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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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My Conversations With Canadians

BookThug


My Conversations With Canadians is the book that "Canada150" needs.

Harkening back to her first book tour at the age of 26 (for the autobiographical novel Bobbi Lee: Indian Rebel), and touching down upon a multitude of experiences she's had as a Canadian, a First Nations leader, a woman and mother and grandmother over the course of her life, Lee Maracle's My Conversations with Canadians presents a tour de force exploration into the writer's own history and a re-imagining of the future of our nation.

In this latest addition to BookThug's Essais Series (edited by poet Julie Joosten), Maracle's writing works to engage readers in thinking about the threads that keep Canadians tied together as a nation—and also, at times, threaten to pull us apart—so that the sense of sovereignty and nationhood that she feels may be understood and even embraced by Canadians.

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Praise for Lee Maracle:

"The topics she covers, the approaches she employs, and the strength of her language highlight the reasons the author has been a driving force in Canadian aboriginal culture for decades." —Quill and Quire

"[A]t this fertile moment for change in the relationship between Canada's indigenous and nonindigenous peoples, Lee Maracle's new collection of oratories… takes on even greater significance." —The Georgia Straight

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North Vancouver–born Lee Maracle is the author of numerous critically acclaimed literary works, including Sundogs, Ravensong, Sojourner's Truth and Other Stories, Bobbi Lee: Indian Rebel, Daughters Are Forever, Will’s Garden, Bent Box, Memory Serves, I Am Woman, and Talking to the Diaspora. She is the coeditor of a number of anthologies, including the award-winning My Home As I Remember. A member of the Sto: Loh nation, Maracle is a recipient of the Queen’s Diamond Jubilee Medal, the JT Stewart Award, and the Ontario Premier's Award for Excellence in the Arts for 2014. Maracle is currently an instructor in the Aboriginal Studies Program at the University of Toronto, where she teaches Oral Tradition. She is also the Traditional Teacher for First Nation's House and an instructor with the Centre for Indigenous Theatre. Maracle has served as Distinguished Visiting Scholar at the University of Toronto, the University of Waterloo, and the University of Western Washington, and received an Honorary Doctor of Letters from St. Thomas University in 2009.

 
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The God of Gods: A Canadian Play

University of Ottawa Press | Canadian Literature Collection


Carroll Aikins’s play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins’s often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play’s productions.

Much of the play’s historical significance lies in Aikins’s vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920–22) and artistic director of Toronto’s Hart House Theatre (1927–29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins’s work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre).

The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada’s art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s.

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Illuminating

history, an excellent gloss, provocative thoughts, all very well stated: Wright

has indeed made The God of Gods a highly readable, and necessary, “rich subject

of inquiry.”

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Wright’s scholarly introduction is extensive, insightful, and meticulously detailed, reading the play in the contexts of, for example, primitivism, modernism, and theosophy. The script is also complemented by explanatory and textual notes and primary material such as production shots, reproductions of playbills, reviews, and the like.

 
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Refuse

Wunker, ErinMcGgregor, HannahRak, Julie (Hrsg.) | BookThug


CanLit–the commonly used short form for English Canadian Literature as a cultural formation and industry—has been at the heart of several recent public controversies. Why? Because CanLit is breaking open to reveal the accepted injustices at its heart. It is imperative that these public controversies and the issues that sparked them be subject to careful and thorough discussion and critique.

Refuse provides a critical and historical context to help readers understand conversations happening about CanLit presently. One of its goals is to foreground the perspectives of those who have been changing the conversation about what CanLit is and what it could be. Topics such as literary celebrity, white power, appropriation, class, rape culture, and the ongoing impact of settler colonialism are addressed by a diverse gathering of writers from across Canada. This volume works to avoid a single metanarrative response to these issues, but rather brings together a cacophonous multitude of voices.

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Erin Wunker is a teacher and a writer. She teaches courses in Canadian literature and cultural production. She is the author of the multiple award-winning book Notes from a Feminist Killjoy. She lives and works in K’jipuktuk/Halifax.

