Just As Nature Can Be Perceived Differently by Men and Women, Ethnicity Can Create Equally Distinctive Perceptions of the Natura
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The Native American Literature Symposium
The Native American Literature Symposium Isleta Resort & Casino Albuquerque, NM March 17-19, 2016 The Native American Literature Symposium is organized by an independent group of Indigenous scholars committed to making a place where Native voices can be heard. Since 2001, we have brought together some of the most influential voices in Native America to share our stories—in art, prose, poetry, film, religion, history, politics, music, philosophy, and science—from our worldview. Gwen N. Westerman, Director Minnesota State University, Mankato Virginia Carney, Tribal College Liaison Leech Lake Tribal College, President Emerita Gordon Henry, Jr., Publications Editor Michigan State University LeAnne Howe, Arts Liaison University of Georgia, Athens Evelina Lucero, Site Coordinator Institute of American Indian Arts Tria Wakpa Blue, Vendor/Press Corrdinator University of California, Berkeley Margaret Noodin, Awards University of Wisconsin, Milwaukee Niigaanwewidam James Sinclair, Book Blitz University of Manitoba Denise Cummings, Film Wrangler Rollins College Theo Van Alst, Film Wrangler University of Montana Dennis Scott Herbert, Assistant to the Director Minnesota State University, Mankato Jill Doerfler University of Minnesota, Duluth Jodi Byrd University of Illinois, Urbana-Champaign Albuquerque, New Mexico 1 Wopida, Miigwech, Mvto, Wado, Ahe’ee, Yakoke We thank the sponsors of the 2016 Symposium for their generous funding and continued support that made everything possible. The Pueblo of Isleta Eddie Paul Torres, Governor Isleta Resort and -
Fools Crow, James Welch
by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Office of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov Cover: #955-523, Putting up Tepee poles, Blackfeet Indians [no date]; Photograph courtesy of the Montana Historical Society Research Center Photograph Archives, Helena, MT. by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Ofce of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov #X1937.01.03, Elk Head Kills a Buffalo Horse Stolen From the Whites, Graphite on paper, 1883-1885; digital image courtesy of the Montana Historical Society, Helena, MT. Anchor Text Welch, James. Fools Crow. New York: Viking/Penguin, 1986. Highly Recommended Teacher Companion Text Goebel, Bruce A. Reading Native American Literature: A Teacher’s Guide. National Council of Teachers of English, 2004. Fast Facts Genre Historical Fiction Suggested Grade Level Grades 9-12 Tribes Blackfeet (Pikuni), Crow Place North and South-central Montana territory Time 1869-1870 Overview Length of Time: To make full use of accompanying non-fiction texts and opportunities for activities that meet the Common Core Standards, Fools Crow is best taught as a four-to-five week English unit—and history if possible-- with Title I support for students who have difficulty reading. Teaching and Learning Objectives: Through reading Fools Crow and participating in this unit, students can develop lasting understandings such as these: a. -
Native American Reads
Native American Reads Braiding Sweetgrass by Robin Wall Kimmerer As a botanist, the author is trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In this work of nonfiction, Kimmerer brings these two lenses of knowledge together in an amazing journey. Ceremony by Leslie Marmon Silko On a New Mexico reservation, one Navajo family--including Tayo, a World War II veteran deeply scarred by his experiences as a Japanese POW and by the rejection of his own people--struggles to survive in a world no longer theirs in the years just before and after World War II. Cherokee America by Margaret Verble. Check, in many ways the central character, has a fascinating personal history: her father is both a slave owner and a well-known soldier; her husband is an abolitionist. Check determines to solve, and avenge, a series of crimes all while history marches forward, threatening to tear her nation — and her family, apart. Refreshingly honest about slave ownership in Cherokee territory, this novel takes us through the Civil War and shows us the consequences that this part of American history has had on a people and their right to self-determination. Crazy Brave: a memoir by Joy Harjo A memoir from the Native American poet describes her youth with an abusive stepfather, becoming a single teen mom, and how she struggled to finally find inner peace and her creative voice. Crooked Hallelujah by Kelli Jo Ford Centering on teenage Justine, but covering three generations of Cherokee women, this novel-in-stories follows Justine’s life in Oklahoma, as she deals with being abandoned by her father and the toughness, and tenderness, of her mother and grandmother. -
3-9. the Violence of Hybridity in Silko and Alexie Cyrus RK
