Along with Louise Erdrich's "Love Medicine", Leslie Marmon Silko's "Ceremony" is one of the two most widely taught and studied Native American literature texts. In "Ceremony" Silko recounts a young man's search for consolation in his tribe's history and traditions, and his resulting voyage of self-discovery and discovery of the world. This casebook includes a variety of theoretical approaches and provides readers with crucial information, especially on Native American beliefs, that will enhance their understanding and appreciation of this contemporary classic. This collection also includes two interviews with Leslie Marmon Silko in which she explains the importance of oral tradition and storytelling, along with the autobiographical basis of the novel.

An exciting collection of new essays on the work of the outstanding American Indian woman writer.

Leslie Marmon Silko's Ceremony: The Recovery of Tradition is a study of the embedded texts that function as the formal and thematic backbone of Leslie Marmon Silko's 1977 novel. Robert M. Nelson identifies the Keresan and Navajo ethnographic pretexts that Silko reappropriates and analyzes the many ways these texts relate to the surrounding prose narrative.

Ceremony is one of the most widely taught Native American literature texts. This casebook includes theoretical approaches & information, especially on Native American beliefs, that will enhance the understanding & appreciation of this classic.

Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,7, University of Münster (Englisches Seminar), course: Contemporary American and Canadian Fiction, 23 entries in the bibliography, language: English, abstract: Oral storytelling is a tradition inherent to all cultures. By definition, its genre is determined by its original oral transmission; many of the world's greatest literary classics such as El Cid, La Chanson de Roland, Beowulf or the Odyssey were originally orally transmitted. In most cases the author is unknown and the story has undergone many modifications in the course of the telling processes; still they are today's primary testimonies for language, history, culture and people of the past. In this paper, a definition of oral storytelling will be provided along with an introduction in order to define the subject matter as well as the significance of putting oral storytelling into writing as Silko did in Ceremony. Leslie Marmon Silko was brought up in the Laguna Pueblo community in New Mexico, a Native American tribe where storytelling plays an important cultural role . For Silko, the process of writing her novel Ceremony was not only a way of staying sane - as she states herself - but also to identify with her Native American origins. In this novel, she points out the opposition between the Native stories about reciprocity with nature and Euro-American stories of dominion. This confrontation is a conflict of two paradigms reflecting the protagonist's, Tayo's, inner state of mind; he has to reconstruct stories to reestablish an agreement with both cultures - for himself. The main focus will therefore be on the forms and functions of storytelling in the novel itself. Hereby, crucial aspects revolving around the cultural differences between Native American and Euro-American culture, the clash of cultures and both sides' impact on the individual will be in the center of discussion. The conclusion summarizes the paper's

The present volume seeks to offer a novel and interdisciplinary overview of the question of literary interpretation and the numerous perspectives current in the field today. Written by early-career researchers and enriched with the important contributions of three senior lecturers, the articles contained in this compilation are devised to work as a multi-faceted whole that may at the same time give inspiration to students and constitute a guide to more experienced scholars. Acting as an integrating entity that agglutinates works from scholars across Europe, the editors consider this book to be a clear example of the dynamism of present-day literary studies and of the numerous ways in which literature can speak to people. Following Margaret Atwood’s statement, “The answers you get from literature depend on the questions you pose”, this volume may be said to possess the potential to provide as many answers as it poses new questions which will stimulate future research in the field.

To what extent has the demand for a vicarious experience of other cultures fuelled the expectation that the most important task for writers is to capture and convey authentic cultural material? This text argues that authenticity is in fact a restrictive category of literary judgment.

The contributors to the present volume, in espousing and extending the programme of such writers as Edward Said, Benedict Anderson, Homi Bhabha, and Gayatri Spivak, lay bare the genealogy of 'writing' empire (thereby, in a sense, 'un-writing' it). One focus is the Caribbean: the retrograde agenda of francophone créolité; the re-writing of empire in the postmodern disengagement of Edouard Glissant; resistance to post-colonial allegiances, and the dissolving of binary categories, in contemporary West Indian writing. Essays on India, Malaysia, and Indonesia explore various aspects of cultural self-understanding in Asia: un-writing high culture through hybrid 'shopping' among Western styles; the use of indigenous oral forms to counter Western hegemony; romantic and anti-romantic attitudes towards empire and the land. A shift to Africa brings a study of Nadine Gordimer's feminist un-writing of Hemingway's masculinist colonising narrative, a searching analysis of Soyinka's restoration of ancient syncretic elements in his West African re-visions of Greek tragedy, changing evaluations of the validity of European civilization in André Gide's representations of Africa, and tensions of linguistic allegiance in Maghreb literature. North America, finally, is brought back into the imperial fold through discussions of Melville's re-writing of travel and captivity narratives to critique the mission of American empire, Leslie Marmon Silko's re-territorialization of expropriated Native American oral traditions, and Timothy Findley's representation of Canada's troubled involvement with its three shaping empires (French, British, American).

Contains sixteen interviews that provide insight into the thinking and writing of twentieth-century Native American author Leslie Marmon Silko.

A collection of thirteen original essays by leaders in the emerging field of ecocriticism,The Greening of Literary Scholarship is devoted to exploring new and previously neglected literatures, theories, and methods in environmental-literary scholarship. Each essay in this impressive collection challenges the notion that the study of environmental literature is separate from traditional concerns of criticism, and each applies ecocritical scholarship to literature not commonly explored in this context. New historicism, postcolonialism, deconstructionism, and feminist and Marxist theories are all utilized to evaluate and gain new insights into environmental literature; at the same time, Percy Bysshe Shelley, Upton Sinclair, Leslie Marmon Silko, and Susan Howe are studied from an ecocritical perspective. At its core, The Greening of Literary Scholarship offers a practical demonstration of how articulating traditional and environmental modes of literary scholarship can enrich the interpretation of literary texts and, most important, revitalize the larger fields of environmental and literary scholarship.