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The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian -
Refractions of Germany in Canadian Literature and Culture
Refractions of Germany in Canadian Literature and Culture Edited by Hein2 Antor Sylvia Brown John Considine Klaus Stierstorfer Walter de Gruyter • Berlin • New York Contents Foreword V JOHN CONSIDINE, Introduction 1 ROBERT KROETSCH, Occupying Landscape We Occupy Story We Occupy Landscape 23 Diaspora and Settledness 31 SYLVIA BROWN, Voices From the Borderlands: The Problem of "Home" in the Oral Histories of German Expellees in Canada 33 ANNA WITTMANN, From Hungary to Germany to Canada: Gheorghiu's Twenty-Fifth Hour and Shifting Swabian Identities 57 PETER WEBB, Martin Blecher: Tom Thomson's Murderer or Victim of War- time Prejudice? 91 THOMAS MENGEL, Der deutsche Katholik in Kanada: An Approach to the Mentalite of German-speaking Catholics in Canada through an Analysis of their Journal 105 HEINZ ANTOR, The Mennonite Experience in the Novels of Rudy Wiebe ... 121 JOHN CONSIDINE, Dialectology, Storytelling, and Memory: Jack Thiessen's Mennonite Dictionaries 145 Jewish Experience and the Holocaust 169 AXEL STAHLER, The Black Forest, the Unspeakable Nefas, and the Mountains of Galilee: Germany and Zionism in the Works of A. M.Klein 171 VIII Contents KLAUS STIERSTORFER, Canadian Recontextualizations of a German Nightmare: Henry Kreisel's Betrayal (1964) 195 LAURENZ VOLKMANN, "Flowers for Hitler": Leonard Cohen's Holocaust Poetry in the Context of Jewish and Jewish-Canadian Literature .... 207 ALBERT-REINER GLAAP, Views on the Holocaust in Contemporary Canadian Plays . 239 Literature and Cultural Exchange 257 ANNETTE KERN-STAHLER, "The inability to mourn": the Post-war German Psyche in Mavis Gallant's Fiction 259 DORIS WOLF, Dividing and Reuniting Grandmothers, Mothers and Daughters: the Black Motherline, Vergangenheitsbewdltigung Studies, and the Road Genre in Suzette Mayr's The Widows . -
The Underpainter
Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 212, Spring 212 Published by The University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Judy Brown (Reviews), Joël Castonguay-Bélanger (Francophone Writing), Glenn Deer (Poetry), Laura Moss (Reviews) Past Editors: George Woodcock (1959–1977), W.H. New (1977–1995), Eva-Marie Kröller (1995–23), Laurie Ricou (23–27) Editorial Board Heinz Antor University of Cologne Alison Calder University of Manitoba Cecily Devereux University of Alberta Kristina Fagan University of Saskatchewan Janice Fiamengo University of Ottawa Carole Gerson Simon Fraser University Helen Gilbert University of London Susan Gingell University of Saskatchewan Faye Hammill University of Strathclyde Paul Hjartarson University of Alberta Coral Ann Howells University of Reading Smaro Kamboureli University of Guelph Jon Kertzer University of Calgary Ric Knowles University of Guelph Louise Ladouceur University of Alberta Patricia Merivale University of British Columbia Judit Molnár University of Debrecen Lianne Moyes Université de Montréal Maureen Moynagh St. Francis Xavier University Reingard Nischik University of Constance Ian Rae King’s University College Julie Rak University of Alberta Roxanne Rimstead Université de Sherbrooke Sherry Simon Concordia University Patricia Smart Carleton University David Staines University of Ottawa Cynthia Sugars University of Ottawa Neil ten Kortenaar University of Toronto Marie Vautier University of Victoria Gillian Whitlock University -
Jane Urquhart's the Underpainter and the Stone Carvers
Document generated on 09/29/2021 3:26 a.m. Studies in Canadian Literature / Études en littérature canadienne The Artist and the Witness: Jane Urquhart’s The Underpainter and The Stone Carvers Neta Gordon Volume 28, Number 2, Fall 2003 Article abstract Jane Urquhart's The Underpainter takes a different approach than most Great URI: https://id.erudit.org/iderudit/scl28_2art03 War novels: it does not presume the implied authority of combatant's accounts, like Generals Die in Bed, but nor does it interrogate the war novel as a See table of contents postmodern pastiche, as in Timothy Findley's The Wars. She presents a realistically conceived persona, while nevertheless questioning the authority of the unengaged artist to represent an historical event. Her extensive use of Publisher(s) historical data is not applied