Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling

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baBaeinia Leila; Zarrinjooee Bahman

Title

Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling

Author(s)

baBaeinia Leila | Zarrinjooee Bahman | Issue Writer Certificate

Keywords

S torytelling

His toriography

Photography

Collective

IndividualMemory

Leguna Pueblo

Abstract

The purpose of this article is to examine the multiple s tructure of S torytelling in S toryteller (1981) by Leslie Marmon Silko (1946-), an Indian American author using the ideas of Hayden White, Susan Sontag, and Roland Barthes, and to provide a his torical-artis tic reading concerning the role of images within the photographs which are intertwined with the culture, life and his tory of the people of Leguna Pueblo and Silko’ s narratives. In other words, the s tructural and aes thetic relationship between Photography, Collective and individual memory, his tory and S torytelling is examined. Having used Lee Marmon’ s photographs and traditional narratives of pas t Silko, similar to a his torian, interweaves what happened in the pas t into a narrative emplotment. In addition, according to White’ s view that his tory is a kind of narrative whose closes t relation is with fiction, it can be pointed out that the interpretive patterns of his torians are a bridge between the two worlds of his tory and literature. The photographs in this work are visual-his torical documents that record a choherent s tructure of pas t experiences and events at a specific time and place, which like the his torical discourse and remnants enter the realm of time. Thus, from the perspective of modern His toriography, these photographs themselves become his torical events and are part of the process of decoding the his torical events of a nation. Silko’ s narratives along with the art of Photography and His toriography creates a kind of multiple narrative literature and discourse of literary His toriography. Background of the Studies Leslie Marmon Silko was born in New Mexico. She was the pioneer of literary movement, the renaissance of native Americans. She learnt the traditional S torytelling of her grandmother. She has brooded upon the identity of native Americans, the white oppression and the women’ s marginality. Mos t of her books are described as living experience or as documenting particular and useful cultures for sociological analysis. Silko has illus trated the s truggle of native peoples in America to save all of the aspects of Native American life, as well as their unique culture. Through the interaction of S torytelling and Photography, we can refer to a collection of S torytelling by Leslie Marmon Silko called S toryteller, which is a collection of his tory, narrative, culture, poetry and photographs of the people of Pueblo, and in which the his torian, narrator and photographer come together in a combination of narrative-visual space. S toryteller, has also concerned with S torytelling that is an integral part of Native American tradition. Materials and Discussions Throughout the analysis of the text, photographs and narration, the article applies the theories of Hayden White concerning His toriography, Susan Sontag, and Roland Barthes regarding reading Photography to show how the combination of his tory, S torytelling and Photography in the single space of Silko’ s s tories create a kind of literary His toriography. The focus is on the importance of photographs which are placed inside her text. So far as there are many memories and narratives inside each photograph, the process of reading the text turns into gazing at the photographs. The people and objects in the photographs call on the reader to relate these images to the narrative text; images that in turn allow him/her to re-read the pas t, the world around people, their his tory and their land. What has happened in the his tory of a nation never changes. But the ways they interpret it and the elements of his tory are cons tantly changing. Native American his tory hasbeen affected by such changes. Having considered such a point, Silko seeks to change the dominant discourse of His toriography about the Pueblo people, referring to what has been passed down to her from generation to generation, along with her father’ s photographs. Unlike fiction, his torical works are made up of events that took place outside the author’ s mind. The event depicted in a literary work may not be as recorded in his tory. The his torian is faced with an inconsis tent number of events that have already taken place, and from this he mus t choose the elements of the s tory he wants to narrate. He shapes his s tory by quoting some of these events and omitting other ones, while emphasizing some of the events. In other words, the his torian creates his s tory by gathering a series of his torical events together in the form of a narrative with a specific plot. In dealing with Silko’ s text it becomes clear where narrators and his torians are left out of S torytelling, Photography comes to their aid. Her text tells not only a s tory but also his tory. Thus, S toryteller could be considered as a means of obtaining and transmitting his torical truth in relation to Pueblo people. Conclusion In S toryteller, Silko similar to a his torian, chooses a combination of all different methods of His toriography. In a reciprocal interaction, she relates the photograph to the narrative and the narrative to the photographs. In other words, the s tructure of the photographs is interrelated to the s tructure of her narratives. Silko invites the reader to examine the photographs as remnants of the his tory of Pueblo people. She creates a discourse of his torical facts and s tory, a text-image combination, which in itself, as a literary His toriography, creates multi-layered meanings of image and text. Silko combines verbal and visual elements in a challenging way. The photographs in her text allow the narrator to replace the narrative with an image that silences the narrator in the process of remembering. In conclusion, Silko’ s work is a cognitive tool in which narrative, his tory, and imagery are intertwined with memory and at the same time S torytelling. The common ground between Silko’ s narratives in relation to the art of Photography and His toriography is the narrative element that has created a kind of multiple narrative literature and a discourse of literary His toriography; a kind of His toriography that highlights the unique place of literature in exploring, preserving, and unders tanding the pas t.

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APA: Copy

baBaeinia, Leila, & Zarrinjooee, Bahman. (2021). Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling. CRITICAL LANGUAGE & LITERARY STUDIES, 17(25 ), 140-163. SID. https://sid.ir/paper/779794/en

Vancouver: Copy

baBaeinia Leila, Zarrinjooee Bahman. Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling. CRITICAL LANGUAGE & LITERARY STUDIES[Internet]. 2021;17(25 ):140-163. Available from: https://sid.ir/paper/779794/en

IEEE: Copy

Leila baBaeinia, and Bahman Zarrinjooee, “Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling,” CRITICAL LANGUAGE & LITERARY STUDIES, vol. 17, no. 25 , pp. 140–163, 2021, [Online]. Available: https://sid.ir/paper/779794/en

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Scientific Information Database

ISSN: 2588-4824

Journal Paper

Narrative-Photographic Emplotment of Native American Collective Memories and His tory in Leslie Marmon Silko’ s S torytelling