Oldal 74 [74]
NIKOLA TUTEK
history and ways of knowledge.”? In the same essay, the authors provide several
examples of possible cultural appropriation, two of which are important
for the analysis in this paper. The first is “[a] white writer published stories
learned from members of West Coast Native Band. According to the customs
and traditions of that band, the stories can be retold only by select elders”.
The second is the following: “W. P. Kinsella published a series of stories set
on the Hobbema Reserve in Alberta. The stories are all fictional, as are the
characters, though some of those characters are given names of people living
on the reserve.’ These two particular examples are very interesting for the
analyses in this paper because both Croatian and Albanian cultures suppose a
certain level of cultural taboo, which can be, and usually is, discussed (or retold)
only by people in specific positions in the social hierarchy. Furthermore, both
analyzed stories feature Munro’s interesting and suggestive choice of personal
names, a choice which is open to lot of discussion.
Ziff and Rao in their essay argue that the definition of cultural appropriation
is a difficult task, and they go so far as to claim that it is practically impossible
“to set clear limits as to where the concept of cultural appropriation begins
and ends.” In that sense, almost every product of intercultural interaction
could be regarded as some form of cultural appropriation. Not only is the
term ambiguous, but, according to Ziff and Rao, even the two elements of the
term cultural and appropriation are difficult to identify and define as concise
scientific terms.
Firstly, we should consider what culture means, and, more importantly,
how we define cultural groups. The entire history of humankind is about
constant interaction of cultural circles. Furthermore, interaction means
transmission of knowledge and experience, borrowing of ideas and concepts,
all the way to the simple theft of cultural objects. In other words, most of our
history was and is generated through some form of cultural appropriation (if
the term is considered in its wider sense). With the development of science,
modern ways of communication, and travel, this process of appropriation has
inevitably and unstoppably accelerated. The first important question arises:
To which culture do we belong?
And what are cultural practices? Ziff and Rao assert the following: “Just as
defining the parameters of a cultural group is difficult, so, too, is establishing
a theoretical basis for connecting a particular cultural practice to the group.
If cultural practices develop from an amalgam of influences, it becomes
difficult to assign these to one group over another.” Further in the text they
2 Bruce Ziff — Pratima V. Rao (eds.), Borrowed Power: essays on Cultural Appropriation, New
Brunswick, New Jersey, Rutgers University, 1997, 1.
3 Ibid. 2.
* Ibid. 3.
5 Ibid. 3.
+ 72e