Canadian Literature Versita Discipline: Language, Literature
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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 -
Retitling, Cultural Appropriation, and Aboriginal Title
1 Retitling, Cultural Appropriation, and Aboriginal Title by Michel-Antoine Xhignesse Capilano University [email protected] This is a penultimate draft. Please cite the final version: Xhignesse, Michel-Antoine (2021). Retitling, Cultural Appropriation, and Aboriginal Title. British Journal of Aesthetics 61 (3) :317-333. Abstract: In 2018, the Art Gallery of Ontario retitled a painting by Emily Carr which contained an offensive word. Controversy ensued, with some arguing that unsanctioned changes to a work’s title infringe upon artists’ moral and free speech rights. Others argued that such a change serves to whitewash legacies of racism and cultural genocide. In this paper, I show that these concerns are unfounded. The first concern is not supported by law or the history of our titling practices; and the second concern misses the mark by ignoring the gallery’s substantial efforts to avoid just such an outcome. Picking up on a suggestion from Loretta Todd, I argue that we can use Aboriginal Title as a model for thinking about the harms perpetuated by cultural appropriation, and the practices we should adopt to mitigate them. 2 Retitling, Cultural Appropriation, and Aboriginal Title 1. Introduction In 2018, the Art Gallery of Ontario (AGO) retitled a painting by Emily Carr: formerly known as The Indian Church (1929), it is now called Church at Yuquot Village.1 The move sparked controversy nationwide: some worried that changing a work’s artist-given title changes its associated work, and that such unsanctioned changes to a work infringe upon artists’ moral rights; others worried that the change papered over Canada’s shameful history of Indigenous-Crown (and -settler) relations, including the state’s legacy of cultural genocide. -
2015 23Rd Annual Poets House Showcase Exhibition Catalog
2015 23rd Annual Poets House Showcase Exhibition Catalog |Poets House|10 River Terrace|New York, NY 10282|poetshouse.org| 5 The 2015 Poets House Showcase is made possible through the generosity of the hundreds of publishers and authors who have graciously donated their works. We are deeply grateful to Deborah Saltonstall Pease (1943 – 2014) for her foundational support. Many thanks are also due to the National Endowment for the Arts, the New York State Council on the Arts, the NYC Department of Cultural Affairs, the Leon Levy Foundation, and the many members of Poets House for their support of this project. 6 I believe that poetry is an action in which there enter as equal partners solitude and solidarity, emotion and action, the nearness to oneself, the nearness to mankind and to the secret manifestations of nature. – Pablo Neruda Towards the Splendid City Nobel Lecture, 1971 WELCOME to the 2015 Poets House Showcase! Each summer at Poets House, we celebrate all of the poetry published in the previous year in an all-inclusive exhibition and festival of readings from new work. In this year’s Showcase, we are very proud to present over 3,000 poetry books, chapbooks, broadsides, artist’s books, and multimedia projects, which represent the work of over 700 publishers, from commercial publishers to micropresses, both domestic and foreign. For twenty-three years, the annual Showcase has provided foundational support for our 60,000-volume library by helping us keep our collection current and relevant. With each Showcase, Poets House—one of the most extensive poetry collections in the nation—continues to build this comprehensive poetry record of our time. -
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. -
Annual Report 2009
