Maintaining a blog for a class is something I had never even thought about. When I initially found out that blogging would be a part of our grade, I must admit I was a little nervous. It is bad enough when I turn an assignment in to a professor, but to have an entire class, and potentially anyone else, read and critique my work made me a little weary. I was more careful than usual in making points and arguments clear, knowing that others with the same base of knowledge will have to understand where I am coming from. However, once I wrote my blogs and read people’s responses, I decided that the benefits from such an exercise outweighed the slight discomfort that it gave me. Knowing that people would be reading my blog also made me want to make sure that my entries were entertaining and easy to read, as well as informative and thoughtful. While it seemed frightening to have so many people critique my work, I eventually came around to appreciating its benefits.
Also, I felt that I benefited from reading and commenting on blogs from others in the classroom. It is always good to see how other people see, understand, and interpret a novel which I also have to work with. This process furthers my ability to see past my personal biases or understandings. The more points of view one comes into contact with, the broader one’s scope of understanding will be. This process of reading and commenting on other students’ work helped me apply the same standards to my work when evaluating it, making me a better proof-reader.
An example of how the blog exercises have helped me in writing and understanding the texts can be seen in my entry for Joy Harjo’s She had some horses. This poem was difficult to understand, especially for someone such as myself who is unfamiliar with this type of writing. However, since I was writing for a crowd, I made sure I studied and understood the poem to the best of my ability before writing about it. Then, in the writing process, I was able to organize my thoughts, making sure that the post was successful in communicating my points without being confusing. Once these processes were done, I felt confident in having people read my blog. I definitely think I pondered more on the organization and clarity of the entries knowing that others would be reading them, and the comments I received on the blog helped me know that I was doing well, and that my thoughts and ideas were engaging and thoughtful.
Upon reading other’s blogs, my understanding of the poem grew even more through experiencing how other people interpreted it. This is definitely an aspect that one does not often find in a college class. Being able to see how other’s understood the text really deepened my level of understanding, and helped me to gauge where I was in my own understanding of the text. Unlike a simple class discussion, the blog gives everyone a chance to experience everyone’s fully thought out opinions.
In general, I feel the blog exercises helped me in a number of ways with understanding the texts and writing about them. Not only does the larger audience make me more aware and less biased during the writing process, it also allows for open discussions and sharing information, thoughts, and ideas between students, who otherwise may not have that opportunity. Using the blog as a tool for communication and learning is a great idea, especially in this classroom setting, and helped me in a number of ways to better understand the texts that we read in the class.
Tuesday, June 9, 2009
Wednesday, May 20, 2009
group web assignment
I am interested in working with the idea's Dr. Rouzie gave us in option C. I think it's a great way to educate people about American Indian literature. Prior to this class, I was completely oblivious to any of it, so getting this information organized in such a way as to allow people to learn about and get connected to resources seems like a really good idea. This type of project will allow us to put out a lot of information in creative, useful ways, and it will allow us to have a variety of information (history, themes, etc.) While I'm not the most computer smart person in the world, I am very eager about contributing to and learning about this new process!
Wednesday, May 13, 2009
Alexie/Coulombe Summary Application
Reading:
Coulombe, Joseph. “The Approximate Size of His Favorite Humor: Sherman Alexie’s Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven” American Indian Quarterly 26 (winter 2002) : p. 94-115. Project Muse. Ohio University Lib. Athens, OH.
Alexie, Sherman. "The Long Ranger and Tonto Fistfight in Heaven" New York: Grove Press, 2005
In Joseph Coulombe's "The Approximate Size of His Favorite Humor; Sherman Alexie's Comic Connections and Disconnections In The Long Ranger and Tonto Fistfight in Heaven”, the author is disputing the many critiques that claim that Sherman Alexie's humor, specifically in The Lone Ranger and Tonto Fistfight in Heaven, is damaging to the reputation of American Indians. Coulombe believes that Alexie's humor is used as a way to connect people of diverse backgrounds, help heal wounds inflicted by stereotypes, and lead readers to reevaluate themselves by helping them cope with difficult truths. While fellow critics feel that Alexie's use of humor is demeaning and counterproductive to what his writing should achieve, Coulombe sees that Alexie uses humor as a way to bring understanding among all his readers. For Coulombe, Alexie's humor mimics that of the traditional Trickster, providing unbiased ground for mutual understanding and respect. Throughout his novel, Coulombe claims, Alexie uses humor as a way for people to connect to one another, despite differences or difficult situations. This allows a place for American Indians to embrace their culture, while allowing non-American Indians a new, less generalized perception. His use of humor breaks down barriers, allowing Indians and non-Indians to be on the same level of understanding. With his trickster-like abilities to mix the un-Ideal reality with humor, Alexie's conveyance of truth and humor allow all people a clearer understanding. Coulombe recounts many episodes in TLRATFIH that utilize humor in this way, defending Alexie against the critics that believe that his humor only strengthens American Indian stereotypes.
