This thesis aims to analyze how Native American tradition storytelling functions in the life narratives of Leslie Marmon Silko and Linda Hogan¡XStoryteller and The Woman Who Watches over the World¡Xto portray the formation of the self which is inseparable from the themes of the stories that the authors constantly center on. I categorize their stories into three spheres¡Xthe land, the community and the myth¡Xand in so doing illustrate three dimensions of the self: the land-based self, the collective self and the mythical self. Through writing about the land, the community and the myth, indirect ways of self-telling can be observed and is worth further discussion. This thesis argues that it is through this indirect writing technique that Silko and Hogan are allowed to disclose their private selves without violating the Native American tradition and to turn the self-telling into a means of speaking for the community. In the end, this thesis will compare the selves that Silko and Hogan present in each dimension and point out that Silko¡¦s self is community-based while Hogan¡¦s self centers on the entire humanity.

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Dennis Moore, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 21, 2004). Includes bibliographical references.

This thesis aims to examine how Native Americans survive through storytelling, using Linda Hogan¡¦s Solar Storms as my anchor text. The entire work proceeds in five chapters. The first chapter is my introduction. Chapter Two, ¡§Famine Stories,¡¨ delineates the mental starvation that Native Americans suffer. In this novel, there are abundant stories dealing with the trauma caused by colonial deprivation. Such stories are termed as ¡§famine stories,¡¨ which according to its influential level, is further divided into three kinds¡Xpersonal famine stories, familial famine stories, and communal famine stories. These stories intertwine with one another, and their causes can all be traced to the colonial history. Chapter Two, ¡§Feed Me Stories,¡¨ intends to seek a recovery from Native people¡¦s mental famine. Taking Angel¡¦s self-constructing journey as an example, I argue that storytelling reconnects the lost Native American with the lost past. In addition, stories reconstruct the Native worldview, which looks forward to harmony and balance between the human and non-human. Emerged in her grandmothers¡¦ storytelling, Angel comes to realize her mother culture and rebuild her Native identity. Moreover, she retrieves her correlation with the land, develops an intimacy with animals and plants and inherits her family tradition to be an herbal woman. She at last recovers from her psychical wounds. Chapter Three, ¡§The Future Storyteller,¡¨ sheds light on Hogan¡¦s intention to carry Native survivance into the future. Protesting against dam construction, Angel takes the tribal future as her responsibility. She devotes her love to nurturing the tribal youth and justifying her Native living right by revealing the deprivation which traumatizes the Native community. Her telling is powerful. It challenges the dominators¡¦ covering the truth up, and puts Native perspective into attention. She de-annihilates Native culture and assures its prosperity in the future. What she does corresponds to Gerald Vizenor¡¦s ¡§Native Survivance,¡¨ ensuring ¡§an active sense of presence,¡¨ and ¡§the continuance of native stories¡¨ (vii). The entire tribe is reunified due to storyteller¡¦s effort and the community is again ¡§the Beautiful People¡¨ (313).

As Athapaskan-speaking people with a lifestyle distinct from other Southwestern groups, Navajos, upon entering the Southwest in the sixteenth century, are thought to have begun a process of culture change that persists to this day. The anthropological view of Navajo culture is that it is a synthesis of Athapaskan and Puebloan culture traits, and early archaeological studies of Navajo culture reinforced this view. Navajo archaeology continues to suffer from a general lack of Navajo perspectives on their own history andarchaeological record. I examine Navajo identity expressed in the built environment and the negotiation of intrusive federal Indian policies in the late nineteenth and early twentieth centuries using narratives from a ceremony called the Blessingway and theories of agency, practice, history, and structuration. Environmental, architectural, dendrochronological, artifactual, and historical data collected from 393 hogan sites recorded in the Four Corners area during the Navajo Land Claim Project in the 1950s comprise the basis for my study. Data analyses indicate that in spite of the imposition of policies designed to alter Navajo lifeways and relationships with the landscape, American colonial interactions did not dramatically alter the core of nineteenth and twentieth century Navajo culture. The dialectic between colonial policy and traditional Dine culture resulted in persistent architecture, settlement patterning, and decision making about movement over landscapes in spite of conflicts over land and water. Historically, theories and methods arising from the Western tradition have been the main avenues through which archaeologists interpret and make sense of the Indigenous past in North America. The growing body of modern literature in Indigenous archaeology now consciously includes, and often takes as its starting point, Indigenous perspectives on the past, and the practice of archaeology in America. Practitioners of Indigenous archaeology seek to strike a balance between Western perspectives and Indigenous worldviews and to increase the participation of Indigenous people in the discipline. My study is an attempt to weave together Indigenous and Western philosophies in a mutually beneficial manner.

