Atti Def Def Def* Note Corr

Total Page:16

File Type:pdf, Size:1020Kb

Atti Def Def Def* Note Corr IN THAT VILLAGE OF OPEN DOORS Le nuove letterature crocevia della cultura moderna Atti del I Convegno Associazione Italiana di Studi sulle Letterature in Inglese Venezia, 1-3 novembre 2001 A cura di Shaul Bassi, Simona Bertacco e Rosanna Bonicelli Cafoscarina In That Village of Open Doors. Le nuove letterature crocevia della cultura moderna. A cura di Shaul Bassi, Simona Bertacco e Rosanna Bonicelli ISBN 88-88613-30-7 AISLI Direttivo e comitato scientifico del convegno Giulio Marra (Presidente) Silvia Albertazzi Paolo Bertinetti Bernard Hickey Elsa Linguanti Luigi Sampietro Paola Splendore Informazioni http://helios.unive.it/~aisli/aisli-ad/ e-mail: [email protected] Questo volume sostituisce in n. 6 della rivista Il Tolomeo, periodico annuale di recensioni. AISLI ringrazia per la collaborazione al convegno e al volume: Dipartimento di Studi Linguistici e Letterari Europei e Postcoloniali – Università Ca’Foscari di Venezia, Wake Forest University – Venezia, Regione Veneto, Fondazione Cassa di Risparmio di Venezia, Roberto Guerra, Laura Graziano, Elisa Bortolusso, Andrea De Porti, Beniamino Mammani, Maria Bottaro, Bruno Visalli Stampato con il contributo del Dipartimento di Studi Linguistici e Letterari Europei e Postcoloniali, Università Ca’Foscari di Venezia Foto di copertina: District Six, Cape Town (Sud Africa) Libreria Editrice Cafoscarina Pscrl Calle Foscari, 3259 – 30123 Venezia www.cafoscarina.it Prima edizione maggio 2002 Stampato in Italia presso LCM Selecta Group – Milano INDICI / CONTENTS Foreword . i “In that village of open doors”. Le Nuove Letterature crocevia della cultura moderna Giulio Marra . iii Conferenze plenarie / Plenary Lectures Greco-Roman Classical Aesthetics, Western Christian Humanism and African Modernism Kole Omotoso. 3 “Texts Instead”: la narrazione (postcoloniale) nell’epoca della sua riproducibilità tecnica Silvia Albertazzi . 9 Andate e ritorni dall’India (traduttrice per caso) Anna Nadotti . 19 The Impact of Postcolonial Hybridisation on the Britishness of British Literature Itala Vivan . 27 Strategie testuali / Textual Strategies Code-Switching and Other Textual Strategies in the Fiction of Witi Ihimaera Eleonora Chiavetta . 47 Strategies of (Self)Silencing of the Immigrant Subject: a Linguistic Study of Jean Rhys’s “Let Them Call It Jazz” Elisa Lea . 61 The Polysemous Meaning of the Sketches in Roughing It in the Bush Stella Giovannini . 69 Finding Mr Madini: Memory and Story-Telling in Post-Apartheid South Africa Maria Paola Guarducci . 77 Spazi / Spaces Specchi come doni: You Can’t Get Lost in Cape Town Manuela Coppola . 87 “A cycle of longing and loss”: Venice by Caterina Edwards Sabrina Francesconi . 95 Enchanted Forests, Darkening Cities. Temporal and Spatial Perspectives in African Migrant Literature Cristina Lombardi Diop. 103 Incontri / Encounters L’Orfeo rilkiano in The Ground Beneath Her Feet di Salman Rushdie Viktoria Tchernichova . 115 Encounters: Dennis Lee meets Harold ‘Sonny’ Ladoo Elsa Linguanti. 127 Verso una poetica della relazione: fisica, matematica e cosmologia nella narrativa di Janette Turner Hospital Ivana Foti. 141 Bodies, Clothes, Habits: the Dilemma of Difference in Emily Carr and Anne Cameron Franca Bernabei. 151 Infanzia / Childhood Children, Dwarfs and Storytellers: “Elfin Figures” in William Trevor’s Fiction Silvia De Rosa. 163 “Not to Forget”: the Japanese American Relocation Camp Experience in Four Books for Children Elisabetta Marino . 171 Open Doors to Multiculturalism: Representations of Ethnicity in Children’s Literature Laura Tosi. 179 Storia e identità / History and Identity Revisiting Africa Through European Eyes: Myth and History in the ‘Postcolonial Village’ Esterino Adami . 