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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 -
Writing Here1
WRITING HERE1 W.H. NEW n 2003, for the BC Federation of Writers, Susan Musgrave assembled a collection of new fiction and poetry from some fifty-two IBC writers, called The FED Anthology.2 Included in this anthology is a story by Carol Matthews called “Living in ascii,” which begins with a woman recording her husband’s annoyance at whatever he sees as stupidity (noisy traffic and inaccurate grammar, for instance, and the loss of his own words when his computer apparently swallows them). This woman then tells of going to a party, of the shifting (and sometimes divisive) relationships among all the women who were attending, and of the subjects they discussed. These included a rape trial, national survival, men, cliffs, courage, cormorant nests, and endangered species. After reflecting on the etymology of the word “egg” (and its connection with the word “edge”), she then declares her impatience with schisms and losses, and her wish to recover something whole. The story closes this way: “If I were to tell the true story, I would write it not in words but in symbols, [like an] ... ascii printout. It would be very short and very true. It would go like this: moon, woman, woman; man, bird, sun; heart, heart, heart, heart, heart; rock, scissors, paper. The title would be egg. That would be the whole story.”3 This egg is the prologue to my comments here. So is the list of disparate nouns – or only seemingly disparate, in that (by collecting them as she does) the narrator connects them into story. -
August 25, 2007
KlezNews קלעזנײַעס 25th August, 2007 דעם 25סטן אױגוסט 2007 What do You Think of This!: Closing Observations Beading at Klez Kanada from Chaiyalla by Richard Kurtz Well dear readers, time goes by quickly when you are having fun, when you are The art room on the second floor of surrounded by wonderful music created by musicians who play with their hearts the Retreat Centre has been brimming and souls; passionate dancers, engaging people. We are wise indeed to have made with activity all week long. Under the a conscious choice to spend the third week of August in these surroundings. Each year is qualitatively different. Thursday night, while I was listening to a talented guidance of art director Emily trio, one of whom was playing a saw, I had epiphony. The change that we often Sokolov, staff member Vera Sokolow talk about needing to happen is happening all around us. We are living in a ka- and Fellowship recipient Robin Young, leidoscope of change. All of the music that we are hearing contains the building more people participated in the art blocks of the old newly configured. The music is a metaphor for life. Each day, program than ever before—about 50 each moment requires a different response. As one of my colleagues once said to adults and 20 children this year. me “each day is an extistential crisis”. Even those who claim that they are exis- The most common phrase that I tentially challenged feel it, even though they may not have the words for it. heard while the artist formed their One of my greatest learnings this summer, is how important it is to having ongo- creations was, “What do you think?” ing shared tasks and dialogues be it through the language of music, dance, words All three instructors acknowledged with people of all ages who share the same passions and interests. -
UC Riverside UC Riverside Previously Published Works
UC Riverside UC Riverside Previously Published Works Title “Short Story Collections and Crowded Selves: Madeleine Thien’s Simple Recipes and Jeremy Tiang’s It Never Rains On National Day” Permalink https://escholarship.org/uc/item/7w141141 Author Gui, W Publication Date 2017-05-18 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Crowded Selves — Singapore Unbound https://singaporeunbound.org/blog/2017/5/16/rsa... HOME ABOUT LITERARY FESTIVAL READING SERIES G AU DY BOY SP BLO G OPPORTUNITIES PRESS JO IN US Crowded Selves MAY 18, 2017 IN FICTION, CRITICIM “Short Story Collections and Crowded Selves: Madeleine Thien’s Simple Recipes and Jeremy Tiang’s It Never Rains On National Day” by Weihsin Gui Introduction How does a short story collection create connections between the different stories contained between its covers? And how do these connections represent the knotted relationships between North American and Asian cultures and the people who live and move between them? This essay examines two short story collections, Simple Recipes by Madeleine Thien and It Never Rains On National Day by Jeremy Tiang. Thien, whose parents came from Malaysia and Hong Kong, is a Canadian writer whose latest novel Do Not Say We We Have Nothing was shortlisted for the 2016 1 of 18 1/2/18, 9:31 AM Crowded Selves — Singapore Unbound https://singaporeunbound.org/blog/2017/5/16/rsa... Man Booker Prize. Tiang is a Singaporean currently living in both the USA and UK who has translated several works of fiction from Chinese into English and whose debut short story collection was a finalist for the 2016 Singapore Literature Prize. -
