論文名稱：非典型原住民活力：傑偌•維森諾《熱線療者》中的 後印地安、喜劇與移動力 指導教授：梁一萍 教授 研究生：尤吟文 論文提要內容： 傑偌•維森諾（Gerald Vizenor）認為所謂的「印地安」（indian）是一個沒有指涉目標的空集合（absence without reference），而「原住民」（native）才是指這個文化所代表的真正的意涵。相較於其他原住民作家的作品，維森諾的寫作方式可說是獨樹一幟。在原住民文學中，許多的主題不外乎是尋找身分認同（identity）的過程、強調人與自然之間的和諧關係、表現白人社會與原住民文化之間的隔閡等等。這種思鄉式（nostalgia）的描寫方式對於維森諾來說不只是種老掉牙的（stereotypical）表現方式，更是主流文學（literature of dominance）加諸在原住民文化上的表現方式（manifest manners）。為了與主流文學抗衡，維森諾以搗蛋鬼論述（trickster discourse）的寫作技巧來顛覆原住民文學的傳統，以天馬行空的想像力及奇異怪誕的內容來表現另類的原住民作品。 《熱線療者》是維森諾在1997年的作品，書中的主人翁－－差不多部朗（Almost Browne）是本書中的搗蛋鬼，他穿越時空的限制，帶給讀者一個又一個的故事，這些故事不具有教導意義，而是表現出想像力的無限。差不多部朗曾經在許多維森諾的小說故事中呈現，在《熱線療者》一書中，他與他的姪子，也就是小說的敘述者，以插訶打諢、嘻笑怒罵的方式與政治界和學術界有了第一線接觸，他們也回到過去，目睹了原住民傳說的起源。每個小故事，不管時間地點為何，差不多部朗和他的姪子總是在場。這些故事也搭著原住民第一列火車－－納那波佐快車（Naanabozho Express），隨著列車的移動傳出去。 本文的第一章為總論，簡述維森諾生平、《熱線療者》的故事情節與維森諾自成一格的批評理論。為了表現出原住民文化以及生活的生命力、多樣性和複雜性，維森諾提出所謂的「後印地安」的觀念，指出「印地安」是一種虛擬的再現（simulated representation），只有具有想像力和生命力的「後印地安」才是真正的存在（presence），這也是第二章所討論的部分。第三章則是從喜劇出發，檢討原住民文學的悲劇犧牲性（tragic victimry）實為主流文學的表現方式，只有透過全喜劇論述（comic holotrope）才能真正了解原住民文學。第四章則聚焦於移動力（motion），直指原住民文學的不可限制性，唯有透過對於移動力的了解，原住民文學才能表現出其生命力及想像力，就像差不多部朗或是納那波佐列車一樣，永遠在宇宙間移動（always in motion）。第五章為結論，《熱線療者》是維森諾寫的最後一本有關差不多部朗的小說，在這本小說中，維森諾以另類的筆調及呈現方式將原住民文學帶到一個充滿創造力的世界，經由他的喜劇效果，《熱線療者》提供了另一個檢視原住民文學的角度（alternative, alter-native）。 / Indian, as Gerald Vizenor points out, is the absence of natives without reference to real native cultures while native is the presence of the native survivance. In the field of Native American Literature, the most common themes are the quest for identity, the harmony between nature and people and the conflict between native and white cultures. The nostalgic representation of natives depicted in these common themes, for Vizenor, is not only a stereotypical clich□ but also the manifest manners imposed on Native American Literature by the literature of dominance. In order to resist the burden imposed on Native American Literature, Vizenor, with his unique writing style, applies trickster discourse to subvert the stereotypes brought forth by the literature of dominance. With creativity and imagination, Vizenor presents alternative aspects for Native American Literature. Fascinated by the extraordinary writing style and narrative strategy, I find that the novel, Hotline Healers, illustrates Vizenor’s comprehensive viewpoints on Native American literature. Hotline Healers is Vizenor’s most recent novel which was published in 1997. In the novel, Almost Browne is a protagonist trickster who travels beyond the spatial and temporal limitations. The stories he tells with his travels are not intended to provide lessons; on the contrary, they are the true representation of native imagination. Almost Browne and his cousin, the narrator in the novel, take the first Native train, the Naanabozho Express, to give lectures in several occasions and result in several funny and hilarious encounters with politicians as well as academia. They also return to the past and witness the origins of the native folklores. Almost Browne and his cousin are omnipresent in the stories. With the moving of the Naanabozho Express, more and more stories disseminate native imagination and creativity. There are five chapters in my thesis. The first chapter, “Introduction,” summarizes the life and works of Gerald Vizenor, gives a plot summary of Hotline Healers, and introduces Vizenor’s critical conceptions on Native American Literature. In Chapter Two, I illustrate Vizenor’s view on postindian. Postindian, as Vizenor indicates, absolves the burden of stereotypical indian representations. With the idea of postindian, Vizenor focuses on the presence of natives as well as native vitality and imagination and thus subverts the culturalist stereotypical portraita of indian which is the simulated representation without reference. In Chapter Three, I concentrate on the comic effect employed by Vizenor in Hotline Healers. Comic holotrope is one of Vizenor’s writing techniques which is different from the themes of tragic victimry found in most Native American literary works. Comic holotrope presents the vitality of native culture while tragic victimry burdens Native American Literature with “manifest manners.” In Chapter Four, I explore the concept of motion in the novel. The idea of motion is not only the demonstration of the bounderlessness of Native American literary imaginatinos but also the representation of the transformative native wisdom. In the fifth chapter, I conclude that the novel, being Vizenor’s latest novel on Almost Browne, incorporates his alternative vision of tribal survivance and critical concepts of postindian, comic holotrope, and motion to elevate Native American Literature to a creative and imaginative world. The novel provides readers with an alternative point of view toward Native American Literature.

