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Malcolm Lowry's Poetics of Space

Lane, Richard J.Mota, Miguel (Hrsg.) | University of Ottawa Press | Canadian Literature Collection


This collection focuses on Lowry’s spatial dynamics, from the psychogeography of the Letterist and the Situationist International, through musical forms (especially jazz), cinema, photography, and spatialpoetic writing, to the spaces of exception, bio-politics, and the creaturely. It presents previously unpublished essays by both established and new international Lowry scholars, as well as innovative ways of conceiving of his aesthetic practice.

In each of the book’s three sections, critics engage in the notion of Lowry as a multi-media artist who influenced and was deeply influenced by a broad range of modernist and early postmodernist aesthetic practices. Acutely aware of and engaged in the world of film, sensitive to the role of the graphical surface in advertising and propaganda, and deeply immersed in a vast range of literary traditions and the avant-garde, Lowry worked within an intertextual space that is also a mediascape, one which tends to transgress, or at least exceed, neatly controlled borders or aesthetic boundaries. These new approaches to Lowry’s life and work, which make use of new and recent theoretical perspectives, will encourage fresh debate around Lowry’s writing.

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The University of Ottawa Press excels with its Canadian Literature Collection (...) Malcolm Lowry’s Poetics of Space extends his literary legacy through the archival recuperations and by working through the troubles of a largely biographical body of scholarship.

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Richard J. Lane directs the Seminar for Advanced Studies in the Humanities and the Literary Theory Research Group at Vancouver Island University, BC, where he is also the Principal Investigator of the MeTA Digital Humanities Lab, supported by the Canada Foundation for Innovation and the BC Knowledge Development Fund. Lane is also a Director of Innovation Island Technology Association, as well as an Associated Researcher at The Electronic Textual Cultures Lab, at The University of Victoria, BC.

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Miguel Mota is Associate Professor of English at the University of British Columbia in Vancouver. In addition to his work on Lowry, Mota has published in the areas of contemporary British literature and culture and on the relationship between literature and film, including articles on Jeanette Winterson, John King, Mike Leigh, Derek Jarman, and Peter Greenaway, among others.

 
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Voice and Versification in Translating Poems

University of Ottawa Press | Perspectives on Translation


Great poets like Shelley and Goethe have made the claim that translating poems is impossible. And yet, poems are translated; not only that, but the metrical systems of English, French, Italian, German, Russian and Czech have been shaped by the translation of poems. Our poetic traditions are inspired by translations of Homer, Dante, Goethe and Baudelaire. How can we explain this paradox? 

James W. Underhill responds by offering an informed account of meter, rhythm, rhyme, and versification. But more than that, the author stresses that what is important in the poem—and what must be preserved in the translated poem—is the voice that emerges in the versification. 

Underhill’s book draws on the author’s translation experience from French, Czech and German. His comparative analysis of the versifications of French and English have enabled him to revise the key terms involved in translating the poetic voice and transposing the poem’s versification. The theories of versification from the Prague School of Linguistics, the French and Swiss schools of versification, and recent scholarship in metrics and rhythm in the UK and in the USA have been integrated into this synthetic but rigorously coherent approach to translating poems. The extensive glossary at the end of the book will prove useful for both students and teachers alike. And the detailed case studies on translating poems by Baudelaire and Emily Dickinson allow the author to categorize and appraise the various poetic and aesthetic strategies and theories that are brought to bear in translating Baudelaire into English, and Dickinson into French. 

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These two videos allow us to become better acquainted with the work of James Underhill, and contextualizes Voice and Versification.

o James Underhill chairs a panel discussion on signs & sense as part of the Rouen Ethnolinguistics Project which is loosely tied to the issue of voice and versification

(https://webtv.univ-rouen.fr/videos/james-underhill-normandie-u/). 51 minutes; in French.

o Prague conference video: Prague conference will be online on youtube by now and is on. 46 minutes. English with Czech subtitles.

https://www.youtube.com/watch?v=lcuGj4HwdU4

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James W. Underhill was born in Glasgow in 1967. He is Full Professor and lectures on Literature, Poetics, and Translation at Rouen University in Northern France. He worked as a full-time translator of French and Czech, and published poems in translation from French and German. Underhill’s work focuses on both linguistic constraints at a deeper level, and the essential creative impulse by which individuals stimulate the shared language of the community.

