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Using a wide range of scholarly evidence to support his argument that most poets of the first Canadian Modernist generation were strongly influenced by the ideas and practice of literary Aestheticism, Brian Trehearne provides new readings of Canadian poets such as Robert Finch, John Glassco, W.W.E. Ross, A.J.M. Smith, and F.R. Scott.
Beginning in the 1890s, reaching its first full realization by modernist writers in the 1920s, and brought to its heyday during the Canadian Renaissance starting in the 1960s, the short story has become Canada's flagship genre. It continues to attract the country's most accomplished and innovative writers today, among them Margaret Atwood, Mavis Gallant, Alice Munro, Carol Shields, and many others. Yet in contrast to the stature and popularity of the genre and the writers who partake in it, surprisingly little literary criticism and theory has been devoted to the Canadian short story. This collection redresses that imbalance by providing the first collection of critical interpretations of a range of thirty well-known and often-anthologized Canadian short stories from the genre's beginnings through the twentieth century. A historical survey of the genre introduces the volume and a timeline comparing the genre's development in Canada, the US, and Great Britain via representative examples completes it. The collection is geared both to specialists in and to students of Canadian literature. For the latter it is of particular benefit that the volume provides not only a collection of interpretations, but a comprehensive introduction to the history of the Canadian short story. Reingard M. Nischik is professor and chair of American Literature at the University of Constance, Germany.
Unhomely States is the first collection of foundational essays of Canadian postcolonial theory. The essays span the period from 1965 to the present day and approach broad issues of Canadian culture and society. They represent the impassioned conflicts, dissonances, and intersections among postcolonial theorists in English Canada. Theories of Canadian postcolonialism are various and often contending. The questions proliferate: Is Canada postcolonial? Who in Canada is postcolonial? Are some Canadians more postcolonial than others? Together, the essays in this collection demonstrate both the historical development of this vigorous debate and its most prominent current perspectives. The anthology comprises work originally written in English, selected and arranged in order to demonstrate the dynamic nature of these discussions. Included here are essays by many well-known writers and theorists, such as George Grant, Northrop Frye, Margaret Atwood, Dennis Lee, Robert Kroetsch, Linda Hutcheon, Diana Brydon, Thomas King, Terry Goldie, Arun Mukherjee, Smaro Kamboureli, Stephen Slemon, and Roy Miki. The collection covers such topics as anti-colonial nationalism, settler-invader theory, First Nations contexts, postcolonial pedagogy, and critiques of Canadian postcolonialism. A general introduction surveying the current field of postcolonial discourse in English Canada is also included.
Winner of the Gabrielle Roy Prize in English and the Raymond Klibansky Prize, The Picturesque and the Sublime is a cultural history of two hundred years of nature writing in Canada, from eighteenth-century prospect poems to contemporary encounters with landscape. Arguing against the received wisdom (made popular by Northrop Frye and Margaret Atwood) that Canadian writers view nature as hostile, Susan Glickman places Canadian literature in the English and European traditions of the sublime and the picturesque. Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome – even terrifying – and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. Susan Glickman is a poet living in Toronto. She is the author of Complicity, The Power to Move, Henry Moore's Sheep and Other Poems, and Hide and Seek.
“There are two ladies in the province, I am told, who read,” writes Frances Brooke’s Arabella Fermor, “but both are above fifty and are regarded as prodigies of erudition.” Brooke’s The History of Emily Montague (1769) was the first work of fiction to be set in Canada, and also the first book to reflect on the situation of the woman writer there. Her analysis of the experience of writing in Canada is continued by the five other writers considered in this study – Susanna Moodie, Sara Jeannette Duncan, L.M. Montgomery, Margaret Atwood and Carol Shields. All of these authors examine the social position of the woman of letters in Canada, the intellectual stimulation available to her, the literary possibilities of Canadian subject-matter, and the practical aspects of reading, writing, and publishing in a (post)colonial country. This book turns on the ways in which those aspects of authorship and literary culture in Canada have been inscribed in imaginative, autobiographical and critical texts by the six authors. It traces the evolving situation of the Canadian woman writer over the course of two centuries, and explores the impact of social and cultural change on the experience of writing in Canada.
The essays in Writing between the Lines explore the lives of twelve of Canada’s most eminent anglophone literary translators, and delve into how these individuals have contributed to the valuable process of literary exchange between francophone and anglophone literatures in Canada. Through individual portraits, this book traces the events and life experiences that have led W.H. Blake, John Glassco, Philip Stratford, Joyce Marshall, Patricia Claxton, Doug Jones, Sheila Fischman, Ray Ellenwood, Barbara Godard, Susanne de Lotbinire-Harwood, John Van Burek, and Linda Gaboriau into the complex world of literary translation. Each essay-portrait examines why they chose to translate and what linguistic and cultural challenges they have faced in the practice of their art. Following their relationships with authors and publishers, the translators also reveal how they have defined the goals and the process of literary translation. Containing original, detailed biographical and bibliographical material, Writing between the Lines offers many new insights into the literary translation process, and the diverse roles of the translator as social agent. The first text on Canadian translators, it makes a major contribution in the areas of literary translation, comparative literature, Canadian literature, and cultural studies.
This first reprint of Knister’s verse in more than 20 years represents a major step forward, collecting dozens of poems for the first time in book form and printing 30 additional poems, as well as numerous letters and prose pieces.
The chapters in this volume, a groundbreaking work in the burgeoning field of hemispheric American studies, expand the horizons of Canadian and Québécois literatures, suggest alternative approaches to models centred on the United States, and analyze the risks and benefits of hemispheric approaches to Canada and Quebec. Revealing the connections among a broad range of Canadian, Québécois, American, Caribbean, Latin American, and diasporic literatures, the contributors critique the neglect of Canadian works in Hemispheric studies and show how such writing can be successfully integrated into an emerging area of literary inquiry. An important development in understanding the diversity of literatures throughout the western hemisphere, Canada and Its Americas reveals exciting new ways for thinking about transnationalism, regionalism, border cultures, and the literatures they produce.
The sixteen articles in The Rhetoric of Canadian Writing are a welcome contribution to the growing interest in Canadian culture, indicating its variety - Aboriginal, Anglo-Canadian and French-Canadian culture and their interrelationships are all represented. In classical oratory the term “rhetoric” signifies the art of influencing the thought and conduct of readers and listeners, and this concept is used as an underlying current of debate in this volume. Contributors address the theme of identity and post-colonial disputation in their explorations of eighteenth- and nineteenth-century writing by Elizabeth Simcoe, Catharine Parr Traill and Lucy Montgomery as well as contemporary works by Margaret Atwood, Nancy Huston, Wayne Johnston, Susan Swan, Jacques Poulin and Rudy Wiebe. Quebecoise writer Louis Dupré contributes a compelling reflection on women's writing in Quebec.