The examples Coulombe uses in his arguments are practically on every page of TLRATFIH. In nearly every story, examples of unity through humor are present. Coulombe claims that Alexie uses humor to "create positive connections between diverse backgrounds" (Coulombe, 95). Alexie's humor reaches wide audiences, giving people a connection when one doesn't seem to exist. This personal bond allows people to communicate with one another on the same level, which, Coulombe explains, "presupposes conflict", leading to a mutual resolution. (Coloumbe, 95). We can see this kind of humor in Alexie's short story, "This is What it Means to Say Phoenix, Arizona", when Victor and Thomas Builds-the-Fire fly to Phoenix to pick up the remains of Victor's father. They sit next to a white woman, Cathy, who would seemingly have nothing in common with two young Indians. However, it took only a small joke to lead to a flight-long conversation. This conversation is an example of what Alexie wants to achieve; a safe place for all people to communicate honestly and without bias. While this shows us how humor brings people together, we are quick to see how Alexie uses it as a sugarcoating for what he really wants to convey to his audience. While the three are sharing stories and enjoying one another, Thomas says something that leads them to silence. When Cathy is discussing how the government cheated the Olympic team, he points out that she "has a lot in common with Indians" (Alexie, 67). This statement's truth is already hard to swallow, but it hits even harder because, just moments earlier, they were all laughing together. In this is example, we can see the argument Coulombe is making; how Alexie's humor, although blunt and cynical, carries such a valuable impact on all of his readers. how Alexie uses his humor to apply the deeper messages he wants to convey. Once people are comfortable in the humor, and feel a sense of community, Alexie drops the explosive truth on them. The humor put Thomas, Victor, and Cathy in a vulnerable place, causing Thomas's sad but true statement makes a greater impact.
In the first story of the collection, Every little Hurricane, we get a clearer idea of how Alexie uses his humor to help the reader accept the realities we must face. It is set at a party at Victor's house when he is a child. The story opens up the collection by showing the audience Victor's sad background: drunken parents, violent uncles. However, these events are at a party, surrounded by laughter. But this party scenario is where we get our first taste of the bleak truths Alexie has to tell. He explains, beyond the generalization, who these people are and the pain they're trying to deal with. This is what Coulombe is arguing, that this cynicism does good, it gives new understanding, a deeper level of Insight for American Indians as well as those of different backgrounds. When applying Coulombe’s claims to TLRATFIH, we can see how Alexie's humor is able to do the things he claims it does. It lends itself as a way for the reader to face realities and to break down barriers to get a clearer understanding of the truth.
Coulombe, Joseph. “The Approximate Size of His Favorite Humor: Sherman Alexie’s Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven” American Indian Quarterly 26 (winter 2002) : p. 94-115. Project Muse. Ohio University Lib. Athens, OH.
Alexie, Sherman. "The Long Ranger and Tonto Fistfight in Heaven" New York: Grove Press, 2005
In Joseph Coulombe's "The Approximate Size of His Favorite Humor; Sherman Alexie's Comic Connections and Disconnections In The Long Ranger and Tonto Fistfight in Heaven”, the author is disputing the many critiques that claim that Sherman Alexie's humor, specifically in The Lone Ranger and Tonto Fistfight in Heaven, is damaging to the reputation of American Indians. Coulombe believes that Alexie's humor is used as a way to connect people of diverse backgrounds, help heal wounds inflicted by stereotypes, and lead readers to reevaluate themselves by helping them cope with difficult truths. While fellow critics feel that Alexie's use of humor is demeaning and counterproductive to what his writing should achieve, Coulombe sees that Alexie uses humor as a way to bring understanding among all his readers. For Coulombe, Alexie's humor mimics that of the traditional Trickster, providing unbiased ground for mutual understanding and respect. Throughout his novel, Coulombe claims, Alexie uses humor as a way for people to connect to one another, despite differences or difficult situations. This allows a place for American Indians to embrace their culture, while allowing non-American Indians a new, less generalized perception. His use of humor breaks down barriers, allowing Indians and non-Indians to be on the same level of understanding. With his trickster-like abilities to mix the un-Ideal reality with humor, Alexie's conveyance of truth and humor allow all people a clearer understanding. Coulombe recounts many episodes in TLRATFIH that utilize humor in this way, defending Alexie against the critics that believe that his humor only strengthens American Indian stereotypes.