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Hannah McGregor is an Assistant Professor of Publishing at Simon Fraser University, a feminist podcaster, and a CanLit killjoy. She co-hosts the popular Harry Potter podcast Witch, Please, and hosts the slightly-less-popular podcast Secret Feminist Agenda, a weekly discussion of the insidious, nefarious, insurgent, and mundane ways we enact our feminism in our daily lives. She lives in Vancouver on the territory of the Musqueam, Squamish and Tsleil-Waututh, and has two cats; one is named after a poet, and the other is named after a breakfast.

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Julie Rak is a Professor in the Department of English and Film Studies at the University of Alberta. She holds an Eccles Fellowship at the British Library for 2017-2018 and is also a Killam Professor at the University of Alberta for 2017-18. Julie was born on traditional Haudenosaunee territory in New York State, and grew up in Delmar, NY, the traditional territory of the Kanien’kehaken (Mohawk). She currently lives and works on Treaty 6 and Metis territory in Edmonton, Alberta, Canada.

 
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Northrop Frye and Others

University of Ottawa Press | Canadian Literature Collection


Robert D. Denham poursuit, dans ce deuxième de trois volumes, son analyse poussée des grands penseurs, documents et traditions intellectuelles qui ont marqué la vision du théoricien et critique littéraire de renom, Northrop Frye : les sutras mahayana, Machiavel, Rabelais, Boehme, Hegel, Coleridge, Carlyle, Mill, Jane Ellen Harrison et Elizabeth Fraser.

Cet ouvrage, fondé sur des recherches archivistiques et historiques approfondies, documente au fil des mentions repérées dans les textes de Frye, les rares références à ces sources, et offre une analyse de la façon dont celles-ci ont façonné la pensée de Frye. Dans chaque chapitre consacré à une influence spécifique, Denham décrit la façon dont Frye a pris connaissance de ces sources, comment il les a interprétées, puis la façon dont il a adapté certaines idées et les a appliquées à ses propres systèmes conceptuels.

Denham propose une fine analyse des contextes historique et intellectuel dans lesquels se situait Frye, jetant un nouvel éclairage sur l’oeuvre d’un des plus grands théoriciens de la littérature et de la culture du XXe siècle. 

Comprend une vingtaine de photos, des tableaux et des figures, de même qu’un chapitre portant sur la relation entre Frye et Elizabeth Fraser.

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These

are brilliant books. I read Northrop Frye

and Others in the summer and just picked up the second installment this

week. I feel that you have really made a break into the open with these

two books. I am grateful for all of your work.

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Robert D. Denham is John P. Fishwick Professor of English, Emeritus, at Roanoke College in Salem Virginia. He has devoted much of his professional life to writing about Northrop Frye and editing his work. He wrote and edited over twenty-five books on Frye, including eleven volumes of his Collected Works.

 
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Wild Words

Coates, DonnaMelnyk, George (Hrsg.) | Athabasca University Press


As the first collection of literary criticism focusing on Alberta writers, Wild Words establishes a basis for identifying Alberta fiction, poetry, drama, and nonfiction as valid subjects of study in their own right. By critically situating and assessing specific Alberta authors according to genre, this volume continues the work begun with Melnyk's Literary History of Alberta.

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Donna Coates is an Associate Professor in the English Department at the University of Calgary. She has published numerous articles and book chapters on Canadian, Australian, and New Zealand fiction and drama (especially by women) and recently co-edited a volume on Canadian war drama.

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George Melnyk is an Associate Professor of Canadian Studies and Film Studies in the Faculty of Communication and Culture at the University of Calgary. He is a historian of Canadian culture and has published numerous books in the field.

