KIOWA IMAGES, STORIES, AND HUMAN/ MORE-THAN-HUMAN RELATIONS IN ALFRED AND N. SCOTT MOMADAY'S THE WAY TO RAINY MOUNTAIN THE WAY TO RAINY MOUNTAIN: IMÁGENES, HISTORIAS Y RELACIONES HUMANAS/MÁS-QUE-HUMANAS EN LA MEMORIA KIOWA DE ALFRED Y N. SCOTT MOMADAY (original) (raw)
Related papers
An Ecocritical Reading of Water Symbolism in a Selection of Two Female Native American Poets
مجلة البحث العلمی فی الآداب, 2019
This paper offers an ecocritical and narrative reading of a selection of poems from both Harjo and Hogan. It explores native American legacy and their sense of hope and revival expressed in their poetry. The selection of poems discussed in this paper expands our understanding of narrative, with its plot, time and perspective as basic constituents and how it gives way to multi-focality, timelessness and blurring of main and marginal in the plot covering both anthropocentric and biocentric perspectives without overlooking issues of representation, human cognition and multiple levels of agency. Adopting ecocritical and narrative approaches relocates nature and spirituality, with focus on water symbols, in the centre of artistic expression not overlooking stylistic and textual properties at the representation of human consciousness. Forms of artistic expression offer to expand the or al-tradition and legacy of Native Americans yet in-English‖ and poetic form.
Comparative Indigenous Studies, ed. Mita Banerjee. Heidelberg: Winter, 2016., 2015
The aim of this essay is to suggest and theorize an indigenous critique and disruption of settler colonial biopolitics that specifically takes into account the activist and political potential of Native literature. An analysis of N. Scott Momaday’s (Kiowa) life-writing text The Way to Rainy Mountain (1969) as a text of biopolitical critique thus seeks to demonstrate how indigenous literatures not only express but generate a specific position towards settler colonial biopolitics that disrupt them in their assumed totality and have significant implications not only for the reading of Native American literatures but also for a comparative and trans-indigenous framework.
The Road to Indian Wells: Symbolic Landscapes in the California Desert
Symbolic Landscapes. Gary Backhaus and John Murungi, eds. Dordrecht, Netherlands: Springer, 33-63., 2009
Editors' Note: The approach of this chapter demonstrates symbolization not to be an intellectualist deduction or Kantian construction, but rather an existential generation from pre-cognitive embodiment. Moreover, it exhibits theoretical tensions that we point out in the introduction concerning the relation between the symbolic dimension and material conditions. What strikes us is that the author's attunement to his lived experiences, his own embodiment in relation to the experienced milieu, is the motivation for trying to understand the meaning of this particular landscape through an engagement with the layers of its symbolic history. It is the non-resonance within the author's own body schema that manifests as the uncanny in his felt experience. His awakened attunement to this feeling is what drives him to research the symbolic landscape with which his embodied gestures has had to negotiate. His discussion of the genius loci of the Coachella Valley, the contemporary affluents' and the prior Cahuillas' embodied experiences, and their respective sym-bolizations, illustrates the notion that the genesis of symbolic landscapes (sym-bolic meanings) involves the lived-body in relation to the milieu (EarthBody) that is enacted in the body schema and objectivated in social/cultural practices and beliefs.
Contemporary Literature, 2000
[H]ow do we encourage and develop an ethic that goes beyond intrahuman obligations and includes nonhuman nature? Gary Snyder, 'A Village Council of All Beings" n 1996, Gary Snyder published a long poem cycle that he had been working on for forty years. Comprising thirty-nine interlinked poems, Mountains and Rivers without End is hugely ambitious; far more than a national epic, the book is conceived on a planetary scale. Among other things, it weaves together geology, ecological concerns, East Asian landscape painting and Noh drama, Native American mythology, and ethical reflection. Yet any such summary cannot do this book justice. It represents the culmination of Snyder's career. In my account of Mountains and Rivers without End I want to argue that since it harmonizes a vast range of disparate utterances into a collective voice, the poem's voice should be understood as impersonalthat is, as something other than Snyder's individual voice or the My work on this essay was conducted under the auspices of a yearlong research workshop on Mountains and Rivers without End at Stanford University. I am grateful to the Stanford Humanities Center, and its director, Keith Baker, for the residential fellowship supporting my research, and for sponsoring the Mountains and Rivers workshop. The participants in that workshop, inspired by its convener, Mark Gonnerman, formed an ideal community in which to study the poem and its multiple contexts.
Chapter 5 Naturally Disturbed: Reimagining the Pastoral Frontier
This chapter draws on my PhD research project, Naturally Disturbed, which explored how visual art may help to facilitate a broader cultural understanding of shifts in environmental thinking. The project combined field and archival work in an ontological interrogation of the legacy of pastoralism introduced by colonial-settler society. Using studio research, I developed artworks using the processes of bricolage and photomontage to destabilise normative references, transforming historical photos, archival material and found objects into unexpected forms or images. Through this creative approach, white settler culture emerged as strange, allowing other ways of imagining history.
