Naslov
Suvremena književnost američkih starosjedilaca
(Contemporary Native American Literature)

Autori
Runtić, Sanja, Knežević, Marija

Ostali urednici
Runtić, Sanja

Vrsta, podvrsta i kategorija knjige
Autorske knjige, monografija, znanstvena

Izdavač
Filozofski fakultet Sveučilišta Josipa Jurja Strossmayera u Osijeku

Grad
Osijek

Godina
2013

Stranica
249

ISBN
978-953-314-059-9

Ključne riječi
Književnost američkih starosjedilaca; Leslie Marmon Silko; Louise Erdrich; Thomas King; John Trudell; Vine Deloria Jr.; Taiaiake Alfred; matrica narodnosti; pripovijedanje; hibridnost; poskolonijalno; postmoderno; varalica; protupripovijest; Gerald Vizenor; Louis Owens; Craig Womack; Tom Holm; Jace Weaver; Daniel Heath Justice; Homi Bhabha
(Native American Literature; Leslie Marmon Silko; Louise Erdrich; Thomas King; John Trudell; Vine Deloria Jr.; Taiaiake Alfred; peoplehood matrix; storytelling; hybridity; postcolonial; postmodern; trickster; counter-narrative; Gerald Vizenor; Louis Owens; Craig Womack; Tom Holm; Jace Weaver; Daniel Heath Justice; Homi Bhabha)

