새로운 방식으로 ‘인디언니스’ 재현하기 —비즈노의 인디언 정형화에 대한 끊임없는 도전
A New Way of Representing “Indianness”—Vizenor's Persistent Challenge against Stereotypes of Indians
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This paper elaborates Gerald Vizenor's views about the relationship between the creativity of trickster stories and the embodiment of Native traditional heritages. He, by utilizing trickster stories, liberates Native Americans from the manipulated norms about what constitutes “authentic Indians.” In this respect, the trickster characters of Bearheart: The Heirship of Chronicles can literally stand for a cognitive conversion concerning the representation of authentic Native Americans. Figuratively, these figures allude to the survivance of Natives by weaving the multicultural and postmodern poetics about difference into Native stories. This does not mean that we should simply explore the way that a comic creation of the trickster figure becomes a narrative apparatus which could be congruous with the poetics of multiculturalism or postmodernism. Rather, trickster stories have to demonstrate their ongoing embodiment and production of survivance while reinforcing their resistant poetics against the stereotypical discourses and the discriminatory identifications of "Indianness" in Native lives. In this view, trickster stories concerning Native survivance have to diversify and deepen the signification of "authentic Native Americans" by intentionally interposing interruptive voices into their familiar contexts and environments.
Abstract
This paper elaborates Gerald Vizenor's views about the relationship between the creativity of trickster stories and the embodiment of Native traditional heritages. He, by utilizing trickster stories, liberates Native Americans from the manipulated norms about what constitutes “authentic Indians.” In this respect, the trickster characters of Bearheart: The Heirship of Chronicles can literally stand for a cognitive conversion concerning the representation of authentic Native Americans. Figuratively, these figures allude to the survivance of Natives by weaving the multicultural and postmodern poetics about difference into Native stories. This does not mean that we should simply explore the way that a comic creation of the trickster figure becomes a narrative apparatus which could be congruous with the poetics of multiculturalism or postmodernism. Rather, trickster stories have to demonstrate their ongoing embodiment and production of survivance while reinforcing their resistant poetics against the stereotypical discourses and the discriminatory identifications of "Indianness" in Native lives. In this view, trickster stories concerning Native survivance have to diversify and deepen the signification of "authentic Native Americans" by intentionally interposing interruptive voices into their familiar contexts and environments.
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