paginated. Silko, Leslie Marmon. Ceremony. New York: Penguin, 1977. Swan, Edith. “Feminine Perspectives at Laguna Pueblo: Silko’s Ceremony.” Tulsa Studies in Women’s Literature 11.2 (Autumn, 1992): 309-328. Work cited from within Swan, Edith: Allen, Paula Gunn. “The Psychological Landscape of Ceremony.” American Indian Quarterly. 5.1 (1979): 12. 8
Martha Garcia and Paula Gunn Allen both write in their essays of the challenges that Native American women have historically faced and continue to confront to this day. Major contributors to these challenges are the stereotypes and misconceptions by white male anthropologists and missionaries who studied the Native American tribes and found the women subservient and passive. Both of these authors strongly disagree in this characterization of Native American women and instead portray them as important
Paula Gunn Allen was an American Indian Poet that was the middle child of five siblings. She grew up on the Cubero Land Grant Reservation in New Mexico where she started her early education at St. Vincent Academy, followed by attending Missions School until the seventh grade at San Fidel in Pueblo town. She furthered her education by attending Colorado’s Woman’s College. Paula obtained her B.A. in 1966 and her M.F.A. in 1968 at the University of Oregon, that led to her receiving her Ph. D at the
The human species is qualified as a man and women. Categorically, gender roles relative to the identifying role are characterized as being either masculine or feminine. In the article “Becoming Members Of Society: Learning The Social Meanings Of Gender by Aaron H. Devor, says that “children begin to settle into a gender identity between the age of eighteen months and two years (Devor 387). The intricate workings of the masculine and feminine gender roles are very multifaceted and at the same time
Matoaka, also known as Pocahontas which meant “playful one”, was born on the year 1595. The book that I had read was Pocahontas: Medicine Woman, Spy, Entrepreneur, Diplomat by Paula Gunn Allen. It was published by HarperCollins Publisher Inc. in 10 East 53rd Street, New York, NY 10022 on the year 2003. She was an amazing person and woman who became famous for standing up for what she believed in. Pocahontas was the daughter of Chief Powhatan which made her an Indian Princess. When she was 12 years
- XV, Introduction [6] Etienne and Leacock, Women and Colonization: Anthropological Perspectives, Page 27, Chapter 1: Montagnais Women and the Jesuit Program for Colonization. [7] The Sacred Hoop, by Paula Gunn Allen, Page 3 of Introduction. [8] The Sacred Hoop, by Paula Gunn Allen , Page 33, Chapter "When Women Throw Down Bundles." [9] Literature of the American Indian, Sanders and Peek, Short story, Pages 41 - 43.
breakthroughs or life-altering discoveries. In “Pocahontas to Her English Husband, John Rolfe.”, Paula Gunn Allen argues that this is exactly what happened to Pocahontas. Not only did she helped the settlers by introducing them to the land and showing them how to grow tobacco, she also saved John Smith and his crew's lives. In spite of these things, Pocahontas gets overlooked throughout history. Allen shows how this happened through her poem. Her argument claiming Pocahontas was indubitably overlooked
everyone because it determines what they believe, how they live their daily life, and most importantly, the kind of person they can be. Works Cited Adams, Louis. “Sense of Place.” Interview by Mrs. Thibo’s H-English 10 class. 18 May 2010. Allen Gunn, Paula. “We Are the Land.” Native American Literature An Anthology.Ed. Marisa L’Heureux.Illinois:NTC/Contemporary Group Inc. ,1999.315. Irwin, Mary. “Sense of Place”. Interview by Interview by Mrs. Thibo’s H-English 10 class. 12 May 2010. Salish
I found the discussion of power in Paula Gunn Allen 's piece "Where I Come From Is Like This" to be particularly interesting. Her internal dynamic between the White society and the American Indian society allows her to speak to power in a unique way. She writes about never seeing any of the women
