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Except as eighteenth-century satiric invective, scatology has almost never been the subject of a full-length study - this despite the insistent references to bodily functions in postwar Canadian literature. This eccentric and interdisciplinary study provides a full listing of examples of scatology in a wide range of Canadian novels from the nineteenth century to the present, and in so doing develops another kind of thematic approach to Canadian prose. Since pollution rites are a culture-specific language, scatology sets up categories of class, race, and gender, although Kramer argues that material signifiers refer to the world and are never purely rhetorical. Scatology as used by Canadian novelists thus raises epistemological problems, alternately undermining and naturalizing political ideologies and religious beliefs.
This is the first book-length study of the classicism of Tony Harrison, one of the most important contemporary poets in England and the world. It argues that his unique and politically radical classicism is inextricable from his core notion that poetry should be a public property in which communal problems are shared and crystallised, and that the poet has a responsibility to speak in a public voice about collective and political concerns. Enriched by Edith Hall's longstanding friendship with Harrison and involvement with his most recent drama, inspired by Euripides' Iphigenia in Tauris, it also asserts that his greatest innovations in both form and style have been direct results of his intense engagements with individual works of ancient literature and his belief that the ancient Greek poetic imagination was inherently radical. Tony Harrison's large body of work, for which he has won several major and international prizes, and which features on the UK National Curriculum, ranges widely across long and short poems, plays, translations and film poems. Having studied Classics at Grammar School and University and having translated ancient poets from Aeschylus to Martial and Palladas, Harrison has been immersed in the myths, history, literary forms and authorial voices of Mediterranean antiquity for his entire working life and his classical interests are reflected in every poetic genre he has essayed, from epigrams and sonnets to original stage plays, translations of Greek drama and Racine, to his experimental and harrowing film poems, where he has pioneered the welding of tightly cut video materials to tightly phrased verse forms. This volume explores the full breadth of his oeuvre, offering an insightful new perspective on a writer who has played an important part in shaping our contemporary literary landscape.
A masterful writing style that is not only unique in biology but without equal in the whole of Dutch literature. The Story of Shit shows Dekkers once again to be in possession of a golden pen.’ New Scientist We are very discreet. We disappear into a small room, perform the task, flush, wash and reappear as if nothing happened. Of course, hygiene is necessary—some faecal bacteria, if re-ingested, can cause very serious problems—and unpleasant aromas are best kept at bay. But in all this hygienic discretion have we lost touch with an integral part of ourselves—something as much a part of living as breathing, eating and sleeping? Something enriching, creative and even enjoyable. In The Story of Shit, Dutch biologist Midas Dekkers presents a personal, cultural, scientific, historical and environmental account of shit, from the digestive process and the fascinating workings of the gut, to the act of defecation and toilet etiquette. With irreverent humour and a compelling narrative style, Dekkers brings a refreshing, entertaining and illuminating perspective to a once-taboo subject. Midas Dekkers is a bestselling Dutch writer and biologist. His books include Physical Exercise, The Way of All Flesh, Dearest Pet and The Larva. Nancy Forest-Flier is a Dutch-to-English translator. She was educated in the USA and now lives in the Netherlands. ‘Dekkers is a reservoir of knowledge (and shit). Fans of his humorous, distinctly European and meandering style of prose will enjoy The Story of Shit, which includes a collection of delightful black-and-white illustrations.’ Australian ‘For those who aren’t aware: we are not our brain, we are our gut. There is always that unmistakable Midas touch: his brilliant, sharp style makes it hard to suppress a laugh or a smile.’ Medisch Contact ‘Dekkers doesn’t hold back in his brimming history...You learn a lot...So, do I recommend a book that tells how the CIA tried using transmitters disguised as tiger turds to eavesdrop on the Viet Cong? Oh...faeces, yes.’ New Zealand Listener ‘It is such a wondrous thing when a scientist can explain facts in a humorous, straightforward and thrilling fashion.’ Toowoomba Chronicle ‘[A] remarkable foray into every aspect of diet, digestion and defecation...This is a fascinating, milestone work that should run out of bookshops like shit off a hot shovel.’ GPSpeak ‘A funny but earnest investigation—part social history, biology lesson and cultural study—that takes Chaucerian delight in the subject.’ Sydney Morning Herald ‘The Story of Shit is entertaining, amusing, educational and revealing...Sitting on the toilet will never be the same’ ArtsHub ‘A fascinating, very funny look at something common to us all.’ Daily Telegraph ‘[An] utterly unique, bizarre and interesting take on this universal-yet-taboo topic...Dekkers is an enthusiastic proponent of crap.’ AU Review ‘Intestinal fortitude required. Prudes beware.’ North & South ‘Packed with humour..The Story of Shit is an enjoyable romp through culture, science, and history.’ Australian Book Review
Failure's Opposite presents a fresh perspective on Klein's reception and legacy, exploring why he has remained a compelling figure for critics and readers. His experimentalism drew upon strong traditions and fluency in several languages - English, French, Yiddish, and Hebrew - allowing him to develop a multilingual, modernist Jewish voice that is a touchstone for understanding Canada's multicultural identity. His struggle with the emotional and historical dimensions of diaspora is of considerable importance throughout his work and is investigated through the lenses of translation, voice, and his relationship to other Jewish writers. Contributors also re-evaluate Klein's connection to Montreal and the original ways in which he captured the atmosphere of his "jargoning city." Failure's Opposite reflects the many ways A.M. Klein is being remade in the twenty-first century, both as a bridge to the past and a model for contemporary critical and creative work in Canadian literature.
