Or, the Textual Production of Michif Voices As Cultural Weaponry
Intersections of Memory, Ancestral Language, and Imagination; or, the Textual Production of Michif Voices as Cultural Weaponry Pamela V. Sing n his overview of the historic origins in modern thought of ideas playing a central role in the current debate over matters of iden- tity and recognition, Charles Taylor emphasizes that, whether it is a Iquestion of individual or of collective identity, “we become full human agents, capable of understanding ourselves, and hence of defining our identity, through our acquisition of rich human languages of expression” (32). Languages, in this context, signify modes of expression used to iden- tify ourselves, including those of art and literature, and all evolve, are de- veloped, and are acquired in a dialogical manner — that is to say, through exchanges with others. By underscoring the socially derived character of identity, this perspective explains the importance of external recognition, both on an individual basis and on a cultural one. In this article, I intend to focus on an aesthetic that, grounded in memory, demonstrates and requests recognition for a particular type of “love of words.” The words in question belong to Michif, an oral ancestral language that, despite (or perhaps because of) its endangered status, proves to be a powerful identity symbol. Relegated to an underground existence during the latter part of the nineteenth century, the resurgence of Michif words and expressions in literary texts reminds the community to which they belong, and that they are telling (back) into existence, of its historic, cultural, and linguistic sources, thus re-laying claim to a specific and distinct, but unrecognized space on the Canadian word/landscape.
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