By Kenneth Lincoln
Drawing upon heritage, psychology, folklore, linguistics, anthropology, and the humanities, this e-book demanding situations "wooden Indian" stereotypes to redefine destructive attitudes and humorless techniques to local American peoples. relocating from tribal tradition to interethnic literature, Lincoln covers the conventional Trickster of starting place myths, historic ironies, Euroamericans "playing Indian," feminist Indian humor at domestic, modern painters and playwrights reinventing Coyote, well known mixed-blood song and crimson English, and 3 local American novelists, Louise Erdrich, James Welch, and N. Scott Momaday. Indi'n Humor records and translates the contexts of laughter between local american citizens, as they see and are visible via the remainder of the area. The learn involves concentration comically at the poets, visible artists, playwrights, and novelists who make up the cultural renaissance of the previous twenty years.
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Extra info for Indi'n Humor: Bicultural Play in Native America
Is comedy the world over fiscally conservative? Does the ego ever relax? To adapt Freud's analogy, could humor turn on a kinetic exchange of psychic currencies, more cash flow than ledger entry? " the irrepressible Deloria wrote to me. "25 Freud's economy is surcharged Red/White American 41 with scatology in the joke, serving a disrespect played among friendly tribal enemies; whereas the verbal formula is certainly "economical," the words tap the prodigal stirrings of an emotive psyche-in-motion.
With such fictive data we may see how, in Winter in the Blood, James Welch writes for a generic, middleaged Blackfeet man caught today between tradition and town; but certainly Welch does not speak for all males, flatters few females, and represents fewer Pueblos. Momaday's House Made of Dawn presents Abel's confused sense of time, culture, and place in a postwar Southwest, Jemez Pueblo to Los Angeles, but he does not give us Erdrich's mothering metis (mixed-blood) sense of Turtle Mountain in Love Medicine (1984).
Compared with 32 INDI'N HUMOR Western linearity, Native American patterns appear more cyclical, periodic, and composite—less historically progressive, less personally transformational, less structurally end-stopped. Ceremony remains a case in point. In a mythic perspective, nothing has changed by the end. The protagonist accepts his mixed-blood or "breed" position as a transitional role; the "hero" does not arrogate power individually, so much as the "healer" takes a tribal position in relation to a common setting.