The examples Coulombe uses in his arguments are practically on every page of TLRATFIH. In nearly every story, examples of unity through humor are present. Coulombe claims that Alexie uses humor to "create positive connections between diverse backgrounds" (Coulombe, 95). Alexie's humor reaches wide audiences, giving people a connection when one doesn't seem to exist. This personal bond allows people to communicate with one another on the same level, which, Coulombe explains, "presupposes conflict", leading to a mutual resolution. (Coloumbe, 95). We can see this kind of humor in Alexie's short story, "This is What it Means to Say Phoenix, Arizona", when Victor and Thomas Builds-the-Fire fly to Phoenix to pick up the remains of Victor's father. They sit next to a white woman, Cathy, who would seemingly have nothing in common with two young Indians. However, it took only a small joke to lead to a flight-long conversation. This conversation is an example of what Alexie wants to achieve; a safe place for all people to communicate honestly and without bias. While this shows us how humor brings people together, we are quick to see how Alexie uses it as a sugarcoating for what he really wants to convey to his audience. While the three are sharing stories and enjoying one another, Thomas says something that leads them to silence. When Cathy is discussing how the government cheated the Olympic team, he points out that she "has a lot in common with Indians" (Alexie, 67). This statement's truth is already hard to swallow, but it hits even harder because, just moments earlier, they were all laughing together. In this is example, we can see the argument Coulombe is making; how Alexie's humor, although blunt and cynical, carries such a valuable impact on all of his readers. how Alexie uses his humor to apply the deeper messages he wants to convey. Once people are comfortable in the humor, and feel a sense of community, Alexie drops the explosive truth on them. The humor put Thomas, Victor, and Cathy in a vulnerable place, causing Thomas's sad but true statement makes a greater impact.
In the first story of the collection, Every little Hurricane, we get a clearer idea of how Alexie uses his humor to help the reader accept the realities we must face. It is set at a party at Victor's house when he is a child. The story opens up the collection by showing the audience Victor's sad background: drunken parents, violent uncles. However, these events are at a party, surrounded by laughter. But this party scenario is where we get our first taste of the bleak truths Alexie has to tell. He explains, beyond the generalization, who these people are and the pain they're trying to deal with. This is what Coulombe is arguing, that this cynicism does good, it gives new understanding, a deeper level of Insight for American Indians as well as those of different backgrounds. When applying Coulombe’s claims to TLRATFIH, we can see how Alexie's humor is able to do the things he claims it does. It lends itself as a way for the reader to face realities and to break down barriers to get a clearer understanding of the truth.
Monday, May 11, 2009
Coulombe Summary
Reading:
Coulombe, Joseph. “The Approximate Size of His Favorite Humor: Sherman Alexie’s Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven” American Indian Quarterly 26 (winter 2002) : p. 94-115. Project Muse. Ohio University Lib. Athens, OH.
In The Approximate Size of His Favorite Humor: Sherman Alexie's Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven, Coulombe is discussing Alexie's humor, and how it is used to break down barriers between cultural differences. While many critics feel that Alexie's humor betrays the pride and name of American Indians, Coulombe argues that it does quite the opposite, uniting people of all cultures through humor to allow understanding.
Coulombe points out that Alexie's use of humor comes from the very traditions of his culture. His humor is compared to that of the traditional Trickster, being used to create a mutual ground of understanding for all people, allowing respect among diversity. For Coulombe, Humor also acts as a healer in The Lone Ranger and Tonto Fistfight in Heaven. It allows the characters and readers alike to face difficulties without being overwhelmed. Although humor is used as a barrier in the stories, the readers are able to see through them, and experience the humor as a way of finding strength and hope in spite of harsh realities.
Lastly, Coulombe feels that humor is used as a tool to express American Indian relationships. Humor is used as a source of healing, and a form of connection between people facing the same problems. It allows them to connect on a personal level, just as Alexie is doing in his fiction.
Coulombe, Joseph. “The Approximate Size of His Favorite Humor: Sherman Alexie’s Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven” American Indian Quarterly 26 (winter 2002) : p. 94-115. Project Muse. Ohio University Lib. Athens, OH.
In The Approximate Size of His Favorite Humor: Sherman Alexie's Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven, Coulombe is discussing Alexie's humor, and how it is used to break down barriers between cultural differences. While many critics feel that Alexie's humor betrays the pride and name of American Indians, Coulombe argues that it does quite the opposite, uniting people of all cultures through humor to allow understanding.