 
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Double-Voicing the Canadian Short Story

University of Ottawa Press | Canadian Literature Collection


Double-Voicing the Canadian Short Story is the first comparative study of eight internationally and nationally acclaimed writers of short fiction: Sandra Birdsell, Timothy Findley, Jack Hodgins, Thomas King, Alistair MacLeod, Olive Senior, Carol Shields and Guy Vanderhaeghe. With the 2013 Nobel Prize for Literature going to Alice Munro, the "master of the contemporary short story,” this art form is receiving the recognition that has been its due and—as this book demonstrates—Canadian writers have long excelled in it. From theme to choice of narrative perspective, from emphasis on irony, satire and parody to uncovering the multiple layers that make up contemporary Canadian English, the short story provides a powerful vehicle for a distinctively Canadian "double-voicing”. The stories discussed here are compelling reflections on our most intimate roles and relationships and Kruk offers a thoughtful juxtaposition of themes of gender, mothers and sons, family storytelling, otherness in Canada and the politics of identity to name but a few. As a multi-author study, Double-Voicing the Canadian Short Story is broad in scope and its readings are valuable to Canadian literature as a whole, making the book of interest to students of Canadian literature or the short story, and to readers of both.

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Kruk (...) celebrate[s] the achievements of short-story writers as well as the kind of national identity, based mainly on regional identification, that they helped to highlight. (...) Her conclusion reads like a

celebration of both family and community, in all its variety, in a remote part

of the country. And this is the main point of the book: to celebrate the

achievements of short-story writers as well as the kind of national identity,

based mainly on regional identification, that they helped to highlight.

 
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Selves and Subjectivities

Mannani, ManijehThompson, Veronica (Hrsg.) | Athabasca University Press


Long a topic of intricate political and social debate, Canadian identity has come to be understood as fragmented, amorphous, and unstable, a multifaceted and contested space only tenuously linked to traditional concepts of the nation. As Canadians, we are endlessly defining ourselves, seeking to locate our sense of self in relation to some Other. By examining how writers and performers have conceptualized and negotiated issues of personal identity in their work, the essays collected in Selves and Subjectivities investigate emerging representations of self and other in contemporary Canadian arts and culture. Included are essays on iconic poet and musician Leonard Cohen, Governor General award–winning playwright Colleen Wagner, feminist poet and novelist Daphne Marlatt, film director David Cronenberg, poet and writer Hédi Bouraoui, author and media scholar Marusya Bociurkiw, puppeteer Ronnie Burkett, and the Aboriginal rap group War Party.

As critic Diana Brydon has argued, contemporary Canadian writers are "not transcending nation but resituating it." Drawing together themes of gender and sexuality, trauma and displacement, performati­vity, and linguistic diversity, Selves and Subjectivities offers an exciting new contribution to the multivocal dialogue surrounding the Canadian sense of identity.

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Manijeh Mannani is associate professor of English and comparative literature at Athabasca University and adjunct professor of comparative literature at the University of Alberta.

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Veronica Thompson is the Dean of Faculty of Humanities and Social Sciences at Athabasca University.

 
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Les fables canadiennes de Jules Verne

Les Presses de l'Université d'Ottawa | Amérique française


En trois décennies, du début des années 1870 au

tournant du XXe siècle, Jules Verne écrit trois romans

couvrant plus d’un demi-siècle d’histoire canadienne. 

Si ce triptyque peut être saisi dans le processus global

de la création vernienne, il forme en même temps une

entité à part entière, un formidable révélateur de la

place du Canada et du Québec en France. Cette place

est relative : elle dépend beaucoup de ses interactions

avec l’Angleterre et les États-Unis. 

Plusieurs oeuvres de Verne, depuis Les Aventures du

Capitaine Hatteras, publiées au milieu des années 1860,

s’attachent à comparer les réactions de personnages

anglais et américains. Il en ressort in fine une rivalité des

deux pays, comme dans les romans canadiens Le Pays

des fourrures (1872-1873) et Famille-Sans-Nom (1889).

Le conflit anglo-américain explique les connivences

entre Canadiens français et Américains, dont font état

ces deux romans. 

Or, à la fin de sa vie, Verne remanie ce système

d’alliance. Dans Le Volcan d’or, rédigé en 1899-1900,

les relations vont diamétralement changer : Canadiens

français et anglais, tous honnêtes gens en quête

de l’or du Klondike, s’unissent contre des Américains

originaires du Texas, délinquants notoires et redoutés. 