Journal of American Studies of Turkey 6 (1997) : 3-9. The Violence of Hybridity in Silko and Alexie Cyrus R. K. Patell The Native American novelists Leslie Marmon Silko and Sherman Alexie are two writers who ponder upon the predicament faced by all US minority cultures: how to transform themselves from marginalized cultures into emergent cultures capable of challenging and reforming the mainstream. My conception of cultural emergence here draws upon Raymond Williams’s analysis of the dynamics of modern culture, an analysis that has served as the foundation for minority discourse theory in the 1990s. Williams characterizes culture as a constant struggle for dominance in which a hegemonic mainstream— what Williams calls “the effective dominant culture” (121)—seeks to defuse the challenges posed by both residual and emergent cultural forms. According to Williams, residual culture consists of those practices that are based on the “residue of ... some previous social and cultural institution or formation,” but continue to play a role in the present (122), while emergent culture serves as the site or set of sites where “new meanings and values, new practices, new relationships and kinds of relationships are continually being created” (123). Both residual and emergent cultural forms can only be recognized and indeed conceived in relation to the dominant one: each represents a form of negotiation between the margin and the center over the right to control meanings, values, and practices. Both Silko and Alexie make use of a narrative strategy that has proven to be central to the project of producing emergent literature in late-twentieth-century America. -
Joy Harjo Reads from 'Crazy Brave' at the Central Library
Joy Harjo Reads From 'Crazy Brave' at the Central Library [0:00:05] Podcast Announcer: Welcome to the Seattle Public Library's podcasts of author readings and Library events; a series of readings, performances, lectures and discussions. Library podcasts are brought to you by the Seattle Public Library and Foundation. To learn more about our programs and podcasts visit our website at www.spl.org. To learn how you can help the Library Foundation support the Seattle Public Library go to foundation.spl.org. [0:00:40] Marion Scichilone: Thank you for joining us for an evening with Joy Harjo who is here with her new book Crazy Brave. Thank you to Elliot Bay Book Company for inviting us to co-present this event, to the Seattle Times for generous promotional support for library programs. We thank our authors series sponsor Gary Kunis. Now, I'm going to turn the podium over to Karen Maeda Allman from Elliott Bay Book Company to introduce our special guest. Thank you. [0:01:22] Karen Maeda Allman: Thanks Marion. And thank you all for coming this evening. I know this is one of the readings I've most look forward to this summer. And as I know many of you and I know that many of you have been reading Joy Harjo's poetry for many many years. And, so is exciting to finally, not only get to hear her read, but also to hear her play her music. Joy Harjo is of Muscogee Creek and also a Cherokee descent. And she is a graduate of the Iowa Writers Workshop at the University of Iowa. -
“Carried in the Arms of Standing Waves:” the Transmotional Aesthetics of Nora Marks Dauenhauer1
Transmotion Vol 1, No 2 (2015) “Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer1 BILLY J. STRATTON In October 2012 Nora Marks Dauenhauer was selected for a two-year term as Alaska State Writer Laureate in recognition of her tireless efforts in preserving Tlingit language and culture, as well as her creative contributions to the state’s literary heritage. A widely anthologized author of stories, plays and poetry, Dauenhauer has published two books, The Droning Shaman (1988) and Life Woven With Song (2000). Despite these contributions to the ever-growing body of native American literary discourse her work has been overlooked by scholars of indigenous/native literature.2 The purpose of the present study is to bring attention to Dauenhauer’s significant efforts in promoting Tlingit peoplehood and cultural survivance through her writing, which also offers a unique example of transpacific discourse through its emphasis on sites of dynamic symmetry between Tlingit and Japanese Zen aesthetics. While Dauenhauer’s poesis is firmly grounded in Tlingit knowledge and experience, her creative work is also notable for the way it negotiates Tlingit cultural adaptation in response to colonial oppression and societal disruption through the inclusion of references to modern practices and technologies framed within an adaptive socio-historical context. Through literary interventions on topics such as land loss, environmental issues, and the social and political status of Tlingit people within the dominant Euro-American culture, as well as poems about specific family members, Dauenhauer merges the individual and the communal to highlight what the White Earth Nation of Anishinaabeg novelist, poet and philosopher, Gerald Vizenor, conceives as native cultural survivance.3 She demonstrates her commitment to “documenting Tlingit language and oral tradition” in her role as co-editor, along with her husband, Richard, of the acclaimed series: Classics of Tlingit Oral Literature (47). -
