Lost and Delirious Lost and Delirious Lost and Delirious
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY
Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans -
On Deformity: Bodies in Contemporary Canadian Fiction
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2012-10-25 On Deformity: Bodies in Contemporary Canadian Fiction Ram, Véronique Dorais Ram, V. D. (2012). On Deformity: Bodies in Contemporary Canadian Fiction (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27175 http://hdl.handle.net/11023/312 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY On Deformity: Bodies in Contemporary Canadian Fiction by Véronique Dorais Ram A THESIS 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 October, 2012 © Véronique Dorais Ram 2012 Abstract This dissertation ponders how deformity acts as an index of resistance to the conventional family saga; it challenges the authority of the genre, which perpetuates conformity to affirm the existence of a national identity. I open with a history of the trope of deformity and a theory on its applicability to questions of the nation in Canadian fiction. Bonnie Burnard’s A Good House begins the literary analysis and considers how Daphne’s asymmetrical face exemplifies the novel’s overarching deformation of the domestic realist text. -
Pink Ribbons, Inc
PRESS KIT THE NATIONAL FILM BOARD OF CANADA presents PINK RIBBONS, INC. Directed by Léa Pool Produced by Ravida Din Written by Patricia Kearns & Nancy Guerin and Léa Pool NFB MEDIA RELATIONS: Pat Dillon Publicist, NFB Tel.: 514-283-9411 Cell phone: 514-283-9411 E-Mail: [email protected] Nadine Viau Relationniste de presse, ONF Tél.: 514-458-9745 Courriel: [email protected] Photos available at: http://www.onf-nfb.gc.ca/eng/press-room/photo-gallery/ © 2011 Produced by the National Film Board of Canada 2 PINK RIBBONS, INC. Production Information “We used to march in the streets; now we run for a cure.” Barbara Ehrenreich, author of “Welcome to Cancerland” Breast cancer has become the poster child of corporate cause-related marketing campaigns. Countless women and men walk, bike, climb and shop for the cure. Each year, millions of dollars are raised in the name of breast cancer, but where does this money go and what does it actually achieve? Pink Ribbons, Inc. is a feature documentary that shows how the devastating reality of breast cancer, which marketing experts have labeled a “dream cause,” becomes obfuscated by a shiny, pink story of success. Directed by acclaimed filmmaker Léa Pool, Pink Ribbons, Inc. is produced and executive produced by Ravida Din for the National Film Board of Canada. A PINK MYTH? A Pink Myth—emblematized by the ubiquitous pink ribbons of cause-related marketing and philanthropy—permeates our culture, assuring us that: We are engaged in a highly-successful battle against breast cancer; We are very close to finding a cure. -
ADULT FRONTLIST U.S. RIGHTS AVAILABLE Fall 2018
ADULT FRONTLIST U.S. RIGHTS AVAILABLE Fall 2018 1 Table of Contents Fiction AFTERSHOCK ALISON TAYLOR ....................................................................................................................... 3 ASKING FOR A FRIEND KERRY CLARE .......................................................................................................... 4 BAD WEATHER KRISTA FOSS ........................................................................................................................... 5 BEAUTIFUL DREAMERS IVY KNIGHT ............................................................................................................ 6 THE CENTAUR'S WIFE AMANDA LEDUC ..................................................................................................... 7 CONDUCT MIRANDA HILL ............................................................................................................................... 8 DAUGHTERS OF SILENCE REBECCA FISSEHA ............................................................................................ 9 THE DEAD CELEBRITIES CLUB SUSAN SWAN ......................................................................................... 10 THE DEATH AND LIFE OF STROTHER PURCELL IAN WEIR ................................................................. 11 ELEMENTAL CATHERINE BUSH ..................................................................................................................... 12 THE HUNTER AND THE OLD WOMAN PAMELA KORGEMAGI ............................................................ -
000720576.Pdf