 
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Blood Fable

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Winner of the 2018 Thomas Raddall Atlantic Fiction Award

Maine, 1980. A utopian community is on the verge of collapse. The charismatic leader’s authority teeters as his followers come to realize they've been exploited for too long. To make matters worse, the eleven-year-old son of one adherent learns that his mother has cancer.

Taking refuge in his imagination, the boy begins to speak of another time and place. His parents believe he is remembering his own life before birth. This memory, a story within the story of Blood Fable, is an epic tale about the search for a lost city refracted through the lens of the adventures the boy loves to read. But strangely, as the world around them falls apart, he and his parents find that his story seems to foretell the events unfolding in their present lives.

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Priase for Blood Fable:

"A family drama, a fantastical voyage, and a poetic reflection on love, death and betrayal, this extraordinary coming-of-age novel exposes the difficult relationship between free-thought and blind faith, evasion and enlightenment. Oisín Curran's Blood Fable is an adventure for the heart and soul." —Johanna Skibsrud, Scotiabank Giller Prize winning author of The Sentimentalists and Quartet for the End of Time

"This careful and loving rendering of a child's mind proves that acts of storytelling were once not so much vehicles for escape but instead crucial rehearsals for being. A remembrance of lost time—or maybe, to reference its Buddhist undergirding, an alaya-vijnana, a storehouse consciousness—Curran's vision of boyhood is perfect in details and sublimely moving. Blood Fable is a magnificent double take, which—like a bistable optical illusion (duck or rabbit?) —allows two universes to coexist. A rapturous adventure tale where the very essence of adventure is subverted so that fantasy and reality conflate; this is done not for temporary trickery but to deepen our comprehension of the real." —Eugene Lim, author of Dear Cyborgs

"The dark magic in Blood Fable is just a story (within a story), but that somehow makes it more, and more truly, magical. It is a story about how stories are made, how they help and refuse to reflect our lives, as resonating versions of the world refracted through the prism of imagination. On almost every page something threw me gloriously off balance and I couldn’t stop asking myself: how does Oisin Currin manage to write so consistently, compellingly, hauntingly well? I will reread this book." —Jacob Wren, author of Rich and Poor and Polyamorous Love Song"Blood Fable is, for me, a perfect book; it is the novel I always wish I were reading. In its twin stories&mdasj;one of an eleven-year-old boy and his flawed, beloved parents and the other a wild tale of love, peril, and adventure across underground tunnels and seas—are all the wonder and terror of childhood, refracted by a luminous imagination. Through the wide eyes of a child, Curran plumbs the world of adults with compassion and acuity. Blood Fable is a quest, a question, a story of searching—for understanding, insight, heroes—and of failing, finding in their stead the imaginative mercy of love. This is a joy of a novel, glittering, wondrous, and strange. I remain in its thrall." —Rebecca Silver Slayter, author of In the Land of Birdfishes

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Oisín Curran grew up in rural Maine. He received a BA in Classics and an MFA in Creative Writing from Brown University (where he was the recipient of a national scholarship and a writing fellowship), and a diploma in Translation (French to English) from Concordia University. He is the author of Mopus (2008), and was named a "Writer to Watch" by CBC: Canada Writes. Curran lives in Cape Breton, Nova Scotia, with his wife and two children.

 
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Home Ground and Foreign Territory

Fiamengo, Janice (Hrsg.) | University of Ottawa Press | Reappraisals: Canadian Writers


Home Ground and Foreign Territory is an original collection of essays on early Canadian literature in English. Aiming to be both provocative and scholarly, it encompasses a variety of (sometimes opposing) perspectives, subjects, and methods, with the aim of reassessing the field, unearthing neglected texts, and proposing new approaches to canonical authors. Renowned experts in early Canadian literary studies, including D.M.R. Bentley, Mary Jane Edwards, and Carole Gerson, join emerging scholars in a collection distinguished by its clarity of argument and breadth of reference. Together, the essays offer bold and informative contributions to the study of this dynamic literature.

