백인 법정에서 진술하는 인디언의 이야기:『숲의 아이 와이니마』의 글쓰기 전략
An Indian's Story at a White Tribunal: The Writing Strategy of Wynema, A Child of Forest
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This study aims to examine how Callahan works in Wynema both within the expectations of the ‘white’ readership of her times and against them. As a Native woman writer whose main readers are whites and who is writing “the Indian's story of wrongs and oppressions,” Callahan employs subversive strategies to challenge the U. S. government's policy toward the Natives while securing her readers' sympathy. In the first part of Wynema, where readers are introduced to the Native culture, the narrator adopts the viewpoints of Genevieve and the Anglo-American who are unfamiliar with them, thus identifying herself with the white readers. In the love-triangle of Genevieve, Gerald and Maurice, the issues of women's suffrage and independence are highlighted while Native problems are submerged under them. Even the romance between Wynema and Robin, which involves miscegenation, does not address the Native issues. As their love stories reach happy endings, and readers' sympathy with these independent, intelligent and moral women characters is secured, the narrator begins to foreground the ‘wrongs and oppression’ of the Natives by employing various devices: the use of news articles; reports of debates among the Natives on whether to engage a war; and reconstructing the Wounded Knee Massacre from the view points of female victims, thereby rewriting the abstract history into a concrete and personalized human tragedy. These heterogenous and protesting Native voices in the latter part are not in accord with the assimilationist view of the first part which has been upheld in the main plot of the success story of Wynema's assimilation. In this context, often-criticized ‘lack of unity’ in Wynema can be read as the product of the experiment conducted by the first Native woman fiction writer to find a usable form to assert the native sovereignty to her Anglo-American readers.
Abstract
This study aims to examine how Callahan works in Wynema both within the expectations of the ‘white’ readership of her times and against them. As a Native woman writer whose main readers are whites and who is writing “the Indian's story of wrongs and oppressions,” Callahan employs subversive strategies to challenge the U. S. government's policy toward the Natives while securing her readers' sympathy. In the first part of Wynema, where readers are introduced to the Native culture, the narrator adopts the viewpoints of Genevieve and the Anglo-American who are unfamiliar with them, thus identifying herself with the white readers. In the love-triangle of Genevieve, Gerald and Maurice, the issues of women's suffrage and independence are highlighted while Native problems are submerged under them. Even the romance between Wynema and Robin, which involves miscegenation, does not address the Native issues. As their love stories reach happy endings, and readers' sympathy with these independent, intelligent and moral women characters is secured, the narrator begins to foreground the ‘wrongs and oppression’ of the Natives by employing various devices: the use of news articles; reports of debates among the Natives on whether to engage a war; and reconstructing the Wounded Knee Massacre from the view points of female victims, thereby rewriting the abstract history into a concrete and personalized human tragedy. These heterogenous and protesting Native voices in the latter part are not in accord with the assimilationist view of the first part which has been upheld in the main plot of the success story of Wynema's assimilation. In this context, often-criticized ‘lack of unity’ in Wynema can be read as the product of the experiment conducted by the first Native woman fiction writer to find a usable form to assert the native sovereignty to her Anglo-American readers.
참고문헌 (17)
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