由於路易斯和克拉克探險二百週年的國家慶祝，黛安•葛蘭西(Diane Glancy)被激勵穿越時空回到過去，進入大西部再訪莎卡嘉薇亞(Sacajawea)—一個陪同了路易斯和克拉克前往太平洋著名的探險「歷史之謎」人物。由於莎卡嘉薇亞神話性的地位十分誘人，她的故事已經被傳述和再述多次。
此篇論文試圖研究葛蘭西對於莎卡嘉薇亞的想像敘事，研究她在作品「石心」中如何運用第二人稱敘事及原民口述傳統相關的形式策略(formal strategies)來再現莎卡嘉薇亞。研究角度是從再現出發，探索葛蘭西所運用的寫作策略，主張作者運用「歷史的想像再評價」將「內容」和「形式」結合。
研究分為三個部分。第一章檢視再現議題，援引過霍爾(Stuart Hall)關於再現的探討，尤其是他者文化再現的部份，試圖勾勒葛蘭西重寫和再現莎卡嘉薇亞的重要性。第二章處理葛蘭西「石心」中的再現方法，包括了第二人稱敘事和並置手法。試圖證明「內容」和「形式」是緊密結合的，並進一步闡明這兩種寫作方法的運用與葛蘭西關心的主題密切相關。第三章企圖將葛蘭西「石心」的寫作策略和原民口述傳統作聯結，探討小說中第二人稱敘事和其他形式的寫作策略，如斜體字和複合字的使用與原民口述傳統的關係。主張葛蘭西的寫作反映出口述傳統，同時也探討小說中多種聲音(many voices)的呈現，企圖證明大地(the land)在此本小說佔有重要性的地位。整體來說，此篇論文強調內容和形式的相互關係，探索小說中的對話性和口述傳統，並呈現小說中投映原民世界觀以大地為基礎的語言。

Due to national celebration of Lewis and Clark Bicentennial, Diane Glancy was motivated to travel back to the past and into the West to visit Sacajawea, “a historical enigma,” who accompanied Lewis and Clark on their celebrated expedition to the Pacific Ocean. Since the mythic status of Sacajawea is seductive, her story has been told and retold many times.
This thesis is a study of Glancy’s imagined narratives of Sacajawea using the second person-narrative and the formal strategies related to Native American oral traditions in Diane Glancy’s Stone Heart. I approach the novel from the perspective of representation and explore the strategies being appropriated by the writer. I argue that Glancy weds content and form with “imaginative reevaluation of history.”
The study is divided into three parts. Chapter One examines the issue of “representation,” especially cultural representation of others by drawing on Stuart Hall’s theory of representation. I attempt to argue for the significance of Glancy’s re-writing and representing Sacajawea. Chapter two will attend to Glancy’s methods of presentation in Stone Heart, including the second-person narrative and the juxtaposition between two ways of perceiving the world. I attempt to demonstrate that content and form are inseparable and further argue that Glancy’s use of both methods are closely related to her thematic concerns. Chapter three serves to explore the Native oral traditions in Glancy’s use of the second-person narrative and other formal strategies such as italics and compound words. I maintain that Glancy’s writing reflects the oral traditions and incorporate discussion on “many voices” to show that it is “the land” that informs the novel. This thesis emphasizes the interrelationship between content and form, explores the dialogic nature and the Native oral traditions, and reveals the land-based language that projects a Native worldview.

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