Pennsylvania. During the conference Mary Louise Pratt a Stanford Professor delivered a keynote/lecture that revolutionized how people think about their social spaces. She introduced a revolutionary way to think about these social spaces, instead of calling them communities she started calling it the “contact zone”. According to Pratt a “contact zone is a place where cultures meet, clash, and grapple” (Pratt 487). While lecturing her fellow colleagues Pratt argues that our idea of community is strongly
Arts of the Contact Zone by Mary Louise Pratt The Arts of the Contact Zone by Mary Louise Pratt opened up a whole new concept for our class. The new term “contact zone” appeared and Pratt defined it as "social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery, or their aftermaths as they are lived out in many parts of the world today." The idea of the contact zone is intended in part to contrast
Arts of the Contact Zone by Mary Louise Pratt In the Arts of the Contact Zone, Mary Louise Pratt has tried to explain the concepts of the “contact zone”, which she referred to as “the space of colonial encounters”. This social space that she speaks about is a stage where “disparate cultures meet, clash, and grapple each other, often in highly asymmetrical relations of domination and subordination”. Pratt aims to highlight these relations between the colonizer and the colonized “in terms of copresence
species and resources. But how did it happen that “sentiment, imagination, and the graces have been banished” (Voltaire, Letter to Cideville) from 18th century literature? In her article “Science, planetary consciousness, interiors” author Mary Louise Pratt argues that the change in travel writing in the 18th century promoted a new type of planetary consciousness, thus triggering a shift in European colonial policies. In her subsequent article “Narrating the anti-conquest”, she argues that as travel
In Mary Louise Pratt’s “Arts of the Contact Zone”, Pratt establishes her definition of a contact zone, which is useful in understanding similar situations found in Richard Rodriguez’s “The Achievement of Desire”. In Pratt’s “Arts of the Contact Zone”, the idea of the contact zone is implemented so as to trigger off ideas on how to relate multifaceted concepts, such as language, communication and culture. In “The Achievement of Desire”, an autobiographical text of a young first-generation Mexican
dominant culture they will assume (Pratt 589). Unlike acculturation, transculturation recognizes the power of the subordinate culture to create its own version of the dominant culture. In an essay entitled, "The Arts of the Contact Zone," author Mary Louise Pratt argues that transculturation does not have to be confined to the social spaces where disparate cultures intersect; it can be extended to everyday situations, such as the classroom. However, though Pratt recognizes that transculturation can
evidence of the racism and egocentrism that defined the European consciousness at this period in history, as the works themselves evidenced a strong belief in the prevailing stereotypes of the time. Focusing specifically on European imperialism, Mary Louise Pratt notes how the psychological effects of travel writing on the European populace contributed to the later acceptance of imperial policies. While accur... ... middle of paper ... ...ad would literally articulate this fear of Nature, much to the
History Of Hopi Indian Potters Contact zones were described in Mary Louise Pratt’s article "Arts of the Contact Zone" as being those points in time in which different cultural groups came together. Positive influences between the groups lead to knowledge and understanding, whereas negative influences lead to conflict and miscomprehension. The history of the Hopi Indians is intertwined with the various contact zones between the Hopi Indians and other cultural groups. It is this series of contact
continually represented what it meant to be black in America. Personalities and individualism were displayed through their work while simultaneously portraying the political, social, and economic conditions of being black. This idea runs parallel with Mary Louise Pratt’s (1990) definition of a contact zone. She defines it as a "term to refer... ... middle of paper ... ...central rather than peripheral in the forging of a more liberating and intelligent visual culture in the United States" (p. 37).
