Free Patterns , Knitting. I adore your blog. Really loving seeing you live the vintage life so completely!
Do visit my blog and drop me a line. I was wearing sock liners, but had a bad reaction on the top of my foot to something in the tongue of the shoe so I need to start wearing sock. I have never made socks, I am guessing they are a reasonably quick project? I must give them a try some soon. Fab patterns, these look gorgeous!! Oooo — thanks for sharing these patterns!
Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. In this version of the earth- diver-legend, all beings were living in the sky at one time until it became crowded and there was the danger of being pushed off. The council decided to send water beetle to find another place. Water beetle dive down under a large body of water and brought a piece of mud to the surface out of which land grew. This story suggests continuity of and connectedness with traditional ways and simultaneously evokes hope and a new beginning.
Accordingly, the image of death and creation, or death and birth, is a frequently used symbol in Pushing the Bear. The power of the words which form the song stands for the belief in the power and significance of the oral tradition. Maybe the magic is not in the words, but in the thought that is wrapped in the sound.
The snake that could kill with his breath. Then his scales were healing. The stories fueled my walk. I am part of the earth as I walk. I am the harvested crops. I should not mind the trail any more than the corn minds the harvest. Not the stalks nor leaves nor kernels, but the process. The sheen which is the voice of things. A living essence which walks of its own accord, whether crop or animal or man. Voice speaks for all who come and go.
It travels through time. A child crying for its mother. Voice reaches into the animals and insects. Voice is in the trees of the woods. Transculturation serves here as means of negotiation by absorbing the changes the new circumstances have caused to their words, thoughts, and stories. There are several situations in Pushing the Bear which emphasize the notion that the experience of the removal is already pre-figured in the creation stories of the Cherokee.
Then he made the clay people next. The removal experience has thus been implicit in the tribal stories since the creation of the Cherokee universe. These stories help to interpret and put into perspective what is happening to the Cherokee. Tribal stories thus play a major role in the process of transculturation which takes place during this migratory journey.
Change in the Stories Transculturation also takes place in the stories themselves, in the way they are modified or adapted to changed circumstances. When the basket maker discusses where the idea of weaving baskets originates from, she introduces a version which is immediately attacked because it questions the common interpretation that the stories came from the earth and the sky: The baskets hold fish and corn and beans. Just like our stories hold meaning. Yes, I say the baskets copy our stories. The trail needs stories.
Just as the feelings about and the connectedness with the land are woven into the stories, so is the land woven into the baskets, as the basket maker explains to Maritole: She thus hints at the dynamic processes inherent in storytelling and weaving as cultural techniques and the dynamic nature of the Cherokee as a cultural group. In oral cultures stories are the fundamental means by which life, the world, and the universe are interpreted. Stories, the old man points out, provide order and they are directly connected to the land. With the loss of the land, both stories and order are taken away.
Our new birth was in how we thought and what we did. In the presence of death the image of light and birth represents faith in the future. The image of the bear surfaces frequently and intensifies with the duration of the trail. Historian Theda Purdue points out that three categories of animate things occupied the world: An anomaly to these categories was the bear, obviously a four-footed animal but one which frequently stands on two legs and uses its front paws to grasp, reach, climb, or hold as human beings do.
Cherokees did not ignore these human characteristics of the bear and magnified them, and the bear became a major figure in Cherokee myths Purdue Within the Cherokee belief system the bear is probably the best image to represent something incomprehensible. In Cherokee mythology, the bear also lives between the worlds, as is, in many ways, required of the Cherokee.
A long time ago the Cherokee forgot we were a tribe. We thought only of ourselves apart from the others. Our hair grew long on our bodies. We crawled on our hands and knees. We forgot we had a language. We forgot how to speak. From a part of ourselves when we were in trouble. All we had was fur and meat to give. Like the ancient Cherokee, who had turned into bears because they had forgotten their traditional ways, the Cherokee have compromised a big part of their original way of life for farming and for the plantation economy; like the bear in the orally transmitted story, the Cherokee had to adapt to a changed environment and to different conditions; like the bear, they are now forced to leave their ancestral communities and to begin anew elsewhere.