195 L’alba d’un nuovo canone? La letteratura scozzese Marco Fazzini . 205 Carved into Black Flesh: storia e schiavitù in due romanzi ambientati a Hispaniola Paola Galli Mastrodonato . 219 Sebastian Barry’s The Whereabouts of Eneas McNulty as an Irish narrative of exile Roberta Gefter Wondrich. 229 Crossing Doors: Questions of Identity in A. B. C. Merriman-Labor’s Britons through Negro Spectacles Claudia Gualtieri. 237 Prospettive di genere / Gender Perspectives Writing Female, Writing Black. A Tradition in the Making Marie-Hélène Laforest . 247 Il riso di Shireen Alessandra Masolini . 259 Cibo e soggetto femminile in Fasting, Feasting di Anita Desai Floriana Perna. 269 Female Quest Patterns in Post-Colonial Narratives Deborah Saidero . 277 Il romance impossibile: figlie e padri nei romanzi di J.M. Coetzee Paola Splendore . 287 Focus Canada Problems of Identity: Alias Grace by Margaret Atwood Michela Bertilorenzi . 297 Gender e politica in Elizabeth Rex di Timothy Findley Caterina Ricciardi . 305 “Flesh is a Virtue”: Lady Oracle and the Writing of Costume Gothics Michela Vanon Alliata . 313 Poesia e performance / Poetry and Performance “The Oral Tradition of a Nation Given to a New Generation”, that is Black Performance Poetry in London Cristina Abbio . 329 Realtà esteriore e interiore nella poesia di P.K. Page Silvia Del Zotto. 343 Decolonising ‘Ulysses’ in the Neocolonial Irish Society: Conor McPherson’s Plays Monica Randaccio . 351 FOREWORD ISLI (Associazione Italiana di Studi sulle Letterature in Inglese) was created in the year 2000 to coordinate the rich and multiple energies Athat Italian scholars have employed in investigating and divulging the new—and by now not so new—English literatures written in the postcolonial scenario. The neutral and ecumenical definition of English literatures was privileged over more controversial designations such as the obsolete Commonwealth literatures or postcolonial literatures, mainly because, as the plenary speakers show in their contributions, to draw geographical or theoret- ical boundaries today might be just another outdated gesture. This volume brings together the proceedings of the first congress of AISLI, which was held in Venice (1-3 November 2001) under the sign of “openness”, as its title suggests. The board of the association decided not to impose a single theme, but to invite scholars—academics and non academics, young and experienced—to submit papers on any relevant topic. The result has been a rich and diverse array of contributions which, without any preten- sion of exhaustiveness, maps the situation of the research on the new English literatures in Italy. The need of such mapping also suggested that these con- tributions should be published as soon as possible. This accounts for the diverse format of the papers collected in this volume. The editors are happy to acknowledge that there was general agreement on the decision to favour celerity—not to the detriment of accuracy, we hope—over a more complex editorial work of uniformation which would have condemned these proceed- ings to see the light in a not so near future. Although it has become a sort of pious ritual, the scope of our subject ren- ders inevitable to recall that our congress was held less than two months after the watershed events of September 11. During the conference there was no direct debate on them, but indubitably the papers offer many ideas to interpret the international situation in a more complex and articulate way than the polit- ical and journalistic discourse has lately been doing. Beyond the stereotype of the ‘clash