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DigiCat Publishing presents to you this special edition of "Highways of Canadian Literature" by John Daniel Logan, Donald G. French. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
In 10 weeks during the summer of 2012, on the 50th anniversary of the Trans-Canada Highway, author Mark Richardson drove the nearly 8,000 kilometres of the iconic road, meeting a variety of people along the way, exploring the route's fabled history, and discovering how important this ribbon of asphalt is to Canada.
The road trip genre, well established in the literatures of Canada, is a natural outcome of the nation’s obsession with geography. Divided Highways examines road narratives by Anglo-Canadian, Québécois and Indigenous authors and the sense of place and nationhood in these communities. Geography describes the land, and history peoples it, just as memories connect us to place. This is why road trips are such a feature of writing in Canada, allowing the travellers to claim, at least symbolically, the terrain they have traversed. Macfarlane examines works by a variety of writers from each of these communities, including Gilles Archambault, Jeannette Armstrong, Jill Frayne, Tomson Highway, Claude Jasmin, Robert Kroetsch, Jacques Poulin, Aritha van Herk and Paul Villeneuve, to name but a few. Studying a diversity of road narratives from Anglo-Canadian, Québécois and Indigenous populations not only demonstrates the existence of a very specific road genre, but is also revelatory of very diverse and often conflicting perceptions of nationhood. It is these expressions of sovereignty that are integral to ongoing discussions of reconciliation and decolonization. This book is published in English. - Cet ouvrage étudie l’existence et la tradition du roman de la route au Canada. La géographie décrit le territoire et l’histoire lui insuffle vie, tout comme les souvenirs sont des points d’attache à un lieu donné. Voilà pourquoi les road trips ont une place privilégiée dans l’écriture d’expression anglaise, française et autochtone du Canada : ils permettent aux voyageurs de revendiquer, du moins symboliquement, le terrain qu’ils ont couvert. C’est l’intersection de l’histoire et de la géographie qui confère toute sa signification à un voyage, qui alimente cet esprit des lieux, ou qui permet d’en constater l’absence. Les voyages sont révélateurs des intérêts propres aux trois groupes examinés dans le cadre de cette étude. Le désir, et parfois la nécessité, d’entreprendre un voyage, les compagnons de voyage ainsi que les destinations, de même que l’histoire qui s’écrit au fil des distances parcourues sont autant d’indicateurs de cette notion de l’espace et du concept de nation au sein du pays. Pour illustrer ce phénomène, ce livre examine des oeuvres littéraires d’une gamme d’écrivains anglophones, québécois et autochtones, dont Gilles Archambault, Jeannette Armstrong, Jill Frayne, Tomson Highway, Linda Hogan, Scott Gardiner, Claude Jasmin, Robert Kroetsch, Lee Maracle, Jacques Poulin, Aritha van Herk et Paul Villeneuve. L’approche comparative aux littératures du Canada est le prolongement logique aux études postcoloniales dans la mesure où elle révèle les complexités de même que les spécificités de diverses communautés, contribuant ainsi à une meilleure compréhension de collectivités nationales. Elle propose, en outre, des histoires qui font le contrepoids aux études transnationales. Ce livre est publié en anglais.
Set in Canada and the battlefields of France and Belgium, Three-Day Road is a mesmerizing novel told through the eyes of Niska—a Canadian Oji-Cree woman living off the land who is the last of a line of healers and diviners—and her nephew Xavier. At the urging of his friend Elijah, a Cree boy raised in reserve schools, Xavier joins the war effort. Shipped off to Europe when they are nineteen, the boys are marginalized from the Canadian soldiers not only by their native appearance but also by the fine marksmanship that years of hunting in the bush has taught them. Both become snipers renowned for their uncanny accuracy. But while Xavier struggles to understand the purpose of the war and to come to terms with his conscience for the many lives he has ended, Elijah becomes obsessed with killing, taking great risks to become the most accomplished sniper in the army. Eventually the harrowing and bloody truth of war takes its toll on the two friends in different, profound ways. Intertwined with this account is the story of Niska, who herself has borne witness to a lifetime of death—the death of her people. In part inspired by the legend of Francis Pegahmagabow, the great Indian sniper of World War I, Three-Day Road is an impeccably researched and beautifully written story that offers a searing reminder about the cost of war.
A passionate believer in the power of art—and especially poetry—to influence and critique contemporary culture, Louis Dudek devoted much of his life to shaping the Canadian literary scene through his meditative and experimental poems as well as his work in publishing and teaching. All These Roads: The Poetry of Louis Dudek brings together thirty-five of Dudek’s poems written over the course of his sixty-year career. Much of Dudek’s poetry is about the practice of art, with comment on the way the craft of poetry is mediated by such factors as university classes, public readings, reviews, commercial presses, and academic conferences. The poems in this selection—witty satires, short lyrics, and long sequences—reflect self-consciously on the relationship between art and life and will draw readers into the dramatic mid-century literary and cultural debates in which Dudek was an important participant. Karis Shearer’s introduction provides an overview of Dudek’s prolific career as poet, professor, editor, publisher, and critic, and considers the ways in which Dudek’s functional poems help, both formally and thematically, to carry out the tasks associated with those roles. Comparing Dudek’s reception to that of NourbeSe Philip, Marilyn Dumont, and Roy Miki, Frank Davey’s afterword locates Dudek in a pre-1980s version of multiculturalism that is more complex than many critics would have it. According to Davey, Dudek broadened the limits on the possible range and type of poetry for subsequent generations of Canadian writers.