Arts of the contact zone summary. What is a summary for "Arts of the Contact Zone" by Mary Louise Pratt? 2022-10-29
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In her essay "Arts of the Contact Zone," Mary Louise Pratt introduces the concept of the "contact zone," a social space where cultures meet, clash, and negotiate their differences. This concept is particularly relevant in the context of colonialism, where contact zones were often created through the forced interactions between colonizers and colonized peoples.
Pratt argues that the arts can play a central role in the contact zone, serving as a means of communication and a tool for negotiating cultural differences. She cites the example of transculturation, the process by which colonized peoples appropriated elements of the colonizers' culture and incorporated them into their own, as a way in which the arts can facilitate cultural exchange and understanding.
Pratt also discusses the ways in which the arts can be used to subvert power dynamics and challenge dominant narratives. For example, she points to the way in which artists can use their work to resist colonial domination and reclaim their own cultural identities. This can be seen in the works of indigenous artists, who have used their art to assert their own cultural identities and challenge the dominant narratives of colonialism.
Ultimately, Pratt argues that the arts can serve as a means of building bridges between cultures and promoting understanding and cooperation. Through their ability to facilitate communication and negotiate cultural differences, the arts can play a vital role in creating more harmonious and equitable societies.
Arts of the Contact Zone by Mary Louise Pratt Essay
This essay opened up a whole new concept for us. But first a little more about Gua man Pomas giant letter to Philip III. The prototypical mani festation of language is generally taken to be the speech of individual adult native speakers face-to-face as in Saus sure's famous diagram in monolingual, even monodialec tal situations? There are millions of different cultures in the world today and every day is an example of how they clash. There are people throughout the contact zone with a variety of views on cultural integration, but my own is one of openness and acceptance of new people and their cultures. 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.
A classroom can be defined as a contact zone because the Teacher and the students are the two cultures, while the power is tilted toward the teachers favor. Such questions may be hypothetical, because in the United States in the 1990s, many teachers find them selves less and less able to do that even if they want to. Such are the dynamics of language, writ ing, and representation in contact zones. This is how my floor can be viewed as both a contact zone and a community. Writing classes might have some significance with the contact zone because of this group effort process. The assignment would basically be a completion grade, because would just be trying to get them to understand what parody is a little more.
There were almost eight hundred pages of written text and four hundred of captioned line drawings. As the image suggests, the nation-community is embodied metonymically in the finite, sovereign, fraternal figure of the citizen-soldier. These questions often asked him to identify with the interests of those in power over him? On the other hand, a contact zone is a place where two different cultures meet, inform each other and clash. From here, she transitions into her primary subject: a discussion of a 1613 letter written by Felipe Guaman Poma de Ayala. Communities provide a utopian society where the members can feel equal and experience the same things. What stunned Pietschmann was that the letter was twelve hundred pages long.
The book says that culture means "everything that human beings have created and transmitted socially across time and space 32. Contact zones, in a nutshell, are places where people who are different from each other come into close contact. This is a very coherent analysis with considerable elegance and explana tory power, but probably not the one his teacher would have given. For example, when I first met my best friend, Jill Simon, I saw her as a typical white girl. 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. However, I coined several notes on what I cerebrated was gainful and vital from her lecture. It is because of the cycle of different stereotypes that it is harder for some black people to get along as well as some white people in contemporary society.
What is a summary for "Arts of the Contact Zone" by Mary Louise Pratt?
Although very different in setting, ideas, and time periods, they both accomplish the difficult goal of cross-cultural communication. It was titled The First New Chronicle and Good Government. In the New Chronicle Guaman Poma begins by rewriting the Christian history of the world from Adam and Eve fig. My community lives in Grand Forks but most are from other states. As mentioned before, a contact zone can be either positive or negative. Thus if ethnographic texts are those in which European metropolitan subjects represent to themselves their others usually their conquered others , autoethnographic texts are representations that the so defined others construct in response to or in dialogue with those texts.
There was exchange of ideas or aloes through those baseball cards. Because it deploys European and Andean sys tems of meaning making, the letter necessarily means differently to bilingual Spanish-Quechua speakers and to monolingual speakers in either language; the drawings mean differently to monocultural readers, Spanish or Andean, and to bicultural readers responding to the Andean symbolic structures embodied in European genres. In order for this mutual understanding to be achieved, the subordinate cultures that exist need to be able to make their voices heard; this leads to the improvement of society as a whole. However, I was not invited here to speak as a parent, nor as an expert on literacy. That was the first time I remembered seeing them put their incipient literacy to their own use, and I was of course thrilled.
However, in this day and age we are aware Of What some of these principles are, and we can learn to work with other people, and view their points as well as ours. I remember watching a movie called To Kill a Mockingbird in high school, this movie sheds some light on the position and struggles blacks have had and still face in society, with respects to discrimination. In her essay Mary Louise Pratt talks about "transculturation" and "ethnography. If a classroom is analyzed as a social world unified and homogenized with respect to the teacher, whatever stu dents do other than what the teacher specifies is invisible or anomalous to the analysis. In Andean spatial symbolism, the diagonal descending from the sun marks the basic line of power and authority dividing upper from lower, male from female, dominant from subordinate. It also, would low them to experience how the other students deal with them being in a contact zone. Pratt insists that education and society must be reformed in such ways that introduce people to the principles of contact zones in order to gain mutual understanding of each other and acquire new wisdom.
For example, some day a person might experience a contact zone in the job they are working, this could be difficult to work in and around for this person. Austin: U of Texas P, 1966. Loud also explain to the class as a whole that they used parody, and show the class as a whole after the assignment what parody actually is. Meeting of Spaniard and Inca. What would it look like? Also, they probably would not feel comfortable showing a parody towards my work, because I would be older, more experienced, and they would not know me as well as they know their friends.
The diagonals of his lance and that of the servant doing the flogging mark out a line of illegitimate, though real, power. Manchester: Manchester UP, 1987. Written in a mixture of Quechua and ungrammatical, expressive Spanish, the manuscript was a letter addressed by an unknown but apparently literate Andean to King Philip III of Spain. Like said would hue them listen to my story as well, and some students would definitely not use parody, when reviewing my story. It was the most exciting teaching we had ever done, and also the hardest. Following contact with the Incas, he writes, "In all Castille, there was a great commotion.