Religious commitment and renewal characterize the migratory experience of the Cherokee and constitute another major strategy of transculturation in Pushing the Bear. Although a good number of tribal members are baptized, attend church, and accept the white clergymen, Reverend Mackenzie, they also retain their traditional beliefs. The Cherokee selectively choose from what Christianity has to offer, as long as they can interpret it within the larger scheme of their traditional beliefs.
The wind had a moan to it. It was like the stories of the old ones. The voice carried power. What was spoken came into being.
Even Reverend Mackenzie talked of the Great Spirit creating the world with his voice. Was the white man just now finding that out? The white man only got it out to read on Sunday. The Cherokee thought about it every day. Our church was not a house. It had no walls. One such example is the interpretation of the story of Jesus Christ. The persona of Reverend Bushyhead is another example showing that the Cherokee have successfully negotiated a way to merge Christian and Cherokee beliefs. Reverend Bushyhead, a Cherokee man converted to Christianity, preaches from the Bible but frequently includes tribal stories.
I thought that if any of us made it to the new land, then it must be true. Both Christ and myth. Later, when it comes to a kind of competition between the traditional conjurers and the Christian Cherokee, Maritole admits to herself: I heard the Christians. I believed them both. In the Cherokee world view depicted in Pushing the Bear it is thus not necessary to reject one religion in order to embrace another.
Rather, the drawing from—and blending of—different cultural sources represents an essential part of the contact zone of cultural encounters. He is not able to finish his sermon, breaks up in mid-sentence, and falls to the ground in desperation in the face of all the dying and suffering. At the same time, he is aware that his people also need to learn from their ancient stories: The migration to and the new beginning in Indian Territory represent such great challenges that it needs all the strength and qualities acquired in the long process of transculturation.
Right after the arrival in the new territory, the Trail of Tears is integrated into the Cherokee stories by Maritole. She tells two orphans, whom she and Knobowtee adopt, the story of the Trickster Turtle: There was a turtle at the finish line in the new. Thus, a minority stayed in the old territory. Even today the Cherokee are divided: Although this historical moment represents a drastic rupture with their former way of life, the Cherokee in Pushing the Bear are able to cope with their dilemma by positioning it within their own dynamic cultural and historical view of the world.
It is this world view characterized by the ability to dialogically negotiate between seemingly opposing concepts which helps this ancient tribe to endure and which conditions the new beginning in the unknown territory. The author refuses to relegate the migratory experience of the Cherokee exclusively to a history of suffering—and thus to the positioning as historical victims—and stresses the notion of native peoples as dynamic agents of history.
This dynamic quality is an essential part of the strategy of transculturation which takes place in the contact zone of colonial encounters. Pushing the Bear is an example of how narrative itself can become a vehicle for the reactivation of cultural and historical memory and for the reconstruction of history and historical consciousness. It exemplifies how a tribal culture succeeds in negotiating a fragile balance between cherishing old stories, legends, and metaphors and absorbing new ones. Works Cited Champagne, Duane.
Native Americans and the Legacy of Conquest. Taylor and Franklin Pease. Travel Writing and Transculturation. Slavery and the Evolution of Cherokee Society, U of Tennessee P, It tells the story of its eponymous hero from her thirteenth year until her early twenties. The latter is perhaps the most appropriate way of describing this novel given the importance of schooling for the protagonist, and her final decision to become a teacher.
It feels as if the implied author is just a little further along the road to compassionate articulation than her protagonist, but that they share fundamental values and qualities. I examine the related, major motif of the American classic car in order to elucidate the ways in which it becomes a complex metaphor for the position of the mixedblood protagonist in relation to her past and her identity. I shall also explore the significance of the dust-jacket illustration duplicated in the Frontispiece in order to demonstrate how it informs the text without actually being named within it.
I hope to prove that Glancy employs the techniques of mixedblood narration in such a manner as to present a multifaceted portrayal of Flutie, despite the apparent simplicity and transparency of this novel. Inevitably in focusing on this major chronotope I neglect other related aspects of the novel, for example the importance of the imagery of the ocean that once covered the Great Plains.
On the first page of the novel the trope of the highway is introduced: Flutie measures distance as time, as her mother drives too fast past the familiar road signs: It was twenty miles to Vini. Flutie hunched by the door and held her dress. Bakhtin reminds us of its roots in folklore: Space becomes more concrete and saturated with a time that is more substantial: This type of space so saturates this new chronotope that such events as meeting, separation, collision, escape and so forth take on a new and markedly more concrete chronotopic significance.