Sažetak
Zbog rastućeg opsega i heterogenosti suvremenog starosjedilačkog književnog korpusa, ova knjiga ne pretendira biti njegov sveobuhvatan pregled, nego u razmatranje uzima nekoliko ključnih i reprezentativnih djela—romane Ceremonija (Ceremony, 1977.) i Pripovjedač (Storyteller, 1981.) Leslie Marmon Silko, Ljubavna magija (Love Medicine, 1984.) i Tragovi (Tracks, 1988.) Louise Erdrich te Medicine River (1989.) i Zelena trava, voda koja teče (Green Grass, Running Water, 1993.) Thomasa Kinga. U žarištu su čitanja koncepti pripovijedanja, narodnosti i hibridnosti kojima želimo ukazati na poetološku i epistemološku posebitost suvremenog starosjedilačkog pisma. U prvom poglavlju razmatramo distinktivna poetološka obilježja starosjedilačke književnosti te problematiku njezine klasifikacije i njezina određenja prema dominantnom književno-kritičkom kanonu. Prikazom teorijskih pristupa Arnolda Krupata, Jamesa Rupperta i Andrewa Wigeta te predstavnika starosjedilačke književne kritike Louisa Owensa, Grega Sarrisa i Geralda Vizenora ukazujemo na aplikabilnost postkolonijalnog koncepta hibridnosti i Bahtinova dijalogizma pri interpretaciji suvremenog starosjedilačkog pisma. Kroz komponente jezika, srodstva, pripovijedanja, kolektivnog pamćenja, mjesta i ceremonija razmatramo recentne teorijsko-metodološke priloge disciplini indijanskih studija—model etičke kritike autora antologije Reasoning Together (2008.) Craiga Womacka, Roberta Warriora, Jacea Weavera, Daniela Heatha Justicea i Christophera Teutona te matricu narodnosti Toma Holma, Diane Pearson i Bena Chavisa. U drugom poglavlju analiziramo tehnike konceptualnog posredovanja u romanima Ceremonija i Pripovjedač Leslie Marmon Silko. Pritom u središte interesa stavljamo strategije hibridnosti i subverzije dominantnog žanra elementima narodnosti utkanim u kompoziciju i kronotoptih djela. Dok roman Ceremonija promatramo s obzirom na efekt recepcijske reorijentacije stvoren razgradnjom konvencija romana potrage i alijenacije, dijalog s dominantnom tradicijom u romanu Pripovjedač iščitavamo kroz otklon tog djela od zapadnog koncepta autorstva i autobiografije te njegove formalno-stilske preinake narativne teksture. U trećem poglavlju u razmatranje uzimamo "protupripovijesti" Louise Erdrich i Thomasa Kinga. Odnos prema povijesti osnovno je polazište čitanja Erdrichina romana Tragovi. U žarištu je pritom ponešto sporan odnos postmodernog pisma prema povijesti, ali i prema postkolonijalnoj književnosti i teoriji. Motrenjem signala magijskog i grotesknog realizma te diskursa ludila ukazujemo na Erdrichine postmoderne strategije povijesnog i epistemološkog prijenosa. Uz postmoderne metodološke protokole Jean-Françoisa Lyotarda, Linde Hutcheon, Ihaba Hassana, Andreasa Huyssena i Davida Lodgea, tumačenja magijskog realizma Lois Parkinson Zamore, Wendy B. Faris, Thea D'Haena i Stephena Slemona te teorija mimikrije i trećeg prostora Homia Bhabhe, antikolonijalni karakter Erdrichinih tekstova otkrivamo i pomoću koncepta varalice. Dok u romanu Tragovi tipologiju varalice sagledavamo kroz karakterizaciju pojedinih likova pomoću Bahtinova tumačenja karnevala i menipejske satire te diskursa varalice Geralda Vizenora, pri čitanju romana Ljubavna magija polazimo od postmodernih strategija fabularne atomizacije, jezične igre i recepcijskog dijaloga. Odnos starosjedilačkog pisma i povijesti dalje razmatramo kroz polemičke tekstove Thomasa Kinga: Izmišljanje Indijanca: bjelački likovi, starosjedilačka usmena književnost i suvremeni starosjedilački pisci (Inventing the Indian: White Images, Native Oral Literature, and Contemporary Native Writers, 1986.), Sva moja rodbina (All My Relations, 1990.), Istina o pričama: starosjedilački narativ (The Truth about Stories: A Native Narrative, 2003.), "Godzilla vs. Postcolonial" (2004.), Nezgodan Indijanac: čudan izvještaj o starosjedilačkom narodu iz Sjeverne Amerike (The Inconventient Indian: A Curious Account of Native People in North America, 2012.) te njegove romane Medicine River i Zelena trava, voda koja teče, ističući pritom značaj retoričkog suvereniteta indijanskog pisma. Naglašavanjem empirijske, formativne i prokreativne funkcije pripovijedanja u indijanskim kulturama analiziramo Kingove tehnike rekonceptualizacije zapadne monološke linearne povijesti uvođenjem narativnog višeglasja i starosjedilačke hermeneutike zajednice. Promatrajući elemente fantastičnog i nadrealističnog te trop varalice, kojim Kingovi romani u humoristično-parodičnom tonu "komadaju" veliku priču osvajanja i njezine formativne mitove, ukazujemo na vitalnu ulogu pripovijesti kao nositelja kulturnog ozdravljenja i univerzalne povijesne istine. U četvrtom poglavlju prikazujemo društveno-politički kontekst nastanka suvremene starosjedilačke književnosti i discipline indijanskih studija. Razmatramo djela začetnika indijanskog intelektualnog aktivizma Vinea Delorie Jr.-a Custer je umro za tvoje grijehe: indijanski manifest (Custer Died for Your Sins: An Indian Manifesto, 1969.) i Iza puta prekršenih sporazuma: indijanska deklaracija nezavisnosti (Behind the Trail of Broken Treaties: An Indian Declaration of Independence, 1974.) te odnos i temeljne razlike između starosjedilačkog pokreta stvorenog koncem šezdesetih i Pokreta za građanska prava. Uz povijesni pregled starosjedilačkog aktivističkog pokreta, prvi dio ovog poglavlja uključuje i kronologiju pravno-političkih odnosa indijanskih plemena i američke Vlade te prikaz položaja starosjedilačkih zajednica u drugoj polovici 20. st. Potom analiziramo književni izričaj Johna Trudella—njegovu hibridnu, eksperimentalnu i nadasve angažiranu poeziju te specifičnu "holističnu" filozofiju koju određujemo kao "spoj starosjedilačke duhovnosti i suvremene ekonomsko-političke analize". U trećem dijelu poglavlja izdvajamo djela Mir, snaga, pravičnost: starosjedilački manifest (Peace, Power, Righteousness: An Indigenous Manifesto, 1999.) i Wasáse: starosjedilački putovi djelovanja i slobode (Wasáse: Indigenous Pathways of Action and Freedom, 2005.) Taiaiake Alfreda, istaknutog suvremenog aktivista iz akademskih redova. Važnost mentalne i psihološke dekolonizacije te regeneracije starosjedilačkih kultura povratkom tradicionalnim duhovnim vrijednostima, ali i mogućnosti iznalaženja zajedničke filozofije opstanka indijanskih i neindijanskih kultura neke su od tema koje zahvaćamo analizom tekstova tog, kako ga mnogi nazivaju, Deloriina nasljednika. Naposljetku, usporedbom teorijskih postavki Craiga Womacka, Roberta Warriora, Deaniela Heatha Justicea, Jacea Weavera i Elizabeth Cook-Lynn suvremenu starosjedilačku književnost i teoriju određujemo kao neizostavan aspekt aktivizma kojim starosjedilački narodi ispisuju svoj glas i opstanak u kulturno-povijesnom prostoru Amerike i aktivno mijenjaju svijet.