Annual Report 2009 Digitization INNOVATION CultureFREEDOM CommitmentChange Bertelsmann Annual Report 2009 CreativityEntertainment High-quality journalism Performance Services Independence ResponsibilityFlexibility BESTSELLERS ENTREPRENEURSHIP InternationalityValues Inspiration Sales expertise Continuity Media PartnershipQUALITY PublishingCitizenship companies Tradition Future Strong roots are essential for a company to prosper and grow. Bertelsmann’s roots go back to 1835, when Carl Bertelsmann, a printer and bookbinder, founded C. Bertelsmann Verlag. Over the past 175 years, what began as a small Protestant Christian publishing house has grown into a leading global media and services group. As media and communication channels, technology and customer needs have changed over the years, Bertelsmann has modifi ed its products, brands and services, without losing its corporate identity. In 2010, Bertelsmann is celebrating its 175-year history of entrepreneurship, creativity, corporate responsibility and partnership, values that shape our identity and equip us well to meet the challenges of the future. This anniver- sary, accordingly, is being celebrated under the heading “175 Years of Bertelsmann – The Legacy for Our Future.” Bertelsmann at a Glance Key Figures (IFRS) in € millions 2009 2008 2007 2006 2005 Business Development Consolidated revenues 15,364 16,249 16,191 19,297 17,890 Operating EBIT 1,424 1,575 1,717 1,867 1,610 Operating EBITDA 2,003 2,138 2,292 2,548 2,274 Return on sales in percent1) 9.3 9.7 10.6 9.7 9.0 Bertelsmann Value -
"Dazzling Hybrids" the Poetry of Anne Carson
a n Rae "Dazzling Hybrids" The Poetry of Anne Carson The subtitle of A n n e Carson's Autobiography of Red: A Novel in Verse only hints at t h e variety of g e n r e s that the Montreal poet employs. In Autobiography of Red, Carson brings together seven distinct sec- tions—a "proemium" (6) o r preface on t h e Greek poet Stesichoros, trans- lated fragments of S t e s i c h o r o s ' s Geryoneis, three appendices on t h e blinding of Stesichoros by Helen, a l o n g romance-in-verse recasting Stesichoros's Geryoneis as a c o n t e m p o r a r y gay love affair, and a mock-interview with the "choir-master"—each with its o w n style and story to tell. Carson finds fresh combinations for g e n r e s much as s h e presents myth and gender in a new guise. Although men appear to b e t h e subject of both the romance and the academic apparatus that comes with it, C a r s o n sets the stories of Stesichoros, Geryon, and Herakles within a framework of e p i g r a m s and citations from Gertrude Stein and Emily Dickinson that, far from being subordinate, assumes equal importance with the male-centred narrative when Stein supplants Stesichoros in t h e concluding interview. The shift in speakers and time-frames in t h e interview, as well as the allusions to the myth of I s i s , emphasize Carson's manipulation of m y t h i c forms. -
Noms Et Déplacements Étude De L'espace-Temps Dans Les Romans Autochtones, Canadiens Et Québécois Du Xxie Siècle Zishad La
Noms et déplacements Étude de l’espace-temps dans les romans autochtones, canadiens et québécois du XXIe siècle Zishad Lak Thèse soumise à la Faculté des arts dans le cadre des exigences du programme de doctorat en lettres françaises et en études canadiennes Département de français Faculté des arts Université d’Ottawa © Zishad Lak, Ottawa, Canada, 2020 REMERCIEMENTS Je tiens à remercier mon directeur de thèse, M. Patrick Imbert qui m’a offert la liberté absolue d’aborder des sujets qui ne croisent pas toujours son domaine de recherche et des points de vue qui ne sont pas toujours les siens. Merci à mes chers grands-parents Hosseinali Yousefi et Zahra Esmaili, à ma mère Manijeh Yousefi, à ma sœur Gelareh Lak, à Nora, à Mohammad et Manouchehr Yousefi, à Kimia, à Kiarash et à Mojgan Fazeli, des gens qui m’ont appris à mieux aimer. Je suis devenue deux fois mère pendant ce parcours et je suis redevable à mes chéri.e.s Nikan et Emiliana Lak-McArthur pour tout ce qu’il et elle m’offrent tous les jours. Je vous aime! Je suis aussi redevable à mon ami précieux Pierre-Luc Landry, qui m’inspire, m’encourage et m’envoie de la musique quotidiennement. Je t’aime. Et finalement, mon compagnon Andrew McArthur m’a soutenue de mille façons différentes, en m’offrant des chips, des conseils, du temps, de l’écoute et surtout de l’amour. Nous continuons à nous métamorphoser ensemble. ii À Andrew À Nikan À Emiliana Et à la mémoire de mon grand-père iii RÉSUMÉ Le colonialisme européen depuis des siècles passe par l’établissement d’une temporalité dominante et hégémonique. -