Coulombe points out that Alexie's use of humor comes from the very traditions of his culture. His humor is compared to that of the traditional Trickster, being used to create a mutual ground of understanding for all people, allowing respect among diversity. For Coulombe, Humor also acts as a healer in The Lone Ranger and Tonto Fistfight in Heaven. It allows the characters and readers alike to face difficulties without being overwhelmed. Although humor is used as a barrier in the stories, the readers are able to see through them, and experience the humor as a way of finding strength and hope in spite of harsh realities.
Lastly, Coulombe feels that humor is used as a tool to express American Indian relationships. Humor is used as a source of healing, and a form of connection between people facing the same problems. It allows them to connect on a personal level, just as Alexie is doing in his fiction.
Summary/Application Revision
Reading:
Bird, Gloria. "Towards a Decolonization of the Mind and Text 1:Leslie Marmon Silko's Ceremony" Wicazo Sa Review, 9, 2 (Autumn, 1993)1-8
In Gloria Bird's Towards a Decolonization of the Mind and Text 1: Leslie Marmon Silko's "Ceremony", the author is attempting to bring awareness to the reader, of the colonization that has complicated self-identification among the younger generations of American Indians through a sense of "otherness" that has been applied to, and often adopted by, these people. Through this awareness, one can begin to decolonize one's own mind; that is, unlearn the stereotypes and implications that have infiltrated the culture through European influences. Bird explains how Leslie Silko's Ceremony confronts the challenges faced by those who have been affected by this "other" identity, giving an insight to the awareness required to self evaluate, hence decolonize the mind, seeing oneself not through the eyes of the colonizer, but the colonized.
For Bird, colonization comes from a number of influences. The stereotypes of American Indians introduced by the colonizers, the thought that the colonizers own everything, and the negative concept of "otherness" are all seen by both Bird and Silko as means of colonization. These many aspects produce an internalized colonization, an accepted version of the ideas brought forth by the majority. In Ceremony, Bird claims, Silko portrays instances of self immobilization against these issues, allowing the reader to see the protagonist face the same fears that they face themselves. For example, although Tayo feels bitterness toward something that keeps him from recovering, he is afraid, and therefore unable to realize what it is that is oppressing him. Rather than to seek knowledge, he hides from the unknown, but when witnessing the protagonist deal with these truths, the reader must do the same.
What Bird is attempting to stress in her essay is the idea of colonization, how it has affected the people, and what the people must know in order to overcome the struggles they face. Through Silko's Ceremony and its many well-played uses of several literary methods, one can see this manifestation, and what is necessary to overcome the title of "other". For Bird, Ceremony is an example of the assimilation, how it has affected American Indians, and how we can unlearn what has been taught.
One of Bird's most emphasized ideas is that colonization has deteriorated the Native American culture, not only from pressing stereotypes against them, but also through the American Indian's acceptance of said stereotypes. Bird feels that the internalization of the oppression continues it, and only by facing what we fear are we able to overcome. For Bird, "only in the moments when we are able to name the source of our deepest pain can we truly be said to be free of the burdens they represent" (Bird, 2). For her, we come to face these sources through watching Tayo face them in Ceremony. Tayo is clearly uncomfortable with his heritage; he felt he didn't belong because "[his] mother went with white men" (Silko, 118). Of course, this feeling didn't spring from within him alone. The feelings of separation were formed from outside sources; specifically, Auntie. From a young age, Tayo was aware that "he's not full blood anyway" (Silko, 30). Auntie made sure that Tayo was "close enough to feel excluded" (Silko, 61). Auntie's feelings, however, sprung from her own self-inflicted criticism. Her mixed identity, her heritage and her adopted Catholicism, leave her in a place of constant judgment, as well. For Auntie, this internalization interfered with her heritage in several ways. The fact that she went to church alone didn't match up with her tribe's belief that the community was a whole. She also didn't want the medicine man to come help Tayo because "you know what people will say"(30, Silko). Her acceptance of the colonizer's religion and social formalities were more important to the well being of her nephew. With an early exposure to this kind of mindset, Tayo struggled with these feelings, only he would not allow himself to admit it. His fear of being the "other", unlike the colonizer, kept him from opening himself to the heritage he needed to embrace. It was the lack of his culture, a fear of it, that leads him to despair. Another instance of these internalized stereotypes can be seen in Emo. He has become the drunk, violent American Indian war vet that people come to expect. His fear of becoming this stereotype has lead him to the very thing they all want to avoid. Bird feels that these struggles can be used to help the reader identify what it is they're hiding from themselves, what it is they are too afraid to face. We see Tayo embrace his culture; the land, the stories, and the pride that comes from being aware of the lies of the white man. Tayo had to look past the lie that the white men own everything and are superior to others. When he can see beyond what he had been taught by the white men, and those that subdued to what they were taught, Tayo learns what he truly is, no longer afraid to embrace it.