Comment analyser ce retournement? Quelle clé

offre-t-il pour comprendre, à une plus vaste échelle,

les images du Canada et du Québec qui prévaudront

dès lors en France?

Ce livre est publié en français.

-

Over the course of three decades—from the early 1870s to the turn of the 20th century—Jules Verne wrote three novels covering more than half a century of Canadian history. 

While this triptych is undoubtedly located within the Vernian corpus, it nevertheless constitutes a body of work in its own right, a powerful testimony to the place that Canada and Quebec occupied in France. This place was relative, however, dependent on interactions with England and the United States. 

Several of Verne’s works beginning with the publication of The Adventures of Captain Hatteras in the mid-1860s compare English and American characters. Ultimately, the rivalry that emerges between the two countries is further developed in the Canadian novels The Fur Country (1872–1873) and Family Without a Name (1889). The Anglo-American conflict explains the affinities between French Canadians and Americans present in both novels. 

Toward the end of his life, however, Verne revisits this alliance. In The Golden Volcano, written in 1899–1900, those relations change diametrically: French and English Canadians, all honest people in search of Klondike gold, unite against the Texans, notorious and feared delinquents. 

How is this reversal to be understood? What clues does it offer for understanding of the depictions of Canada and Quebec that prevail henceforth in France on a broader scale?

This book is published in French.

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« Dans cet ouvrage dense, bien documenté, solidement raisonné,

Fabre offre une lecture stimulante de trois romans relativement peu connus de

Jules Verne. Les conclusions qu’il en tire intéresseront, au-delà des fans

encore de nos jours nombreux de l’auteur des « Voyages extraordinaires », les

étudiants de l’histoire et du développement du roman populaire et d’aventures

au dix-neuvième siècle, ainsi que, bien sûr, les lecteurs qui se passionnent au

sujet du développement de la représentation du Canada français dans la culture

hexagonale de l’époque. »

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Peu de gens, à commencer par nous-mêmes à la rédaction, connaissaient l’intérêt que portait le grand écrivain futuriste à notre cher pays. (...) [Gérard Fabre], chercheur au CNRS nous montre à quelles sources le romancier s’abreuvait pour rendre compte au plus près de la situation sociopolitique au Canada et quels étaient l’évolution des rapports au fil du temps entre les canadiens-français, les anglais et les américains. Chapeau à l’essayiste qui lève le voile sur un aspect trop méconnu de la vie de Verne.

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Gérard Fabre est chercheur au Centre d’étude des mouvements sociaux de l’Institut Marcel Mauss, EHESS/ CNRS. Il s’intéresse aux réseaux intellectuels entre le Québec et la France (universitaires, écrivains, revues et institutions) ainsi qu’aux imaginaires nordiques dans la littérature française.

 
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Swinging the Maelstrom

University of Ottawa Press | Canadian Literature Collection


Swinging the Maelstrom is the story of a musician enduring existence in the Bellevue psychiatric hospital in New York. Written during his happiest and most fruitful years, this novella reveals the deep healing influence that the idyllic retreat at Dollarton had on Lowry.

This long-overdue scholarly edition will allow scholars to engage in a genetic study of the text and reconstruct, step by step, the creative process that developed from a rather pessimistic and misanthropic vision of the world as a madhouse (The Last Address, 1936), via the apocalyptic metaphors of a world on the brink of Armageddon (The Last Address, 1939), to a world that, in spite of all its troubles, leaves room for self-irony and humanistic concern (Swinging the Maelstrom,1942–1944).

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Vik Doyen studied at the University of Pennsylvania and did archival research in the Malcolm Lowry Collection at UBC for his doctoral dissertation Fighting the Albatross of Self : A Genetic Study of the Literary Work of Malcolm Lowry (Katholieke Universiteit te Leuven, 1973). He also presented several papers on Lowry at international conferences.

 
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