of civilizations’ or old-fashioned forms of Thirld-Worldism, what the literatures that we study demonstrates is that geo-political differences cer- tainly exist—let alone inequalities–, but that civilizations are far less mono- lithic than facile slogans imply and that fundamentalist phenomena such as kamikaze terrorists may be the perverse product of cultural contact rather than the visceral expression of any one civilization. Beyond the equally simplify- ing, specular slogans “it’s all their fault” and “it’s all our fault” that have been i volleyed from all sides of the political and cultural spectrum, these literatures can give a precious contribution to understand the responsibility (as opposed to the glorification and to the demonization) of globalisation. Also, they can represent the political and social dilemmas of neglected areas which can be far (Africa) or close (Ireland) to us, but that are frequently ignored by the media. At the same time let us not flatten aesthetics to politics: the texts ana- lyzed here are rich and beatiful texts that testify to the vitality of anglophone literatures. The volume opens with the inaugural speech of the President of AISLI with the four plenary lectures. Then follow the papers presented in the eight workshops. We regret that the wonderful performances which closed the con- ference—the reading and talk by the Indian poet Sujata Bhatt, the scintillat- ing performance of the Canadian playwright Thomson Highway, Armando Pajalich’s inspired reading of Tito Laviera’s poetry,—could not be captured on paper. Likewise, it was impossible to record the intense debates that arose in all sessions, especially the final one devoted to the future perspectives of our discipline. We can just hope that the papers here can provoke further debate, coming to bring new members to the association. Shaul Bassi, Simona Bertacco, Rosanna Bonicelli Venezia, May 2002 ii “In that village of open doors”. Le Nuove Letterature crocevia della cultura moderna Giulio Marra doveroso in primo luogo da parte mia dare una spiegazione dell’im- magine scelta per rappresentare questo Congresso. Il paesaggio che si Èvede non esiste più, ritrae il District Six di Cape Town abbattuto negli anni ’80 durante l’apartheid. Sulle sue
Recommended publications
  • Walter Scott and the Twentieth-Century Scottish Renaissance Movement
    Studies in Scottish Literature Volume 35 | Issue 1 Article 5 2007 "A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement Margery Palmer McCulloch University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation McCulloch, Margery Palmer (2007) ""A very curious emptiness": Walter Scott nda the Twentieth-Century Scottish Renaissance Movement," Studies in Scottish Literature: Vol. 35: Iss. 1, 44–56. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Margery Palmer McCulloch "A very curious emptiness": Walter Scott and the Twentieth-Century Scottish Renaissance Movement Edwin Muir's characterization in Scott and Scotland (1936) of "a very cu­ rious emptiness .... behind the wealth of his [Scott's] imagination'" and his re­ lated discussion of what he perceived as the post-Reformation and post-Union split between thought and feeling in Scottish writing have become fixed points in Scottish criticism despite attempts to dislodge them by those convinced of Muir's wrong-headedness.2 In this essay I want to take up more generally the question of twentieth-century interwar views of Walter Scott through a repre­ sentative selection of writers of the period, including Muir, and to suggest pos­ sible reasons for what was often a negative and almost always a perplexed re­ sponse to one of the giants of past Scottish literature.
