DOCSLIB.ORG

GREENWOR(L)DS: Ecocritical Readings of Canadian Women's Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GREENWOR(L)DS: Ecocritical Readings of Canadian Women's Poetry University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 1999 GREENWOR(L)DS: Ecocritical readings of Canadian Women's Poetry Relke, Diana M.A. University of Calgary Press Relke, Diana M. A. "GREENWOR(L)DS: Ecocritical readings of Canadian Women's Poetry". University of Calgary Press, Calgary, Alberta, 1999. http://hdl.handle.net/1880/49342 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com GREENWOR(L)DS: ECOCRITICAL READINGS OF CANADIAN WOMEN’S POETRY by Diana M.A. Relke ISBN 978-1-55238-665-1 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work. For more information, see details of the Creative Commons licence at: http://creativecommons.org/licenses/by-nc-nd/3.0/ UNDER THE CREATIVE UNDER THE CREATIVE COMMONS LICENCE YOU COMMONS LICENCE YOU MAY: MAY NOT: • read and store this document • gain financially from the work in any way; free of charge; • sell the work or seek monies in relation to the distribution • distribute it for personal use of the work; free of charge; • use the work in any commercial activity of any kind; • print sections of the work for • profit a third party indirectly via use or distribution of the work; personal use; • distribute in or through a commercial body (with the exception • read or perform parts of the of academic usage within educational institutions such as work in a context where no schools and universities); financial transactions take • reproduce, distribute, or store the cover image outside of its place. function as a cover of this work; • alter or build on the work outside of normal academic scholarship. Acknowledgement: We acknowledge the wording around open access used by Australian publisher, re.press, and thank them for giving us permission to adapt their wording to our policy http://www.re-press.org/content/view/17/33/ GREENWOR(L)DS Eeoefitieal leadings of Canadian Women's Poetry Diana M.A. Relke University of Calgary Press This page intentionally left blank for my sister Joan Relke artist, scholar, and good friend Also issued in electronic formats: ISBN 978-1-55238-665-1, ISBN 978-1-55238-358-2 Contents PREFACE 7 INTRODUCTION: A Literary History of Nature 11 1 POETIC CONSCIOUSNESS 39 1 Double Voice, Single Vision: Ecopoetic Subjectivity and Margaret Atwood's The Journals of Susanna Moodie....4\ 2 Mother Nature, Daughter Culture: Marjorie Pickthall's Quest for Poetic Identity 67 3 Noble and Ignoble Savagery: Patriarchy and Primitivism in the Poetry of Constance Lindsay Skinner 95 2 ECOLOGICAL CONSCIOUSNESS 139 4 The Task of Poetic Mediation: Revisiting Dorothy Livesay's Early Poetry 141 5 The Ecological Vision of Isabella Valancy Crawford: A Reading of Malcolm's Katie 161 6 "time is, the delta": Steveston in Historical and Ecological Context 181 5 GREENWOR(L)DS 3 ECOCRITICAL CONSCIOUSNESS 203 7 Feminist Ecocritique as Forensic Archaeology: Digging in Critical Graveyards and Phyllis Webb's Gardens 205 8 Tracing the Terrestrial in the Early Work of P.K. Page: A Feminist Psychoanalytic Ecoreading 235 9 Confronting the Green Indian: Aboriginal Poetry and Canadian Literary Tradition.. 257 10 Recovering the Body, Reclaiming the Land: Marilyn Dumont's Halfbreed Poetic 285 AFTERWORD: Does Nature Matter? 315 ENDNOTES 325 WORKS CITED 339 INDEX 355 ABOUT THE AUTHOR 363 6 preface n 1994, feminist philosopher of education Jane Holland t Martin reprinted several of her most influential essays in a volume she entitled Changing the Educational Land- scape. She opened her introduction in dialogue with another in- fluential feminist thinker: "I was in my fiftieth year when I began this book: for me a time of flowering," Carolyn Heilbrun wrote in the preface of Reinventing Womanhood. I was fifty-one when my flowering occurred. (Martin 1) Landscape. Flowering. How easily horticultural metaphors trip off the tongues of women when they are speaking personally, situating themselves in discourse, positioning themselves as sub- ject. These metaphors seem to lurk in the language, held out to us as if by some invisible butler, ready for us to slip into. How easily, too, women rewrite them! For according to linguistic con- vention, women do not "flower" in their fifties. By the time a woman has reached her fifties, her "bloom" has faded and she has "ripened" into maturity. Where do these metaphors come from? Why do women use them? How do women use them, and how do they use women? I have spent almost two decades pursuing these questions in the 7 GREENWOR(L)DS poetry of Canadian women. Now, in my fifties, I am ready to "harvest" some of the answers. The season seems right for it. Canadian ecological literary criticism came of age in 1998, with the Spring/Summer issue of Canadian Poetry, subtitled Much with Nature, which brings together