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Cover zur kostenlosen eBook-Leseprobe von »All the Gold Hurts My Mouth«

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All the Gold Hurts My Mouth

Goose Lane Editions


Winner, 2017 ReLit Award

Katherine Leyton's fresh and vibrant debut collection takes on the sexual politics of the twenty-first century, boldly holding up a mirror to the male gaze and interrogating the nature of images and illusions.

Confronting the forces of mass communication — whether television, movies, or the Internet — Leyton explores the subtle effects of the media on our perceptions and interactions, including the pain of alienation and the threat of violence simmering just below the surface.

And yet, for all its unflinching and raw lyricism, the poetry of All the Gold Hurts My Mouth is warm and searching, full of humour and hope. Engaging her readers with lush vocabulary and spare, tightly controlled forms, Leyton's poems become a rich quest for identity, authenticity, and nature uncorrupted. Reaching gloriously from isolation and pain to connection with love, Leyton channels the wit of feminists past to create a manifesto for our time, an affirmation of what might be possible.

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"Leyton's voice is both enigmatic and unabashed, delving into the mysteries of selfhood while offering a vivid meditation on what it means to be a woman alive today. A fearless, urgent, and beautifully wrought debut."

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"An outstanding debut, filled with complicated yet still vivid imagery. Leyton's lines lift off the page to throttle you."

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"In this fierce debut, Leyton explores women as palaces and grand pianos, gleaming objects admired and shattered. Through her lyrically exuberant voice, whirring with musicality and subversive jabs, art becomes a looking glass. Just as 'women hum to drown their hunger,' these poems bring the salve of self-creation to their reader."

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"Katherine Leyton debuts with a brash, provocative collection centred around how women are seen by men, as expressed in popular culture, and how women internalize that male gaze."

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Katherine Leyton was the inaugural writer-in-residence at the Al & Eurithe Purdy A-Frame in the summer of 2014. Her poetry and non-fiction have appeared in numerous publications, including the Malahat Review, Hazlitt, the Globe and Mail, and the Edinburgh Review. She is also the founder of the highly unorthodox video poetry blog, HowPedestrian.ca. A native of Toronto, Leyton has lived in Rome, Montreal, Edinburgh, and Forli.

 
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An Action A Day

Between the Lines


An Action A Day Keeps Global Capitalism Away, according to Mike Hudema, describing his action guide for the 21st century. This lively, challenging, and decidedly fun book is designed for activists and concerned citizens who want to change the world. Hudema introduces readers to a variety of issues, including social action, organizing, theatrical action, civil disobedience, and using the media.The book contains fifty-two tried and tested actions, one for every week. Each action includes a rationale, what you need to pull it off, and examples of where it could be used. From Radical Cheerleading, to Fishing in the Sewers, and Gas Mask Car Shopping, there's something for everybody.

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“Mike Hudema’s An Action a Day is an excellent addition to the library for anyone interested in public activism … This volume provides inspiration, practical details and, perhaps most critically, humour.”

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“Hudema’s work will make a nice Canadian content companion to Gene Sharp’s class 198 Methods of Nonviolent Action, or Abby Hoffman’s Steal this Book … An Action a Day is pleasantly full of non-linear chaotic interventions that contribute to enlivening the potential for change.”

 
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Northrop Frye and Others

University of Ottawa Press | Canadian Literature Collection


This book, based on extensive archival and historical work, identifies and brings to light additional and littlerecognized intellectual influences on Frye, and analyzes how they informed his thought. These are variously

major thinkers, sets of texts, and intellectual traditions: the Mahayana Sutras, Machiavelli, Rabelais, Boehme, Hegel, Coleridge, Carlyle, Mill, Jane Ellen Harrison and Elizabeth Fraser.

In each chapter, dedicated to Frye’s connection to a specific influence, Denham describes how Frye became acquainted with each, and how he interpreted and adapted certain ideas from them to help work out his own conceptual systems. Denham offers insights on Frye’s relationship with his historical and intellectual contexts, provides valuable additional context for understanding the work of one of the 20th century’s leading scholars of literature and culture.

