{"id":43,"date":"2020-09-06T18:20:18","date_gmt":"2020-09-06T22:20:18","guid":{"rendered":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/?post_type=chapter&p=43"},"modified":"2020-09-16T09:51:04","modified_gmt":"2020-09-16T13:51:04","slug":"chapter-3-on-seeing-and-being-seen","status":"publish","type":"chapter","link":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/chapter\/chapter-3-on-seeing-and-being-seen\/","title":{"raw":"On Seeing and Being Seen","rendered":"On Seeing and Being Seen"},"content":{"raw":"
\r\n\r\nThemes:\u00a0<\/strong>\r\n\r\nAppropriation, Free Speech, Diversity, Leanne Betasamosake Simpson, Empathy, Love\r\n\r\n \r\n\r\nDisciplines:<\/strong>\r\n\r\nCreative Writing, Literary Criticism, Fine Arts, Social Sciences, Humanities, Education, Health, Business\r\n\r\n<\/div>\r\n

Guiding Questions:<\/h2>\r\n
    \r\n \t
  1. The author\u2019s life is changed by reading the work of Leanne Betasamosake Simpson. It is the first time she\u00a0has\u00a0read another author who has captured Indigenous\u00a0experience\u00a0as\u00a0she knows it. Describe a similar experience you\u2019ve had reading an author who wrote of a world you\u2019d previously not found represented. How did it change you?<\/li>\r\n<\/ol>\r\n \r\n
      \r\n \t
    1. Appropriation of Indigenous characters and stories by non-Indigenous writers is a theme in the chapter. What are the two examples the author cites?<\/li>\r\n<\/ol>\r\n \r\n
        \r\n \t
      1. In this chapter,\u00a0a\u00a0non-Indigenous author\u00a0claims\u00a0people concerned about inaccurate representations and cultural appropriation\u00a0were\u00a0stifling free speech. What is your opinion of this defence?<\/li>\r\n<\/ol>\r\n \r\n
          \r\n \t
        1. \u201cAs early as 1893, Mohawk writer Pauline Johnson criticized how white\u00a0writers\u00a0portrayed Native women\u201d (p. 27). Who was Pauline Johnson? What is her significance in Canadian and Indigenous literature? Do you think this criticism is still valid? Why? Why not?<\/li>\r\n<\/ol>\r\n \r\n
            \r\n \t
          1. Elliot writes: \u201c\u2026\u00a0writing with empathy is not enough\u2026 Empathy has its limits \u2013 and contrary to what some may think, it is possible to have both empathy for a person and still hold inherited, unacknowledged racist views about them\u201d (p.<\/em> \u00a029).\u00a0<\/em>Do you think this is true? If so,\u00a0what can you do about your inherited, unacknowledged racist views to become a better writer and human being?<\/li>\r\n<\/ol>\r\n \r\n
              \r\n \t
            1. Elliot writes: \u201cTo truly write from another experience in an authentic way, you need more than empathy. You need to write with love\u201d(p. 30).\u00a0<\/em>And\u00a0\u201cIf you can\u2019t\u00a0write about us with a love for who we are as people, what we\u2019ve survived, what we\u2019ve accomplished despite all attempts to keep us from doing so; if you can\u2019t look at us as we are and feel your pupils go wide, rendering all stereotypes a sham, a poor copy, a disgrace \u2013 then why are you writing about us at all?<\/em>\u201d (p. 30).\u00a0\u00a0What is your response to this? Are you now afraid to include any Indigenous characters or content in your work? How might this challenge also be laid down to writers who wish to write about any other experience other than their own?<\/li>\r\n<\/ol>\r\n \r\n
                \r\n \t
              1. On page 26, Elliot writes, \u201cI shudder to think of how their grandchildren would react if they read the story and saw how the powerful ceremony their ancestors fought for was turned into racist, colonial poverty porn.<\/em>\u201d What ceremony is Elliot referring to? What is\u00a0\u201cpoverty porn<\/em>\u201d? What are other examples of this?<\/li>\r\n<\/ol>\r\n \r\n
                  \r\n \t
                1. The 2019 film\u00a0The Body Remembers When\u00a0The\u00a0World Broke Open\u00a0<\/em>has also been criticized by some as\u00a0poverty porn, but the makers\u00a0(and many others)\u00a0believe it is portraying a reality. \u201cTrauma Drama\u201d is another term that is used to dismiss\u00a0such\u00a0work. What does it mean? How can trauma and poverty be presented in responsible and human ways, with empathy? What context does it need?<\/li>\r\n<\/ol>\r\n \r\n
                    \r\n \t
                  1. On page 27, Elliot brings up the thorny topic of \u201cdiversity\u201d. She quotes Tania\u00a0Canas\u00a0as saying that \u201cDiversity is a White Word<\/em>\u201d. Elliot explains this in terms of white people wanting\u00a0ethnic\u00a0<\/em>restaurants that offer\u00a0exotic\u00a0<\/em>flavours. Do you agree? What does diversity mean to you? How can we achieve more diverse representation, communities,\u00a0literature?<\/li>\r\n<\/ol>","rendered":"
                    \n