ABSTRACT Kant says that space has no independently real existence. What he means is that apart from the human mind, space is not real. Of course, it is real to us, he argues—in fact, space is the very condition that makes possible an experience of objects in space. However, space and time are mere forms of human sensibility, and as such: That which is not sensed is neither spatial nor temporal. With regard to space, commentators have argued that although they are inclined to accept that space is a form of human sensibility—a subjective condition of thought or mode by which representations (empirical) are manifest in intuition—nevertheless, space might be a feature of a world that exists independent of the mind. These commentators accuse Kant of having neglected two possibilities: (1) that the representation of space is both subjective and objective at once—that is, a subjective condition of human sensible intuition yet an “objective” quality of a mind-independent reality; and (2) that although the representation of space in sensible intuition is subjective, as Kant suggests, it could be the case that things as they are in themselves exist in space, independent of human sensibility. The focus of the following chapters is first to consider Kant’s subjectivity thesis in its strongest sense—the view that space and time are mere forms of human sensibility. Second, I address the alternative to the view that things in themselves are nonspatial—the alternative that Kant is alleged to have neglected. Finally, I consider responses to “neglected alternative” proponents. For the underlying question is this: What would lead us to believe that although things appear to us in space (and time), that is, side-by-side with other things, that this is not really so? I argue that Kant gives us good reason to think that this is not so, provided we accept his arguments for the subjectivity of space.

This thesis seeks to examine history, trauma and healing in Linda Hogan¡¦s People of the Whale. For Native American people, the disease is not conceived of a pure pathology but bears on inscriptions of colonial power and disharmony with Nature. Through the body of the protagonist Thomas, Hogan articulates the Makah¡¦s silenced history and trauma. I argue that Thomas¡¦s body epitomizes the once ill and then healed earth and tribal society. This thesis proceeds in five chapters. The first chapter is an introduction. Chapter Two, ¡§Violence and Tribal Histories,¡¨ sheds light on the historical context of the Northwest Coast Makah people on which Hogan bases her novel People of the Whale. The harsh impacts of colonialism on the Makahs, as Hogan¡¦s collaborative work Sightings with Brenda Peterson reveals, persist to the present. Chapter Three, entitled ¡§Representing Traumatic Experiences,¡¨ reads Thomas¡¦s silent body as a site of his tribe¡¦s repressed colonial history. Appropriating notions from Michel de Certeau and Paula Gunn Allen, I ask how Thomas¡¦s individual tortured body conflates with another body, ¡§the altered earth,¡¨ to disclose the act of colonial violence. Thomas¡¦s oblivion of ancestral ¡§body language¡¨ and ill sense of alienation exemplify his tribe¡¦s collective ill relationship with Nature. Chapter Four, entitled ¡§A Healing Journey,¡¨ illustrates how Thomas retrieves the tribal ways to reestablish his relationship with Nature. The tribal ways, stories and memories stored in his body are never lost but simply forgotten. In N. Scott Momaday¡¦s words, it is the ¡§memory in the body¡¨ or the ¡§blood memory¡¨ that preserves what the white colonizers have erased. For Native American people, this memory enacts healing. Thomas learns to regain the ancestral ¡§body language¡¨ and in so doing recovers from his ailment and reconnects himself with his tribe, his past, and the natural world. The bodily experiences function as crucial stimuli to awaken memories buried in his body. Thomas¡¦s retrieval of ¡§body language¡¨ is an articulation of his tribe¡¦s long-silenced voice. Chapter Five, the conclusion, recapitulates the main themes of this thesis and their import. Utilizing a mythical ending of Thomas¡¦s afterlife living in the tribe and then underneath the ocean¡Xa symbol of ¡§great being¡¨¡XHogan shapes a ¡§universal¡¨ and ¡§communal body¡¨ as a powerful challenge to resist against globalization and the colonial project. People of the Whale is an anchor text in which Hogan envisions a will and a hope that Native American values will emerge and prevail.