    [Show full text]
  • The Culture of Literature and Language in Medieval and Renaissance Scotland
    The Culture of Literature and Language in Medieval and Renaissance Scotland 15th International Conference on Medieval and Renaissance Scottish Literature and Language (ICMRSLL) University of Glasgow, Scotland, 25-28 July 2017 Draft list of speakers and abstracts Plenary Lectures: Prof. Alessandra Petrina (Università degli Studi di Padova), ‘From the Margins’ Prof. John J. McGavin (University of Southampton), ‘“Things Indifferent”? Performativity and Calderwood’s History of the Kirk’ Plenary Debate: ‘Literary Culture in Medieval and Renaissance Scotland: Perspectives and Patterns’ Speakers: Prof. Sally Mapstone (Principal and Vice-Chancellor of the University of St Andrews) and Prof. Roger Mason (University of St Andrews and President of the Scottish History Society) Plenary abstracts: Prof. Alessandra Petrina: ‘From the margins’ Sixteenth-century Scottish literature suffers from the superimposition of a European periodization that sorts ill with its historical circumstances, and from the centripetal force of the neighbouring Tudor culture. Thus, in the perception of literary historians, it is often reduced to a marginal phenomenon, that draws its force solely from its powers of receptivity and imitation. Yet, as Philip Sidney writes in his Apology for Poetry, imitation can be transformed into creative appropriation: ‘the diligent imitators of Tully and Demosthenes (most worthy to be imitated) did not so much keep Nizolian paper-books of their figures and phrases, as by attentive translation (as it were) devour them whole, and made them wholly theirs’. The often lamented marginal position of Scottish early modern literature was also the key to its insatiable exploration of continental models and its development of forms that had long exhausted their vitality in Italy or France.
    [Show full text]
  • 'The Neo-Avant-Garde in Modern Scottish Art, And
    ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object.
    [Show full text]
  • Cahiers-Papers 53-1
    The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf.
    [Show full text]
  • Let's Put Scotland on the Map Molly Wright
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Georgia State University Georgia State University ScholarWorks @ Georgia State University Graduate English Association New Voices English Department Conferences Conference 2007 9-2007 Canonicity and National Identity: Let's put Scotland on the Map Molly Wright Follow this and additional works at: http://scholarworks.gsu.edu/english_conf_newvoice_2007 Part of the English Language and Literature Commons Recommended Citation Wright, Molly, "Canonicity and National Identity: Let's put Scotland on the Map" (2007). Graduate English Association New Voices Conference 2007. Paper 9. http://scholarworks.gsu.edu/english_conf_newvoice_2007/9 This Conference Proceeding is brought to you for free and open access by the English Department Conferences at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Graduate English Association New Voices Conference 2007 by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Wright, Molly University of Alabama 2007 New Voices Conference September 27-29 Graduate English Association English Department, Georgia State University Atlanta, Georgia Canonicity and National Identity: Let’s put Scotland on the Map Where is Scotland on the map of literary studies? This is a timely question for scholars to address. Recently, for example, some Scottish literature scholars have written a petition to the Modern Language Association to expand its current Scottish Literature Discussion Group into a Division on Scottish Literature at the MLA. The petition states that recent Scottish literary scholarship has “(a) recognised the wealth and distinctiveness of the Scottish literary tradition, and (b) sought to redress the anglo-centric bias of earlier treatments of Scottish writing…” (Corbett et al 1).
    [Show full text]
  • 'Provincialism': Scotland's Visual Culture in the 1960S Tom Normand
    Re-thinking ‘Provincialism’: Scotland’s Visual Culture in the 1960s Tom Normand This essay examines the conditions of Scotland’s visual arts in the 1960s focussing upon events in the capital city of Edinburgh. It contests issues of ‘core and periphery’ through a critique of the idea of ‘provincialism’. In exploring the relationship between the academic art of the period and the febrile ‘counter-culture’ it evidences the potential for radical, internationally relevant discourses on the nature of visual culture to emerge in ‘marginal’ locales. Keywords: Scotland, visual art, 1960s, provincialism, the Academy, avant-gardism, ‘counter-culture’, hybridity. Writing in 1962 the eminent connoisseur, art history and arts admin- istrator Kenneth Clark reflected on the nature of ‘provincialism’ in the arts.1 His subject was delivered as the ‘Presidential Address’ to The English Association and considered the qualities, positive and negative, of English art in respect of its relative dislocation from metropolitan centres in Europe and in the United States. He was chiefly concerned with the historic distinction of Paris as a centre for art, but, towards the end of his essay he notes, ‘it is clearly impossible to avoid the impact of abstract art, and particularly the recent phases of it, which can be classed under the fatiguing, but fairly accurate, title of abstract expressionism’.2 His anxiety, then, concerned the emer- gence of America, and principally New York, as a metropolitan centre dominating the cultural landscape in the post-war period. Against this background his reflections on ‘provincial’ English art were melan- choly. He recommended, as a concluding counsel, that English artists might be ‘accepting (of) the provincial virtues and relating them to the dominant style’.3 Clark’s unease in this address was shaped by his unchallenged metropolitan bias.