original essays by several ecocritics and convinces those of us who have been working in relative isolation that we are finally a community. The issue is the fruit of several years of literary ecoactivism on the part of Canadian Poetry's editor, David Bentley, who has been inviting, inspiring, and even cajoling Canadian critics to take up the ecocritical chal- lenge since at least 1980, when he published his editorial, "A New Dimension: Notes on the Ecology of Canadian Poetry." I am indebted to David for his encouragement and his own fine ecocritical work to which I refer so often in these essays, and for soliciting for Canadian Poetry some of the work reprinted here. I have been so long at work upon these essays that the scores of people to whom I owe a debt of gratitude challenge the con- ventions of acknowledgment far beyond their limits, and the few names I mention here are only the tip of a large and solid ice- berg in a sea of experience. I wrote versions of the opening pieces while working within the supportive environment of the femi- nist community at Simon Eraser University, where my students in the first women's studies course I taught — significantly, a course on women and Utopias — helped me to understand how women envision a world in which earth care comes first. Of the many faculty members there, Andrea Lebowitz and Meredith Kimball stand out as the two whose influence most helped to shape my thinking about women's relationships, including those with nonhuman nature. The middle stages of this project were carried out in the stimulating interdisciplinary environment of the University of Calgary where I had the opportunity to present several papers on my work in progress and receive valuable feed- back from Marsha Hanen, Dean of the Faculty of General Stud- ies during the early part of my tenure there, Helen Buss and Aritha van Herk of the Department of English, and many other fine colleagues. The latest essays were written at the University of Saskatchewan where several colleagues, including Wendy Schissel, Susan Gingell, Carol Morrell and others had more in- fluence than they can know. Our conversations about this project helped to keep me focused despite the often hectic work of 8 GREENWOR(L)DS establishing the Department of Women's and Gender Studies which did not leave me much time for writing. I owe special thanks to Alison Mitchell, my hard-working research assistant for three years, and Tonya Kaye, tireless secretary in the WGSt office, both of whom helped to keep my other projects afloat when I needed the time to work on the essays. Friends in Van- couver — most notably Marjorie Weir, Carol Lane, and Irene Niechoda — have been long-suffering and unfailingly polite about serving as sounding boards, as were my kinswomen Daria Danko and Joan Relke. Like their commitment to feminism in their eve- ryday lives, Daria's love of all things literary and Joan's organic vision as realized in her beautiful sculptures have been endur- ing sources of inspiration to me. I owe thanks to many librarians in the Queen's University Archives, the EJ. Pratt Library (Victoria University), the W.E. Bennett Library (Simon Fraser University), and the University of Manitoba Archives.
Load more

Recommended publications
  • Marjorie Lowry Christie Pickthall - Poems
    Classic Poetry Series Marjorie Lowry Christie Pickthall - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive www.PoemHunter.com - The World's Poetry Archive 1 Marjorie Lowry Christie Pickthall(14 September 1883 – 19 April 1922) Marjorie Lowry Christie Pickthall (September 14, 1883, Gunnersbury, London, – April 19, 1922, Vancouver), was a Canadian writer who was born in England but lived in Canada from the time she was seven. She was once "thought to be the best Canadian poet of her generation." Marjorie Pickthall was born in 1883 in the west London district of Gunnersbury, to Arthur Christie Pickthall, a surveyor and the son of a Church of England clergyman, and Elizabeth Helen Mary Pickthall (née Mallard), daughter of an officer in the Royal Navy, part Irish and part Huguenot. According to her father, Pickthall had planned her career before she was six; she would be a writer and illustrator of books. Her parents encouraged her artistic talents with lessons in drawing and music; an accomplished violinist, she continued studying violin until she was twenty. By 1890, Pickthall and her family had moved to Toronto, Canada where her father initially worked at the city’s waterworks before becoming an electrical draftsman. Her only brother died in 1894. Marjorie was educated at the Church of England day school on Beverley Street in Toronto, (possibly St. Mildred's College) and from 1899 at the Bishop Strachan School. She developed her skills at composition and made lasting friendships at these schools, despite suffering poor health, suffering from headaches, dental, eye and back problems.
