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“The Great Dreams Pass On” Phyllis Webb’S “Struggles of Silence”
Laura Cameron “The Great Dreams Pass On” Phyllis Webb’s “Struggles of Silence” “My poems are born out of great struggles of silence,” wrote Phyllis Webb in the Foreword to her 198 volume, Wilson’s Bowl; “This book has been long in coming. Wayward, natural and unnatural silences, my desire for privacy, my critical hesitations, my critical wounds, my dissatisfactions with myself and the work have all contributed to a strange gestation” (9).1 In this frequently cited passage, Webb is referring to the fifteen-year publication gap that divides her forty-year career as a poet. She put out two full volumes before Naked Poems in 1965 and two full volumes after Wilson’s Bowl in 198, but in the interim she produced only a handful of poems that she judged publishable.2 And yet, although it might have appeared from the outside in this period as though Webb had renounced poetry for good, archival evidence—numerous poem drafts in various states of completion, grant applications outlining the projects that she intended to pursue, and radio scripts elaborating on her creative efforts and ideas— reveals that this was not simply a period of absence or withdrawal. On the contrary, the middle years of Webb’s career, her “struggles of silence,” were fertile, eventually fruitful, and integral to her poetic development. The interval was characterized by “dissatisfactions” and “hesitations,” as Webb says, but also—and just as importantly—by ambition and an intense desire to grow and progress as a poet, to expand her vision and to write poetry, as she described it, of “cosmic proportions.”3 The creation of Wilson’s Bowl was “a strange gestation” because Webb’s “progeny” did not mature as expected: Wilson’s Bowl was not the volume that she had initially set out to write. -
DOCUMENT RESUME BD 055 010 SO 001 939 Project Canada West
DOCUMENT RESUME BD 055 010 SO 001 939 TITLE Project Canada West. Urbanization as Seen Through Canadian Writings. INSTITUTION Western Curriculum Project on Canada Studies, Edmonton (Alberta). PUB DATE Jun 71 NOTE 105p. EDRS PRICE 1F-$0.65 HC-$6.58 DESCRIPTORS Curriculum Development; *Environmental Education; Interdisciplinary Approach; Literature; *Literature Programs; Projects; Self Concept; Senior High Schools; Social Problems; *Social Studies; Urban Culture; Urban Environment; *Urbanization; *Urban Studies IDENTIFIERS Canada; *Project Canada West ABSTRACT Facing the reality that students have become very aware of their environment and the problems we face merely to survive, and being aware of the alienation of a person as urbanization increases, the project staff decided to develop a curriculum to examine the urban environment through the works of Canadian writers, poets, novelists, etc. IR this way, tenth, eleventh, and twelfth grade students could confront some of the major concerns; become involved personally, though vicariously, in the lives and situations of individuals; and, learn about himself, his place, his role in urban society, and his Canadian literary heritage. The content selection and coMpilation of the writings was from a national point of view related to all parts of Canadian urbanization. The materials accumulated or referred to them during six months are included here in various categories taking into consideration the physical and human elements of each work:1) Faces of the City: descriptions, rejection of and attraction to the city; 2) Faces in the City: dwellers life styles, reactions, age, ef'-nic groups, city natives; 3) Poverty; 4) Handicapped; 5)So-. Tres; and, 6) Pollution. The material discussed is very co allow for survey studies city or local studies, or intensive area studies of urban regions; and, may be used as supplementary material or as primary content. -
The Regional Cosmopolitanism of George Woodcock
Transoceanic Canada: The Regional Cosmopolitanism of George Woodcock by Matthew Hiebert B.A., The University of Winnipeg, 1997 M.A., The University of Amsterdam, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Doctor of Philosophy in THE FACULTY OF GRADUATE STUDIES (English) The University Of British Columbia (Vancouver) August 2013 c Matthew Hiebert, 2013 ABSTRACT Through a critical examination of his oeuvre in relation to his transoceanic geographical and intellectual mobility, this dissertation argues that George Woodcock (1912-1995) articulates and applies a normative and methodological approach I term “regional cosmopolitanism.” I trace the development of this philosophy from its germination in London’s thirties and forties, when