Bird also feels that language plays an essential role in decolonizing the mind. Through assimilation, the language and its roles have been lost. For Native Americans, language is an intricate, dependent structure that relies on the stories and histories for meaning. The art of language, as it is to them, plays a vital role in the culture; not just passing on stories, but creating an interdependent structure through which communication and history are built. Silko uses this idea throughout Ceremony, not only as a subject of colonization, but as a way to connect the story, to make all it's parts equal, and come together to form the complete transformation of the protagonist. In more than one way, as Bird points out, language is used to express this idea of connectedness to the reader. Silko uses traditional stories dispersed throughout the novel as a way of connecting all things, and a non-traditionally structured story line (at least from the eastern perspective), for the similar purpose of connecting all the parts of the story. We learn through Ku'oosh that "no word exists alone, and the reason for choosing each word had to be explained with a story about why it must be said this certain way" (Ceremony, 32-33). While Tayo first feels that the language is "childish" (31), he comes to appreciate it and its powerful abilities and important roles in the culture.
Through applying Bird's theories to Ceremony, we are able to see how Silko portrays a character that deals with the struggles of assimilation laid out in Bird's essay. It illustrates the internalization of colonization, where it comes from, and how one can overcome it. For Bird, Tayo's journey expresses the path one must follow in order to decolonize their minds, to see themselves through their own eyes rather that the eye of the oppressor. By learning of Tayo's struggles, the reader has a catalyst to help them conquer their own.
Bird, Gloria. "Towards a Decolonization of the Mind and Text 1:Leslie Marmon Silko's Ceremony" Wicazo Sa Review, 9, 2 (Autumn, 1993)1-8
In Gloria Bird's Towards a Decolonization of the Mind and Text 1: Leslie Marmon Silko's "Ceremony", the author is attempting to bring awareness to the reader, of the colonization that has complicated self-identification among the younger generations of American Indians through a sense of "otherness" that has been applied to, and often adopted by, these people. Through this awareness, one can begin to decolonize one's own mind; that is, unlearn the stereotypes and implications that have infiltrated the culture through European influences. Bird explains how Leslie Silko's Ceremony confronts the challenges faced by those who have been affected by this "other" identity, giving an insight to the awareness required to self evaluate, hence decolonize the mind, seeing oneself not through the eyes of the colonizer, but the colonized.
For Bird, colonization comes from a number of influences. The stereotypes of American Indians introduced by the colonizers, the thought that the colonizers own everything, and the negative concept of "otherness" are all seen by both Bird and Silko as means of colonization. These many aspects produce an internalized colonization, an accepted version of the ideas brought forth by the majority. In Ceremony, Bird claims, Silko portrays instances of self immobilization against these issues, allowing the reader to see the protagonist face the same fears that they face themselves. For example, although Tayo feels bitterness toward something that keeps him from recovering, he is afraid, and therefore unable to realize what it is that is oppressing him. Rather than to seek knowledge, he hides from the unknown, but when witnessing the protagonist deal with these truths, the reader must do the same.
What Bird is attempting to stress in her essay is the idea of colonization, how it has affected the people, and what the people must know in order to overcome the struggles they face. Through Silko's Ceremony and its many well-played uses of several literary methods, one can see this manifestation, and what is necessary to overcome the title of "other". For Bird, Ceremony is an example of the assimilation, how it has affected American Indians, and how we can unlearn what has been taught.
One of Bird's most emphasized ideas is that colonization has deteriorated the Native American culture, not only from pressing stereotypes against them, but also through the American Indian's acceptance of said stereotypes. Bird feels that the internalization of the oppression continues it, and only by facing what we fear are we able to overcome. For Bird, "only in the moments when we are able to name the source of our deepest pain can we truly be said to be free of the burdens they represent" (Bird, 2). For her, we come to face these sources through watching Tayo face them in Ceremony. Tayo is clearly uncomfortable with his heritage; he felt he didn't belong because "[his] mother went with white men" (Silko, 118). Of course, this feeling didn't spring from within him alone. The feelings of separation were formed from outside sources; specifically, Auntie. From a young age, Tayo was aware that "he's not full blood anyway" (Silko, 30). Auntie made sure that Tayo was "close enough to feel excluded" (Silko, 61). Auntie's feelings, however, sprung from her own self-inflicted criticism. Her mixed identity, her heritage and her adopted Catholicism, leave her in a place of constant judgment, as well. For Auntie, this internalization interfered with her heritage in several ways. The fact that she went to church alone didn't match up with her tribe's belief that the community was a whole. She also didn't want the medicine man to come help Tayo because "you know what people will say"(30, Silko). Her acceptance of the colonizer's religion and social formalities were more important to the well being of her nephew. With an early exposure to this kind of mindset, Tayo struggled with these feelings, only he would not allow himself to admit it. His fear of being the "other", unlike the colonizer, kept him from opening himself to the heritage he needed to embrace. It was the lack of his culture, a fear of it, that leads him to despair. Another instance of these internalized stereotypes can be seen in Emo. He has become the drunk, violent American Indian war vet that people come to expect. His fear of becoming this stereotype has lead him to the very thing they all want to avoid. Bird feels that these struggles can be used to help the reader identify what it is they're hiding from themselves, what it is they are too afraid to face. We see Tayo embrace his culture; the land, the stories, and the pride that comes from being aware of the lies of the white man. Tayo had to look past the lie that the white men own everything and are superior to others. When he can see beyond what he had been taught by the white men, and those that subdued to what they were taught, Tayo learns what he truly is, no longer afraid to embrace it.