Home Ground and Foreign Territory reaches out far beyond the scope of early Canadian literature. Its multi-disciplinary approach innovates literal studies and appeals to literature specialists and general readership alike.

 
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Shakespeare and Canada

Makaryk, Irena R.Prince, Kathryn (Hrsg.) | University of Ottawa Press | Reappraisals: Canadian Writers


Shakespeare in Canada is the result of a collective desire to explore the role that Shakespeare has played in Canada over the past two hundred years, but also to comprehend the way our country’s culture has influenced our interpretation of his literary career and heritage. What function does Shakespeare serve in Canada today? How has he been reconfigured in different ways for particular Canadian contexts?

The authors of this book attempt to answer these questions while imagining what the future might hold for William Shakespeare in Canada. Covering the Stratford Festival, the cult CBC television program Slings and Arrows, major Canadian critics such as Northrop Frye and Marshall McLuhan, the influential acting teacher Neil Freiman, the rise of Québécois and First Nation approaches to Shakespeare, and Shakespeare’s place in secondary schools today, this collection reflects the diversity and energy of Shakespeare’s afterlife in Canada.

Collectively, the authors suggest that Shakespeare continues to offer Canadians “remembrance of ourselves.” This is a refreshingly original and impressive contribution to Shakespeare studies—a considerable achievement in any work on the history of one of the central figures in the western literary canon.

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The best of these essays provide interesting overviews of how Shakespeare is performed in this country, particularly at Stratford. C. E. McGee’s opening chapter on Stratford’s nine productions of The Merchant of Venice is particularly rewarding for its investigation of how Merchant’s characters have been made to evolve. Robert Ormsby offers a detailed analysis of Stratford’s “multinationalist” productions of A Midsummer Night’s Dream and Twelfth Night, cleverly tying director Leon Rubin’s imaginative concepts to Stratford’s role in creating cross-border tourism. Among the other thoughtful contributions are intriguing explorations by Kailin Wright and Don Moore of the CBC’s Slings & Arrows, the TV series inspired by the Stratford Festival; a tough, uncompromising, but gracefully written overview by Sarah Mackenzie of Stratford’s various attempts at acknowledging Indigenous traditions in Canada; and Annie Brisset’s fascinating take on the history of Shakespeare translations and productions in Quebec

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IRENA R. MAKARYK. Professor of English, cross-appointed to Theatre, at the University of Ottawa. Her research interests focus on Shakespeare’s afterlife, Soviet theatre, modernism, and theatre during periods of great social duress. Her most recent book is April in Paris 1925: Theatre, Politics, Space (forthcoming).

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KATHRYN PRINCE. Theatre historian at the University of Ottawa, where she is an Associate Professor and, in 2016, recipient of the Excellence in Education prize. Her current work focuses on the practice of emotions in early modern drama. She has published widely on Shakespeare in performance from the seventeenth to the twenty-first centuries.

 
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Cabin Fever

BWL Publishing Inc.


In Sheila Claydon's Cabin Fever, published by Books We Love, the Osprey cruise ship is in trouble. Can Ellie Masters and Andy Smith solve the problem? When they join the ship in New Zealand they soon discover that it’s going to be hard work all the way to Australia. Not that either of them intend to let long hours get in the way of their blossoming love affair...until Ellie develops feet of clay..or is it Andy who is the problem? Is he really who he says he is? They joined the ship to help the crew, but now it’s Ellie and Andy who need help. Will they get it or is it already too late?

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One of the best story lines I have read in a very long time. Love the romance so detailed without giving blow-by-details of the actual sex act. Understand the wide appeal for the success of the book.

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Born and educated on the south coast of England, Sheila Claydon has gradually moved northwards across the UK. Now living in northwest England on a stunning stretch of unspoiled coastline, she finds walking a constant source of inspiration as well as a counterweight to the sedentary life of a writer. Interspersed with her writing is a long and varied career in health, education and employment. She likes to think she is a better writer because of those experiences, and also admits to basing some of her characters on people she has worked with in the past. Her motto is a quote by the late Ray Bradbury: 'First, find out what your hero wants. Then just follow him.'
 She starts with plots, chapter outlines, characterisation, each time she starts to write a new story. Then the hero takes over and she follows him instead...'