Woodcock drifted from the poetics of the “Auden generation” towards the anti-imperialism of Mahatma Gandhi and the anarchist aesthetic modernism of Sir Herbert Read. I show how these connected influences—and those also of Mulk Raj Anand, Marie-Louise Berneri, Prince Peter Kropotkin, George Orwell, and French Surrealism—affected Woodcock’s critical engagements via print and radio with the Canadian cultural landscape of the Cold War and its concurrent countercultural long sixties. Woodcock’s dynamic and dialectical understanding of the relationship between literature and society produced a key intervention in the development of Canadian literature and its critical study leading up to the establishment of the Canada Council and the groundbreaking journal Canadian Literature. Through his research and travels in India—where he established relations with the exiled Dalai Lama and major figures of an independent English Indian literature—Woodcock relinquished the universalism of his modernist heritage in practising, as I show, a postcolonial and postmodern situated critical cosmopolitanism that advocates globally relevant regional culture as the interplay of various traditions shaped by specific geographies. -
UNIVERSITY of CALGARY the Kootenay School of Writing: History
UNIVERSITY OF CALGARY The Kootenay School of Writing: History, Community, Poetics Jason Wiens A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH CALGARY, ALBERTA SEPTEMBER, 200 1 O Jason Wiens 200 1 National Library Bibliothèque nationale 1+1 of canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellingion Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada Your lils Votre r6Orence Our file Notre rdfdtencs The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/^, 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 otherwise de celle-ci ne doivent être implimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract Through a method which combines close readings of literary texts with archiva1 research, 1provide in this dissertation a critical history of the Kootenay School of Writing (KSW): an independent, writer-run centre established in Vancouver and Nelson, British Columbia in 1984. -
Media and Trauma in the Work of Phyllis Webb and Daphne
INTIMATE ENCOUNTERS WITH VIOLENCE: MEDIA AND TRAUMA IN THE WORK OF PHYLLIS WEBB AND DAPHNE MARLATT by © Collin Campbell A Dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English Memorial University of Newfoundland May 2021 St. John’s, Newfoundland and Labrador i Abstract This dissertation looks at the work of Phyllis Webb and Daphne Marlatt, two West Coast Canadian poets who explored questions of media technologies and trauma violence in their work during the latter half of the twentieth century. This thesis takes up contemporary phenomenological and feminist analyses of the connections between media technologies and trauma, especially war violence, in relation to both the creative and practical careers of these two writers. Research into the histories of media technologies such as the letter, radio, photography, and television shows how these technologies have shaped our experience of violence both globally and locally, from nineteenth-century colonial garrisons in Canada to the internment of Japanese Canadians during the Second World War to the 1991 Gulf War. Ultimately, this dissertation suggests that these two poets offer new phenomenological interpretations of the ways in which media technologies shape our perception of historical, hidden traumas. ii Acknowledgements I would like to thank Dr. Joel Deshaye for endless patience and insight in supervising this dissertation. And thank you to the administrative staff and faculty of the English department at Memorial University. I am also endlessly indebted to the staff at Memorial University’s Queen Elizabeth II library for their dedication and ingenuity. -
Canadian Literature
Canadian Literature Issue #50 (accessed: January 21, 2012) $2.00 per copy Autumn, P06TRY OF P. К. РЛС6 Articles BY GEORGE WOODCOCK, A. J. M. SMITH, BRUCE NESBIT, GEORGE BOWERING, С M. MC LAY Poems BY P. K. PAGE Review Articles and Reviews BY G. L. BURSILL-HALL, MIRIAM WADDINGTON, STEPHEN SCOBIE, LEN GASPARINI, LAWRENCE RUSSELL, JIM CHRISTY, MARY JANE EDWARDS, RONALD SUTHERLAND, CLARA THOMAS, L. J. SWINGLE, PETER STEVENS, ROY DANIELLS, PAT BARCLAY, ANTHONY APPENZELL, FRED COGSWELL, JOAN COLDWELL, MIKE DOYLE Illustration BY P. K. IRWIN Opinion BY DONALD CAMERON A QUARTERLY OF CRITICISM AND R€VI€W SWARMING OF POETS An Editorial Reportage George Woodcock WHEN Canadian Literature began, twelve years ago, I promised that every boo! k oTHf Everse by a Canadian