Bird also feels that language plays an essential role in decolonizing the mind. Through assimilation, the language and its roles have been lost. For Native Americans, language is an intricate, dependent structure that relies on the stories and histories for meaning. The art of language, as it is to them, plays a vital role in the culture; not just passing on stories, but creating an interdependent structure through which communication and history are built. Silko uses this idea throughout Ceremony, not only as a subject of colonization, but as a way to connect the story, to make all it's parts equal, and come together to form the complete transformation of the protagonist. In more than one way, as Bird points out, language is used to express this idea of connectedness to the reader. Silko uses traditional stories dispersed throughout the novel as a way of connecting all things, and a non-traditionally structured story line (at least from the eastern perspective), for the similar purpose of connecting all the parts of the story. We learn through Ku'oosh that "no word exists alone, and the reason for choosing each word had to be explained with a story about why it must be said this certain way" (Ceremony, 32-33). While Tayo first feels that the language is "childish" (31), he comes to appreciate it and its powerful abilities and important roles in the culture.
Through applying Bird's theories to Ceremony, we are able to see how Silko portrays a character that deals with the struggles of assimilation laid out in Bird's essay. It illustrates the internalization of colonization, where it comes from, and how one can overcome it. For Bird, Tayo's journey expresses the path one must follow in order to decolonize their minds, to see themselves through their own eyes rather that the eye of the oppressor. By learning of Tayo's struggles, the reader has a catalyst to help them conquer their own.
Monday, May 4, 2009
Alexie Questions
Alexi claims that we love our colonizers, and that is the most dangerous thing for Indians and their culture. One example we get in the book is when Victor and his father are taking a ride together. Victor's Dad is talking about Jimi Hendrix and Hank Williams, which shows us his connection to the colonizer's culture. He goes on to tell Victor that "even an Indian needs a piano or guitar or saxophone now and again" (30). We can see in this example how Victor's father had identified himself to the colonizing ulture, and also how younger generations are denied certain connections to their tribe's past
Alexie likes to mix humor with stark political truths in a number of ways. It seems that he uses a lot of typically lighthearted scenarios to use as a background for a more serious political statement. In "Every Little Hurricane", a sad story of Victor's childhood, is placed in a party. The sad story of heroes on the reservation and their inevitability to success is surrounded by laughter from two guys on a porch. One example that I found particularly striking is in "Amusements", when Victor and Sadie put a drunk Indian in a tourist-filled carnival ride for their own amusement. When Victor is attempting to escape, he runs in a fun house, with with image-skewing mirrors. While this ir normally a moment of gaiety, it is for Victor a metaphorical look at his actions, facing the realities of racism and "otherness", and his own contributions to it, "the Indian who offered up another Indian like some treaty" (5). While these stories do hold strong political messages, they are surrounded by what could otherwise be pleasant situations. I think the irony and contradictions between the humor and serious make the truths much more sobering.
Alexie likes to mix humor with stark political truths in a number of ways. It seems that he uses a lot of typically lighthearted scenarios to use as a background for a more serious political statement. In "Every Little Hurricane", a sad story of Victor's childhood, is placed in a party. The sad story of heroes on the reservation and their inevitability to success is surrounded by laughter from two guys on a porch. One example that I found particularly striking is in "Amusements", when Victor and Sadie put a drunk Indian in a tourist-filled carnival ride for their own amusement. When Victor is attempting to escape, he runs in a fun house, with with image-skewing mirrors. While this ir normally a moment of gaiety, it is for Victor a metaphorical look at his actions, facing the realities of racism and "otherness", and his own contributions to it, "the Indian who offered up another Indian like some treaty" (5). While these stories do hold strong political messages, they are surrounded by what could otherwise be pleasant situations. I think the irony and contradictions between the humor and serious make the truths much more sobering.
