Native American Genocide In Natalie Diaz Poem Abecedarian Requiring Further Examination Of Anglikan Seraphym Subjugation Of A Wild Indian Rezervation

Essay from the year 2018 in the subject American Studies - Literature, grade: A, , language: English, abstract: This essay analyses the poem "Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation" of Natalie Diaz regarding Native American genocide. Natalie Diaz, a Native American of the tribe of Mohave, published her first collection of poetry in 2015 and through it eloquently and passionately presents a variety of issues related to the Native American community. As she states in an interview given to Kaveh Akbar, her poetry consists of images that tell stories, stories she had either experienced or were created through myth and history. The issue of genocide is such that rouses responses from all kinds of people and also vast production of literature including texts, essays and poetry.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

"I write hungry sentences," Natalie Diaz once explained in an interview, "because they want more and more lyricism and imagery to satisfy them." This debut collection is a fast-paced tour of Mojave life and family narrative: A sister fights for or against a brother on meth, and everyone from Antigone, Houdini, Huitzilopochtli, and Jesus is invoked and invited to hash it out. These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams. I watched a lion eat a man like a piece of fruit, peel tendons from fascia like pith from rind, then lick the sweet meat from its hard core of bones. The man had earned this feast and his own deliciousness by ringing a stick against the lion's cage, calling out Here, Kitty Kitty, Meow! With one swipe of a paw much like a catcher's mitt with fangs, the lion pulled the man into the cage, rattling his skeleton against the metal bars. The lion didn't want to do it— He didn't want to eat the man like a piece of fruit and he told the crowd this: I only wanted some goddamn sleep . . . Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.

Essay from the year 2015 in the subject Law - European and International Law, Intellectual Properties, grade: -, , language: English, abstract: Despite sharing historical roots, genocide and persecution are increasingly considered two separate crimes with divergent legal elements that represent two different social wrongdoings. Genocide is a crime aimed at the destruction of groups, characterized by intent to destroy the group, whereas persecution is an offense aimed at serious discrimination against individuals, characterized by the mass or systematic character of the killing. Therefore, this paper will tackle the question of moral difference between genocide and persecution and ask why genocide can still be considered the “crime of crimes” if, contrary to persecution, it does not even require a mass-scale attack or a high number of victims. The most convincing approach argues that genocide risks more ancillary harm due to the additional intent not only to harm current group members, but also to destroy the group itself. Genocide per se is not worse than persecution, but it is more likely to expand into massive devastation. This is the reason why even “small” genocides need to be prosecuted, punished and prevented by international law.

Seminar paper from the year 2000 in the subject English Language and Literature Studies - Literature, grade: 2,0 (B), University of Freiburg (Institute for Anglistics), course: Introduction to English and American Literature Studies, 18 entries in the bibliography, language: English, abstract: Introduction “I speak the truth of tomorrow”i Lord Henry says on being asked to defend his “throne” as Prince Paradox. Although one of his usually witty answers in high society conversation, this indubitably self-confident statement leads to a general question: The “New Hedonism” as presented in Oscar Wilde’s novel The Picture of Dorian Gray, does it anticipate developments and structures of our modern society? To find an adequate answer to the question is the task of this research paper. Starting with an analysis of the theory presented by Lord Henry Wotton, there follows an overall view of the philosophy’s intellectual background. Afterwards, the look at Dorian’s life under the influence of the hedonistic model shall give first impressions of its practical effects. These three chapters therefore deal with the “New Hedonism” directly related to the novel itself and to its author Oscar Wilde. The second part of the paper then centres around the present situation. After introductory clarifications to the term “Erlebnisgesellschaft” and to general social changes, it scrutinises modern society for parallels to the outstanding pillars of the hedonistic programme. These are on the one hand self-realisation and the motive to be always seeking sensations, and on the other hand the cult of youth and beauty mania. Eventually, the findings of that examination end up in a conclusion which shall also serve as an outlook. Concerning the research done in this special field, it astonishes that there was only one work to be found which explicitly dealt with the relation between the “New Hedonism” in The Picture of Dorian Gray and modern society, namely a chapter of Norbert Kohl’s Oscar Wilde biography. Due to this circumstance, the literature consulted is clearly divided into two sectors: literary science and sociology. For the latter, it was the study “Die Erlebnis-gesellschaft” by Gerhard Schulze which was used as a main reference. Thus, syntactic fusion of German and English might be excused. [...]

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

This fascinating probe into U.S. mission history spotlights four cases: Junipero Serra, the Franciscan whose mission to California natives has made him a candidate for sainthood; John Eliot, the renowned Puritan missionary to Massachusetts Indians; Pierre-Jean De Smet, the Jesuit missioner to the Indians of the Midwest; and Henry Benjamin Whipple, who engineered the U.S. government's theft of the Black Hills from the Sioux.

A timely new edition of a pioneering work in Latino literature, National Book Award nominee Gary Soto's first collection (originally published in 1977) draws on California's fertile San Joaquin Valley, the people, the place, and the hard agricultural work done there by immigrants. In these poems, joy and anger, violence and hope are placed in both the metaphorical and very real circumstances of the Valley. Rooted in personal experiences—of the poet as a young man, his friends, family, and neighbors—the poems are spare but expansive, with Soto's voice as important as ever. This welcome new edition has been expanded with a crucial selection of complementary poems (some previously unpublished) and a new introduction by the author.