In Chapter 50, Flutie speaks directly, but parodically: At this point in the story it still seems ironic that she should speak the words of a conquering, historical hero who authored his own story. Maybe someday they would. Language was the mechanic that would take her away. These are realistically the media through which the mixedblood protagonist discovers the stories that her community, town, and land hold. There is nothing fanciful or mystical about how knowledge is acquired; the operations of the fancy occur when the protagonist quests in vain for knowledge, understanding, and wisdom.
Indeed she does so consistently. The symbolic identification of the hero of this story with the landscape setting is accomplished. The external, physical geography provides not only setting, but also an imaginative vocabulary of symbolic objects that the protagonist can interact with and silently enunciate as she overcomes the crises and ordeals of adolescence.
The reader learns his story in one of the rare moments when the narrative focalizer is possibly not Flutie: The men had families and had to work, and the foreman made it hard for them. Her father had talked back to him and was fired, and came back to Vini. She knew nothing about her father before he went to Oklahoma City and came back to Vini.
Most of the Moses family had disappeared that way. Left their Cherokee heritage. Just walked off down the road and no one ever saw them again. He is defined in relation to the chronotope of the highway; and offers a negative plot, one in which the hero would leave once and then return defeated.
Families need to maintain their stories or the next generation can only intuit that they once existed, without being able to catch them or utter them. She too fails to pass on the family history. She lived only in the moment with nothing behind her. Speeding along it with her mother, Flutie is unable to read the signs. For all her speeding, her mother represents a cul-de-sac of history and personal story.
Certain aspects of this novel bear striking similarities to a prior female Bildungsroman, namely H. For HERmione the myth, mediated by Swinburne, implies the choice of female friendship in preference to heterosexuality. Yet, she sees all too clearly the attraction of such a choice: If she married him, she would have a house up a dirt road. Above all, if she chooses this path in life, no one will ask her to speak when she is out in public. Long before he marries her, they are school friends who travel together on the school bus, and they are struck by lightening together Flutie distinguishes herself from Swallow, despite their affinity.
She is not attractive like Swallow, nor can she stick by Franklin as Swallow does. She even finds it hard to drive Franklin to hospital for his weekly check-up after he breaks his leg. Yet this is not surprising, since the narrative hints that he was responsible for the childhood trauma that rendered her speechless Significantly the episode ends with Franklin both literally and metaphorically poking her scars She needs to find alternative models for her future.
Main Street, Vini, is a place that people drive through on the way to somewhere else. Flutie fails to give a man directions to Seiling: The woman has achieved autonomy and individuation: To have stories that belong to you is to have a sense of identity and a sense of direction, two things that Flutie seeks throughout the narrative. Later, she fantasies that she is Philomela: As opposed to the other girls of her community, she is beginning to imagine metaphorically the possibility of changing from traumatized victim of male brutality into a young woman who may still be tongue-tied but who will be able to express herself effectively.
Men in her family are most empowered when restoring cars: The familial emotional and psychological ties to this classic car and to the craft of restoring classic cars are complex and exert a strong pull on Flutie. In fact, this pull is something Flutie has to resist in order to follow her own path in life. As Flutie drove back to Southwestern State in Weatherford, she looked for another car for her father to work on […]. The heat waves quavered on the road. She read the posters that trembled in the hot wind.
There were one or two hulls advertised that her father might be interested in. She had to leave the garage behind for a while. She had to mark her way with classes […] instead of salvage yards. Did her father sell the car as a symbolic act of accepting his fate, as a way of acknowledging his story is over, that he has given up hope?
Now it is Flutie who is driving towards her future. For a while it appears that religion especially visionary and mystical experience might be the way for Flutie to follow. The vintage and custom cars transcended to the highest hope of the common man. Cars were the angels of America. They were full of invisible wings. The cars were stories. Flutie thought they were the voice of God.
- Newly Added Knit Patterns;
- .
- The Despicable Five - Five Infuriating Beginning Pottery Problems and Their Solutions!
- Vintage knitting patterns: sport socks | By Gum, By Golly.
- The Politics of Practical Reason: Why Theological Ethics Must Change Your Life (Theopolitical Visions Book 10).
