Blog Post 9: November 12th

This weeks seminar discussions focused on Clemence Housman’s, an author and illustrator, The Were-Wolf and her wood-cut engraved illustrations. Houseman was a massive supporter of the woman's rights/sufferage movement which resulted in her defying gender norms within her lifestyle choices and literary work. Within the work we focused on, she defies gender norms by depicting a female werewolf within her work during a time where werewolves were assumed to be a symbol representing man.

Lois Red Elk - Fort Peck Dakota Tribe

"The Fort Peck Reservation is home to two separate American Indian nations, each composed of numerous bands and divisions. The Sioux divisionsof Sisseton, Wahpetons, the Yanktonais, and the Teton Hunkpapa are all represented. The Assiniboine bands of Canoe Paddler and Red Bottom are represented. The Reservation is located in the extreme northeast corner of Montana, on the north side of the Missouri
River.

Alice Lee - Metis | Plains Cree

"The Métis people originated in the 1700s when French and Scottish fur traders married Aboriginal women, such as the Cree, and Anishinabe (Ojibway). Their descendants formed a distinct culture, collective consciousness and nationhood in the Northwest. 

Distinct Métis communities developed along the fur trade routes. This Métis Nation Homeland includes the three Prairie Provinces (Manitoba, Saskatchewan, Alberta), as well as, parts of Ontario, British Columbia, the Northwest Territories and the Northern United States. 

Carolyn Marie Dunn - Muscogee | Seminole | Cherokee

"Muscogee (Creek) Nation is a self-governed Native American tribe located in Okmulgee, Oklahoma. MCN is one of the 5 Civilized Tribes and is the fourth largest tribe in the U.S. with 86,100 citizens. The government side of the tribe is made up of an executive branch, a legislative body and a tribal court system. MCN is a diverse entity with many facets such as: cultural tourism, gaming, businesses, and a higher learning institution." - https://www.mcn-nsn.gov/ 

Blog Post #9 || Nov 12th || Module 9

I found the discussion today interesting as it really delved into the gothic tropes of transformation and how it has numerous meanings that allows leeway into discussing bigger topics. With Mila's illustration and her discussion, it's neat that White Fell is caught midway between her transformation of becoming a werwolf. I thought it really significant as it hints at the idea that women can be feral - more specifically, that they are capable of being wild and capable of base instinct.

Blog Post #9: November 12th

This week, we discussed Clemence Housman’s The Were-Wolf and its illustrations that were designed by her brother Laurence Housman and wood engraved by her. One thing that really stood out to me about this course and all of my classmates’ presentations was how political the Housman’s art often was. The choice by Clemence to make the Were-Wolf a female and portray has as an incredibly fierce and strong figure might not seem very radical to us now, but at a time when women had very little agency and rights, it was.

Plymouth Rock

Plymouth Rock is the location that the narrator (the runaway slave) of Elizabeth Barrett Browning's  "The Runaway Slave at Pilgrim's Point" escapes to from the Carribean. We can see that this location was symbolic and the connection between the runaway slave and the pilgrims who fled from religious persecution is clear, as the location does not make sense geographically.

Module 9 Blog Post

Something I found interesting in this week's study of Clemence Housman's The Were-Wolf is the similarity in framing between Laurence Housman's illustrations and many of the Pre-Raphaelite illustrations (e.g., those by Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais) we looked at while studying The Moxon Tennyson and "Goblin Market." Like the Pre-Rapaelites, Housman adapts to the dimensional constraints the genre of book illustrations imposes by depicting only slices of the scenes being illustrated - there often seems to be more goin

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