New York: Grove Press, 1993. Crow Dog, Mary E. & Erdoes, R. Lakota Woman.New York: Harper Perennial, 1990. Dorris, Michael. The Broken Cord Erdrich, L. Love Medicine (New and Expanded Edition). New York: Harper Perennial, 1984. Gunn Allen, Paula. The Sacred Hoop, Recovering the Feminine in American Indian Tradition. Boston: Beacon Press books, 1986. Mc. Farland, R. James Welch. Lewinston (IH): Confluence Press Inc., 1986. Momaday, N. Scott. House Made of Dawn. New York: Harper
tenet to Louise Erdrich’s novels are the narrators she employs to tell her stories. Each character from Nanapush to Marn Wolde offer their own perspective to the larger story as a whole and allow Erdrich to create a web of narrative complexity. Paula Gunn Allen argues in The Sacred Hoop: Recovering the Feminine in American Indian Traditions that Native American storytelling and storytellers act as mediators between conflicting views or sides (75). Erdrich takes this notion to heart in her novels; they
shaped eyes) might portray the distinctive look of a “I am a foreigner”. Moreover, their traditional clothes place the characters in a more sexualized light (Pocahontas dress is quite short, as in Jasmine’s costume the shoulders are almost bare). Paula Gunn Allen, a Sioux tribe member and a professor of literature, finds Disney’s portrayal of Pocahontas disquieting. She is “troubled that Hollywood’s sexual stereotyping eclipses much of the power women held in native cultures.” On the other hand, the elements
are lost when attempting to claim them. Silko reminds her readers that it may only be a ceremony, a key to consciousness, that would help us restore the fragile world with the acceptance of our interconnection. Annotated Bibliography Allen, Paula Gunn. The Sacred Hoop: Recovering the Feminine in American Indian Traditions. Beacon Press. Boston, MA. 1986 The Book deals with Female influence in contemporary Native American tradition, specifically selected for Allen’s insight into Leslie
Tuscon: U of Arizona Press, 1998: 76-120. Erdrich, Louise. Tracks. New York: Harper & Row, 1998. Green, Rayna, "The Pocahontas Perplex." Native American Voices: A Reader, ed. Susan Lobo and Steve Talbot. New York: Longman, 1998. 182-92. Gunn Allen, Paula. "The Feminine Landscape of Leslie Marmon Silko's Ceremony" Critical Perspectives on Native American Fiction. ed. Richard F. Fleck, ed. Washington D.C.: Three Continents Press, 1993. Hogan, Linda. Mean Spirit. New York: Ivy Books, 1990.
right for American Indians after being reterritorialized. In addition to the stories being told by the four American Indian mythical figures, he uses the technique of "singing" in order to mythic reterritorialize the lives of his protagonists. Paula Gunn Allen in "The Sacred Hoop" states that songs are a form of address in ceremonies (249), and that: "Ceremonial literature includes songs for many occasions: healing; initiating; planting, harvesting, and other agricultural pursuits; hunting; blessing
how to Find, Evaluate, Buy and Care for Them: Northland Press. 1975. Dutton, Betha P. Navajo Weaving Today: Museum of New Mexico Press. 1961. Kent, Kate Peck. The Story of Navajo Weaving: McGrew Printing and Lithographing Co. 1961. Allen, Paula Gunn. Grandmother of the Sun: Ritual Gynocracy in Native America: Page 12.
Knowledge of contemporary British poetry is of great importance when it comes to understanding the reigning trends of England. The 1970s saw a fair amount of polemic concerning the discontinuities of the national "traditions," most of it concerned with poetry, all of it vulnerable to a blunt totalizing which demonstrated the triumphant ability of "nation" to organize literary study and judgment--as it does still, perhaps more than ever. It remains the case twenty years later that there is a strong
Memory and the Quest for Family History in One Hundred Years of Solitude and Song of Solomon Pierre Nora proposes that "the quest for memory is the search for one's history" (289). In their attempt to reconstruct the communal histories of their people, Toni Morrison and Gabriel García Márquez rely heavily on the use of memory as a means to rewrite the history of those oppressed because of race, class and/or gender in a world where historiography has been dominated by the white man. Memory is