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This collection of essays focuses on Canadian history and its legacies as represented in novels and films in English and French, produced in Canada mainly in the 1980s and 1990s. The approach is both cross-cultural and interdisciplinary, aiming at articulating Canadian differences through a comparison of anglophone and francophone cultures, illustrated by works treating some of the different groups which make up Canadian society – English-Canadian, Québecois, Acadian, Native, and ethnic minorities. The emphasis is on the problematic representation of Canadianness, which is closely bound up with constructions of history and its legacies – dispossession, criminality, nomadism, Gothicism, the Maritime. The English/French language difference is emblematic of Canadian difference; the two-part arrangement, with one section on Literature and the other on Film, sets up the pattern of relationships between the two forms of cultural representation that these essays explore. Essays in the Literature section are on single texts by such writers as: Margaret Atwood, Tomson Highway, Ann-Marie MacDonald, Anne Michaels, and Alice Munro; Gabrielle Roy, Anne Hébert, Antonine Maillet, Bernard Assiniwi, and Régine Robin. The Film section with its mirror structure both supplements and amplifies this dialogue, extending notions of Canadianness with its emphasis on voices from Quebec and Acadia traditionally ‘othered’ in Canadian history. Filmmakers treated include: Phillip Borsos, Atom Egoyan, Ted Kotcheff, Mort Ransen, and Vincent Ward; Denys Arcand, Gilles Carle, Alanis Obomsawin, Léa Pool, and Jacques Savoie.
In an entertaining re-examination of Rudy Wiebe's major novels, Penny van Toorn presents a completely new way of reading one of Canada's foremost contemporary writers. She analyzes Wiebe's struggle to control the "socially contested territory" of language, and identifies the principles that underlie his complex narrative structures.
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.
In this innovative exploration, told-to narratives, or collaboratively produced texts by Aboriginal storytellers and (usually) non-Aboriginal writers, are not romanticized as unmediated translations of oral documents, nor are they dismissed as corruptions of original works. Rather, the approach emphasizes the interpenetration of authorship and collaboration. Focused on the 1990s, when debates over voice and representation were particularly explosive, this captivating study examines a range of told-to narratives in conjunction with key political events that have shaped the struggle for Aboriginal rights to reveal how these narratives impact larger debates about Indigenous voice and literary and political sovereignty.
In 2013, the Nobel Prize for Literature was for the first time awarded to a short story writer, and to a Canadian, Alice Munro. The award focused international attention on a genre that had long been thriving in Canada, particularly since the 1960s. This book traces the development and highlights of the English-language Canadian short story from the late 19th century up to the present. The history as well as the theoretical approaches to the genre are covered, with in-depth examination of exemplary stories by prominent writers such as Margaret Atwood and Alice Munro.
In the context of Northrop Frye's theories of myth, and in light of the attempts of social critics and early anthologists to define Canada and Canadian literature, McKenzie discusses the ways in which our decidedly fractured sense of literary nationalism has set indigenous culture apart from the mainstream.
A Universal Question, thoughtfully answered! What do you think: Will we see our dogs and cats in the hereafter? Does God's plan for eternity include the created nonhuman world? Franciscan friar and popular writer Father Jack Wintz brings a love for all creation and infectious enthusiasm to the serious task of exploring answers to these long-asked questions, In Will I See My Dog in Heaven? Father Jack admits that no one really knows what God has in mind for us in the next life. But in ten thoughtful chapters, he lines up evidence from the Scriptures, Christian tradition and liturgy, and the life and teachings of St. Francis of Assisi, that God desires all creatures (yes, including our beloved pets!) in the afterlife.
Seeking the Self – Encountering the Other offers new insights into diasporic experiences, encounters and representations. This collection of texts examines diaspora narratives and the ways in which different encounters with the other are represented, as well as how these encounters might be read and interpreted in ethical terms. The anthology explores questions of ethics in narratives of displacement or belonging, nationalist narratives of exclusion and borderline narratives, constructed on the foundation provided by encounters with the cultural, sexual, gendered and ethnic other. The contributors’ aim is to explore questions of responsibility and ethics in the study of diaspora, migration, and alterity from a wide range of perspectives. Following a Levinasian one, if the other is always ultimately transcendental and ungraspable through language, we are required to consider ethics every time we write, read or interpret an encounter with the other.
This study brings together three major areas of interest - history, postmodern fiction, and myth. Whereas neither history and postmodern fiction nor history and myth are strangers to one another, postmodernism and myth are odd bedfellows. For many critics, postmodern thought with its resistance to metanarratives stands in direct and deliberate contrast to myth with its apparent tendency to explain the world by means of neat, complete narratives. There is a strain of postmodern Canadian historical fiction in which myth actually forms a complement not only to postmodernism's suspicion of master-narratives but also to its privileging of those marginal and at times ignored areas of history. The fourteen works of Canadian fiction considered demonstrate a doubled impulse which at first glance seems contradictory. On the one hand, they go about demythologizing - in the Barthesian sense - various elements of historical discourse, exposing its authority as not simply a natural given but as a construct. This includes the fact that the view of history portrayed in the fiction has been either underrepresented or suppressed by official historiography. On the other hand, the history is then re-mythologized, in that it becomes part of a pre-existing myth, its mythic elements are foregrounded, myth and magic are woven into the narrative, or it is portrayed as extraordinary in some way. The result is an empowering of these histories for the future; they are made larger than life and unforgettable.