poet, as well as every novel published in this country, would be reviewed in its pages. It was an easy promise in a year—1959 — when twenty-four volumes of poetry were all that the bibliographer who compiled our checklist of publications could discover. All twenty-four, I believe, were duly reviewed. Through the Fifties, Northrop Frye, writing his yearly poetry article in the University of Toronto Quarterly, had been able to devote a few sentences or even a few paragraphs to every book of verse that appeared ; they came, in those days, mainly from the regular publishers, who lost money on good poets to give prestige to their lists. There were few small presses; amateur publishing hardly existed; the mimeograph revolution had not begun. The change since then was brought home to me with formidable emphasis on a recent morning when nineteen books of verse arrived for review in one mail delivery. -
Periods of Poetic Silence in Modern Canadian Creative Careers
“A Strange Gestation”: Periods of Poetic Silence in Modern Canadian Creative Careers Laura Cameron Department of English McGill University, Montreal July 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Laura Cameron 2015 “The sun climbs to the middle of the sky and stops. It’s noon. It’s the first bell of noon ringing loud from the cathedral tower. … Great shovelfuls of sound dumped in the grave of our activity. The sound fills up every space and every thought. … The future is blocked. The past is plugged up. Layer after layer of the present seizes us, buries us in one vast amber paperweight. Sealed under twelve skyfuls of the only moment.” — Leonard Cohen, Death of a Lady’s Man (1978) “Sit in a chair and keep still. Let the dancer’s shoulders emerge from your shoulders, the dancer’s chest from your chest, the dancer’s loins from your loins, the dancer’s hips and thighs from yours; and from your silence the throat that makes a sound, and from your bafflement a clear song to which the dancer moves, and let him serve God in beauty. When he fails, send him again from your chair.” — Leonard Cohen, Book of Mercy (1984) Table of Contents Abstract ii Résumé iv Acknowledgements vi Abbreviations viii Introduction 1 PART I: Conceptions of Silence Chapter One: “From the Performance Point of View”: Critical Conceptions of Creative Silence 30 Chapter Two: “Why did you stop writing?”: Poets Accounting for Poetic Silence 76 PART II: The Experience of Silence Chapter Three: “The Whole Breathless Predicament”: The Experience of Creative Crisis 121 Chapter Four: “Then let us start again”: Writing Out of Silence 189 Conclusion 288 Works Cited 301 Cameron ii Abstract This dissertation unites a diverse group of Canadian poets who all fell silent for a prolonged period in the middle of otherwise productive and successful poetic careers: P.K. -
The Scholar Visionary: Malcolm Ross at Ninety
MARY McGrLLIVRAY The Scholar Visionary: Malcolm Ross at Ninety HEN I FIRST HEARD of Malcolm Ross, I was a second-year W student here at Dalhousie. Malcolm Parks, my advisor, spoke so highly of Ross as a scholar and a teacher that I enrolled imme diately in Ross's course in Victorian liter<!ture. So I saw Malcolm Ross a few weeks after I'd heard of him. At the same time, I met him without his being there at all . When I was wandering the Shirreff Hall Library late one night, I picked up a novel I'd never read by a writer of whom I'd never heard: Tbe Stone Angel by Margaret Laurence. It was in paperl.Jack, one ur a series of which I'd also never heard. I had no idea Malcolm Ross had anything to do with the series, or with the writer, but the book grabbed me and I stayed up all night to finish it. In the space of a few weeks, in one case unwittingly, I'd encountered evidence of the several facets of the genius of a man whom I eventually came to see not only as a scholar, but as a kind of visionary. I came to see a man who enacted a vision and an idealism which have nur tured whole communities-communities of scholars, of writers, of artists and actors and teachers. Underlying this vision and idealism is his profound sense of what he has called "the hidden unifying force behind all things, forming and informing everything." 1 1 The text of this article is based on a lecture de li vered at Dalhousie University on 12 January 2001 to celebrate tv! alco lm Ross·s ninetieth birthday. -
POEMS: RECONFIGURATION of the NATION-DISCOURSE in EXPERIMENTAL CANADIAN POETRY (1960S-1980S)