    [Show full text]
  • Download The
    READING THE FIELD OF CANADIAN POETRY IN THE ERA OF MODERNITY: THE RYERSON POETRY CHAP-BOOK SERIES, 1925-1962 by Gillian Dunks B.A. (With Distinction), Kwantlen Polytechnic University, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gillian Dunks, 2013 ii Abstract From 1925 to 1962, the Ryerson Press published 200 short, artisanally printed books of poetry by emerging and established Canadian authors. Series editor Lorne Pierce introduced the series alongside other nationalistic projects in the 1920s in order to foster the development of an avowedly Canadian literature. Pierce initially included established Confederation poets in the series, such as Charles G.D. Roberts, and popular late-romantic poets Marjorie Pickthall and Audrey Alexandra Brown. In response to shifting literary trends in the 1940s, Pierce also included the work of modernists such as Anne Marriott, Louis Dudek, and Al Purdy. Following Pierre Bourdieu, I read the Ryerson series as a sub-field of literary production that encapsulates broader trends in the Canadian literary field in the first half of the twentieth century. The struggle between late-romantic and modernist producers to determine literary legitimacy within the series constitutes the history of the field in this period. Pierce’s decision to orient the series towards modernist innovation during the Second World War was due to late romantics’ loss of their dominant cultural position as a result of shifting literary tastes. Modernist poets gained high cultural capital in both the Ryerson series and the broader field of Canadian literary production because of their appeal to an audience of male academics whose approval ensured their legitimacy.
    [Show full text]
  • Marjorie Pickthall & the Quest for Poetic Identity
    DEMETER'S DAUGHTER Marjorie Pickthall & the Quest for Poetic Identity Diana M. A. Relke M.LARJORIE PICKTHALL sold her first manuscript to the Toronto Globe in 1899, when she was 15 years old.* Her career ended abruptly in 1922, when, at the age of 39, she died in Vancouver of complications following surgery. Perhaps no other Canadian poet has enjoyed such enormous fashionable success followed by such total eclipse. Canadian critics of the early twentieth century "seized on her poems and stories as works of distinction,"1 and some even hailed her as a genius and seer. "More than any other poet of this century," wrote E. K. Brown in 1943, "she was the object of a cult. .. Unacademic critics boldly placed her among the few, the immortal names."2 Brown might also have noted that unreserved praise was lavished on Pickthall by scholarly critics as well. She was admired and encouraged by Pelham Edgar who, at the time of her death, wrote: "Her talent was strong and pure and tender, and her feeling for beauty was not more remarkable than her unrivalled gift for expressing it."3 Archibald MacMechan wrote: "Her death means the silencing of the truest, sweetest singing voice ever heard in Canada."4 Within 18 months of her death no less than ten articles — all overloaded with superlatives — were published in journals and magazines such as The Canadian Bookman, Dalhousie Review, and Saturday Night. In his biography, Marjorie Pickthall: A Book of Remembrance, Lome Pierce includes ten tributes paid in verse to the memory of Marjorie Pickthall by companion poets; Pierce himself writes rhapsodically of her "Colour, Cadence, Contour and Craftsmanship."5 Modern literary historians have taken the opposite view.
    [Show full text]
  • The Group of Seven, AJM Smith and FR Scott Alexandra M. Roza
    Towards a Modern Canadian Art 1910-1936: The Group of Seven, A.J.M. Smith and F.R. Scott Alexandra M. Roza Department of English McGill University. Montreal August 1997 A Thesis subrnitted to the Facdty of Graduate Studies and Researçh in partial fiilfiliment of the requirements of the degree of Master of Arts. O Alexandra Roza, 1997 National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellingtocl Ottawa ON KIA ON4 OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii During the 19 los, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would afhn Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be- For the majority of Canadian painters, wrïters, critics and readers, the fbture of the Canadian arts, especially poetry and painting, lay in Canada's past.