Exploring why there is so much fecal matter in literary works that matter Cacaphonies takes fecal matter and its place in literature seriously. Readers and critics have too long overlooked excrement’s vital role in the twentieth- and twenty-first-century French canon. In a stark challenge to the tendency to view this literature through sanitizing abstractions, Annabel L. Kim undertakes close readings of key authors to argue for feces as a figure of radical equality, both a literary object and a reflection on literature itself, without which literary studies is impoverished and sterile. Following the fecal through line in works by Céline, Beckett, Genet, Sartre, Duras, and Gary and the contemporary authors Anne Garréta and Daniel Pennac, Kim shows that shit, far from vanishing from the canon after the early modern period, remains present in the modern and contemporary French literature that follows. She argues that all the shit in the canon expresses a call to democratize literature, making literature for all, just as shit is for (or of) all. She attends to its presence in this prized element of French identity, treating it as a continually uttered desire to manifest the universality France aspires to—as encapsulated by the slogan Liberté, égalité, fraternité—but fails to realize. In shit there is a concrete universalism that traverses bodies with disregard for embodied differences. Cacaphonies reminds us that literature, and the ideas to be found therein, cannot be separated from the corporeal envelopes that create and receive them. In so doing, it reveals the aesthetic, political, and ethical potential of shit and its capacity to transform literature and life.
The fourth volume in the Canadian State Trials series examines the legal issues surrounding perceived security threats and the repression of dissent from the outset of World War One through the Great Depression. War prompted the development of new government powers and raised questions about citizenship and Canadian identity, while the ensuing interwar years brought serious economic challenges and unprecedented tensions between labour and capital. The chapters in this edited collection, written by leading scholars in numerous fields, examine the treatment of enemy aliens, conscription and courts martial, sedition prosecutions during the war and after the Winnipeg General Strike, and the application of Criminal Code and Immigration Act laws to Communist Party leaders, On to Ottawa Trekkers, and minority groups. These historical events shed light on contemporary dilemmas: What are the limits of dissent in war, emergencies, and economic crisis? What limits should be placed on government responses to real and perceived challenges to its authority?
As Contradictory Indianness endeavors to show, a postcolonial Caribbean aesthetics that has from its inception privileged inclusivity, interraciality, and resistance against Old World colonial orders requires taking into account Indo-Caribbean writers and their reimagining of Indianness in the region. This book's unique contribution lies in an explicit privileging of Indo-Caribbean fiction as a creolizing literary imaginary to broaden its study beyond a narrow canon that has, inadvertently or not, enabled monolithic and unidimensional perceptions of Indian cultural identity and evolution in the Caribbean.
The New Spirit of Creativity examines creativity as an embedded institutional value and priority within public art institutions and higher education. The book unpacks the everyday work, organization, and administration of artistic creativity and its clashes with a "new spirit" of creativity that has widely taken hold. Based on fieldwork conducted at three art and design universities in Canada, Saara Liinamaa tackles the fraught landscape of contemporary higher education, the uncertainties of cultural work, and ongoing concerns around austerity in Canada. This book traces how creativity is not simply practiced within the art school, but also inequitably recognized and rewarded. Liinamaa identifies the many compromises required between artistic creativity and the new spirit, while demonstrating how not all compromises are created equally; compromise can support or erode creative diversity. Drawing on a range of original sources – including interviews, participant observation, policy and planning, and media – this work makes a compelling case as to why art and design schools are worthy of sustained attention. By connecting shared interests across sociology, education, cultural studies, art history, and cultural theory, The New Spirit of Creativity makes a novel and agenda-setting contribution to our understanding of artistic creativity, compromise, and cultural work.
In this book, Reinhold Kramer explores a variety of important social changes, including the resistance to objective measures of truth, the rise of “How-I-Feel” ethics, the ascendancy of individualism, the immersion in cyber-simulations, the push toward globalization and multilateralism, and the decline of political and religious faiths. He argues that the displacement, since the 1990s, of grand narratives by ego-based narratives and small narratives has proven inadequate, and that selective adherence, pluralist adaptation, and humanism are more worthy replacements. Relying on evolutionary psychology as much as on Charles Taylor, Kramer argues that no single answer is possible to the book title’s question, but that the term “postmodernity” – referring to the era, not to postmodernism – still usefully describes major currents within the contemporary world.