Izvorni jezik
Hrvatski

Znanstvena područja
Filologija

Napomena
  Because of the growing and heterogenous scope of contemporary Native literary corpus, this book does not intend to be its comprehensive survey. Instead, it takes into account several representative texts—Leslie Marmon Silko's novels Ceremony (1977) and Storyteller (1981), the novels Love Medicine (1984) and Tracks (1988) by Louise Erdrich, as well as Medicine River (1989) and Green Grass, Running Water (1993) by Thomas King. Our reading focuses on the concepts of storytelling, peoplehood and hybridity, which, we hope, may help distinguish the poetic and epistemological uniqueness of contemporary Native American writing. The first chapter of this book looks at the distinctive poetic features of contemporary Native American literature and problematizes its classification and its definition in the relation with the dominant literary and critical canon. Drawing from Arnold Krupat, James Ruppert, and Andrew Wiget, as well as the representatives of American Indian critical theory, such as Louis Owens, Greg Sarris, and Gerald Vizenor, we point to the applicability of the postcolonial concept of hybridity and Bakhtin's dialogism in the interpretation of contemporary Native writing. Bringing into focus the components of language, kinship, storytelling, collective memory, place, and ceremonies, we observe recent theoretical and methodological contributions to the discipline of American Indian studies—the model of ethical criticism, put forth by the co-authors of the anthology Reasoning Together (2008) Craig Womack, Robert Warrior, Jace Weaver, Daniel Heath Justice and Christopher Teuton, and the peoplehood matrix developed by Tom Holm, Diane Pearson and Ben Chavis. In the second chapter we analyze the techniques of conceptual mediation in the novels Ceremony and Storyteller by Leslie Marmon Silko. Thereby we focus on strategies of hybridity and subversion of the dominant genre through elements of peoplehood woven into the composition and the chronotope of these works. Whereas the reading of Ceremony emphasizes the effect of the receptional reorientation attained through the adaptation of the conventions of the quest romance and the trope of alienation, the dialogue with the dominant tradition in Storyteller is read through the novel's departure from Western concepts of authorship and autobiography, and through its formal and stylistic deviations from dominant narrative and textual conventions. The concerns of the following part of the book are Louise Erdrich's and Thomas King's "counter-narratives." Its reference to history is our starting point while reading Tracks. Further on, we concentrate on a relatively controversial relation of postmodernism to history, as well as to postcolonial literature and theory. Observing the signals of magic and grotesque realism and the discourse of madness, we point to Erdrich's postmodern strategies of historical and epistemological translation. Along with the postmodern methodological protocols of Jean-François Lyotard, Linda Hutcheon, Ihab Hassan, Andreas Huyssen and David Lodge, the interpretation of magic realism provided by Lois Parkinson Zamora, Wendy B. Faris, Theo D'Haen and Stephen Slemon, and Homi Bhabha's theories of mimicry and third space, the anti-colonial character of Erdrich's texts is also examined through the concept of trickster. Whereas in Tracks the trickster typology is viewed through the characterization—drawing on Bahtin's interpretation of carnival and the menippean satire, and trickster discourse as explained by Gerald Vizenor—our reading of Love Medicine is grounded in postmodern strategies of the fracturing of plot, linguistic play, and receptional dialogue. The relationship between Native writing and history is further elucidated through Thomas King's polemical texts Inventing the Indian: White Images, Native Oral Literature, and Contemporary Native Writers (1986), All My Relations (1990), The Truth about Stories: A Native Narrative (2003), "Godzilla vs. Postcolonial" (2004), The Inconvenient Indian: A Curious Account of Native People in North America (2012), as well as through his novels Medicine River and Green Grass, Running Water, which help us emphasize the significance of rhetorical sovereignty Native American writing is struggling to achieve. By underlining empirical, formative, and procreative functions of narrative in native cultures, we read King's deconstruction of Western monologic linear history as achieved by exploitation of narrative polyphony and native hermeneutics of community. Our survey of the fantastic and surrealistic elements of King's texts, together with his employment of the trickster trope, allows us to understand the unique humoristic and parodic tone with which they "tear into pieces" the grand narrative of conquest and its formative myths, and point to the vital function of stories as bedrocks of cultural recovery and universal historical truth. The fourth chapter is devoted to the socio-political context to the emergence of contemporary Native American writing and the American Indian studies as a separate discipline. We discuss the works of the founder of native intellectual activism Vine Deloria Jr.—Custer Died for Your Sins: An Indian Manifesto (1969) and Behind the Trail of Broken Treaties: An Indian Declaration of Independence (1974), as well as the relationship and basic discrepancies between American Indian activism initiated at the end of the 1960s and the Civil Rights Movement. Alongside the chronological review of Native activist movements, the first part of this chapter provides sequential inquiry into legal and political relationship between the tribes and the American Government, and the status of native communities in the second part of the twentieth century. With this background, we turn to the literary voice of John Trudell—his hybrid, experimental, and, most of all, committed poetry and a specific "holistic" philosophy which we define as a "mixture of native spirituality and contemporary economic and political analysis." In the final part of this chapter, we work with Peace, Power, Righteousness: An Indigenous Manifesto (1999) and Wasáse: Indigenous Pathways of Action and Freedom (2005) by a renowned academic activist Taiaiake Alfred. The importance of mental and psychological decolonization and regeneration of native cultures by recovery of traditional spiritual values, as well as a possibility to devise a common philosophy of survival that would work both for native and non-native cultures are some of the issues we tackle by analyzing the text of this, as some native scholars call him, Vine Deloria's heir. Finally, by comparing theoretical assumptions of Craig Womack, Robert Warrior, Deaniel Heath Justice, Jace Weaver, and Elizabeth Cook-Lynn, we define contemporary Native American literature and its theory as a substantial aspect of activism by which the people native to North America bring positive change, inscribing their voice and their survival in the cultural and historical space of the continent.

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