Complicating the Local: Defining the Aymara at Tiwanaku, Bolivia

The archaeological site of Tiwanaku, Bolivia, is commonly held to be the "Spiritual Capital of the Aymara People." But negotiating who qualifies as Aymara, and in what contexts, is decidedly more complicated. Local political divisions between residents of the village of Tiahuanacu (who are seen locally as less-Aymara but not as not-Aymara) and residents of the surrounding rural communities (who are considered to be unquestionably Aymara) structure discussions about who has the right to earn income at the Tiwanaku archaeological site, who manages major public events, and who is responsible for the site's maintenance and security. The situation is complicated further by national-level events such as the Winter Solstice, where urban Aymara travel to Tiwanaku to seek their roots, and Bolivian Presidents and politicians come to participate in national Aymara "culture." I focus on the intervencin ("Intervention") that took place in Tiahuanacu in August 2000, which resulted in the transfer of management of the Tiwanaku archaeological site from the Bolivian state to local municipal and indigenous authorities. Heritage researchers should take such local divisions into account, rather than assuming that "locals" are politically unified or easily delineated by geographical boundaries.

Where Stories Collide : Montage and the Short Story Cycle

This thesis uses Sergei Eisenstein’s filmic theories of montage to examine the modernist American short story cycle, a genre of independent short stories that work together to create a larger and interrelated whole. Similar to the shot-by-shot editing process of montage, the story cycle builds its intertextual meaning story-by-story from an aggregate of abrupt narrative transitions and juxtapositions. Eisenstein famously felt that montage, the editing together of film fragments, was not a process of linkage, but of collision –each radically different shot in a film should crash into the next shot, until audience members were intellectually provoked into synthesizing these collisions through dialectical processes. I offer montage as an interpretive strategy for negotiating the narrative collisions in story cycles such as Sherwood Anderson’s Winesburg, Ohio, William Faulkner’s Go Down, Moses, and Eudora Welty’s The Golden Apples. For Go Down, Moses, I argue that Eisenstein’s politically rendered “montage of attractions” provides a template for investigating the shock tactics behind Faulkner’s chronologically and racially entangled stories of whites and African Americans. For The Golden Apples, I consider the opposites and doubles in Welty’s fiction with Eisenstein’s similar belief in the “opposing passions” of the world. Not only, then, do I suggest that the modernist story cycle bears a cinematic influence, but I also offer Eisenstein’s theories of montage and collision as a heuristic for formal, thematic, and even political patterns in a genre infamous for its resistance to definition and classification.