Gerald Heard (1889-1971) was an influential figure among the intelligentsia of the 1930s, once described by E.M. Forster as “one of the most penetrating minds in England.” However, he remains an ill-defined footnote, a marginal figure whose influence and reputation, although acknowledged, remains unexamined. This dissertation examines his life and work, and considers the role which Heard, as a generaliser and public intellectual, played in the intellectual landscape of the 1930s. Central to Heard’s philosophy was a belief that society was in need of a spiritual and psychological force which could allow isolated individuals to participate in community with one another. Heard’s solution to bring about this evolution of consciousness would prove to be partly psychological, partly mystical and partly down to the product of a particular way of living. The first chapter outlines Heard’s philosophy in detail. Subsequent chapters are structured so as to provide a loose biographical chronology, each focussing on a different phase of Heard’s career and examining the development of his thought. Running throughout the dissertation is a consideration of Heard’s role as a public intellectual. It was as a popular ‘generaliser’ of thought that Heard found his public, and the limited degree of success he found as a man of action could be seen to be a natural limitation of the role he had constructed for himself. Chapter II focuses on Heard’s time as personal secretary to Sir Horace Plunkett, father of the Irish Co-Operative Movement, and how the ideals of this movement can be seen to inform his developing ideas of human community. Chapter III looks at Heard’s role as a broadcaster with the B.B.C., where he became a noted populariser of science, firmly establishing himself as a public figure and cultural authority. It is arguably this increased public profile which provided Heard with a ‘public’ to whom he could address his ideas. Chapter IV, drawing on archival material from Dartington Hall, considers Heard’s role as a lecturer at Dartington School, and more importantly his first experiment to establish a small ‘group’ for meditation in an attempt to discover the mystical and psychological basis for a co-operative society. Chapter V examines his career as an outspoken pacifist, where he would advance his arguments for a radical reorganisation of society as a practical solution to the question of peace and further attempt to become a man of action.

Made available in DSpace on 2016-04-25T19:20:19Z (GMT). No. of bitstreams: 1 Celso Luiz Terzetti Filho.pdf: 1284343 bytes, checksum: 87a3503abceaa7b50093c806b47c799c (MD5) Previous issue date: 2012-04-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the history of Wicca, a religious system created by Gerald Gardner in England in the late 40th through three of his works that deal specifically with its conception of witchcraft, " High Magic s Aid" (1949) "Witchcraft Today" (1954) and "The Meaning of Witchcraft" (1959). Within a perspective that takes into account your inspirations for the creation of a system resulting from their original religious movement as a seeker in the occult milieu of his time, we seek to understand Wicca as a religious system through a counter cultural interpretation. Thus this work asks in what sense the works of Gardner is a historical product of their social time. Our hypothesis is that his works are a product of the social history of postwar England to the extent that Gardner, in constructing his conception of witchcraft in his works, appropriated counter-trend to compose a countercultural religious system / Esta dissertação analisa a história da Wicca, um sistema religioso criado por Gerald Gardner na Inglaterra em fins da década de 40, através de três de suas obras que tratam especificamente de sua concepção de bruxaria, Com o auxílio da Alta Magia (1949), A Bruxaria Hoje (1954) e O Significado da Bruxaria (1959). Dentro de uma perspectiva que leva em consideração suas inspirações para a constituição de um sistema religioso original resultante de sua circulação como um seeker dentro do milieu ocultista de sua época, busca-se entender a Wicca como um sistema religioso através de uma interpretação contra cultural. Sendo assim este trabalho questiona em que sentido as obras de Gardner são um produto histórico social de seu tempo. Nossa hipótese é a de que suas obras são um produto histórico social da Inglaterra do pós-guerra na medida em que Gardner, ao construir sua concepção de bruxaria em suas obras, apropriou-se de tendências contraculturais para compor um sistema religioso contracultural