    [Show full text]
  • Ewan Maccoll, “The Brilliant Young Scots Dramatist”: Regional Myth-Making and Theatre Workshop
    Ewan MacColl, “the brilliant young Scots dramatist”: Regional myth-making and Theatre Workshop Claire Warden, University of Lincoln Moving to London In 1952, Theatre Workshop had a decision to make. There was a growing sense that the company needed a permanent home (Goorney 1981: 85) and, rather than touring plays, to commit to a particular community. As they created their politically challenging, artistically vibrant work, group members sought a geographical stability, a chance to respond to and become part of a particular location. And, more than this, the group wanted a building to house them after many years of rented accommodation, draughty halls and borrowed rooms. Ewan MacColl and Joan Littlewood’s company had been founded in Manchester in 1945, aiming to create confrontational plays for the post-war audience. But the company actually had its origins in a number of pre-War Mancunian experiments. Beginning as the agit-prop Red Megaphones in 1931, MacColl and some local friends performed short sketches with songs, often discussing particularly Lancastrian issues, such as loom strikes and local unemployment. With the arrival of Littlewood, the group was transformed into, first, Theatre of Action (1934) and then Theatre Union (1936). Littlewood and MacColl collaborated well, with the former bringing some theatrical expertise from her brief spell at RADA (Holdsworth 2006: 45) (though, interestingly in light of the argument here, this experience largely taught Littlewood what she did not want in the theatre!) and the latter his experience of performing on the streets of Salford. Even in the early days of Theatre Workshop, as the company sought to create a formally innovative and thematically agitational theatre, the founders brought their own experiences of the Capital and the regions, of the centre and periphery.
    [Show full text]
  • 150 Canadian Books to Read
    150 CANADIAN BOOKS TO READ Books for Adults (Fiction) 419 by Will Ferguson Generation X by Douglas Coupland A Better Man by Leah McLaren The Girl who was Saturday Night by Heather A Complicated Kindness by Miriam Toews O’Neill A Fine Balance by Rohinton Mistry The Handmaid’s Tale by Margaret Atwood Across The Bridge by Mavis Gallant Helpless by Barbara Gowdy Alias Grace by Margaret Atwood Home from the Vinyl Café by Stuart McLean All My Puny Sorrows by Miriam Toews Indian Horse by Richard Wagamese And The Birds Rained Down by Jocelyne Saucier The Island Walkers by John Bemrose Anil’s Ghost by Michael Ondaatje The Jade Peony by Wayson Choy Annabel by Kathleen Winter jPod by Douglas Coupland As For Me and My House by Sinclair Ross Late Nights on Air by Elizabeth Hay The Back of the Turtle by Thomas King Lives of the Saints by Nino Ricci Barney’s Version by Mordecai Richler Love and Other Chemical Imbalances by Adam Beatrice & Virgil by Yann Martel Clark Beautiful Losers by Leonard Cohen Luck by Joan Barfoot The Best Kind of People by Zoe Whittall Medicine Walk by Richard Wagamese The Best Laid Plans by Terry Fallis Mercy Among The Children by David Adams The Birth House by Ami McKay Richards The Bishop’s Man by Linden MacIntyre No Great Mischief by Alistair Macleod Black Robe by Brian Moore The Other Side of the Bridge by Mary Lawson Blackfly Season by Giles Blunt The Outlander by Gil Adamson The Book of Negroes by Lawrence Hill The Piano Man’s Daughter by Timothy Findley The Break by Katherena Vermette The Polished Hoe by Austin Clarke The Cat’s Table by Michael Ondaatje Quantum Night by Robert J.