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. -
Mavis Gallant F Ancine P Ose Damon Galgut Aleksanda
Brick celebrates Mavis Gallant, with contributions from Michael Helm, Francine Prose, Alison Harris, Michael Ondaatje, and Nadia Szilvassy & Tara Quinn. A LITERARY JOURNAL Aleksandar Hemon talks to Eleanor Wachtel Obi Nwakanma in conversation with Madeleine Thien Grant Buday on Thomas De Quincey Damon Galgut on E. M. Forster Andrew H. Miller watches The Clock The watch continues to tick where the story stops. — stops. story the where tick continues to The watch permanence. grief without are the look, The lie, the David L. Ulin traces our expressions Myrna Kostash searches for Eliza McLean William Everson meets Theodore Dreiser ichard Sanger says goodbye to Seamus Heaney Tara Quinn follows Leonard Woolf to Sri Lanka Jim Harrison misses Paris A dispatch from Siberia by Sean Michaels A ri on Tolstoy by Jessica Michalofsky Amitava Kumar’s train stories Mark Marczyk’s notes from Ukraine Mavis Gallant Mavis Poems by Jan Zwicky and Sharon Olds Photograph of Mavis Gallant by Alison Harris. eviews by Laurie D Graham, John McIntyre, $. and ebecca Silver Slayter MAVIS GALLANT FANCINE POSE DAMON GALGUT And Zachary Lazar on Angola Prison’s Passion Play, ALEKSANDA HEMON SHAON OLDS ZACHAY LAZA with photographs by Deborah Luster £. DEBOAH LUSTE MICHAEL HELM OBI NWAKANMA JIM HAISON MADELEINE THIEN JAN ZWICKY The New Brick Reader Summer Special A Brick subscription plus The New Brick Reader — only $55* Subscribe, Renew, or Give! Visit BrickMag.com and click on “The New Brick Reader Summer Deal.” *plus shipping for the Reader Offer expires August -
University of Saskatchewan Department of English Ph.D
University of Saskatchewan Department of English Ph.D. Field Examination Ph.D. candidates take this examination to establish that they have sufficient understanding to do advanced research and teaching in a specific field. Field examinations are conducted twice yearly: in October and May. At least four months before examination, students must inform the Graduate Chair in writing of their intention to sit the examination. Ph.D. students are to take this examination in May of the second year of the program or October of the third. The examination will be set and marked by three faculty specialists in the area that has been chosen by the candidate. The following lists comprise the areas in which the Department of English has set readings for Ph.D. candidates: American, Commonwealth/Postcolonial, English- Canadian, Literary Theory, Literature by Women, Medieval, Modern British, Nineteenth- Century British, Renaissance, and Restoration/Eighteenth Century. Each candidate is either to select one of the areas listed here or to propose an examination in an area for which a list is not already set. The set lists themselves are not exhaustive; each is to be taken as two-thirds of the reading to be undertaken for the examination, the final third to be drafted by the candidate in consultation with the supervisor. At least three months before examination, this list will be submitted to the candidate’s Examining Committee for approval. A candidate may choose to be examined in an area for which there is no list. Should this option be chosen, the candidate (in consultation with the supervisor) will propose an area to the Graduate Committee at least six months before the examination is to be taken. -
Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. -
Seam Stress: Garment Work and Gendered Labour Struggle in 1980S Montreal
Seam Stress: Garment Work and Gendered Labour Struggle in 1980s Montreal Leona Siaw A Thesis in The Department of Geography, Planning & Environment Presented in Partial Fulfillment of the Requirements For the Degree of Master of Science (Geography, Planning & Environment) at Concordia University Montreal, Quebec, Canada August 2020 Ó Leona Siaw, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Leona Siaw Entitled: Seam Stress: Garment Work and Gendered Labour Struggle in 1980s Montreal and submitted in partial fulfillment of the requirements for the degree of Master of Science (Geography, Planning and Environment) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Dr. Norma Rantisi Chair Dr. Steven High Examiner Dr. Christopher Hurl External Examiner Dr. Ted Rutland Supervisor Approved by Craig Townsend Chair of Department Approved by Pascale Sicotte Dean of