                    Themes:\u00a0<\/strong><\/p>\n

                    Appropriation, Free Speech, Diversity, Leanne Betasamosake Simpson, Empathy, Love<\/p>\n

                     <\/p>\n

                    Disciplines:<\/strong><\/p>\n

                    Creative Writing, Literary Criticism, Fine Arts, Social Sciences, Humanities, Education, Health, Business<\/p>\n<\/div>\n

                    Guiding Questions:<\/h2>\n
                      \n
                    1. The author\u2019s life is changed by reading the work of Leanne Betasamosake Simpson. It is the first time she\u00a0has\u00a0read another author who has captured Indigenous\u00a0experience\u00a0as\u00a0she knows it. Describe a similar experience you\u2019ve had reading an author who wrote of a world you\u2019d previously not found represented. How did it change you?<\/li>\n<\/ol>\n

                       <\/p>\n

                        \n
                      1. Appropriation of Indigenous characters and stories by non-Indigenous writers is a theme in the chapter. What are the two examples the author cites?<\/li>\n<\/ol>\n

                         <\/p>\n

                          \n
                        1. In this chapter,\u00a0a\u00a0non-Indigenous author\u00a0claims\u00a0people concerned about inaccurate representations and cultural appropriation\u00a0were\u00a0stifling free speech. What is your opinion of this defence?<\/li>\n<\/ol>\n

                           <\/p>\n

                            \n
                          1. \u201cAs early as 1893, Mohawk writer Pauline Johnson criticized how white\u00a0writers\u00a0portrayed Native women\u201d (p. 27). Who was Pauline Johnson? What is her significance in Canadian and Indigenous literature? Do you think this criticism is still valid? Why? Why not?<\/li>\n<\/ol>\n

                             <\/p>\n

                              \n
                            1. Elliot writes: \u201c\u2026\u00a0writing with empathy is not enough\u2026 Empathy has its limits \u2013 and contrary to what some may think, it is possible to have both empathy for a person and still hold inherited, unacknowledged racist views about them\u201d (p.<\/em> \u00a029).\u00a0<\/em>Do you think this is true? If so,\u00a0what can you do about your inherited, unacknowledged racist views to become a better writer and human being?<\/li>\n<\/ol>\n

                               <\/p>\n

                                \n
                              1. Elliot writes: \u201cTo truly write from another experience in an authentic way, you need more than empathy. You need to write with love\u201d(p. 30).\u00a0<\/em>And\u00a0\u201cIf you can\u2019t\u00a0write about us with a love for who we are as people, what we\u2019ve survived, what we\u2019ve accomplished despite all attempts to keep us from doing so; if you can\u2019t look at us as we are and feel your pupils go wide, rendering all stereotypes a sham, a poor copy, a disgrace \u2013 then why are you writing about us at all?<\/em>\u201d (p. 30).\u00a0\u00a0What is your response to this? Are you now afraid to include any Indigenous characters or content in your work? How might this challenge also be laid down to writers who wish to write about any other experience other than their own?<\/li>\n<\/ol>\n

                                 <\/p>\n

                                  \n
                                1. On page 26, Elliot writes, \u201cI shudder to think of how their grandchildren would react if they read the story and saw how the powerful ceremony their ancestors fought for was turned into racist, colonial poverty porn.<\/em>\u201d What ceremony is Elliot referring to? What is\u00a0\u201cpoverty porn<\/em>\u201d? What are other examples of this?<\/li>\n<\/ol>\n

                                   <\/p>\n

                                    \n
                                  1. The 2019 film\u00a0The Body Remembers When\u00a0The\u00a0World Broke Open\u00a0<\/em>has also been criticized by some as\u00a0poverty porn, but the makers\u00a0(and many others)\u00a0believe it is portraying a reality. \u201cTrauma Drama\u201d is another term that is used to dismiss\u00a0such\u00a0work. What does it mean? How can trauma and poverty be presented in responsible and human ways, with empathy? What context does it need?<\/li>\n<\/ol>\n

                                     <\/p>\n

                                      \n
                                    1. On page 27, Elliot brings up the thorny topic of \u201cdiversity\u201d. She quotes Tania\u00a0Canas\u00a0as saying that \u201cDiversity is a White Word<\/em>\u201d. Elliot explains this in terms of white people wanting\u00a0ethnic\u00a0<\/em>restaurants that offer\u00a0exotic\u00a0<\/em>flavours. Do you agree? What does diversity mean to you? How can we achieve more diverse representation, communities,\u00a0literature?<\/li>\n<\/ol>\n","protected":false},"author":310,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-43","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/43","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/users\/310"}],"version-history":[{"count":13,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/43\/revisions"}],"predecessor-version":[{"id":184,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/43\/revisions\/184"}],"part":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapters\/43\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/media?parent=43"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/pressbooks\/v2\/chapter-type?post=43"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/contributor?post=43"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.bccampus.ca\/guideforamindspreadout\/wp-json\/wp\/v2\/license?post=43"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}