English 233: Tradition and Renewal in American Indian Literature
ENGLISH 233 Tradition and Renewal in American Indian Literature COURSE DESCRIPTION English 233 is an introduction to North American Indian verbal art. This course is designed to satisfy the General Education literary studies ("FSLT") requirement. FSLT courses are supposed to concentrate on textual interpretation; they are supposed to prompt you to analyze how meaning is (or, at least, may be) constructed by verbal artists and their audiences. Such courses are also supposed to give significant attention to how texts are created and received, to the historical and cultural contexts in which they are created and received, and to the relationship of texts to one another. In this course you will be doing all these things as you study both oral and written texts representative of emerging Native American literary tradition. You will be introduced to three interrelated kinds of "text": oral texts (in the form of videotapes of live traditional storytelling performances), ethnographic texts (in the form of transcriptions of the sorts of verbal artistry covered above), and "literary" texts (poetry and novels) written by Native Americans within the past 30 years that derive much of their authority from oral tradition. The primary focus of the course will be on analyzing the ways that meaning gets constructed in these oral and print texts. Additionally, in order to remain consistent with the objectives of the FSLT requirement, you will be expected to pay attention to some other matters that these particular texts raise and/or illustrate. These other concerns include (a) the shaping influence of various cultural and historical contexts in which representative Native American works are embedded; (b) the various literary techniques Native American writers use to carry storyteller-audience intersubjectivity over into print texts; and (c) the role that language plays as a generative, reality-inducing force in Native American cultural traditions. -
The Cambridge Companion to Postmodern American Fiction Edited by Paula Geyh Frontmatter More Information
Cambridge University Press 978-1-107-10344-3 — The Cambridge Companion to Postmodern American Fiction Edited by Paula Geyh Frontmatter More Information the cambridge companion to postmodern american fiction Few previous periods in the history of American literature could rival the rich- ness of the postmodern era – the diversity of its authors, the complexity of its ideas and visions, and the multiplicity of its subjects and forms. This vol- ume offers an authoritative, comprehensive, and accessible guide to the Ameri- can iction of this remarkable period. It traces the development of postmodern American iction over the past half century and explores its key aesthetic, cul- tural, and political contexts. It examines its principal styles and genres, from the early experiments with metaiction to the most recent developments, such as the graphic novel and digital iction, and offers concise, compelling readings of many of its major works. An indispensable resource for students, scholars, and the gen- eral reader, the Companion both highlights the extraordinary achievements of postmodern American iction and provides illuminating critical frameworks for understanding it. paula geyh is Associate Professor of English at Yeshiva University. She is the author of Cities, Citizens, and Technologies: Urban Life and Postmodernity,and a coeditor, with Fred G. Leebron and Andrew Levy, of Postmodern American Fiction: A Norton Anthology. Her articles on postmodern literature and culture have appeared in such journals as Contemporary Literature, Twentieth-Century -
Leslie Marmon Silko and the Powers That Inspired Her to Write "Gardens in the Dunes"
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 "Spirits are writing, not me"| Leslie Marmon Silko and the powers that inspired her to write "Gardens In the Dunes" Sigrun Kuefner The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Kuefner, Sigrun, ""Spirits are writing, not me"| Leslie Marmon Silko and the powers that inspired her to write "Gardens In the Dunes"" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 1448. https://scholarworks.umt.edu/etd/1448 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature Yes, I grant permission No, I do not grant permission Author's Signature: Date; fe ' 0 f" 0'} Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 "The spirits are writing, not me" Leslie Marmon Silko and the Powers that Inspired her to Write Gardens in the Dunes. -
American Literature Association a Coalition of Societies Devoted to the Study of American Authors