Since the earliest published American narratives, writers and subsequent Western clinicians alike have often mislabeled Indigenous behaviors, especially the behaviors of Indigenous women, as insanity. And yet, as Pemina Yellow Bird (Three Affiliated Tribes) explains, "Native peoples generally do not have a notion of "insane" or "mentally ill." (4). Instead, Indigenous peoples often discuss mental health in their communities through storytelling. As but one example of the ways that cultural narratives work to reclaim Indigenous understandings of mental health, this paper analyzes how the writings of Chickasaw author Linda Hogan challenge non-Indigenous understandings of mental health as a gendered phenomenon within tribal communities. Hogan does this in ways that destigmatize behaviors including hallucinations or prophetic dreams that Western medicine considers abnormal, and reintroduces community-specific understandings of these behaviors as either a supernatural phenomenon or a gift of foreknowledge. Hogan's novel Solar Storms (1995), in particular, reframes stereotypical images of tribal women as insane with images of Indigenous women as cultural, political, and spiritual leaders in their communities. While she addresses community-specific understandings of actual mental illness, Hogan also characterizes what many might mistake for mental illness as the essential foresight of Indigenous women and thereby offers a healing corrective to the prevailing narrative of Indigenous women's presumed insanity. A central discussion in this paper is how Hogan defines knowledge-making and Indigenous women's rights and responsibilities in Solar Storms. The term "rights and responsibilities" refers to a sense of stewardship Indigenous women in the novel experience to protect land and community: this charge may include giving life through childbirth, communicating with animals and the dead, dreaming of medicinal plants, intuitively remembering traditional song and dance, "seeing" creatures without one's eyesight, and healing abilities, among others. Female knowledge-making, then, refers to insights about oneself, community, and the material and immaterial world in enacting these behaviors. By expressing the possibilities of Indigenous women's relationship with the natural and supernatural world instead of either exoticizing or dismissing them, Solar Storms works to legitimize Indigenous modes of female knowledge-making in the face of ongoing colonial assumptions about Indigenous insanity.

No description available.

This master thesis investigates linkage between personality characteristics and digital records on the Internet. The theoretical part is focused on selected theories of personality traits, brief description of social networks and on current studies connected with relationship between digital records and personality characteristics. Empirical research is dedicated to test interdependences between user profiles at the LinkedIn and Hogan's MVPI and HDS using the research sample (N=238, after reduction N=129 due to limited number of LinkedIn users). Based on LinkedIn data which were reduced to 6 new variables, results describe statistically significant models predicting scores for some scales of MVPI and HDS. However, maximum adjusted R2 was only 15,5% for the best regression model which was predicting Altruistic scale (MVPI).

Linda Hogan é uma autora Chickasaw cuja extensa obra inclui romances, contos, poesia, drama e ensaios. Da mesma forma, ela é uma ambientalista cujo ativismo se baseia em uma compreensão Nativo-Americano da natureza e das relações entre os seres humanos e não-humanos. Focando em dois de seus romances, Solar Storms (1995) e Power (1998), a presente dissertação explora os processos de cura de suas protagonistas, Angela e Omishto, respectivamente. Em ambos romances, as personagens se engajam em um movimento de abandono do modo de ser Euro-americano – um modo de ser fortemente orientado pela ideologia do Destino Manifesto –, em direção a um reencontro com sua ancestralidade nativa e a uma apreensão tribal da vida e do mundo. Especificamente, esse trabalho explora o gradual engajamento das personagens no que a autora Laguna Paula Gunn Allen (1992) define como um senso de tempo cerimonial – a ceremonial time sense: uma experiência temporal particular que engendra uma integração psíquica, e se opõe à experiência cronológica e mecânica do tempo, a qual produz fragmentação no sentido de fortalecer a sensação de separação entre tempo e espaço, pessoa e lugar, natureza e cultura. Esse trabalho analisa como o movimento das personagens em direção a um rico autorreconhecimento enquanto indígenas (OWENS, 1994) representa um movimento de abertura aos fluxos do mundo, bem como um processo de dissolução de categorias fortemente enraizadas, tais quais sujeito e objeto, eu interno e mundo externo. Além disso, a presente dissertação examina de que forma um senso de tempo cerimonial se conecta à noção de sacred hoop (Plains tribes) – uma unidade abrangente que abarca a existência como um todo, e na qual todos os movimentos estão conectados e se relacionam entre si. / Linda Hogan is a Chickasaw author whose extensive work includes novels, short stories, plays, poetry, and essays. She is also an environmentalist whose activism is built upon a Native understanding of nature and the relations between human and nonhuman beings. This thesis focuses on two of her novels, Solar Storms (1995) and Power (1998), and explores the healing processes of their protagonists, Angela and Omishto, respectively. In both novels, the characters engage in a movement of abandoning a mainstream American way of being – a way of being highly informed by the ideology of Manifest Destiny – toward a reconnection with their Native ancestry and a tribal apprehension of life and the world. Specifically, this work explores the characters’ gradual engagement in what Laguna author Paula Gunn Allen (1992) defines as a ceremonial time sense, a particular experience of time that engenders a psychic integration, as opposed to a mechanical, clock-based time sense, which generates fragmentation and enhances a separation between time and space, person and place, nature and culture. This work explores how the characters’ movement toward a rich self-recognition as Indians (OWENS, 1994) represents a movement of opening to the motions of the lifeworld, as well as the dissolution of deep-rooted categories such as subject and object, internal self and external world. Furthermore, this thesis examines how a ceremonial time sense is connected to the Plains tribes’ conception of a sacred hoop – an all-encompassing unity that contains the whole of existence, and in which all movement is related to all other movement.