in a postmodern method, but is rather inspiration for a fiction that refuses to grant itself full authority. Urquhart's The Stone The University of New Brunswick Carversis similarly concerned with the paradoxical combination of control and detachment in the relationship between the artist and her work. ISSN 0380-6995 (print) 1718-7850 (digital) Explore this journal Cite this article Gordon, N. (2003). The Artist and the Witness:: Jane Urquhart’s The Underpainter and The Stone Carvers. Studies in Canadian Literature / Études en littérature canadienne, 28(2), 59–73. All rights reserved © Management Futures, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
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. -
Download Full Issue
191CanLitWinter2006-4 1/23/07 1:04 PM Page 1 Canadian Literature/ Littératurecanadienne A Quarterly of Criticism and Review Number , Winter Published by The University of British Columbia, Vancouver Editor: Laurie Ricou Associate Editors: Laura Moss (Reviews), Glenn Deer (Reviews), Kevin McNeilly (Poetry), Réjean Beaudoin (Francophone Writing), Judy Brown (Reviews) Past Editors: George Woodcock (1959–1977), W.H. New, Editor emeritus (1977–1995), Eva-Marie Kröller (1995–2003) Editorial Board Heinz Antor Universität Köln Janice Fiamengo University of Ottawa Carole Gerson Simon Fraser University Coral Ann Howells University of Reading Smaro Kamboureli University of Guelph Jon Kertzer University of Calgary Ric Knowles University of Guelph Neil ten Kortenaar University of Toronto Louise Ladouceur University of Alberta Patricia Merivale University of British Columbia Judit Molnár University of Debrecen Leslie Monkman Queen’s University Maureen Moynagh St. Francis Xavier University Élizabeth Nardout-Lafarge Université de Montréal Ian Rae Universität Bonn Roxanne Rimstead Université de Sherbrooke Patricia Smart Carleton University David Staines University of Ottawa Penny van Toorn University of Sydney David Williams University of Manitoba Mark Williams University of Canterbury Editorial Laura Moss Playing the Monster Blind? The Practical Limitations of Updating the Canadian Canon Articles Caitlin J. Charman There’s Got to Be Some Wrenching and Slashing: Horror and Retrospection in Alice Munro’s “Fits” Sue Sorensen Don’t Hanker to Be No Prophet: Guy Vanderhaeghe and the Bible Andre Furlani Jan Zwicky: Lyric Philosophy Lyric Daniela Janes Brainworkers: The Middle-Class Labour Reformer and the Late-Victorian Canadian Industrial Novel 191CanLitWinter2006-4 1/23/07 1:04 PM Page 2 Articles, continued Gillian Roberts Sameness and Difference: Border Crossings in The Stone Diaries and Larry’s Party Poems James Pollock Jack Davis Susan McCaslin Jim F. -
Guy Vanderhaeghe 2008 Trudeau Fellow, St
Guy Vanderhaeghe 2008 Trudeau Fellow, St. Thomas More College, University of Saskatchewan biography Guy Vanderhaeghe is the author of four novels, three collections of short stories, and two plays. His first collection of short stories, Man Descending, won the Governor’s General Award for fiction and the Faber Prize in Great Britain. His novel Homesick was a co-winner of the 1990 City of Toronto Book Award. In 1993, he received the Canadian Authors Association Award for Drama for I Had a Job I Liked. Once, and in 1996 his novel The Englishman’s Boy won the Governor’s General Award for Fiction and was short-listed for both the Giller Prize and the International IMPAC Dublin Literary Award. Published in 2002, Vanderhaeghe’s novel The Last Crossing won CBC’s Canada Reads, three Saskatchewan Books Awards, and the Canadian Booksellers Association Libris Prize for Fiction Book of the Year. It was also a selection of the British Broadcasting Corporation’s television program “Page Turners.” His latest work was a two-part dramatization of The Englishman’s Boy, which appeared on CBC television in March of 2008. Guy Vanderhaeghe has received both the Harbourfront Literary Prize and the Timothy Findley Prize, given as recognition for a body of work. He is an Officer of the Order of Canada, a Member of the Saskatchewan Order of Merit, and a Fellow of the Royal Society of Canada. He was nominated a Trudeau Fellow in 2008. In 2009, he received the Distinguished Canadian Award presented by the Seniors’ University Group and the Seniors Education Centre of the University of Regina. -
Myth As Redemption in Three Canadian Novels Elizabeth A