 
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The Worlds of Carol Shields

Staines, David (Hrsg.) | University of Ottawa Press | Reappraisals: Canadian Writers


"Carol was a very fine writer and a remarkable human being, a wonderful person whose work I closely followed for more than 20 years. I interviewed her frequently over those years, with virtually every work she produced —novel, radio drama, play, book of stories. So I had a good sense of the span of her work and also her evolution as a stylist. But the key reason I wanted to make a book focusing on her life and work is that we were friends."

—Eleanor Wachtel

This book strikes the right balance between intimate accounts and literary analysis. It opens with reminiscences by close friend Eleanor Wachtel, which are followed by a study of Shields’ poetry by her daughter and grandson, then by various aspects of her fiction, including a detailed examination of her plays. It closes with reminiscences by four close friends: Jane Urquhart, Joan Clark, Wayson Choy and Martin Levin.

The 23 contributors offer new insights, new theories, and new perspectives about Shields’ illuminating career. Only one piece—her obituary written by Margaret Atwood—has been previously published.

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Most of the 23 pieces in this collection were presented at a conference celebrating the work of Shields at the University of Ottawa in 2012. (...) These pieces wrap the collection in a quilt of affectionate memory of Carol Shields as a person, teacher and a friend that will be a necessary comfort for the non-academic reader of the book (...). Scholars will be grateful for the essays in this collection. Readers are advised to treat the book as a companion to a rereading of Shields oeuvre (...).

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Professor of English at the University of Ottawa, David Staines specializes in medieval literature and culture and Canadian literature and culture. In the former, he has published Tennyson’s Camelot: The Idylls of the King and Its Medieval Sources, and translated The Complete Romances of Chrétien de Troyes; in the latter, he published The Canadian Imagination: Dimensions of a Literary Culture, The Forty-Ninth and Other Parallels: Contemporary Canadian Perspectives, and The Letters of Stephen Leacock. He has also edited volumes on Morley Callaghan, Stephen Leacock and Margaret Laurence, and co-edited volumes of the writings of Northrop Frye and Marshall McLuhan. A long-time friend of Carol Shields, he wrote Carol Shields: Cultural Context, a part of Library and Archives Canada’s Web exhibition Canadian Writers.

 
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De la couleur des lois

Les Presses de l'Université d'Ottawa


Malgré l’ouverture proclamée des Canadiens face à la diversité ethnique et culturelle, l’histoire canadienne n’en est pas moins marquée par la discrimination systématique. Cet ouvrage expose la ténacité juridique de cette discrimination par l’entremise d’un examen de six arrêts judiciaires déterminants entre 1900 et 1950 qui démontrent comment le système juridique canadien fut complice de la discrimination raciale.

 

Les cas retenus font exemples des diverses façons dont le racisme a opéré dans les différents environnements juridiques du Canada. On y retrouve ceux d’Eliza Sero, qui a présenté en 1921 une revendication à la souveraineté Mohawk, de Wanduta, un Heyoka de la nation Dakota, qui visait à faire reconnaître son droit de célébrer la traditionnelle danse des herbes sacrées en 1903, d’Ira Johnson, qui a eu à subir le courroux du Ku Klux Klan en raison de son désir de contracter un mariage mixte en 1930, de Yee Clun, un restaurateur canadien d’origine chinoise à qui l’on avait refusé le droit d’employer des femmes blanches en 1924 et de Viola Desmond, qui avait été empêchée par le personnel d’un cinéma de s’asseoir dans une section réservée aux Blancs en 1946. De la couleur des lois illustre l’ambiguïté opérationnelle ainsi que l’étonnante et sournoise persévérance du racisme à l’oeuvre dans le système juridique canadien.

 

De la couleur des lois est la traduction française de Colour-Coded: A Legal History of Racism in Canada (University of Toronto Press, 1999), qui a été gagnant du prix Joseph Brant en 2002.