Includes over 20 photos, tables and figures, as well as a chapter on Frye’s personal relationship with 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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Jouer la traduction

Les Presses de l'Université d'Ottawa | Regards sur la traduction


Contrairement au théâtre québécois, où le bilinguisme est mis en scène de manière intermittente, celui qui provient de ses marges fait du bilinguisme une pratique courante. Les écrivains franco-canadiens – ceux de l’Ouest canadien, de l’Ontario et de l’Acadie – racontent et montent différentes histoires de diglossie et de bilinguisme et jouent le jeu de la littérature en y démultipliant la traduction dans la forme comme dans le contenu. 

L’ « hétérolinguisme » – c’est-à-dire l’inscription de la variabilité linguistique – de ces pièces de théâtre franco-canadiennes est le plus souvent compréhensible pour les lecteurs et les publics bilingues locaux. Néanmoins, la diffusion de telles pièces et, par ricochet, leur légitimation auprès des métropoles théâtrales canadiennes au fonctionnement surtout unilingue, auront à passer par des traductions en supplément à celles auxquelles leurs jeux bilingues leur permettent déjà de s’adonner. Il est possible que, pour atteindre la légitimation par les institutions dominantes grâce à la traduction, « les cultures de l’exiguïté sacrifient ce qu’elles possèdent de plus radicalement créateur1 », c’est-à-dire l’inscription du traduisible et l’hétérolinguisme ludique. De l’autre, parmi les traductions additionnelles qui découlent de ces processus de diffusion et de légitimation, la réinscription supplémentaire ou ludique du traduisible pourrait être tout aussi radicalement créatrice que son inscription première. 

Une analyse percutante, actuelle, de la circulation, en traduction, de la production théâtrale de l’Ouest canadien francophone, de l’Ontario français et de l’Acadie, qui prend des allures de terrain de jeu pour le français et l’anglais. 

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Jouer la traduction is a substantial work of theatre scholarship that

brings together a critical history of marginalized Franco-Canadian theatre

since 1975, with a probing exploration and analysis of heterolinguistic play

and ludic theatrical translation. Situated in relation both to translation

theory and to dominant models of bilingualism in Canada, Nolette’s study shows

how bilingual theatre and ludic translation can expose and unsettle the

sedimented silence and mistrust that lingers in the intersections of French-

and English-speaking communities, especially in minority situations.

 
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A Journey in Translation

University of Ottawa Press | Canadian Literature Collection


This book traces the remarkable journey of Hébert’s shifting authorial identity as versions of her work traveled through complex and contested linguistic and national terrain from the late 1950s until today. At the center of this exploration of Hébert’s work are the people who were inspired by her poetry to translate and more widely disseminate her poems to a wider audience.

Exactly how did this one woman’s work travel so much farther than the vast majority of Québécois authors? Though the haunting quality of her art partly explains her wide appeal, her work would have never traveled so far without the effort of scores of passionately committed translators, editors, and archivists. Though the work of such “middle men” is seldom recognized, much less scrutinized as a factor in shaping the meaning and reach of an artist, in Herbert’s case, the process of translating Hébert’s poetry has left in its wake a number of archival and other paratextual resources that chronicle the individual acts of translation and their reception.

Though the impact of translation, editions, and archival work has been largely ignored in studies of Canadian literary history, the treasure trove of such paratextual records in Hébert’s case allows us to better understand the reach of her work. More importantly, it provides insight into and raises critical questions about the textually mediated process of nation-building and literary canon formation.

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Lee Skallerup Bessette is an instructional technology specialist in the Division of teaching and Learning Technology at the University of Mary Washington. She has a PhD in Comparative Literature in Comparative Literature from the University of Alberta, with a particular interest in comparative Canadian and Caribbean literatures, translation, and canon formation.

