조이 하조의 변형의 시학: 기억의 변형을 통한 정체성 회복과 여성의 연대
Joy Harjo’s Poetics of Transformation: Recovery of Identity and Female Solidarity through the Transformation of Memory
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This article explores the ways in which the poetics of transformation is gradually embodied and politically enhanced in the poetry of Joy Harjo, focusing in particular on two poems published in 1990 poetry collection In Mad Love and War, “Transformations” and “For Anna Mae Pictou Aquash, Whose Spirit Is Present Here and in the Dappled Stars.” Transformation, as Harjo suggests in In Mad Love and War, is mediated by trickster discourses and Ghost Dance ritual, representing an orature and spirituality that are profoundly based on Native American cultural memory. Indicative of the poetics of transformation, “Transformations” reveals the principles of turning Native American’s fury and fear into love through trickster narratives. An internal transformation that changes self-hatred into love forms the basic stage for an external transformation through restoration of healthy Native American identity, a process that the poet ultimately employs as a driving force for resistance and solidarity among Native American women in order to present a practical poetics of transformation. Another poem, “For Anna Mae Pictou Aquash,” transforms the anger of women, who have been objectified and forced to remain silent, into an instrument for resistance and a driving force for female solidarity by evoking the Ghost Dance that combines dance, singing, and prayer.
Abstract
This article explores the ways in which the poetics of transformation is gradually embodied and politically enhanced in the poetry of Joy Harjo, focusing in particular on two poems published in 1990 poetry collection In Mad Love and War, “Transformations” and “For Anna Mae Pictou Aquash, Whose Spirit Is Present Here and in the Dappled Stars.” Transformation, as Harjo suggests in In Mad Love and War, is mediated by trickster discourses and Ghost Dance ritual, representing an orature and spirituality that are profoundly based on Native American cultural memory. Indicative of the poetics of transformation, “Transformations” reveals the principles of turning Native American’s fury and fear into love through trickster narratives. An internal transformation that changes self-hatred into love forms the basic stage for an external transformation through restoration of healthy Native American identity, a process that the poet ultimately employs as a driving force for resistance and solidarity among Native American women in order to present a practical poetics of transformation. Another poem, “For Anna Mae Pictou Aquash,” transforms the anger of women, who have been objectified and forced to remain silent, into an instrument for resistance and a driving force for female solidarity by evoking the Ghost Dance that combines dance, singing, and prayer.
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