Friday, April 24, 2009
Summary Application
Reading:
Bird, Gloria. "Towards a Decolonization of the Mind and Text 1:Leslie Marmon Silko's Ceremony" Wicazo Sa Review, 9, 2 (Autumn, 1993)1-8
In Gloria Bird's Towards a Decolonization of the Mind and Text 1: Leslie Marmon Silko's "Ceremony", the author is attempting to bring awareness to the reader, of the colonization that has complicated self-identification among the younger generations of American Indians through a sense of "otherness" that has been applied to, and often adopted by, these people. Through this awareness, one can begin to decolonize one's own mind; that is, unlearn the stereotypes and implications that have infiltrated the culture through European influences. Bird explains how Leslie Silko's Ceremony confronts the challenges faced by those who have been affected by this "other" identity, giving an insight to the awareness required to self evaluate, hence decolonize the mind, seeing oneself not through the eyes of the colonizer, but the colonized.
For Bird, colonization comes from a number of influences. These many aspects produce an internalized colonization, an accepted version of the ideas brought forth by the majority. In Ceremony, Bird claims, Silko portrays instances of self immobilization against these issues, allowing the reader to see the protagonist face the same fears that they face themselves. Rather than to seek knowledge, they hide from the unknown, but when witnessing the protagonist deal with these truths, the reader must do the same.
What Bird is attempting to stress in her essay is the idea of colonization, how it has affected the people, and what the people must know in order to overcome the struggles they face. Through Silko's : Ceremony and its many well played uses of several literary methods, one can see this manifestation, and what is necessary to overcome the title of "other". For Bird, Ceremony is an example of the assimilation, how it has affected us, and how we can unlearn what has been taught.
One of Bird's most emphasized ideas is that colonization has deteriorated the Native American culture, not only from pressing stereotypes against them, but also through their acceptance of said stereotypes. Bird feels that the internalization of the oppression continues it, and only by facing what we fear are we able to overcome. For Bird, "only in the moments when we are able to name the source of our deepest pain can we truly be said to be free of the burdens they represent" (Bird, 2). For her, we come to face these sources through watching Tayo face them in Ceremony. Tayo is clearly uncomfortable with his heritage; he felt he didn't belong because "[his] mother went with white men" (Silko, 118). Of course, this feeling didn't spring from within him alone. The feelings of separation were formed from outside sources; specifically, Auntie. From a young age, Tayo was aware that "he's not full blood anyway" (Silko, 30). Auntie made sure that Tayo was "close enough to feel excluded" (Silko, 61). Auntie's feelings, however, sprung from her own self-inflicted criticism. Her mixed identity, her heritage and her adopted Catholicism, leave her in a place of constant judgement, as well. With an early exposure to this kind of mindset, Tayo struggled with these feelings, only he would not allow himself to admit it. His fear of being the "other" kept him from opening himself to the heritage he needed to embrace. It was the lack of his culture, a fear of it, that leads him to despair. Bird feels that these struggles can be used to help the reader identify what it is they're hiding rom themselves; what it is they are too afraid to face. We see Tayo embrace his culture; the land, the stories, and the pride that comes from being aware of the lies of the white man. When he can see beyond what he had been taught by the white men, and those that subdued to what they were taught, Tayo learns what he truly is, no longer afraid to embrace it.
Bird also feels that language plays and essential role in decolonizing the mind. Through assimilation, the language and its roles have been lost. For Native Americans, language is an intricate, dependent structure that relies on the stories and histories for meaning. The art of language, as it is to them, plays a vital role in the culture; not just passing on stories, but creating an interdependent structure through which communication and history are built. Silko uses this idea throughout Ceremony, not only as a subject of colonization, but as a way to connect the story, to make all it's parts equal, and come together to form the complete transformation of the protagonist. In more than one way, as Bird points out, language is use to express this idea of connectedness to the reader. We learn through Ku'oosh that "no word exists alone, and the reason for choosing each word had to be explained with a story about why it must be said this certain way" (Ceremony, 32-33). While Tayo first feels that the language is "childish" (31), he comes to appreciate it and its powerful abilities and important roles in the culture.
Through applying Bird's theories to Ceremony, we are able to see how Silko portrays a character that deals with the struggles laid out in Bird's essay. It illustrates the internalization of colonization, where it comes from, and how one can overcome it. For Bird, Tayo's journey expresses the path one must follow in order to decolonize their minds, to see themselves through their own eyes rather that the eye of the oppressor. By learning of Tayo's struggles, the reader has a catalyst to help them conquer their own.