 
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Language is the Key

Jezak, Monika (Hrsg.) | University of Ottawa Press | Politics and Public Policy


The CLB/NCLC success was dependent on many factors—outstanding work by leading Canadian scholars; steady commitment of the government and non-governmental stakeholders at the federal, provincial, and local level; and, last but not least, unconditional commitment and caring on the part of an invested community of practice. Language is the key covers a range of topics: historical and political context that lead to the development of the Canadian standards, their current positioning in global

educational markets, as well as their research and teaching cultures. 

This edited volume provides a comprehensive overview of recent and ongoing projects and of CLB- and NCLC-related materials, tools and resources for teaching and assessment. Finally, it offers a bold outlook, proposing various scenarios to branch out

beyond these benchmarks into the domains of higher education, essential skills, literacy, workplace training, as well as international and indigenous languages. The 20th anniversary of the CLB/NCLC provides an opportunity to reflect on the scope and importance of this exceptional Canadian intellectual product.

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Monika Jezak is a professor at the Official Languages and Bilingualism Institute, where she also serves as

Assistant Director. She has been acting as an expert in language policy at the Centre for Canadian

Language Benchmarks since 2009.

 
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A More Perfect [

BookThug


Iconic political speeches are some of the best remembered and most repeated passages in contemporary English language. Especially in the United States of America, what child doesn’t know Abraham Lincoln's “Fourscore and seven years ago..." or Roosevelt's "The only thing we have to fear..."?

Taking as its source text Barack Obama's campaign speech from March 18, 2008, A More Perfect [ by Jimmy McInnes acts as a poetic translation of the rhetorical devices often used in political speeches. Like poetry, the campaign speech depends heavily upon the manipulation of language—the ways in which words are able to strategically twist intention and distract the eye. McInnes's poetry exposes the inner workings of the political speech, as a genre of text as premeditated as any work of poetry or fiction.

A More Perfect [ blends both political and formal linguistic concerns, garnering comparisons to Jena Osman's Corporate Relations and Alice Oswald's Memorial in their negotiation of source texts. Readers with an interest in language, linguistics, and rhetoric, and those with a particular interest in political themes and formal innovation, will relish this entertaining and culturally poignant read.

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Praise for A More Perfect [

Barack Obama’s eloquent and iconic 2008 speech on race, “A More Perfect Union,” is the master text underlying Jimmy McInnes’s ingenious poem. In the course of laying bare the devices of political rhetoric, McInnes presents an intricate lattice of tropes, formulas, gestures, and contexts. A More Perfect [ reads like a performance theory handbook, a poet’s theater script, and a grammar manual, all rolled into one concatenating barrel of tricks.Charles Berstein

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Jimmy McInnes was born and raised on Ontario's Bruce Peninsula. His first chapbook, Begin Speech With, was released by Ferno House in the fall of 2013. His poetry has appeared in various journals, including This Magazine, ditch, The Puritan, Descant, and the Capilano Review Web Folio. His work has been shortlisted for the Great Canadian Literary Hunt, and the Robert Kroetsch Award for Innovative Poetry. He lives in Toronto, where he completed his MFA in Creative Writing at the University of Guelph, and is currently employed as a political hack. A More Perfect [ is his first book-length work of poetry. Connect with McInnes on Facebook at https://www.facebook.com/jimmymcinnes or Twitter @JimmyMcInnes.

 
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Cover zur kostenlosen eBook-Leseprobe von »La traduction en citations«

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La traduction en citations

Les Presses de l'Université d'Ottawa | Regards sur la traduction


Traduire, ce n’est pas écrire » / « Traduire n’est rien d’autre qu’écrire »

« On naît traducteur, on ne le devient pas » / « Le métier de traducteur, ça s’apprend »

Qu’en pensent Victor Hugo, Madame de Sévigné, Octavio Paz ou Umberto Eco? Et qu’en disent les théoriciens de la traductologie, comme Antony Pym ou Sherry Simon? Les idées s’entrechoquent allègrement dans ce florilège de citations : autant d’auteurs et de traducteurs, autant de partis pris sur l’acte de traduire.