    [Show full text]
  • Giving Ideas Voice
    directed by Leonard Enns GIVINg iDEas vOicE Saturday November 11, 8pm St. John the Evangelist, Kitchener Sunday November 12, 3pm St. John’s Lutheran, Waterloo 2017/18 Season Program Horizons – Peter van Dijk Psalm 137 – J. Scott Brubacher Colour of Freedom – Iman Habibi with Amir Haghighi, soloist ~ intermission ~ Song of Invocation – Sheldon Rose Candles – Christine Donkin Tal vez tenemos tiempo – Tarik O’Regan To You before the close of day – Jeff Enns This still room – Jonathan Adams We’d love to visit with you after the concert... please join us to chat over some snacks! Notes & Texts (notes written by L. Enns) With this program, the DaCapo Chamber Choir sets out on a three-year series inspired by the global refugee situation. The series is organized around general themes of Displacement (this season), Resettlement (18/19), and Renewal (19/20). Motivating this plan is the conviction that art is necessary and possibly central to the development and maintenance of civil society, and that it can serve as leaven for peace-making. Today’s global political climate makes this an increasing necessity. The 17/18 season explores the theme of Displacement. The first and final concerts are inspired by several root causes of displacement – war and oppression (today: The Colour of Freedom), and climate change and care for resources (April: This Thirsty Land). Standing between these two, the mid- winter concert (March: Reincarnations) touches on reasons for hope, and on the possibility of transformation. The keystone work of today’s concert is Colour of Freedom by Iranian- Canadian composer Iman Habibi, including texts by Tehran Evin prison survivor Marina Nemat, who has said “If you remain silent, you become an accomplice.” Wilfrid Owen, who was killed 99 years ago, as the “Great War” was exhausting itself, wrote “All a poet can do today is warn.
    [Show full text]
  • Canadian Women Poets and Poetic Identity : a Study of Marjorie
    CANADIAN WOMEN POETS AND POETIC IDENTITY: A STUDY OF MARJORIE PICKTHALL, CONSTANCE LINDSAY SKINNER, AND THE EARLY WORK OF DOROTHY LIVESAY Diana M.A. Relke B.A., Simon Fraser University, 1982 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English 0 Diana M.A. Relke 1986 SIMON FRASER UNIVERSITY July 1986 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy, or other means, without permission of the author. APPROVAL Name : Diana M.A. Relke Degree : Doctor of Philosophy Title of Dissertation: Canadian Women Poets and Poetic Identity: A Study of Marjorie Pickthall, Constance Lindsay Skinner, and the Early Work of Dorothy Livesay. Examining Committee: Chairperson: Chinmoy Banerjee Sandra,,Djwa, Professor, Wnior Supervisor -------a-=--=--J-% ------- b -------- Meredith Kimball, Associate Professor, Department of Psychology, S.F.U. --------------. ------------ Diana Brydon, ~ssociatklProfessor, University of British Columbia Date Approved : ii Canadian Women Poets and Poetic Identity: A Study of Marjorie Pickthall , Constance Lindsay Skinner, and the Early Work of -_______^_ -- ----.^ . _ -.___ __ Dorothy Livesay. ---- ---..--- .-------- -.---.----- --- ---- Diana M.A. Re1 ke --- -- ---. ----- - ---* - -.A -- Abstract This study is an examination of the evolution of the female tradition during the transitional period from 1910 to 1932 which signalled the beginning of modern Canadian poetry. Selective and analytical rather than comprehensive and descriptive, it focuses on three representative poets of the period and traces the development of the female poetic self-concept as it is manifested in their work. Critical concepts are drawn from several feminist theories of poetic identity which are based on the broad premise that poetic identity is a function of cultural experience in general and literary experience in particular.