- DRESS UP DOLLY?
Made to drive in heaven. Queen of the cars. A car like Philomela, torn up, raped with tools, rebuilt with tapestry. However, the narrative further modifies and complicates her vision, to enunciate a specifically mixedblood religious icon. Hood ornaments have iconic status; the reader will recall that Franklin collects them and has something akin to a domestic altar to them in his bedroom.
Made to wear in Heaven. The tightness of textual weaving of images and themes implies the prosodical procedures of a novelist who is also a poet. Here the narration is at its most cryptic, since we need to read the text in light of the dust-jacket illustration. Even with the freedom that indirect free style allows an author, Glancy never names Kateri Tekakwitha in the book; she is only named in the dust-jacket acknowledgement.
The Blessed Kateri Tekakwitha: She was running in the yard. Something fluttered over head. She had no memory of seeing her, but she could describe her. She had pigtails and beaded shoes. She wore trousers like Flutie always had to, but she also wore a dress. Flowers grew from her feet. A disk flew at her head like a flag. The spirit was watching her—but she must have looked away. It was hard to remember. What had caused it to happen? The vision is recalled by the adolescent Flutie, who saw it with the eyes of an ignorant child.
Her late adolescence is a classic identity crisis: If she tried to speak, the waves came from her feet, surged upward through her body. They struck her head, filling her mouth with salt water until she choked, quivering with the sting in her throat. Implicitly she will need a phenomenological ritual to set her on the right path to adulthood; one that allows the landscape, Vini, and Flutie to speak articulately, one at which Flutie will officiate.
Before she can attain this goal, she undergoes a crisis. On the wings of music and alcohol Flutie could fly […]. Sometimes she looked down the highway and saw it like a corridor into space. Somewhere there was a house, up there in the sky.
She thought she could almost see it. Jesus was sitting on a chair. Maybe it was there that she could speak. In the afterlife, way down the road.
- Las aventuras de Till Eulespiegel (Spanish Edition).
- Just You, Just Me.
- Jemand sagte mir soeben das Datum meines Todes (German Edition);
- State Trials: Political and Social (Complete)!
- The Nature of Christianity in Northern Tanzania: Environmental and Social Change 1890–1916.
However, this vision is somewhat willed, inauthentic, delusional, and alcohol-induced. Her drinking and drug-taking become self-destructive and result in repeated nausea and vomiting: Flutie vomited into a towel. She saw a girl through the window. Smaller than she should have been. She was standing in the tree in the yard, leading a bear, an elk, a moose, and a deer. A hat like the full moon behind her head. How did the moon stay without falling off? The girl was the spirit being Flutie had seen. Could both interpretations co-exist? I want my death to be a driving.
To be the first female James Dean would indeed be a way to go, but the vision has no advice to give in response. Instead the narration elaborates further details of her appearance, confirming its identification with the dust-jacket art. Or does this image reinforce a home-grown, hybrid religious sensibility unique to Oklahoma State? In either case the implicit message is that Flutie must work to use the available elements to compose her own story, to find her own solutions.
Knitting Vintage Socks eBook
Nothing will be offered her on a plate. It too must undergo artistic transformation to be useful. Flutie cannot rely on passive, received, religious, visionary experience that arises in times of physical trauma and emotional distress. She must integrate all these aspects of her psyche into a confluent personality; she must make herself whole. They only told a part.
Needlework Patterns: Knitting Vintage Socks | Interweave
She had to listen, and later to think about the story, and fill in the rest. She had to interpret. The achievement of the protagonist, Flutie, and of the novel as a whole is to arrive at the point where to drive down the highway is not synonymous with rejecting this environment that is her home, nor with denying the history and culture of small-town, Western Oklahoman life. Flutie achieves a proactive position in relation to the land, to her family and social ties, and to the fragments of scientific and cultural knowledge that she has accumulated.
In this respect the Blessed Kateri Tekakwitha is a role model she can follow, but never blindly, and never silently. In her interview with Mackay, Glancy states: Yet in this narrative, the sweat lodge is judged more effective than a religious revival, and it is the final familial and religious ritual that Flutie participates in before she achieves a sense of autonomy and arrival.
