, advisedly or unconsciously, produce falsified images of another \"Oriental\" entity placed at a less advantageous position through a French medium.

Vidor police said [David Neel] had threatened to burn the woman's house down. Neel, who said he used to date the woman's daughter and had lived in the same house, was upset because a 1998 Allegro motor home and other items he stored on the property were missing. He left his belongings there back in 2001, and returned over the summer to retrieve his items, he told The Enterprise. \"I ran and she shot me in the back,\" a hospitalized Neel told The Enterprise in August.

The Kwagiutl tradition is rich in stories and legends, kept alive through carving, storytelling, dance and other cultural means. [David Neel], 42, reinterprets these age-old legends in a modern fashion -- in colourful acrylic paint on canvas. Neel has spent the last two years developing a series of 10 paintings based on these legends. In September, Neel received $5,000 from the B.C. Arts Council in order to complete the project. He calls his series the Ten Commandments. He hopes to show the paintings in a public art venue some time next year.

PHOTO: \"Head + Heart + Hands: Native American Craft Traditions in a Contemporary World\" opens today at the Mennello Museum of American Folk Art.

  PHOTO: What: David Neel's \"Mohawk Warrior Mask,\" created with wood, bark, feathers and paint, is part of \"Head + Heart + Hands: Native American Craft Traditions in a Contemporary World,\" a celebration of the rich variety of work being produced by contemporary Native American craft artists...