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Double-Voicing the Canadian Short Story is the first comparative study of eight internationally and nationally acclaimed writers of short fiction: Sandra Birdsell, Timothy Findley, Jack Hodgins, Thomas King, Alistair MacLeod, Olive Senior, Carol Shields and Guy Vanderhaeghe. With the 2013 Nobel Prize for Literature going to Alice Munro, the “master of the contemporary short story,” this art form is receiving the recognition that has been its due and—as this book demonstrates—Canadian writers have long excelled in it. From theme to choice of narrative perspective, from emphasis on irony, satire and parody to uncovering the multiple layers that make up contemporary Canadian English, the short story provides a powerful vehicle for a distinctively Canadian “double-voicing”. The stories discussed here are compelling reflections on our most intimate roles and relationships and Kruk offers a thoughtful juxtaposition of themes of gender, mothers and sons, family storytelling, otherness in Canada and the politics of identity to name but a few. As a multi-author study, Double-Voicing the Canadian Short Story is broad in scope and its readings are valuable to Canadian literature as a whole, making the book of interest to students of Canadian literature or the short story, and to readers of both.
A Dialogue Between Writers and Readers
This lively and diverse bilingual collection of essays by writers and critics examines contemporary Canadian literary arts. The perspectives range from highly personal and introspective to scholarly and objective, yet each adds significantly to an understanding of the dialogue between writers and readers. Proceedings from a workshop held at the Calgary Institute for the Humanities during the summer of 1982, the volume includes such contributors as E.D. Blodgett, Jacques Brault, Richard Giguère, D.G. Jones, Myrna Kostash, Peter Stevens, Aritha van Herk, and Christopher Wiseman.
The collection will naturally be of interest to any student of Canadian literature, but the essays also forcefully address, both explicitly and implicitly, the question of a nationalism of the arts, an issue of great importance to performers and critics in many fields.
Essays on Arctic Narrative
This collection of essays focuses on the varied and complex roles that editors have played in the production of literary and scholarly texts in Canada. With contributions from a wide range of participants who have played seminal roles as editors of Canadian literatures—from nineteenth-century works to the contemporary avant-garde, from canonized texts to anthologies of so-called minority writers and the oral literatures of the First Nations—this collection is the first of its kind. Contributors offer incisive analyses of the cultural and publishing politics of editorial practices that question inherited paradigms of literary and scholarly values. They examine specific cases of editorial production as well as theoretical considerations of editing that interrogate such key issues as authorial intentionality, textual authority, historical contingencies of textual production, circumstances of publication and reception, the pedagogical uses of edited anthologies, the instrumentality of editorial projects in relation to canon formation and minoritized literatures, and the role of editors as interpreters, enablers, facilitators, and creators.
Editing as Cultural Practice in Canada situates editing in the context of the growing number of collaborative projects in which Canadian scholars are engaged, which brings into relief not only those aspects of editorial work that entail collaborating, as it were, with existing texts and documents but also collaboration as a scholarly practice that perforce involves co-editing.
A Play by Oscar Ryan et al.
This volume comprises a reprinting and gloss of the original text of the 1933 Communist play Eight Men Speak. The play was banned by the Toronto police after its first performance, banned by the Winnipeg police shortly thereafter and subsequently banned by the Canadian Post Office. The play can be considered as one stage – the published text – of a meta-text that culminated in 1934 at Maple Leaf Gardens when the (then illegal) Communist Party of Canada celebrated the release of its leader, Tim Buck, from prison. Eight Men Speak had been written and staged on behalf of the campaign to free Buck by the Canadian Labour Defence League, the public advocacy group of the CPC. In its theatrical techniques, incorporating avant-garde expressionist staging, mass chant, agitprop and modernist dramaturgy, Eight Men Speak exemplified the vanguardist aesthetics of the Communist left in the years before the Popular Front. It is the first instance of the collective theatrical techniques that would become widespread in subsequent decades and formative in the development of modern Canadian drama. These include a decentred narrative, collaborative authorship and a refusal of dramaturgical linearity in favour of theatricalist demonstration. As such it is one of the most significant Canadian plays of the first half of the century, and, on the evidence of the surviving photograph of the mise-en-scene, one of the earliest examples of modernist staging in Canada.
The Promise, the Glory, and the Despair of Louisbourg's Last Decade
The Works of Margaret Atwood
Winner of the 2010 Margaret Atwood Society Best Book Prize. In Engendering Genre, renowned Margaret Atwood scholar Reingard M. Nischik analyzes the relationship between gender and genre in Atwood’s works. She approaches Atwood’s oeuvre by genre – poetry, short fiction, novels, criticism, comics, and film – and examines them individually. She explores how Atwood has developed her genres to be gender-sensitive in both content and form and argues that gender and genre are inherently complicit in Atwood’s work: they converge to critique the gender-biased designs of traditional genres. This combination of gender and genre results in the recognizable Atwoodian style that shakes and extends the boundaries of conventional genres and explores them in new ways. The book includes the first in-depth treatment of Atwood’s cartoon art as well as the first survey of her involvement with film, and concludes with an interview with Margaret Atwood on her career “From Survivalwoman to Literary Icon.”
Le « moment 68 » et la réinvention de l’Acadie
La distance et les barrières linguistiques n’ont pu empêcher le mouvement étudiant nord-américain de former une incarnation locale en terre acadienne, culminant dans une participation enthousiasme au « moment 1968 » planétaire, avec une saveur originale toutefois, qui changera profondément la culture politique de cette minorité linguistique.
–Lionel Groulx, 1935
Quatre notables acadiens reçus tels des chefs d’État par Charles de Gaulle au Palais de l’Élysée. Plus de 2000 personnes qui manifestent dans les rues de Moncton scandant « on veut du français! ». Une confrontation très publique à l’hôtel de ville entre quatre jeunes résolus et un maire francophobe. Une tête de cochon déposée sur le seuil de sa maison en guise de protestation. L’occupation du plus grand bâtiment de l’Université de Moncton par des étudiants armés de boyaux d’arrosage. Voilà quelques images fortes héritées des « années ‘68 » en Acadie, des images qui se sont ancrées avec force dans l’imaginaire acadien.
Le présent ouvrage relate l’histoire du mouvement étudiant de Moncton, qui a été, toutes proportions gardées, l’un des plus importants au Canada durant les années 1960. La dimension nationaliste de ce mouvement était déjà relativement bien connue; aussi, la contribution la plus importante de cet ouvrage est qu’il ancre cette histoire dans celle de la Nouvelle Gauche nord-américaine, permettant une meilleure compréhension de sa genèse et de sa nature. Mettant en relation les actions et paroles de ces étudiants acadiens avec ceux du Québec, du Canada anglophone, des États-Unis et d’au-delà, il explore comment, dans la diffusion d’idées, le mondial et le local se rejoignent.
L'inscription de la francophonie canadienne dans la durée