    [Show full text]
  • Reading the Field of Canadian Poetry in the Era of Modernity: the Ryerson Poetry Chap-Book Series, 1925-1962
    READING THE FIELD OF CANADIAN POETRY IN THE ERA OF MODERNITY: THE RYERSON POETRY CHAP-BOOK SERIES, 1925-1962 by Gillian Dunks B.A. (With Distinction), Kwantlen Polytechnic University, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gillian Dunks, 2013 ii Abstract From 1925 to 1962, the Ryerson Press published 200 short, artisanally printed books of poetry by emerging and established Canadian authors. Series editor Lorne Pierce introduced the series alongside other nationalistic projects in the 1920s in order to foster the development of an avowedly Canadian literature. Pierce initially included established Confederation poets in the series, such as Charles G.D. Roberts, and popular late-romantic poets Marjorie Pickthall and Audrey Alexandra Brown. In response to shifting literary trends in the 1940s, Pierce also included the work of modernists such as Anne Marriott, Louis Dudek, and Al Purdy. Following Pierre Bourdieu, I read the Ryerson series as a sub-field of literary production that encapsulates broader trends in the Canadian literary field in the first half of the twentieth century. The struggle between late-romantic and modernist producers to determine literary legitimacy within the series constitutes the history of the field in this period. Pierce’s decision to orient the series towards modernist innovation during the Second World War was due to late romantics’ loss of their dominant cultural position as a result of shifting literary tastes. Modernist poets gained high cultural capital in both the Ryerson series and the broader field of Canadian literary production because of their appeal to an audience of male academics whose approval ensured their legitimacy.
    [Show full text]
  • Samantha Hamilton
    “Beauty, that piercing joy akin to pain”: Romanticism and the “Christian Moral Economy of „Sacrifice‟” in First World War Poetry by Samantha Hamilton A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of English and Film Studies University of Alberta ©Samantha Hamilton, 2015 Hamilton ii Abstract This thesis examines the connection between Romanticism and the Christ-like sacrifice of soldiers depicted in British poetry of the First World War. It focuses on the Romantic notion of the artist as an individual with special knowledge who suffers in order to create beautiful art, which, this thesis argues, provides a precedent for poets during the war to portray the suffering and sacrifice of combatants in beautiful – and, thus, aesthetically acceptable – ways. Particularly, this thesis focuses on a small, but diverse, group of poets who use the consecrated language of Christianity not only to express in poetry the un-poetic aspects of war (suffering and death), but to navigate a wartime culture of hyper-nationalism and what Peter Howarth calls “a Christian moral economy of „sacrifice‟ for national honour or the common good” (51) in order to express their thoughts and feelings on the war to a large (and largely conservative) audience. The methods used in this thesis include a historical analysis of the culture and context in which the poets here examined developed and published their work. This analysis includes an examination of the formal and informal education that these poets likely received as well as the publishing conditions in Britain during the First World War.
    [Show full text]
  • CANADIAN WOMEN's WAR POETRY, 1915-1920 by Rebecca Campbell a THESIS SUBMITTED in PARTIAL FULFILLME
    WE GAVE OUR GLORIOUS LADDIES: CANADIAN WOMEN'S WAR POETRY, 1915-1920 by Rebecca Campbell A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA APRIL 2007 © Rebecca Campbell, 2007 11 ABSTRACT Women's home-front poetry of the Canadian Great War (1914-1918) betrays a conflicted sense of Canadian identity, stressing as it does both the familial continuities of the Commonwealth and the new sovereignty celebrated by patriots who saw the war as an opportunity to assert Canadian independence. At the same time it traces a conflicted sense of female duty in wartime, as women become both the symbolic avatars of their nation and the producers of national. This thesis addresses the context of women's popular poetry during the Great War, with specific reference to the propagandistic project of the Canadian War Records Office and, more specifically, the poetry of Katherine Hale (1874 - 1956) and Mrs. A. Durie (1856 - 1933). Their work, and the work of other poets, valorise female sacrifice in war-time, and voice male soldiers on the battlefield in a kind of ventriloquism. Both of these strategies allow disenfranchised, colonial women to write back to the war, to both challenge and contribute to Canada as a national project. iii TABLE OF CONTENTS Abstract 11 Table of Contents "i Acknowledgements iy Prologue: The Girl Behind The Man Behind The Gun 1 One: Good-bye Forever 14 Two: Our Homeric Age 26 Three: The Mater Dolorosa 41 Epilogue: Dying Gaily Dying 66 Works Cited 70 iv ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr.