THAÍS DANIELA SANT’ANA E PEREIRA ENTRE O PORÃO E O SÓTÃO: espaços de formação em The Wives of Bath, de Susan Swan ASSIS 2013 THAÍS DANIELA SANT’ANA E PEREIRA ENTRE O PORÃO E O SÓTÃO: espaços de formação em The Wives of Bath, de Susan Swan Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Letras, na Área de Conhecimento: Literatura e Vida Social. Orientadora: Profa. Dra. Cleide Antonia Rapucci ASSIS 2013 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca Ourinhos – UNESP Sant’Ana e Pereira, Thaís Daniela , 1972– S232e Entre o porão e sótão: espaços de formação em The wives of Bath, de Susan Swan / Thaís Daniela Sant’Ana e Pereira. – Assis, 2013. 121 f. - fots. Orientadora: Cleide Antonia Rapucci Dissertação (Mestrado em Letras) – Universidade Estadual Paulista. Faculdade de Ciências e Letras, Assis, 2013. 1. Literatura contemporânea – Canadá. 2. Ficção canadense –Crítica e interpretação. 3. Identidade de gênero na literatura. 4. Susan Swan (1945–). I. Título. II. Universidade Estadual Paulista. III. Faculdade de Ciências e Letras. CDD 813.082 Dedico esta dissertação a Theodora e Baslute, pois, parafraseando Susan Swan: One way or another, they inspired me to be… Thaís. AGRADECIMENTOS A Deus, pela vida. À Professora Doutora Cleide Antonia Rapucci, pela confiança em meu trabalho e posterior orientação e amizade. Aos meus pais Theodora e Baslute pelo caminho de formação em que me conduziram. Em especial a Baslute, que me apresentou muito cedo as Maravilhas do Mundo Antigo e me fez pensar se os Deuses Eram Astronautas. -
“Desrealidad Y Deidad Particulares En La Obra Cinematográfica De Léa Pool”
“Desrealidad y deidad particulares en la obra cinematográfica de Léa Pool”. Benito Martínez Vicente Doctor en Ciencias de la Información Universidad Complutense Facultad de Ciencias de la Información Departamento de Comunicación Audiovisual y Publicidad I [email protected] INTROITO. La mujer es el cimiento mismo de la representación, objeto y soporte de un deseo que, íntimamente ligado al poder y la creatividad, es la fuerza impulsora de la cultura y la historia. Para exponer la desrealidad y la deidad en la esencia misma de la obra cinematográfica de Léa Pool, la cual rompe con la heteronormatividad en algunos de sus títulos, hay que construir y deconstruir las parcialidades de su mensaje, como asistentes a su propuesta, mediante una puesta en escena basada en la mecánica de la repetición. Películas en las que la realizadora no sólo refiere lo que comúnmente se denomina “mundo de las mujeres”, sino que su experiencia diferenciada le hace dirigir su mirada hacia todo y reconocer su compromiso en todas partes. Una coherencia en contenido y formas para presentar fragmentos de su realidad personal, que se convierte en un tránsito entre la realidad-desrealidad y la deidad, por el que circulan sus personajes. Modelos de personas y familias fuera de la condición hegemónica son la piedra angular de sus películas y su alter ego, debatiéndose entre ser y desear, centrándonos aquí en las figuras de la mujer también en los roles de madre e hija, a través de una estética de la memoria de los filmes de Léa Pool estrenados en nuestro país. 1 Léa Pool, directora cinematográfica suizo-canadiense, y primera realizadora en desmarcarse de la tradición histórica documental del cine quebequés, presenta en su creación audiovisual un mundo ampliamente codificado, cuyo dominio expone mediante la fuerza del vocabulario simbólico utilizado a través de una casi obsesiva creación de imágenes de entes y entidades que revelan el desarraigo, la traslación, el deseo y lo ignoto. -
Brian Fawcett Fonds 1996.2
BRIAN FAWCETT FONDS 1996.2 Finding Aid Northern British Columbia Archives & Special Collections Brian Fawcett Brian Fawcett fonds Finding Aid Page 2 of 169 Brian Fawcett fonds Finding Aid CONTENTS TITLE PAGE NO. Fonds Level Description…………………. 5 Series Arrangement………………………. 6 Series Descriptions.………………………. 7 File Level Inventory……………………… 10 Page 3 of 169 Brian Fawcett fonds Finding Aid Page 4 of 169 Brian Fawcett fonds Finding Aid FONDS LEVEL DESCRIPTION Brian Fawcett fonds. Dates: 1951-2006 Physical Description: 9.4 m of textual records and other material Biographical Sketch: Brian Fawcett was born in Prince George on May 13, 1944. He completed elementary and secondary school in Prince George before leaving at the age of 22 to attend Simon Fraser University. After graduating with a B.A. (Honours) in 1969 from SFU, Fawcett went on to complete coursework for a M.A. in English Literature at SFU in 1972. After graduation, he worked as a Community Organizer and Urban Planner for the Greater Vancouver Regional District until 1988. Mr. Fawcett is a former Editor of "Books in Canada" and a former Columnist for the "Globe & Mail" newspaper. He has also written articles and reviews for many of Canada's major magazines. In addition, Fawcett has worked as a teacher of English and Creative Writing in federal maximum security penitentiaries. While living in Vancouver, he wrote My Career with the Leafs and Other Stories (1982), Capital Tales (1984), The Secret Journal of Alexander Mackenzie (1985), Cambodia (1986), and Public Eye (1990) as well as books of poetry. He moved to Toronto in 1990, where he became a full-time writer and published Gender Wars (1994), Disbeliever's Dictionary (1997), Virtual Clearcut (2003), Local Matters (2003), Human Happiness (2011), and The Last of the Lumbermen (2013), among others. -
