“History Lives in the Body”: The Body/Land/History Triad in Linda Hogan’s The Woman Who Watches Over the World
The article attempts to demonstrate how the metaphor of the clay woman’s broken body that opens Linda Hogan’s The Woman Who Watches Over the World establishes the author’s preoccupation with inventing a language invested with the corporeal, appropriate for vocalizing the distinct character of Native...
Đã lưu trong:
| Xuất bản năm: | URI:https://journals.openedition.org/erea, |
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| Tác giả chính: | |
| Định dạng: | Article ou chapitre numérique |
| Ngôn ngữ: | Anglais |
| Được phát hành: |
E-rea
2014
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| Những chủ đề: | |
| Truy cập trực tuyến: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Tóm tắt: | The article attempts to demonstrate how the metaphor of the clay woman’s broken body that opens Linda Hogan’s The Woman Who Watches Over the World establishes the author’s preoccupation with inventing a language invested with the corporeal, appropriate for vocalizing the distinct character of Native American experience and how this metaphor is further developed into a concept of history. In Hogan’s text Native history is inextricably connected with ancestral geography, replicated, like DNA, in contemporary Native bodies. Hogan offers an understanding of history expressed in terms of geographical locations as well as bodily experiences and sensations that are remembered, passed on and inherited in the same way genetic material is transmitted from one agent to another. Hence, history, memory and indigenous bodies become integral and integrated components of contemporary Native American identity. |
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