The Autobiographical Self: Phenomenology and the Limits of Narrative Self-Possession in Anne Carson's Autobiography Of
The Autobiographical Self: Phenomenology and the Limits of Narrative Self-Possession in Anne Carson’s Autobiography of Red Stuart J. Murray Ryerson University Philosophic Problems. “I will never know how you see red and you will never know how I see it. But this separation of consciousness is recognized only after a failure of communication, and our first movement is to believe in an undivided being between us.” Anne Carson, Autobiography of Red ’ phenomenological insight to Aparse terms etymologically,¹ we find the following Greek roots when we read into the meaning of “autobiography”: auto- (oneself) + bio- (life) + graphia (writing; from the verb graphein, to write). us, autobiography is the written story of one’s life, one’s life story. And yet, this act of “self”- writing frames “life” (bios) in such a way that the meaning of each term is obscured. “Life” interrupts the act of self-writing, exceeds it, even though the writing is about that life, and occurs within it, necessarily prior to that life’s completion. Is “life” here closer to the act of writing (graphein), closer to the sense of oneself (autos), or something else altogether escaping the autobiography that strives to contain or convey it? And will that “life” be legible?² Is it the case, as Heidegger maintains, that what is closest to us experientially is furthest from us intellectually, least susceptible to analysis ESC . (December ): – Murray.indd 101 5/16/2007, 1:21 PM or storytelling, and most resistant to representation and linguistic conven- tion? If “life” holds this place for us, between writing and being, then auto- biographical criticism ought to consider the insights of phenomenology, S J. -
Organiza Patrocina Colabora
ORGANIZA PATROCINA COLABORA 1 AGRADECIMIENTOS AGRADECIMIENTOS GUADALUPE GALVÁN HAMPA STUDIO ADRIANA KRASOVA (CENTRO CHECO) HARDI VOLMER (OÜ NUKUFILM) ADRIENNE MICHEL-LONG HASN-GÜNTHER LÖFFLER (EMBAJADA DE ALEMANIA) ADRZEJ KLIMOWSKI HAZEL GRIAN (LICORICE FILM) ALBERTINA CARRI HILA RON (THE SAM SPIEGEL FILM & TV SCHOOL ALSIRA GARCÍA-MAROTO ISRAEL) ANA GONZALEZ (SHADOW MACHINE FILMS) INÉS GARCÍA (TNT) ANDREA ANSAREO ISABEL GRANDE (INSTITUTO CERVANTES) ANNE MARIE HARMS (DRAMATISKA INSTITUTE) ISOBEL PALOS (PARTIZAN) ANTONIO HENS XUAN ACOSTA JAN ERIK HOLST (NFI) BARBARA WOOD (TURSIMO DE IRLANDA) JASON TAMMEMAGI BARRY KELLY JAVIER BARCHÍN BEATRIZ CHAPAPRIETA (GRUPO CONSULTORES) JENNIFER KEEGAN BETTINA SCHWARZ (EUROPEAN FILMACADEMY) JEZ ALDIS BRENDAN MULDOWNEY JIM CULLEN BRIAN DURNIN JOÃO DE MELO (EMBAJADA DE PORTUGAL) CIARAN FOY JOHN CALLAGHAN CILEA MENESES JOHN HAYES CORKY QUARKENBUSH (SPACE BASS FILMS) JOHNNY O’REILLY CHAD MESERVE (LUDICROUS PRODUCTIONS) JORDAN GALLAND CHRISTIAN GUINOT (FESTIVAL DU COURT METRAGE DE JORGE SEGADO (NOTODOFILMFEST.COM) CLERMONT-FERRAND) JOSÉ ANTONIO HURTADO (IVAC) CHRISTOFFER OLOFFSON (UPPSALA INTERNATIONELLA JOSÉ MARIA DE CARVALHO (INSTITUTO CAMÕES) KORTFILMFESTIVAL) JUAN BOETA DAMON SYLVESTER KAREN WALL (REEL IRELAND) DARIO OLIVEIRO (CURTAS VILA DO CONDE) KEITH ALLAN & COURTNEY BRANCH DIANA RUMJAHN KEN WARDROP DON PORTOLESE KIERON J. WALSH EDITH PIEPERHOFF KIRSTI BAGGETHUN (EMBAJADA DE NORUEGA) EOIN RYAN LILIAN SALY (EMBAJADA DE FRANCIA) FADEL AKHAMLICH (EDITORIAL PEARSON) LORCAN FINNEGAN FILMOTECA DE CASTILLA -
A Glossary of Mississippi Valley French, 1673-1850 (Price, $1.50) by John Francis Mcdermott