Her identity is truly a cultural hybrid by the end of the novel. The sacred and the profane, the science of geology and the art of speech all contribute to her awkward but successful individuation. Flutie decided she would teach. The voices from deep in the earth. Now it too is integrated into an epiphanic sense of individuation and vocation. Works Cited Bakhtin, M. Caryl Emerson and Michael Holquist. U of Texas P, Wisdom Sits in Places: Landscape and Language among the Western Apache.
Essays on Native American Literature. U of California P, Towards a Spatialized Reading. Accessed on Apr 28 Unpublished interview with James Mackay, by telephone 3rd April and email June Yellow Woman and a Beauty of the Spirit: Essays on Native American Life Today. Women Make Movies, The earth hangs beneath it on cords.
As long as the voices last, the cords will not break. But when the voices fail, the earth will fall into the chaos below. What comes easy are these two separated worlds juxtaposed side by side, often oblivious to one another, that slowly move into dialogue. The genre of aboriginal theater may thus well be the most contested and most dynamic field in Native American Studies today. Increasingly visible and internationally successful, works by indigenous playwrights are currently making their way into the canon: At the same time, however, only few scholarly analyses of contemporary aboriginal 37 I would like to thank Diane Glancy for her kind comments on this paper and for sharing some of her unpublished manuscripts with me.
Diane Glancy has not only published sixteen of her plays to date most of them in her two collections, War Cries: Plays by Diane Glancy and American Gypsy: Yet it is not only the plays that deserve attention in this context: Glancy has also significantly contributed to the theory of indigenous American drama. In a keynote article to her 39 Only three monographs dealing exclusively with indigenous American theater and drama have been published to date: More than any other contemporary indigenous dramatist, Diane Glancy has met this challenge: Told with several voices where one could not go on without the other.
I would say a play is a story that the characters enter. A personal and tribal identity. Storytelling is thus a prominent resource for the stage, not only because it overcomes the contradiction between the oral and the written42 but because it serves as a strong cultural resource of historiography, memory, and identity, which strengthens the community and provides healing cf.
Mojica 19 and Taylor Storytelling often implies the active involvement of the audience. Both her methodological texts and her plays are and this is the second characteristic element written in a poetic style that requires a significant amount of reader response.
This multilateral aesthetic venture is never easy, and it does not allow for simple solutions or closure. Third, the aesthetics of openness and flux, the processual integration of diverse perspectives, and its ethics of dialogue and exchange, also have obvious political and cultural implications. Like the bird relying on more than one wing, Glancy—a playwright of mixed Cherokee, English, and German heritage—uses her dramatic work to negotiate cultural pluralism and relativism. While most of her characters have multicultural backgrounds, and most of her plays address the clashes between European American colonization and Native American resistance, other axes of difference often intersect and complicate this field.
A male and female character or the male and female sides of one character dance a fox-trot throughout the play, discussing their different approaches to courtship, sex, divorce, domestic violence, and the trauma of a hysterectomy. In her play Stick Horse , for example, this integrative stance is presented by means of Eli, the Cherokee protagonist, who struggles to overcome his alcoholism. In his futile attempts to help, Jake conjoins the two religious traditions of the Great Spirit and Christ: He created the earth out of nothing. Elijah—the Great Spirit is God.
The elders say so. The way the moon looks in the day sky. Trying to find a place to put his feet. In the same manner that these technology-based hierarchies are relativized from a Native American point of view, religious differences are negotiated from two opposite angles. Again anchoring new elements within his knowledge of the world, he frames his understanding in natural metaphors, referring to the different stages a birch tree goes through in life, or to the dynamic characteristics of water: Could truth have several headwaters also?
Yet flowing into one stream? Their dialogue, which microcosmically symbolizes a larger epistemological struggle between cultures, eventually changes its course: This is a play for two voices, and is about a seventeenth-century Mohawk girl who is converted by the Jesuits and tries to come to terms with the smallpox epidemic and her new faith. The child symbolizes the genealogical and cultural continuity which the woman sees threatened by the European traders. Thus authorized by tradition, the family, the community, and nature itself, the name is more than a mere label of individuality: Neither parent knows what the name should mean and neither does the audience , but they comprehend its metaphorical implications: Although this optimistic outlook is overshadowed by the historical knowledge of annihilation and oppression that contemporary audiences share, its message of cultural relativity and openness persists.