Pratt defines transculturation as a phenomena in the contact zone where the less dominate culture picks and chooses what aspects of the dominate culture they wish to take on in their own culture.9 Although Koreans predominantly agreed with the American Democracy
Powerful Emotion in Louise Gluck's The School Children In the poem The School Children, author Louise Gluck successfully creates for the reader an image of the children, their mothers and the position that they hold in their society. Her simple, yet descriptive words suggest a more in depth meaning that allows one to look past the simple story line of the poem and actually look into the entire situation the poem discusses. The story line simply tells of mothers who pick apples and send their
the primary point of the story -- Louise glimpses freedom as a result of the death of her husband, and then loses that freedom with the realization that he is still alive. It is a story of "an hour" because Louise has only an hour of freedom. Although the writer of this essay makes a valiant attempt to support the thesis, there really is not enough religious (or moral) symbolism, etc. to support it.] 2 Chopin’s physical and emotional characterization of Louise suggests the woman is experiencing
Communication Between Men and Women in "Thelma and Louise" Works Cited In communication between men and women, the two genders always communicate differently. Traditionally men communicate facts directly and are less likely to discuss details that have little to do with the conversation. Women traditionally are more careful about what they say and seek to build relationships by the way they communicate. These two forms of communication, direct (traditional male) and indirect (traditional
Louise Saint-Just and The Republic Louise Saint-Just once said, “The Republic consists of the extermination of everything that opposes it.” Being the right-hand man of Robespierre, the leader of the Terror, Saint-Just is obviously referring to the First Republic of France from 1792-1795. What he means by this, is that the essence of the sovereignty of the Republic was that it literally wiped out anyone, or anything that had
Canadian Literature Louise Halfe – Healing Through Orality and Spirituality in Poetry Louise Bernice Halfe was born in 1953 in Two Hills, Alberta. Her Cree name is SkyDancer. She grew up a member of the Saddle Lake Reserve and at the age of 7 was sent to the Blue Quills Residential School in St. Paul, Alberta. . After leaving the school at the age of 16, she attended St. Paul’s Regional High School where she began to journal about her life experiences. (McNally Robinson) Halfe has a degree
The Importance of Language in Clare Rossini’s Final Love Note and Louise Gluck’s Mock Orange Love is such an abstract concept for the human mind to figure out. Along with the love of a mother for her child, there are many types of sensual love or brotherly love; friendship is frequently described as a type of love, as well. This abstraction can also be distorted and made to fit into categories that would normally be associated with negativity and abuse not "love." Think of why a woman will continually
society of that time and had experienced the death of her husband at a young age (Internet). The similarity between Kate Chopin and her heroine can only leave us to wonder how much of this story is fiction and how much is personal experience. Indeed, Louise Mallard and Kate Chopin’s lives are very similar and ironic. Louise’s life began once she came to the realization that she could live for herself. During this “hour” she felt true joy and freedom, but her life ended abruptly as her husband walked
Transformation in Louise Erdrich's The Red Convertible In Louise Erdrich's "The Red Convertible," the two main characters start off doing seemingly well. However, there are many changes that these two young men go through during the story. Henry experiences the largest transformation due to his involvement in the Vietnam War. This transformation also alters Henry's brother, Lyman, although not for the same reasons. As the story progresses, and these certain events take place, the brothers'
Louise Erdrich's Tracks In Louise Erdrich’s “Tracks';, the readers discovers by the second chapter that there are two narrators, Nanapush and Pauline Puyat. This method of having two narrators telling their stories alternately could be at first confusing, especially if the readers hasn’t been briefed about it or hasn’t read a synopsis of it. Traditionally, there is one narrator in the story, but Erdrich does an effective and spectacular job in combining Nanapush and Pauline’s stories. It is
the media, movies, and film stars like Louise Brooks (Szabo). Louise Brooks was a big part of the Jazz Age and had a lot of influence on the women of the 1920’s. Being a film star with a great, original personality she is known for being one of the most extraordinary women to set forth the Flapper era. Her sleek and smooth looks with her signature bob helped define the flapper look (pandorasbox/flapper).On November 14, 1906, in Cherryvale, Kansas, Mary Louise Brooks was born. She had two brothers