Northern Michigan University NMU Commons All NMU Master's Theses Student Works 2009 Myth as Redemption in Three Canadian Novels Elizabeth A. Crachiolo Northern Michigan University Follow this and additional works at: https://commons.nmu.edu/theses Recommended Citation Crachiolo, Elizabeth A., "Myth as Redemption in Three Canadian Novels" (2009). All NMU Master's Theses. 371. https://commons.nmu.edu/theses/371 This Open Access is brought to you for free and open access by the Student Works at NMU Commons. It has been accepted for inclusion in All NMU Master's Theses by an authorized administrator of NMU Commons. For more information, please contact [email protected],[email protected]. MYTH AS REDEMPTION IN THREE CANADIAN NOVELS By Elizabeth A. Crachiolo THESIS Submitted to Northern Michigan University In partial fulfillment of the requirements For the degree of MASTER OF ARTS Graduate Studies Office 2009 SIGNATURE APPROVAL FORM This thesis by Elizabeth A. Crachiolo is recommended for approval by the student’s thesis committee in the Department of English and by the Dean of Graduate Studies. _________________________________________________________________ Committee Chair: Dr. Dominic Ording Date __________________________________________________________________ Reader: Dr. David Wood Date __________________________________________________________________ Department Head: Dr. Ray Ventre Date __________________________________________________________________ Dean of Graduate Studies: Dr. Cynthia Prosen Date OLSON LIBRARY NORTHERN MICHIGAN UNIVERSITY THESIS DATA FORM In order to catalogue your thesis properly and enter a record in the OCLC international bibliographic data base, Olson Library must have the following requested information to distinguish you from others with the same or similar names and to provide appropriate subject access for other researchers. NAME: Crachiolo, Elizabeth A. -
Biocritical Essay (Robert Kroetsch)
University of Calgary PRISM: University of Calgary's Digital Repository Projects & Workshops Special Collections 1986 Biocritical Essay (Robert Kroetsch) Aritha van Herk University of Calgary Press The Robert Kroetsch papers : first accession. - (Canadian archival inventory series, no. 3). - Calgary : University of Calgary Press, 1986 http://hdl.handle.net/1880/43979 Essay Downloaded from PRISM: https://prism.ucalgary.ca Canadian Literary Archives - Robert Kroetsch - Biocritical Essay Special Collections Robert Kroetsch Biocritical Essay by Aritha van Herk © 1986 Reproduced with permission Any attempt to bio-criticize Robert Kroetsch into position can only end in frustration. This writer distrusts coherent story, sees closure as a self-imposed death, mistrusts the author/himself(1) so much he over-glosses his own text. Not one of his works has managed to escape his own arm's length and after-the-fact commentary, but we must approach that commentary with doubt. There is no one metaphor, no one autobiographical detail, that can help us to fix this master of the art of deception, this trickster incarnate, this expert at the sleight of hand. Critical responses to his fiction and poetry range from outrage to awe; he has been praised as an innovator and damned as an overly intellectual adherent of the post-modernist school of thought. In a recently published conversation, his close friend Rudy Wiebe, responded to a deconstructionist remark with the exasperated words: "Bob, you're always horsing around with language!"(2) In Kroetsch's writing, words do not mean what they usually mean; language goes beyond signification and contains its own possibilities: "The person who becomes a writer is a person who starts to notice the language itself instead of what it signifies."(3) That concentration on the possibilities of language is perhaps the most telling aspect of Kroetsch's approach to literature, both fiction and poetry. -
“On Being a Woman Writer”: Atwood's Canadian and Feminist Contexts