rtlSTpRjC^y, SUkxm tifirVB^SITY OF uimm: A Glossary OF Mississippi Valley French 1673-1850 BY JOHN FRANCIS McDERMOTT WASHINGTON UNIVERSITY STUDIES -NEW SERIES LANGUAGE AND LITERATURE — No. 12 DECEMBER, 1941 Washington University George R. Throop, Ph.D., LL.D., Bridge Chancellor Walter E. McCourt, A.M., Assistant Chancellor The College of Liberal Arts Frank M. Webster, Ph.B., Acting Dean The School of Engineering Alexander S. Langsdorf, M.M.E., Dean Tlie School of Architecture Alexander S. Langsdorf, M.M.E., Dean The School of Business and Public Administration William H. Stead, Ph.D., Dean Tlie Henry Shaw School of Botany George T. Moore, Ph.D., Director The School of Graduate Studies Richard F. Jones, Ph.D., Acting Dean The School of Law Joseph A. McClain, Jr., A.B., LL.B., J.S.D., LL.D., Dean The School of Medicine Philip A. Shaffer, Ph.D., Dean The School of Dentistry Benno E. Lischer, D.M.D., Dean The School of Nursing Louise Knapp, A.M., Director The School of Fine Arts Kenneth E. Hudson, B.F.A., Director University College William G. Bowling, A.M., Dean The Summer School Frank L. Wright, A.M., Ed.D., Director Mary Institute, a preparatory school for girls, located at Ladue and Warson Roads, is also conducted under the charter of the University. A GLOSSARY of MISSISSIPPI VALLEY FRENCH 1673-1850 A GLOSSARY of MISSISSIPPI VALLEY FRENCH 1673-1850 By JOHN FRANCIS McDERMOTT ASSISTANT PROFESSOR OF ENGLISH WASHINGTON UNIVERSITY WASHINGTON UNIVERSITY STUDIES—NEW SERIES Language and Literature—No. 12 St. Louis, 1941 Copyright 1941 by Washington University St. -
Short Talks: Brick Books Classics 1 ■ 3
TEACHER GUIDE 2 ■ Teacher Guide Brick Books has produced this Teacher Guide as an aid in discussing and studying the titles from its Brick Books Classics poetry series in secondary and post-secondary classrooms. © Brick Books, 2019 Available as pdf files only. Written by Linda E. Lucas, who thanks fellow teachers Michael Pizzuti, Gloria Getty, and Wendy Hirschegger for their assistance. Brick Books 115 Haliburton Road London, Ontario N6K 2Z2 www.brickbooks.ca Short Talks: Brick Books Classics 1 ■ 3 TABLE OF CONTENTS Introduction to Poetry.........................................5 Short Talks by Anne Carson...................................9 INTRODUCTION: Glass, Slag: Short Talk on Anne Carson’s Hewn Flows, by Margaret Christakos.......................9 Introduction...............................................10 Short Talk on Homo Sapiens..............................10 Short Talk on Hopes.......................................10 Short Talk on Chromo-luminarism........................10 Short Talk on Geisha.......................................10 Short Talk on Gertrude Stein About 9:30 p.m. ............. 11 Short Talk on His Draughtsmanship ...................... 11 Short Talk on Housing..................................... 11 Short Talk on Disappointments in Music..................12 Short Talk on Where to Travel.............................12 Short Talk on Why Some People Find Trains Exciting ....12 Short Talk on Trout........................................12 Short Talk on Ovid.........................................13 Short Talk -
A Feminist Poetics of the Unsayable in Twentieth Century Literary & Visual Culture
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2014 "She said plain, burned things": A Feminist Poetics of the Unsayable in Twentieth Century Literary & Visual Culture Leah Souffrant Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/287 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “SHE SAID PLAIN, BURNED THINGS”: A FEMINIST POETICS OF THE UNSAYABLE IN TWENTIETH CENTURY LITERARY & VISUAL CULTURE by LEAH SOUFFRANT A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 LEAH SOUFFRANT All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Engineering in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Meena Alexander Date Chair of Examining Committee Mario Di Gangi Date Executive O icer f� Wayne Koestenbaum Nancy K. Miller Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract “SHE SAID PLAIN, BURNED THINGS”: A FEMINIST POETICS OF THE UNSAYABLE IN TWENTIETH CENTURY LITERARY & VISUAL CULTURE by LEAH SOUFFRANT Adviser: Professor Meena Alexander This dissertation examines the way silence, blank space, and other forms of creative withholding attempt to translate the unsayable, or to convey the unsayability of language in artistic form.