ABSTRACT “Oklahoma – Nararachi, peyote road landscapes” puts together science and art knowledge, this thesis work deals with images and words, memory and identity, travel and trance to build landscapes. Traveling by car, on the road, trip starts in Oklahoma, goes on through Texas, Arizona, California, and New Mexico, crossing the border towards Chihuahua, to finish at the Sierra Tarahumara. It is an artistic exploration and research work conducted as a work in progress, following the contemporary Cheyenne poet Lance Henson. This work provides a crossing of glances crossing photography (Cabanzo Francisco, visual artist), documentary film (Federico Lanchares, documentarist) and poetry languages (Lance Henson, poet and writer, Sundance ceremonial dancer, Dogsoldier clan member, trip guide). This effort helps make landscapes emerge, overlap, contrast or be complementary, the documentary trip format, “road movie”, adopted reinforces the idea of the transit: creative action as trance practices, transit as process of self-conscousness, life itself as time-space transit, existence transcendence linked to transitory identities, to flowing of situations and places, construction of transitory characters and identities mixing and contamination, mutations of ambiguous spatial and symbolic syncretism. Research work has been functionally focused towards a documentary project, begining with research assistance, the construction of the characterizations, and the hypothetical trip routes formulation. The work was extended in it’s objectives and results horizon. It developed into a work in process project a three hands storyboard, and preproduction successive re-project drafts writing. It also envolved direction assistance and project production management filming in Italy and then in the United States and Mexico. And finally visual and written results edition, treatment and interaction within public in the form of an artist book and an exhibition installation. The outcome of the field investigation, in addition to the results refered above, consists in a theorical and conceptual state of arts revision related to trascendcental arts. The thesis is presented in three parts: Part ONE contains the artistic and field work results. Photographic record of trip, scouting backstage and impressions of daily life (white and black) contrasting with insights and trance moments (treated polarized color and sound sequences), poetry writings facsimile (digital treatment) to add the ‘trip diary’ poems and writings. An artists book format is used for images and texts contrast contents within an interactive exhibition format conceived as a space installation mixing texts and photos with traces and objects collected during the trip. Sculptures of spatial archetypes help expectators-participants interaction activating trance sequences and sounds. The intraction helps to build his own experience from his own point of view, both perceptive and cultural. Building new landscapes. Closing the installation, people can see two documentaries loop, "Words from the edge" and "impressions from peyote road", (two pieces, of an unfinished triptych). Part TWO contains a secondary sources review, as part of field work preliminary research. The theoretical framework, the focal orientation, as well as the characterizations of characters, situations, ceremonies and places, plus hypothetical routes and the research and artistic experimentation conclusions. The project remains open, conclusions are partial and presented as impressions besides possible transcendental art research and experimental developments. Part THREE annex contains partial fieldwork results. Interviews and diaries, online key words information research and poems analysis. Significance territory density tables and maps. Exhibition installation and documentary projects. NOTE FOR THIS RESUMED VERSION Readers will notice a great difference between this resume and the complete version of this thesis, composed by three parts in two volumes. First of all, this is the resume of the second part, in which images or any visual material were taken away. It also lacks the artistic graphic and video material contained in part one plus two DVDs with videos. The thing is that as there has not still been invented a method, or a language, able to resume images and sounds, and an effort to do so would have finished by just “cutting” ones or “leaving” others, with no plausible solution in terms of content and significacy. Therefore the choise was to eliminate them all. The absence of any visual material underlines the value of arts and visual discourses by themselves in the epistemological order, as vicual and sound information is crucial for art’s process of building discourses and knowledge. This text also has no references or notes, just surnames of authors in parenthesis. Secondary information elaborations are contained in part three. No examples and cases that support the hipotesis are contained here, they can be found in the part two of the thesis.
The Photograph That Took the Place of a Mountain, 2018
The Photograph That Took the Place of a Mountain is a diverse collection of writings on the philosophy, politics, and art of photography. Its topics range from the tension between artist and model to the landscapes of the American West, the surfaces of a second-hand New York City, and the predicament of transcultural photography. Taco Hidde Bakker has selected and revised sixteen pieces of writing from a variety of publications spanning the past decade of his journeys through photography and art. In addition, Bakker has written four new pieces for this volume. Often engaging in close collaboration with the artists about whose work he writes, Bakker explores different literary forms in response to their views. The recurring reference to poetry informs the productive friction between images and the words that accrue around them. The Photograph That Took the Place of a Mountain contains writings about artists such as Witho Worms, Onorato & Krebs, Dirk Braeckman, Renato D’Agostin, Tom Callemin, Mariken Wessels, Ken Schles, Stephan Keppel, and Francesca Woodman. https://fw-books.nl/product/taco-hidde-bakker-the-photograph-that-took-the-place-of-a-mountain/
Indigenous Poetics and Transcultural Ecologies
Interdisciplinary Literary Studies, 2018
This article outlines a transcultural fluctuation between indigenous poetics from Australia and South America in order to respond to some of the most pressing concerns in contemporary ecocritical discourse. I propose that we might turn to indigenous knowledge systems not as part of a reactionary, antimodern form of Romanticism, but as an alternative, syncretic understanding of the contemporary, in which the past is partner to the present in the formation of future possibility. I outline key features of Indigenous Australian and South American thought, including the centrality of language and poetics in the maintenance of country, before outlining an Indigenous philosophical poetics that spans the Australian and American continents. Indigenous knowledge systems, while to some extent understandable with generalized terms such as “The Dreaming” or “Pachamama” (“World Mother”), are thoroughly localized conceptions of much more extensive, transnational forces.