“On Being a Woman Writer”: Atwood’s Canadian and Feminist Contexts Heidi Slettedahl Macpherson When you begin to write you’re in love with the language, the act of cre- ation, with yourself partly; but as you go on, the writing—if you follow it—will take you places you never intended to go and show you things you would never otherwise have seen. I began as a profoundly apolitical writer, but then I began to do what all novelists and some poets do: I began to describe the world around me. (Atwood, Second Words 15) Margaret Atwood began her writing career at a time when Canadian literature did not have a clearly established canon or identity. In fact, she has been credited with helping to “invent” Canadian literature as a critical concept, both because she herself is a proli¿c poet, novelist and short story writer, but also because she has published books of literary and cultural criticism throughout her long career. As she noted in the early 1970s, “Until recently, reading Canadian literature has been for me and for everyone else who did it a personal interest, since it was not taught, required or even mentioned (except with derision) in the public sphere” (Survival 13). That attitude has clearly changed, not only be- cause of Atwood’s own position as a very important cultural icon, but also because of the preeminence of contemporary Canadian writers on the world literary stage. Atwood’s contemporaries include Alice Mun- ro, Carol Shields, Margaret Laurence, and Marian Engel, among oth- ers; Joan Barfoot and Michael Ondaatje are only a few years younger than she is. -
Governor General's Literary Awards
Bibliothèque interculturelle 6767, chemin de la Côte-des-neiges 514.868.4720 Governor General's Literary Awards Fiction Year Winner Finalists Title Editor 2009 Kate Pullinger The Mistress of Nothing McArthur & Company Michael Crummey Galore Doubleday Canada Annabel Lyon The Golden Mean Random House Canada Alice Munro Too Much Happiness McClelland & Steward Deborah Willis Vanishing and Other Stories Penguin Group (Canada) 2008 Nino Ricci The Origins of Species Doubleday Canada Rivka Galchen Atmospheric Disturbances HarperCollins Publishers Ltd. Rawi Hage Cockroach House of Anansi Press David Adams Richards The Lost Highway Doubleday Canada Fred Stenson The Great Karoo Doubleday Canada 2007 Michael Ondaatje Divisadero McClelland & Stewart David Chariandy Soucoupant Arsenal Pulp Press Barbara Gowdy Helpless HarperCollins Publishers Heather O'Neill Lullabies for Little Criminals Harper Perennial M. G. Vassanji The Assassin's Song Doubleday Canada 2006 Peter Behrens The Law of Dreams House of Anansi Press Trevor Cole The Fearsome Particles McClelland & Stewart Bill Gaston Gargoyles House of Anansi Press Paul Glennon The Dodecahedron, or A Frame for Frames The Porcupine's Quill Rawi Hage De Niro's Game House of Anansi Press 2005 David Gilmour A Perfect Night to Go to China Thomas Allen Publishers Joseph Boyden Three Day Road Viking Canada Golda Fried Nellcott Is My Darling Coach House Books Charlotte Gill Ladykiller Thomas Allen Publishers Kathy Page Alphabet McArthur & Company GovernorGeneralAward.xls Fiction Bibliothèque interculturelle 6767, -
House of Anansi's Spiderline Editions
Document généré le 30 sept. 2021 01:39 Studies in Canadian Literature / Études en littérature canadienne Tracing the Web: House of Anansi’s Spiderline Editions Stephen Cain Volume 25, numéro 1, spring 2000 Résumé de l'article Established in 1969, the House of Anansi Press's Spiderline series represents a URI : https://id.erudit.org/iderudit/scl25_1art07 unique moment in Canadian publishing history. At no time previously had a Canadian publisher attempted to release the work of so many unknown and Aller au sommaire du numéro untried novelists simultaneously and also emphasize the fact that these were first, and perhaps not perfect, novels. Anansi's goals for the Spiderline series were to let new voices be heard, to give first-time novelists a chance at Éditeur(s) publication, and to get it done quickly by producing each of the Spiderlines with the same Spartan cover and identical typeface. All of the first five writers The University of New Brunswick published — Peter Such, Russell Marois, Matt Cohen, John Sandman, and Pierre Gravel — were white, male, and no older than thirty. With its diverse collection ISSN of authors, experimental styles, and youthful enthusiasm for the new, the local, and the bilingual the original Spiderline books were the vision of Dennis Lee 0380-6995 (imprimé) and David Godfrey at a time of great patriotism and literary expansion. The 1718-7850 (numérique) decision to reintroduce the Spiderline series in the late 1990s can be viewed as an attempt to regain Anansi's earlier status as a "progressive" and unique Découvrir la revue publishing enterprise.