Canadian Women's Literary Discourse in English, 1982-92
Kunapipi Volume 16 Issue 1 Article 110 1994 Canadian Women's Literary Discourse in English, 1982-92 Donna Palmateer Pennee Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Pennee, Donna Palmateer, Canadian Women's Literary Discourse in English, 1982-92, Kunapipi, 16(1), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss1/110 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Canadian Women's Literary Discourse in English, 1982-92 Abstract For those of us who take seriously the various and imbricated post-isms that underwrite and overdetermine our critical utterances, the task of writing literary history, even in as narrow a fragment as that demarcated by my title (and imposed by the word-limit of this forum), is both exciting and daunting. Competing claims and imperatives - to be as thorough as possible in coverage (and of what?) or to make strategic choices for the sake of a coherent narrative? to speak in lists or to historicize the scene(s) of writing?- mark my task in such ways as to signal at once the discursive richness and methodological fraughtness of contemporary literary critical gestures, the demands and rewards of an increasing attention to the multiple imbrications of the literary and the social (in their broadest senses). Committing the critical self to text and to limited text, is, for me, enormously difficult, and the difficulty is compounded by the object of this survey - the most explosive, prolific, and diverse decade in the history of women's writing in English in Canada. -
THE WRITER's CONSCIENCE: (Or Why Reports of the Death of the Author Have Been Greatly Exaggerated)
Susan Swan The John P. Robarts Professor of Canadian Studies FOURTEENTH ANNUAL ROBARTS LECTURE 21 MARCH 2000 York University, Toronto, Ontario Millennial Robarts Chair, Susan Swan examined our irreconcilable pasts and why and how the past continues to haunt us as we move into the 21st Century. The Millennial Wisdom Symposium, was a series of public events and readings on "Making Up the Past: The Archeology of Fiction," where novelists, archeologists and historians examined the ways that the past is recreated by their disciplines and explored questions of who owns the past and where our sense of history is derived from. THE WRITER'S CONSCIENCE: (or why reports of the death of the author have been greatly exaggerated) I stand before you as the author, that now familiar and no longer beloved ghost, the eternal copyist responsible for the tissue of quotations known as the text or novel. A being whose death, according to postmodern critics, is required for the good of literature, and whose novels and short stories were not created without any intention behind the words, and are just a farrago of current cultural idealogies, random drifting thoughts, a composite of speeches like this one, toasts, shaggy dog stories and great and bad works of literature. Although I am but a ghost speaking I appear before you in my all too human and female body, smiling and nodding at you in a friendly fashion so I can start my talk about the role of the Canadian writer at the beginning of the new millennium and ask the question: Is the writer's conscience the imagination? As those of you in the university English departments will know, I am referring to Roland Barthes essay, "The Death of the Author" (p.148, Image Music Text by Roland Barthes, The Noonday Press, l977, 215 pages.). -
COLL. French, William Papers, 1960-1990. 78 Boxes