 
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Tours et détours

Les Presses de l'Université d'Ottawa


Tours et détours examine l’inscription du mythe de Babel dans la littérature contemporaine de langue française. Le mythe s’avère une source d’inspiration pour les auteurs examinés qui évoquent justement des phénomènes sociaux actuels, tels que le multiculturalisme, l’immigration, l’exil, la pluralité des langues, la traduction et l’identité. Les ouvrages étudiés, tous écrits en français mais issus de différents contextes linguistiques et culturels, mettent en lumière de nouvelles interprétations du mythe de Babel. Pendant longtemps le mythe de Babel et la pluralité linguistique et culturelle qui s’ensuivent ont été considérés une malédiction pour l’humanité, mais les romans à l’étude remettent en question cette vision négative. Sans exalter les bienfaits de la multiplicité, ils considèrent comment la pluralité linguistique et culturelle enrichit et façonne la production littéraire ainsi que le monde contemporain.

Les auteurs et œuvres étudiés sont

•    Monique Bosco, Babel-Opéra

•    Hédi Bouraoui,  Ainsi parle la tour CN

•    Francine Noël,  Babel, prise deux ou Nous avons tous découvert l’Amérique

•    Ernest Pépin, Tambour-Babel

•    Jorge Semprun, L’Algarabie

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Dans son analyse, Catherine Khordoc a decelé différentes interprétations du mythe de Babel prouvant également la richesse de ce récit. Les interprétations positives, qui voient dans le multiculturalisme et le plurilinguisme une bénédiction, prévalent. Le message principal contemporain de Babel est la diversité et la pluralité contrairement aux époques révolues focalisées avec nostalgie sur la recherche de la langue commune perdue et de l'unité.

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« La précision des analyses textuelles et l’approche théorique (au croisement de la littérature, de la psychanalyse et de la sociocritique) rendent justice aux diverses questions liées au multiculturalisme, à l’identité individuelle et collective et à la cohabitation des langues. C’est toutefois lorsqu’elle lie ses interprétations sur le mythe de Babel à un questionnement métaphysique sur l’identité et le monde que l’auteure nous offre quelques-unes de ses plus belles pages, et elles sont nombreuses. Si l’approche reste littéraire, Khordoc propose aussi un contenu culturel et philosophique habilement mené. »

– Adina Balint-Babos, Revue Analyses, vol. 8, no 1, hiver 2013

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“Khordoc’s study left this reviewer with a way to explore facets of the Babel myth in other texts besides those in the study. It is recommended as both a historical review of the myth itself and as a companion for those interested in the novels under scrutiny.

– Mary L. Poteau-Tralie, Rider University (NJ), French Review

 
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Conflict

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SHORTLISTED FOR THE 2013 OTTAWA BOOK AWARD

SHORTLISTED FOR THE 2013 ARCHIBALD LAMPMAN AWARD

SHORTLISTED FOR THE 2013 RELIT AWARD

Conflict interweaves ghosts, bad communication, the uncanny and the archival, to create a collection of poems that break down remembrance into abandoned historic markers, jet fuel, keening, or teeth. What you are given (this is a gift) is an insistent refusal to silence or shift. In exchange, the reader must face the impossibility of erasure, a gritty resistance to mourn a fight. Conflict is a collection of red balloons that intersplices and interweaves through various forms of conflict that occur in language, motion, architecture, emotions; between individuals, systems, and mechanical silences.

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Praise for Christine McNair:

"McNair is a one-woman fireworks spectacle."

— Grady Harp via literaryaficionado.com

"McNair takes us through poetry that forms together, while simultaneously breaking free from itself and forcing us to focus on our own loves and limitations."

— Cassie Leigh via greyborders.blogspot.ca

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Christine McNair was born on June 6, 1978, (the sixth day of the sixth month at six-fifty-six.)  She completed a BA (Hons) from Acadia University in Nova Scotia, with a major in English Literature and a minor in Art History.  She also completed a Master's degree in Conservation Studies (Books and Library Materials) at West Dean College in the UK.  Besides being a writer, McNair works full time at the Canadian Conservation Institute in Ottawa, in a special agency of the Department of Heritage, as a book "doctor" or Conservator. Conflict is her first book.

 
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