“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer
In recent years, Native, Indigenous, First Nations, and Aboriginal scholars and writers have forged alliances to initiate and support decolonization efforts and the reassertion of native survivance. Native and non-Native scholars have responded to modern challenges by reconceptualizing notions of pe...
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ftdatacite:10.22024/unikent/03/tm.125 2023-05-15T16:16:47+02:00 “Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer Stratton, Billy J. 2015 https://dx.doi.org/10.22024/unikent/03/tm.125 https://journals.kent.ac.uk/index.php/transmotion/article/view/125 en eng Transmotion This work is licensed under a Creative Commons Attribution 4.0 International License. https://creativecommons.org/licenses/by/4.0 CC-BY Text Article article-journal ScholarlyArticle 2015 ftdatacite https://doi.org/10.22024/unikent/03/tm.125 2021-11-05T12:55:41Z In recent years, Native, Indigenous, First Nations, and Aboriginal scholars and writers have forged alliances to initiate and support decolonization efforts and the reassertion of native survivance. Native and non-Native scholars have responded to modern challenges by reconceptualizing notions of peoplehood, identity, and nationalism. Following these intellectual contours, rather than conceiving of native culture as totalizing, static, and/or incommensurable—as always already foreign—responsive readings informed by the critical work of Gerald Vizenor can support more sophisticated understandings of native literary production while revealing sites of native transmotion. Through a thusly informed examination of the work of the Tlingit poet, Nora Marks Dauenhauer, this essay highlights sites of transmotional fidelity between Tlingit aesthetics and classic Japanese Zen poetry. Through the development of a succinct, yet complex syncretic aesthetic vision, Dauenhauer is able to create new conceptions of native (trans)nationalism and indigenous survivance, while resisting facile classifications and essentialist conclusions. By employing a critical approach to poetics informed by cospolitainism, survivance, and transmotion, which is apparent in her appropriation of Basho’s haiku form, Dauenhauer is able to reinforce the implicit epistemological nexus that is unmistakably present between Tlingit and classic Japanese thought. As a result, Dauenhauer’s poetry succeeds in simultaneously representing a dynamic portrait of Tlingit cultural survivance, while at the same time promoting a unique transmotional approach that celebrates the immanent interconnectivity of all things. : Transmotion, Vol 1 No 2 (2015) Text First Nations tlingit DataCite Metadata Store (German National Library of Science and Technology) |
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In recent years, Native, Indigenous, First Nations, and Aboriginal scholars and writers have forged alliances to initiate and support decolonization efforts and the reassertion of native survivance. Native and non-Native scholars have responded to modern challenges by reconceptualizing notions of peoplehood, identity, and nationalism. Following these intellectual contours, rather than conceiving of native culture as totalizing, static, and/or incommensurable—as always already foreign—responsive readings informed by the critical work of Gerald Vizenor can support more sophisticated understandings of native literary production while revealing sites of native transmotion. Through a thusly informed examination of the work of the Tlingit poet, Nora Marks Dauenhauer, this essay highlights sites of transmotional fidelity between Tlingit aesthetics and classic Japanese Zen poetry. Through the development of a succinct, yet complex syncretic aesthetic vision, Dauenhauer is able to create new conceptions of native (trans)nationalism and indigenous survivance, while resisting facile classifications and essentialist conclusions. By employing a critical approach to poetics informed by cospolitainism, survivance, and transmotion, which is apparent in her appropriation of Basho’s haiku form, Dauenhauer is able to reinforce the implicit epistemological nexus that is unmistakably present between Tlingit and classic Japanese thought. As a result, Dauenhauer’s poetry succeeds in simultaneously representing a dynamic portrait of Tlingit cultural survivance, while at the same time promoting a unique transmotional approach that celebrates the immanent interconnectivity of all things. : Transmotion, Vol 1 No 2 (2015) |
format |
Text |
author |
Stratton, Billy J. |
spellingShingle |
Stratton, Billy J. “Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
author_facet |
Stratton, Billy J. |
author_sort |
Stratton, Billy J. |
title |
“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
title_short |
“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
title_full |
“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
title_fullStr |
“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
title_full_unstemmed |
“Carried in the Arms of Standing Waves:” The Transmotional Aesthetics of Nora Marks Dauenhauer |
title_sort |
“carried in the arms of standing waves:” the transmotional aesthetics of nora marks dauenhauer |
publisher |
Transmotion |
publishDate |
2015 |
url |
https://dx.doi.org/10.22024/unikent/03/tm.125 https://journals.kent.ac.uk/index.php/transmotion/article/view/125 |
genre |
First Nations tlingit |
genre_facet |
First Nations tlingit |
op_rights |
This work is licensed under a Creative Commons Attribution 4.0 International License. https://creativecommons.org/licenses/by/4.0 |
op_rightsnorm |
CC-BY |
op_doi |
https://doi.org/10.22024/unikent/03/tm.125 |
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1766002630348242944 |