4 research outputs found
Storied voices in Native American texts : Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko
"Storied Voices in Native American Texts: Harry Robinson, Thomas King, James
Welch and Leslie Marmon Silko" approaches Native American literatures from within an
interdisciplinary framework that complicates traditional notions o f literary "origins" and
canon. It situates the discussion of Native literatures in a Native American context,
suggesting that contemporary Native American writing has its roots in Native oral
storytelling traditions. Each of these authors draws on specific stories and histories from
his or her Native culture. They also draw on European elements and contexts because
these are now part o f Native American experience. I suggest that Native oral tradition is
already inherently novelistic, and the stories that lie behind contemporary Native American
writing explicitly connect past and present as aspects o f current Native reality.
Contemporary Native American writers are continuing an on-going and vital storytelling
tradition through written forms.
A comparison of the texts o f a traditional Native storyteller, Robinson, with the
highly literate novels of King, Welch and Silko, shows how orally told stories connect
with the process o f writing. Robinson's storytelling suggests how these stories "theorize"
the world as he experiences it; the Native American novel continues to theorize Native
experience in contemporary times. Native writers use culturally specific stories to express
an on-going Native history. Their novels require readers to examine their assumptions
about who is telling whose story, and the traditional distinctions made between fact and
fiction, history and story. King's Green Grass. Running Water takes stories from Western
European literary traditions and Judeao-Christian mythology and presents them as part of
a Native creation story. Welch's novel Fools Crow re-writes a particular episode from
history, the Marias River Massacre, from a Blackfeet perspective. Silko's Almanac of the
Dead recreates the Mayan creation story o f the Popol Vuh in the context o f twentiethcentury
American culture. Each of these authors maintains the dialogic fluidity of oral
storytelling performance in written forms and suggests that stories not only reflect the
world, but that they create it in the way that Robinson understands storytelling as a form
of theory.Arts, Faculty ofEnglish, Department ofGraduat
Chapitre 1. Le livre et les identités nationales
Le discours sur la nation dans la production imprimée a. b. mckillop En 1918, les intellectuels, hommes politiques, journalistes et éducateurs canadiens qui se représentaient leur pays par le moyen du langage disposaient essentiellement de cinq véhicules pour communiquer leurs idées : la salle de cours, la tribune publique, l’article, l’essai et le livre. L’imprimé, dans ces trois derniers cas, a conservé son prestige, même après l’avènement des médias radiotélévisés. La radio et la télévisio..
History of the Book in Canada. Volume III : 1918-1980
"The History of the Book in Canada is one of this country's great scholarly achievements, with three volumes spanning topics from Aboriginal communication systems established prior to European contact to the arrival of multinational publishing companies. Each volume observes developments in the realms of writing, publishing, dissemination, and reading, illustrating the process of a fledgling nation coming into its own. The third and final volume follows book history and print culture from the end of the First World War to 1980, discussing the influences on them of the twentieth century, including the country's growing demographic complexity and the rise of multiculturalism." -- Front flap of jacket
Histoire du livre et de l’imprimé au Canada, Volume III
Au Canada, le XXe siècle inaugure une Ă©poque faste en matière de culture du livre et de l’imprimĂ©. Après la Première Guerre mondiale, l’émergence de maisons d’édition indĂ©pendantes, d’associations d’auteurs, la crĂ©ation de prix littĂ©raires et scientifiques et de subventions Ă la production, notamment au QuĂ©bec, sont autant de signes de la vitalitĂ© du livre dans la transmission et la promotion d’une culture nationale, dĂ©sormais projetĂ©e dans la durĂ©e et conçue comme un hĂ©ritage essentiel. C’est ainsi que l’on peut voir se dĂ©velopper une culture du livre distincte de l’imprimerie et de la presse, oĂą les Ă©diteurs deviennent progressivement des architectes de la culture canadienne. Ce troisième volume de l’Histoire du livre et de l’imprimĂ© au Canada couvre la pĂ©riode de 1918 Ă 1980, durant laquelle des transformations cruciales ont eu lieu. Ainsi, les deux grands groupes linguistiques du pays s’enrichissent de structures Ă©ditoriales distinctes, et grâce aux pĂ©riodiques, les populations autochtones et les communautĂ©s ethniques et religieuses s’approprient les outils de la communication Ă©crite pour exprimer leurs valeurs, affirmer leur appartenance sociale et crĂ©er des liens de solidaritĂ©. La Deuxième Guerre mondiale crĂ©e une demande nationale accrue pour le livre canadien qui se dĂ©ploie alors sur la scène internationale. Au mĂŞme moment, le cinĂ©ma, la radio et la tĂ©lĂ©vision, phĂ©nomènes nouveaux, favorisent la pĂ©nĂ©tration d’une production de masse en provenance des États-Unis. L’affirmation d’une identitĂ© canadienne s’accentue encore dans les annĂ©es 1960 au moment oĂą les littĂ©ratures canadienne et quĂ©bĂ©coise connaissent une pĂ©riode d’effervescence sans prĂ©cĂ©dent. Enfin, après plus d’un siècle de luttes et de revendications, d’actions individuÂelles et collectives, les gouvernements mettent en place des structures de soutien Ă la crĂ©ation littĂ©raire et au livre qui en assureront l’essor au cours des annĂ©es 1980