1 ~ MS. French, William COLL. Papers, 1960-1990. 300 78 boxes (10 metres) • Papers for his tenure as successor to W.A. Deacon literary editor of The Globe and Mail. Includes correspondence with book reviewers and authors, drafts for his reviews, column articles, lectures and speeches, press releases for new books, and clippings. 2 MS. FRENCH (WILLIAM) COLLECTION COLL. 30'0 SERIES SERIES DESCRIPTION Boxes Correspondence, 1960-1990 1-41 Boxes Letters Received, 1960-1971 1-10 Boxes Letters Received, 1971-1990, Three Weekly Columns 11-34 Boxes Letters sent, 1960-1990 35-41 Boxes Writings and Other Activities 42-74 Boxes Notes for Reviews 42-52 Boxes Sources for Column Articles 53-56 l' Boxes Accounts: Payment to Book Reviewers - 57-58 Boxes Drafts for Articles and Lectures 59-65 Boxes Other Activities: includes conferences, awards, 66-74 trips, interviews. Boxes Ephemera: invitations, book promotions, press 75-78 releases CORRESPONDENCE Boxes 1-33 Letters received, 1960-1990. Box 33 also has two folders relating to Martin O'Malley's profile of French in The Review. One contains Morris Wolfe's attack in Canadian Forum, profiles in Books in Canada, Quill & Quire, and Canadian Book Information Centre Journal. Letters divide into two periods, 1960-1971, when French was editing the saturday book section and writing a Saturday column, and 1971-1990, when he wrote three columns a week. The first period had 3 MS • FRENCH (WILLIAM) COLLECTION COLL. • 300 SERIES DESCRIPTION Boxes 1-33 (Cont/d) many letters from reviewers. The second had more responses to reviews from readers and authors. -
BANKING, TRADE and COMMERCE BANQUES ET DU COMMERCE the Honourable W
Second Session Deuxième session de la Thirty-ninth Parliament, 2007-08 trente-neuvième législature, 2007-2008 SENATE OF CANADA SÉNAT DU CANADA Proceedings of the Standing Délibérations du Comité Senate Committee on sénatorial permanent des Banking, Trade Banques et and Commerce du commerce Chair: Président : The Honourable W. DAVID ANGUS L'honorable W. DAVID ANGUS Wednesday, April 16, 2008 Le mercredi 16 avril 2008 Thursday, April 17, 2008 Le jeudi 17 avril 2008 Issue No. 16 Fascicule no 16 Seventh and eighth meetings on: Septième et huitième réunions concernant : Bill C-10, An Act to amend the Income Tax Act, Le projet de loi C-10, Loi modifiant la Loi de l'impôt including amendments in relation to foreign sur le revenu, notamment en ce qui concerne les entités investment entities and non-resident trusts, de placement étrangères et les fiducies non-résidentes and to provide for the bijural expression ainsi que l'expression bijuridique de certaines dispositions of the provisions of that act de cette loi, et des lois connexes INCLUDING: Y COMPRIS : THE SIXTH REPORT OF THE COMMITTEE LE SIXIÈME RAPPORT DU COMITÉ (Special study budget 2008-09 — Present state of the (Le budget pour étude spéciale 2008-2009 — La situation domestic and international financial system) actuelle du régime financier canadien et international) WITNESSES: TÉMOINS : (See back cover) (Voir à l'endos) 45324-45331 THE STANDING SENATE COMMITTEE ON LE COMITÉ SÉNATORIAL PERMANENT DES BANKING, TRADE AND COMMERCE BANQUES ET DU COMMERCE The Honourable W. David Angus, Chair Président : L'honorable W. David Angus The Honourable Yoine Goldstein, Deputy Chair Vice-président : L'honorable Yoine Goldstein and et The Honourable Senators: Les honorables sénateurs : Banks Johnson Banks Johnson Biron * LeBreton, P.C. -
ADULT INTERNATIONAL FICTION RIGHTS AVAILABLE Fall 2018
ADULT INTERNATIONAL FICTION RIGHTS AVAILABLE Fall 2018 Table of Contents AFTERSHOCK ALISON TAYLOR ............................................................................................................................ 3 THE BOAT PEOPLE SHARON BALA .................................................................................................................... 4 CONDUCT MIRANDA HILL ..................................................................................................................................... 5 DAUGHTERS OF SILENCE REBECCA FISSEHA .................................................................................................. 6 THE DEAD CELEBRITIES CLUB SUSAN SWAN ................................................................................................ 7 THE DEATH AND LIFE OF STROTHER PURCELL IAN WEIR ...................................................................... 8 ELEMENTAL CATHERINE BUSH ........................................................................................................................... 9 FIND YOU IN THE DARK NATHAN RIPLEY ..................................................................................................... 10 FOE IAIN REID .......................................................................................................................................................... 12 HONEY BRENDA BROOKS ..................................................................................................................................... 13 THE HONEY FARM HARRIET