    [Show full text]
  • POSTCOLONIAL LITERATURES (An International Refereed Biannual Published in June and December)
    Vol. 17 No. 2 (December 2017) ISSN 0974-7370 INDIAN JOURNAL OF POSTCOLONIAL LITERATURES (An International Refereed Biannual Published in June and December) POST GRADUATE & RESEARCH DEPARTMENT OF ENGLISH NEWMAN COLLEGE THODUPUZHA, KERALA, INDIA CONTENTS ‘Eco-consciousness’ in the Poetry of the Early Indian English Poets - Anup Nair 05 A Post Colonial Reading of Amitav Ghosh’s The Hungry Tide - Arya S Nair 14 Poetics of the Marginalized: A Reading of Phill Moncrieff’s Poem “My Mother the Land” - Priyanka.M.C 21 Protests of a New Kind: An Analysis of #me and Breastfeeding Campaigning in Kerala - Nithya Mariam John 29 Richard III : Disability in Shakespearean Body - J.S. Jahangir 35 Beyond the Flood: An Ecofeminist Critique of Animal Agency in Margaret Atwood’s MaddAddam Trilogy - JiluAni John 41 Historicising Rohinton Mistry and Textualising Indian History - Maria George 47 Understanding the Patterns of Growth of Indian New Woman through a Comparative Analysis of the Selected Fiction of Mahasweta Devi, Manju Kapur, Rupa Bajwa and Shobha De - Priyanka Mahajan, Jaideep Randhawa 54 Animal Farm: Power Corruption Leads to Annihilation - Dhanya Panicker 66 Reworking the Matrix of Virtual Semantics: A Postcolonial Digital Humanities Metamorphic Potentiality - Anusha A J 71 Magical Feminism and the Feminine Voice in Isabel Allende’s The House of the Spirits - Lynda Stanley 81 Indian Journal of Postcolonial Literatures 3 17.2 (Dec 2017) Death and Transmutation in the Poetry of Emily Dickinson and Marjorie Pickthall: A Comparative Study - V. Ayothi 89 Language of Power: AnandNeelakantan’s Retelling of the Mahabharata as the Narrative of the Authoritative Feminine - Lekshmi R.
    [Show full text]
  • GREENWOR(L)DS: Ecocritical Readings of Canadian Women's Poetry
    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 1999 GREENWOR(L)DS: Ecocritical readings of Canadian Women's Poetry Relke, Diana M.A. University of Calgary Press Relke, Diana M. A. "GREENWOR(L)DS: Ecocritical readings of Canadian Women's Poetry". University of Calgary Press, Calgary, Alberta, 1999. http://hdl.handle.net/1880/49342 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com GREENWOR(L)DS: ECOCRITICAL READINGS OF CANADIAN WOMEN’S POETRY by Diana M.A. Relke ISBN 978-1-55238-665-1 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright.
    [Show full text]
  • Canadian Poetry *
    _J_ BACKGROUNDS OF ENGLISH-___ CANADIAN POETRY * By v. B. RHODENIZ:ER .if HE history of Canadian poetry is so short, compared · .;... with. that .of 01~-World nations,. tha~ the general read~r ,: requrres little m the way of historical background m , order to enjoy it. He naturally expects to find that t>~ earliest poetry in English was written by men and women ·:who ca.me to what is now Canada from England, Scotland, and Ireland (the absence of a Welsh strain is conspicuous), either directly or by way of what is now the United States. ·some poets of Irish extraction, unless they had come under the Wluence of the contemporaneous English tradition before coming to Canada, may show delightful tra.ces of Irish folklore and, if they did not leave Ireland too early, of the romanticism ·of Tom Moore, who himself visited Canada in 1804, making the ·occasion memorable by giving us one of our two hjghly prized .:Canadian boat songs. Similarly, and more definitely, early \>oets from Scotland wrote in the manner of Burns. The early ·:poets who came from England brought with them the classic ~ .-tradition of the eighteenth century, and they and their successors :were confilderably slower than poets who remained in England ll';in accepting, but ultimately did accept, the Romantic mode ·. of writing poetry. Two migrations from the United States, a minor and a major, affected the development of Canadian poetry. The minor, that of New Englanders to the lands from which the .... Acadians had been removed, could result, because of the pre­ .• dominance of Puritanism among the settlers, in religious litera­ ture only, which reached its lyric best in Henry Allina's Hymns and Spiritual Songs (1786, 1802).
    [Show full text]