American Literature Association A Coalition of Societies Devoted to the Study of American Authors 28th Annual Conference on American Literature May 25-28, 2017 Conference Director Olivia Carr Edenfield Georgia Southern University Program Draft as of April 25, 2017 This on-line draft of the program is designed to provide information to participants in our 28th conference and provide them with an opportunity to make corrections. Participants should check the description of their papers and panels to ensure that names and titles and other information are spelled appropriately. Organizers of Panels should verify that all sessions are listed properly, including business meetings that have been requested. It may be possible to add a business meeting. Also, organizers must make sure that they have contacted each of their panelists about registering for the conference. Please see below the important information regarding conference registration. Times of Panels: If there is a conflict in the program (i.e., someone is booked to appear in two places at the same time), please let me know immediately. The program indicates that a few slots for business meetings are still open, but it will be difficult to make other changes. You can presume that the day of your panel is now fixed in stone (and it will not change without the concurrence of every person on that panel) but it may be necessary to make minor changes in the time of a panel. Audio-Visual Equipment: The program makes note of all sessions that have requested AV. Please understand that it may be difficult or impossible to add any audio-visual requests at this point, but individuals may make such requests. -
Leslie Marmon Silko's Great -Grandfather), Who Came in 1872
by Per Seyeo.led .....................---,..,.."'.... ... ....... :::-:::: ~ ..,.. ' --- .... I BOISE STATE UNIVERSITY o BOISE, IDAHO o Boise State University Western Writers Series Number 45 By Per Seyersted University of Oslo, Norway Editon: Wilyne Chiltlerton Jilmta H. Magui..e Swine.. Milnilger: Jilrnta Hadden Co~r Design by Amy Skoy, Copyright 1980 Co~r llIustriltion by Leslie Milrmon Silko from LagUFWl WOlR4n. Used by permission of the iln illi. Boise State University, Boise, Idaho Copyrighl 1980 by the Boix Stale Uni\'le'nily Wn.l ern Writen Serin ALL RIGHTS RESERV ED Library of Congrnl' Card No. 80-70460 International Sta ndard Book No. O·884!lO·069·l! Pri nted in !he United Statn of Ameri ca by J .. 0 Printing Mnidian . Idaho teJlie /lt1l,.",t11 Silk~ In 1978 when Leslie Marmon Sitko was lecturing in Norway ana one day happened to see the figures on the iron plates in my fireplace, she immediately exclaimed: "Oh there you have the three goats from that Norwegian fairyralel" As she then told me, twenty years earlier her fifth grade teacher had read to the class from a large volume ofScandinavian ta les, whereupon she had asked for the book and read them all herself. including the one she now saw illustrated in front of her. This littleincidentshows how. at an earlyage. she wasalready actively in terested in stories and how they remain vivid with her. Raised in Old Laguna in New Mexico. herself partly Laguna Pueblo (and partly white and Mexican), she was spurred in th is interest by the love of storytelling and the strong oral tradition of her tribe: for centuries they have kept alive and renewed a rich store of tales about mythical. -
MLS 589 Syllabus 2014
The Poetry of Earth How Science and Poetry Come Together from Walt Whitman’s Leaves of Grass to Ernesto Cardenal’s Cosmic Canticle MLS 589 - Spring 2015 Steve Phelan (photo by Arthur Jones) Course Description: You’ve heard of science fiction. This course is all about science poetry. It will illustrate the few, but substantial poets, who in the tradition established by Lucretius two millennia ago, have created a new language and way of thinking, representing the human endeavor in the context of the whole earth and the cosmos, using our full and growing knowledge of the universe. Science poetry, then, often stands in contrast with the song of creation (as represented in the mythology of all cultures) and yet it also seems to work in consonance with it. While every poem creates its own place and hence implies its own creation account, Whitman’s masterpiece sets out to create a new Book of Genesis. Leaves of Grass sets the cosmic stage for all the poetry of the Americas and the democracy he imagined would engender the new world. So powerful was his song of creation that many poets to follow, in both North and South America, took heart and followed his grand score, creating ever new oracular voices of the indigenous spirit of the Americas. This course will explore the scientific, religious, and mythological basis of Whitman’s own creation and move forward to modern and contemporary poets of his kind: William Carlos Williams, our finest imagist poet, also wrote a long poem, Paterson, which uses collage techniques to create a modernist epic of place.