In her final monologue, the woman performs the actual ceremony of naming the boy: I name you He-who-sees-the-way. I mark you with bravery. I say there is a way where none is. I say you are a Truth Teller. And I say it to the children who come after you. You will see a way. Maybe you will make new stories.
Because with stories we will know the way. Although there are no audience addresses or metatheatrical references in the play, its motto actively includes the recipient: The use of a dash at the end signifies that the double process of advancing and receding is only just begun, leading right on to the beginning of the play. The staged narrative then provides the required glimpse into the past, but it also remains in progress, inviting stories beyond closure, and framing the play within the combined strength of individual and cultural roots.
In all these plays, Glancy deconstructs notions of essentialist cultural identity in order to find new modes of historiography and memory. As she describes this multilateral approach, I borrow another term from physics: I feel the edges of the native past moving quickly away. I want to capture it on stage before it is gone. This for me is the exploration of the structure or construct of native theater.
It is like an atom, an empty space which the stage it, with the dense nucleus of a drama at the core. Through the multiply layered conflict of the two nameless characters, Grandmother and Girl, this play once more challenges apparent dichotomies: She is frustrated with her lack of a sense of belonging: In addition to these conflicting questions of behavior, their central argument revolves around opposite modes of spiritual insight.
Their conflict is fueled by different priorities, misunderstandings, and mutual reproaches. What is important in such dialogues across boundaries is the active role of the recipient: Where did you see her? I just saw her. You saw the head? Yes, just the head. What did they call her? What do you call it down there? As the title suggests, there is a conjunction of ontological religious identity being a red deer and role play dressing as a deer: Most interestingly, while the title suggests a conflation of being and performing a mythical self, it does not specify which of the two women is doing the conflating.
The religious path that Girl eventually paves for herself is syncretically composed of both Christian and tribal elements and remains in process. Refraining from stage directions, prescriptions for costumes, music, or settings, or even structural devices such as scenes or acts, Glancy thus includes her audience into the dialogue, clearly favoring a processual, pluralistic approach instead of subscribing to dogmatic solutions.
To combine the overlapping realities of myth, imagination, and memory with spaces for the silences. To make a story. Well, I try to move on with the voice in its guises. In times of an increasing dissolution of national and disciplinary boundaries, when American Studies relocates itself in transnational or transhemispheric frames of reference, this ethics of reception might serve as a guideline for more general readings of Native American theater and literature.
Native American Women Writers. North American Indian Drama. Accessed 29 Apr An Anthology of Native American Plays. Theater Communications Group, Keepers of the Morning Star: An Anthology of Native Women's Theater.
Hand Knits by Beehive | Socks | Patons & Baldwins Book No. 127
International Air Printed Matter: For Canada, the estimated shipping time is weeks. For other International Countries please allow for an estimated shipping time of weeks. Digital Product Download When you purchase a downloadable item from our store, you have unlimited access to your purchase and can download it as many times and as often as needed. Get it here for free: For videos, we recommend using VLC Player. Here is the link to access VLC download for free: If you have purchased an on-demand courses or video you can access your product immediately by following the directions below.
If you have purchased course with a start date you can still access it by following the directions below but may be limited to what you can access until the course starts at the date that was described in the details section of the product you purchased. If you do not see this notification, you simply have to navigate to your web browser's "settings" and disable your popup blocker there, or choose to allow popups on our site.
Then when you click on "go to course" from your device's internet browser app, you will be asked to allow popups for this site. Choose yes, and you should be good to go. Please validate your email, by clicking "confirm my account" in the welcome email we sent you after registration. Thank you for registering, please check your email to confirm your account and complete the registration process. To manage your subscriptions purchased on this site you must login first. If you purchased your subscription via some other method, click here.
Home Knitting Vintage Socks eBook. Knitting Vintage Socks eBook. Please, log in or register to share with friends or use wishlists. Download the eBook to get these patterns for the whole family: Customer Reviews 3 Nice array of patterns Nice array of patterns, just too many men's patterns for me. Review by Mary M.
I was very interested in this book. However, I thought that I had already purchased a book with a very similar name, by the same author. Nancy Bush wrote "Knitting Vintage Socks: New Twists on Classic Patterns". I already own it.