La traduction en citations contient plus de 2700 aphorismes, définitions, éloges, épigrammes, jugements, témoignages ou traits d’esprit sur la traduction, les traducteurs et les interprètes. Ces citations ont été glanées chez plus de huit cent auteurs, de l’Antiquité à nos jours et sont classées sous une centaine de thèmes tels que Art ingrat, Belles infidèles, Éloge du traducteur, Humour, Limites de la traduction, Traduire au féminin ou Vieillissement des traductions.

Ce petit bijou, agréable à lire et à relire, est un incontournable sur la table de chevet de tout traducteur et de tout lecteur curieux. Sourires en coin garantis.

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Avec ce florilège on ne peut plus exhaustif, Jean Delisle nous fait découvrir des facettes inédites de la traduction, qu’il appelle le « huitième art ».

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Jean Delisle, diplômé de la Sorbonne Nouvelle et professeur émérite de l’Université d’Ottawa, est membre de la Société royale du Canada et de l’Association canadienne de traductologie. Il a signé ou dirigé une vingtaine d’ouvrages, dont « la bible » du traducteur, La traduction raisonnée. Ses livres ont été traduits dans une quinzaine de langues.

 
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A Dream For Lani

BWL Publishing Inc. | Beneath Southern Skies


Cosseted all her life, Lani Moore inherits a fortune, but yearns for a loving family. The chance to grab that arrives when two youngsters talk her into taking a flat in their house. Their father, Ryan, is enchanted by the air of intriguing melancholy about his new tenant. Will Lani’s lonely heart find the love she wants above all else?

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A charming country setting, some cheeky kids, two amusing dogs, and a cast of other secondary characters help to build the romantic tension to a crescendo. It’s a pure and gentle romance that will surely please the romance genre purists, along with just about any other romance fan out there.”

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Award winning author Tricia McGill was born in London, England, and moved to Australia many years ago, settling near Melbourne. Horses and dogs feature largely in her books.  She’s had a succession of dogs in her lifetime and a few horses along the way.  

 
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Caribou Run

Goose Lane Editions


At one moment, a pure abstraction; at the next, an incontrovertible presence of hooves, antlers, and fur. The beating heart of this assured début by Richard Kelly Kemick is the Porcupine caribou herd of the western Arctic.

In Caribou Run, Richard Kelly Kemick orchestrates a suite of poems both encyclopedic and lyrical, in which the caribou is both metaphor and phenomenon; both text and exegesis. He explores what we share with this creature of blood and bone and what is hidden, alien, and ineffable.

Following the caribou through their annual cycle of migration, Kemick experiments with formal and thematic variations that run from lyric studies of the creature and its environment, to found poems that play with the peculiar poetry of scientific discourse. to highly personal poems that find resonance in the caribou as a metaphor and a guiding spirit. Running the gamut from long-lined free verse and ghazal form to tightly controlled tankas and interwoven rhyme schemes, Caribou Run serves notice that a formidable new talent has been let loose on the terrain of Canadian poetry.

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"You hear notes of McKay, Steffler, and Purdy's Baffin Island poems in this extraordinary first collection, which is marked throughout by a pulsing, joyful intelligence. Richard Kelly Kemick delivers us onto the great lone land with the precision and beauty of his lines. The book is breathtaking."

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"Caribou Run honours its title subject by its sheer depth of research and by its willingness to explore the relationship between man and nature from numerous angles. Wisecracking, earnest, and charmingly obsessive, Kemick introduces himself here as a poet who believes in something larger than his own self, and so is a poet to watch."

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Richard Kelly Kemick's poetry, prose, and criticism have been published in magazines and journals across Canada and the United States, including the Fiddlehead, the New Quarterly, and Tin House (Open Bar). He has won the poetry prizes of both Grain magazine and Echolocation. He lives in Calgary.

 
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