This essay is concerned with two explanations of why oppressive social orders persist. According to the first, the so-called gunman theory of oppression (GT), these social orders persist because the oppressed are afraid being punished if they participated in a revolt. According to the second, the so-called ideology theory of oppression (IT), oppression persists because the oppressed are subject to ideology. Traditionally, the former has been associated with rational choice theory, and the latter with Marxism and critical theory. Analytical philosophers have been suspicious of IT since it involves functional claims. This essay shows that it is possible to make sense of both IT and its associated functional claim within the framework of rational choice theory. Chapter one provides an overview of the discussion and a presentation of the general argument against IT. Chapter two specifies the explanandum for the two theories in more detail. The chapter concludes with a description of three real-life persistent oppressive social orders. In chapter three, the basics of rational choice theory are introduced and GT spelled out. Some problems for the theory are identified and then dealt with. It is concluded that GT does a good job at explaining the persistence of tyrannies. Chapter four argues that ideology is necessary to provide satisfactory explanations of the other two cases of oppression described in chapter two. The chapter concludes with a specification of IT where the functional claim is made explicit. Chapter five defends Gerald Cohen's account of functional explanations against a dilemma formulated by Ann Cudd. In chapter six, three mechanisms are provided that indicate how the functional claim of IT can be demystified. Chapter seven concludes by indicating a statistical method for testing IT and describing some policy implications. / EXPLANATIONS OF REPRESSION BY A MINORITY OF THE MAJORITY — A RESEARCH PROGRAM

<p>In my dissertation, I interrogate the ways blood influences identity construction and how it shifts into a paradigmatic story, known as a blood narrative, that further determines belonging. In five chapters, I argue that the use of a blood narrative undermines sovereignty as well as the creative evolution of nations. I move from an examination of a blood narrative throughout American literature (chapter 1), through a study of legislation and science (chapters 2 and 3). In these latter two chapters, I turn to the Cherokee Nation's expulsion of Freedmen and the Eastern Band of Cherokee Indians' new membership requirement of DNA testing, which demonstrate influences of a blood narrative upon policy and legislation, and how biotechnology maintains this narrative through DNA and genomics. Finally, I explore novels from Gerald Vizenor (White Earth Anishinaabe) and Thomas King (Cherokee) that offer alternatives to a blood narrative (chapters 4 and 5). I use the term alternarrative here instead of counternarrative to focus on original alternatives, particularly from the alter position of the Native, not on reactionary or countering stories. The alternatives to this blood narrative emerge in both the modern and traditional stories of Native American peoples, providing recourse to understanding identity in ways other than blood. This new sense of belonging is especially important in a world where so many identities are determined by national boundaries, and limited by blood. These alternative narratives provide a new way of moving forward by embracing a survivance for the future, not just reacting to the past.</p> / Dissertation

Thesis (Ph. D.)--Lehigh University, 1998. / Includes vita. Includes bibliographical references (leaves 256-271).

This thesis argues that William Blake’s poetry creates meaning through internal poetic echoes, and that these Blakean echoes re-sound in Ernest Jones and Gerald Massey’s Poetry. There is no demonstrable link between Blake and Chartism; this raises the question of how to account for poetic echoes that occur in the absence of a direct link. The thesis uses two complementary methodological strategies. The significance of the Blakean echoes in Jones and Massey’s work will be demonstrated through extensive close textual analysis. This is accompanied by the historically focused argument that the Blakean echoes in Chartist poetry can be explained by a shared underlying cultural matrix of radical politics and radical Christianity. Chapter 1 opens by presenting the evidence against a demonstrable link between Blake and the Chartists. It outlines how the lack of a direct link impacts upon our understanding of the Blakean echoes in Chartist poetry. Existing theories of influence insufficiently describe these textual effects; this chapter draws upon aspects of Intertextuality and New Historicist theory to propose that Blake, Jones and Massey’s poetry is best considered in terms of echo, re-sounding and correspondence. Chapter 2 addresses the question of how Blakean echoes can occur in the absence of a direct link. Using recent Blake scholarship as a methodological model, this chapter outlines the ‘cultural matrix’ theory, suggesting that Blake and the Chartists engaged with many of the same radical historical ‘threads’. Chapter 3 explores key examples of Shelleyan influence in Jones and Massey’s poetry. This chapter highlights the direct intertextual link between Shelley and the Chartists and demonstrates how Chartist poetry might be discussed in terms of influence and allusion. Chapter 4 outlines the most notable Blakean echoes in the poetry of Jones. Jones’ poetry resonates with images of Priestcraft and Kingcraft, as well as chains and binding; similar images play a central role in Blake’s Songs of Innocence and Experience. The chapter contains significant engagement with Blake studies; it presents Blake’s imagery as echoingly interconnected both within and across poems and collections. Chapter 5 extends this close textual exploration to the work of Massey. Massey’s poetry contains many of the key Blakean images identified in the work of Jones. However, ‘The Three Voices’ contains an uncanny resonance of Blake; echo occurs as mis-hearing and trace. ‘Echo’ is not being used as a simple substitute for ‘allusion’, ‘influence’ or ‘intertext’, but here denotes an entirely different textual effect that must be judged in new terms. The conclusion summarises the thesis and asks whether the radical nature of Blake, Jones and Massey’s shared culture may have affected not only their vocabulary of imagery, but also the way in which these images were deployed.

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