    [Show full text]
  • Longlisted & Shortlisted Books 1994-2018
    Longlisted & Shortlisted Books 1994-2018 www.scotiabankgillerprize.ca # The Boys in the Trees, Mary Swan – 2008 13 Ways of Looking at a Fat Girl, Mona Awad - 2016 Brother, David Chariandy – 2017 419, Will Ferguson - 2012 Burridge Unbound, Alan Cumyn – 2000 By Gaslight, Steven Price – 2016 A A Beauty, Connie Gault – 2015 C A Complicated Kindness, Miriam Toews – 2004 Casino and Other Stories, Bonnie Burnard – 1994 A Fine Balance, Rohinton Mistry – 1995 Cataract City, Craig Davidson – 2013 The Age of Longing, Richard B. Wright – 1995 The Cat’s Table, Michael Ondaatje – 2011 A Good House, Bonnie Burnard – 1999 Caught, Lisa Moore – 2013 A Good Man, Guy Vanderhaeghe – 2011 The Cellist of Sarajevo, Steven Galloway – 2008 Alias Grace, Margaret Atwood – 1996 Cereus Blooms at Night, Shani Mootoo – 1997 Alligator, Lisa Moore – 2005 Childhood, André Alexis – 1998 All My Puny Sorrows, Miriam Toews – 2014 Cities of Refuge, Michael Helm – 2010 All That Matters, Wayson Choy – 2004 Clara Callan, Richard B. Wright – 2001 All True Not a Lie in it, Alix Hawley – 2015 Close to Hugh, Mariana Endicott - 2015 American Innovations, Rivka Galchen – 2014 Cockroach, Rawi Hage – 2008 Am I Disturbing You?, Anne Hébert, translated by The Colony of Unrequited Dreams, Wayne Johnston – Sheila Fischman – 1999 1998 Anil’s Ghost, Michael Ondaatje – 2000 The Colour of Lightning, Paulette Jiles – 2009 Annabel, Kathleen Winter – 2010 Conceit, Mary Novik – 2007 An Ocean of Minutes, Thea Lim – 2018 Confidence, Russell Smith – 2015 The Antagonist, Lynn Coady – 2011 Cool Water, Dianne Warren – 2010 The Architects Are Here, Michael Winter – 2007 The Crooked Maid, Dan Vyleta – 2013 A Recipe for Bees, Gail Anderson-Dargatz – 1998 The Cure for Death by Lightning, Gail Arvida, Samuel Archibald, translated by Donald Anderson-Dargatz – 1996 Winkler – 2015 Curiosity, Joan Thomas – 2010 A Secret Between Us, Daniel Poliquin, translated by The Custodian of Paradise, Wayne Johnston – 2006 Donald Winkler – 2007 The Assassin’s Song, M.G.