*My HTML decided not to work, so I couldn't italicize... I tried to fix it the best I could!
Bird, Gloria. "Towards a Decolonization of the Mind and Text 1:Leslie Marmon Silko's Ceremony" Wicazo Sa Review, 9, 2 (Autumn, 1993)1-8
In Gloria Bird's Towards a Decolonization of the Mind and Text 1: Leslie Marmon Silko's "Ceremony", the author is attempting to bring awareness to the reader, of the colonization that has complicated self-identification among the younger generations of American Indians through a sense of "otherness" that has been applied to, and often adopted by, these people. Through this awareness, one can begin to decolonize one's own mind; that is, unlearn the stereotypes and implications that have infiltrated the culture through European influences. Bird explains how Leslie Silko's Ceremony confronts the challenges faced by those who have been affected by this "other" identity, giving an insight to the awareness required to self evaluate, hence decolonize the mind, seeing oneself not through the eyes of the colonizer, but the colonized.
For Bird, colonization comes from a number of influences. These many aspects produce an internalized colonization, an accepted version of the ideas brought forth by the majority. In Ceremony, Bird claims, Silko portrays instances of self immobilization against these issues, allowing the reader to see the protagonist face the same fears that they face themselves. Rather than to seek knowledge, they hide from the unknown, but when witnessing the protagonist deal with these truths, the reader must do the same.
What Bird is attempting to stress in her essay is the idea of colonization, how it has affected the people, and what the people must know in order to overcome the struggles they face. Through Silko's : Ceremony and its many well played uses of several literary methods, one can see this manifestation, and what is necessary to overcome the title of "other". For Bird, Ceremony is an example of the assimilation, how it has affected us, and how we can unlearn what has been taught.
One of Bird's most emphasized ideas is that colonization has deteriorated the Native American culture, not only from pressing stereotypes against them, but also through their acceptance of said stereotypes. Bird feels that the internalization of the oppression continues it, and only by facing what we fear are we able to overcome. For Bird, "only in the moments when we are able to name the source of our deepest pain can we truly be said to be free of the burdens they represent" (Bird, 2). For her, we come to face these sources through watching Tayo face them in Ceremony. Tayo is clearly uncomfortable with his heritage; he felt he didn't belong because "[his] mother went with white men" (Silko, 118). Of course, this feeling didn't spring from within him alone. The feelings of separation were formed from outside sources; specifically, Auntie. From a young age, Tayo was aware that "he's not full blood anyway" (Silko, 30). Auntie made sure that Tayo was "close enough to feel excluded" (Silko, 61). Auntie's feelings, however, sprung from her own self-inflicted criticism. Her mixed identity, her heritage and her adopted Catholicism, leave her in a place of constant judgement, as well. With an early exposure to this kind of mindset, Tayo struggled with these feelings, only he would not allow himself to admit it. His fear of being the "other" kept him from opening himself to the heritage he needed to embrace. It was the lack of his culture, a fear of it, that leads him to despair. Bird feels that these struggles can be used to help the reader identify what it is they're hiding rom themselves; what it is they are too afraid to face. We see Tayo embrace his culture; the land, the stories, and the pride that comes from being aware of the lies of the white man. When he can see beyond what he had been taught by the white men, and those that subdued to what they were taught, Tayo learns what he truly is, no longer afraid to embrace it.
Bird also feels that language plays and essential role in decolonizing the mind. Through assimilation, the language and its roles have been lost. For Native Americans, language is an intricate, dependent structure that relies on the stories and histories for meaning. The art of language, as it is to them, plays a vital role in the culture; not just passing on stories, but creating an interdependent structure through which communication and history are built. Silko uses this idea throughout Ceremony, not only as a subject of colonization, but as a way to connect the story, to make all it's parts equal, and come together to form the complete transformation of the protagonist. In more than one way, as Bird points out, language is use to express this idea of connectedness to the reader. We learn through Ku'oosh that "no word exists alone, and the reason for choosing each word had to be explained with a story about why it must be said this certain way" (Ceremony, 32-33). While Tayo first feels that the language is "childish" (31), he comes to appreciate it and its powerful abilities and important roles in the culture.
Through applying Bird's theories to Ceremony, we are able to see how Silko portrays a character that deals with the struggles laid out in Bird's essay. It illustrates the internalization of colonization, where it comes from, and how one can overcome it. For Bird, Tayo's journey expresses the path one must follow in order to decolonize their minds, to see themselves through their own eyes rather that the eye of the oppressor. By learning of Tayo's struggles, the reader has a catalyst to help them conquer their own.
*My HTML decided not to work, so I couldn't italicize... I tried to fix it the best I could!
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