ALTEWNATIONS - LONG(1NG) POEMS: RECONFIGURATION OF THE NATION-DISCOURSE IN EXPERIMENTAL CANADIAN POETRY (1960s-1980s) Alessandra Capperdoni Laurea in Lingue e Letterature Straniere, Universiti degli Studi di Bologna, Italy, 1998 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Department of English O Alessandra Capperdoni 2006 SIMON FRASER UNIVERSITY Fall 2006 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Alessandra Capperdoni Degree: Doctor of Philosophy Title of Thesis: AlterINations -Long(ing) Poems: Reconfiguration of the Nation-Discourse in Experimental Canadian Poetry (1960s-1980s) Examining Committee: Chair: Peter Dickinson Assistant Professor of English and Associate Chair Department of English Sandra Djwa Senior Supervisor Professor Emerita English George Bowering Professor Emeritus English Roy Miki Professor of English Richard Cavell Internal External Examiner Director International Canadian Studies Centre Professor of English University of British Columbia Smaro Kamboureli External Examiner Canada Research Chair in Critical Studies in Canadian Literature University of Guelph, Ontario Date DefendedJApproved: UN~WB~WI~SIMON FRASER brary DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. -
Winger-Johnthompsonphylliswebbandtherootsofthefreeverse.Pdf
NOTE TO USERS This reproduction is the best copy available. UMI® John Thompson, Phyllis Webb, and the Roots of the Free-Verse Ghazal in Canada by Rob Winger, B.A., B. Ed., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute for Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada August, 2009 © 2009, Rob Winger Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-60125-9 Our file Notre reference ISBN: 978-0-494-60125-9 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. -
Liberal Education on the Great Plains American Experiments, Canadian Flirtations, 1930-1950
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 1997 Liberal Education On The Great Plains American Experiments, Canadian Flirtations, 1930-1950 Kevin Brooks Iowa State University Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Brooks, Kevin, "Liberal Education On The Great Plains American Experiments, Canadian Flirtations, 1930-1950" (1997). Great Plains Quarterly. 1938. https://digitalcommons.unl.edu/greatplainsquarterly/1938 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. LIBERAL EDUCATION ON THE GREAT PLAINS AMERICAN EXPERIMENTS, CANADIAN FLIRTATIONS, 1930~1950 KEVIN BROOKS In 1929 the University of Chicago plan for cialized and disjointed in the first thirty years liberal or general education was first proposed of the century, although it was far from being by its young president, Robert Maynard the only general education experiment of its Hutchins. Sociologist Daniel Bell, in his his day. The Experimental School at the Univer tory of general education in America says, "The sity of Wisconsin and the General College at Chicago plan sought to draw together the dis the University of Minnesota are usually iden ciplines in three fields-the humanities, the tified, along with Chicago, as the three most social sciences, and the natural sciences-and significant general education experiments of Jo consider problems which, by their nature, the early 1930s. -
18E Rapport Annuel Conseil Des Arts Du Canada 1974-1975
18e Rapport annuel Conseil des Arts du Canada 1974-1975 Monsieur Hugh Faulkner Secrétaire #Etat du Canada Ottawa, Canada Monsieur le Mimstre, Conformément à l’article 23 de la loi sur le Conseil des Arts du Canada (5-6 Elisabeth II, 1957, chapitre 3) j’ai l’honneur de vous transmettre, pour présentation au Par- lement, le rapport du Conseil des Arts du Canada pour l’exercice financier qui s’est terminé le 31 mars 1975. Veuillez agréer, Monsieur le Ministre, l’assurance de mes sentiments distingués. Le Vice-président et président par interim, Brian Flemming Le ler juin 1975 Le Conseil des Arts du Canada, constitué Sur le plan financier, le Conseil vit princi- en 1957 par une loi du Parlement fédéral, palement des subventions que lui vote a pour mission de promouvoir les arts, les chaque année le Parlement. II tire aussi des humanités et les sciences sociales. Sa revenus de sa Caisse de dotation, consti- principale activité consiste à offrir des tuée par le Parlement en 1957, et de cer- bourses et des subventions dans ces do- taines donations provenant du secteur privé maines et dans certains secteurs pluri- et réservées, dans la plupart des cas, à disciplinaires qui s’y rattachent. De plus, des fins particulières. le Conseil participe aux relations cultu- relles du Canada avec l’étranger, administre Ce rapport est distribué par le la Commission canadienne pour I’Unesco et Service d’information, gère quelques programmes spéciaux finan- Conseil des Arts du Canada, cés par des dons et legs de sources privées. 151, rue Sparks, Ottawa, Ontario.