    [Show full text]
  • An Official Publication of the Association of Canadian College and University Teachers of English Volume 42 Issue 3–4 Septe
    esc An official publication of the Association of Canadian College and University Teachers of English Volume 42 Issue 3–4 September/December 2016 English Studies in Canada Volume 42 Issue 3–4 September/December 2016 Readers’ Forum: Proliferation 1 Cecily Devereux Introduction: A Large Number of Something: Proliferation, Now 7 A. C. Facundo Proliferations of Omniscience 10 Jason Haslam Proliferation’s Ends 15 Maureen Engel The Space of Simultaneity 18 Rachelle Ann Tan Tinderization of the Academy 22 Linda Quirk Proliferating Ephemera in Print and Digital Media 25 Christian Bök Virtually Nontoxic Articles Vigilance, Rebellion, Ethics 27 Sarah Banting If What We Do Matters: Motives of Research in Canadian Literature Scholarship 65 Erika Behrisch Elce “Dyin’ ain’t much of a livin’ ”: The Ethics of Rebellion in The Outlaw Josey Wales Against the National Grain 81 Karina Vernon To the End of the Hyphen-Nation: Decolonizing Multiculturalism 99 Lindsay Diehl Disrupting the National Frame: A Postcolonial, Diasporic (Re)Reading of SKY Lee’s Disappearing Moon Café and Denise Chong’s The Concubine’s Children Passionate Uncertainties 119 James McAdams “I did a nice thing”: David Foster Wallace and the Gift Economy 135 Gregory Alan Phipps Breaking Down Creative Democracy: A Pragmatist Reading of Race and Gender in Nella Larsen’s Quicksand Interview 159 Caitlin McIntyre and Dana Medoro Spokesvultures for Ecological Awareness: An Interview with Timothy Morton Reviews 175 Benjamin Authers reviews Anne Quéma’s Power and Legitimacy: Law, Culture, and Literature
    [Show full text]
  • The Novel Since 1970
    Published in: A History of Literature in the Caribbean – volume 2: English- and Dutch- Speaking Region s, ed. by A. James Arnold (Amsterdam & Philadelphia: John Benjamins, 2001), pp. 149-198. Status: Postprint (Authors' version) The Novel since 1970 Hena Maes-Jelinek and Bénédicte Ledent University of Liège Since 1970, Caribbean fiction in English has continued to evolve by producing more original talents and imposing itself on the international scene as one of the most innovative and diversified achievements to have emerged from the postcolonial world. Its originality lies partly in its impressively wide range of language forms from classical traditional prose to the highly metaphorical through a remarkable diversity of regional dialects and idiosyncratic blendings of voices and oral rhythms into literary prose. It lies also in the writers' vision of the West Indian experience in the Caribbean itself or in exile which, either in its regional multiracial and multicultural makeup or in a widespread displacement to North America and Britain, is representative of a largely universal condition. It must be noted, however, that whatever society they have chosen to live in, West Indian novelists have generally resisted the temptation of international postmodernism, no doubt stimulated by the need to envision a promising future for their people rather than adhere to the non-referential world view of "First" and "Second" World Western writers. In addition, the social and political unrest of the early seventies in the Caribbean was an incentive to many to investigate the sources of conflict and the possibilities of harmonious living in the islands and in Guyana: while exile remained a pervasive theme, much fiction from the seventies onward deals with the advisability of returning to the Caribbean in order to contribute to the building of a new society.
    [Show full text]
  • Politics and Aesthetics in Margaret Atwood's Novels
    PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA Ministry of Higher Education and Scientific Research University of Tlemcen Faculty of Letters and Languages Department of Foreign Languages Section of English Women Writing in Question : Politics and Aesthetics in Margaret Atwood’s Novels Thesis submitted in candidacy for the degree of Doctorate in English Literature Presented by Supervised by Mrs Houda Bouhadjar Pr Ilhem Serir Mortad Board of Examiners Dr Wasila Mouro (M.C.A) Chairwoman University of Tlemcen Pr Ilhem Serir (Prof) Supervisor University of Tlemcen Pr Nourddine Guerroudj (Prof) Examiner University of Sidi Belabbes Pr Leila Moulfi (M.C.A) Examiner University of Oran Dr Azzeddine Bouhassoun (M.C.A) Examiner University of Ain Temouchent Dr Abdellatif Semmoud (M.C.A) Examiner University of Tlemcen Academic Year 2017/2018 “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies” Hélène Cixous, “The Laugh of the Medusa” (137) Dedications I dedicate this work to the dearest creatures to my heart, my sons Mohamed Amine and Abderrahmane, to God’s heaven on earth my mother and to the one who supported me with love, help and patience to accomplish this work, my husband Yaaqub Boudjadar. I thank my beloved friends and sisters, Rima and Mounia and my brothers Ramzi and Salah Eddine for their encouragements. To my father and mother, I hope you feel proud of me because my success is yours. To all the silenced women whose voices have been stolen, whose bodies have been colonized and whose forgiveness have been pushed to the extreme, I dedicate this work.
    [Show full text]