Faculty Date ABSTRACT Seam Stress: Garment Work and Gendered Labour Struggle in 1980s Montreal Leona Siaw Montreal’s garment industry was the largest in Canada until most of its factories closed or relocated in the 1980s and 1990s, but it did not go out quietly. Staring down the barrel of rapid, state-sanctioned deindustrialization, 9,500 members of the Quebec ILGWU, most of them immigrant women, launched an industry-wide strike in August of 1983, the first in 43 years, as well as the last. Using the strike as a springboard, this thesis combines oral history interviews and archival material with historical, geographical, and feminist literatures to understand how women workers experienced and contested garment deindustrialization in 1980s Montreal. -
Graz, 2-4 June 2016 University of Graz Department of American
Graz, 2-4 June 2016 University of Graz Department of American Studies Center for Inter-American Studies Keynote Speakers Aritha van Herk | University of Calgary Reingard Nischik | University of Konstanz Marlene Goldman | University of Toronto Page 1 WELCOME Graz, June 2016 ...neither one thing nor another; Welcome to the Conference “In-Between: Liminal Spaces in Canadian Literature and Culture” Dear Conference Participants, it is our great pleasure to welcome you to the International Conference "In-Between: Liminal Spaces in Canadian Literature and Culture" at the University of Graz. or maybe both; The conference topic invites us to contemplate the varied ways in which the multifaceted concept of 'liminality' can be applied within the interdisciplinary framework of Canadian Studies. The disciplinary breadth of our keynote speakers and workshop participants affirms the significance of liminality studies and allows for a thought-provoking remapping of the field. Our program’s tour de force will take us from explorations of liminality as challenging and threatening to those that allow us to see its subversive and creative potentials. We will have the opportunity to discuss how such liminal phenomena relate to Canadian Studies’ key concerns – such as national and regional identities, migration and immigration, language, race, gender, sexuality, and age. We would like to extend a heartfelt 'Thank you!' to the many individuals and institutions that have or neither here nor there; contributed to making this conference possible. First and foremost, we thank our main sponsors: the University of Graz, the State of Styria, and the Association for Canadian Studies in German-speaking Countries (GKS). -
The Great Canadian Reading List: 150 Books to Read for Canada 150
The great Canadian reading list: 150 books to read for Canada 150 1. Indian Horse by Richard Wagamese 32. Alias Grace by Margaret Atwood 2. A Great Reckoning by Louise Penny 33. Saints & Misfits by S.K. Ali 3. Firewater by Harold R. Johnson 34. A Fine Balance by Rohinton Mistry 4. Do Not Say We Have Nothing by Madeleine Thien 35. 419 by Will Ferguson 5. My Best Stories by Alice Munro 36. Celia's Song by Lee Maracle 6. Susceptible by Geneviève Castrée 37. One Hour in Paris by Karyn Freedman 7. The Game by Ken Dryden 38. In the Realm of Hungry Ghosts by Gabor Maté 8. Who Has Seen the by Wind by W.O. Mitchell 39. Birdie by Tracey Lindberg 9. Whylah Falls by George Elliott Clarke 40. Ru by Kim Thúy, translated by Sheila Fischman 10. Obasan by Joy Kogawa 41. Roughing it in the Bush by Susanna Moodie 11. Station Eleven by Emily St. John Mandel 42. Never Cry Wolf by Farley Mowat 12. The Inconvenient Indian by Thomas King 43. In the Skin of a Lion by Michael Ondaatje 13. Mabel Murple by Sheree Fitch 44. Bloodletting and Miraculous Cures by Vincent Lam 14. The Disappeared by Kim Echlin 45. Half-Breed by Maria Campbell 15. River Thieves by Michael Crummey 46. Anne of Green Gables by L.M. Montgomery 16. The Right to Be Cold by Sheila Watt-Cloutier 47. Company Town by Madeline Ashby 17. Montreal's Irish Mafia by D'Arcy O'Connor 48. New Tab by Guillaume Morissette 18. -
Department of English and American Studies the Canadian Short Story
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. Katarína Kőrösiová The Canadian Short Story Master’s Diploma Thesis Supervisor: Mrg. Kateřina Prajznerová, Ph. D. 2012 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank to my supervisor Mgr. Kateřina Prajznerová, Ph. D. for initiating me into this interesting subject, and mainly, for her help and valuable advice. I am also thankful for all the support I received from my family. Table of Contents 1. Introduction: What Makes the Canadian Short Story Canadian? 5 1.1. The Genre of the Short Story 7 1.2. The Canadian Short Story 15 2. Multiculturalism 25 2.1. Generational Differences 26 2.2. Biculturalism 32 2.3. Language and Naming 36 2.4. Minority or General Experience 38 3. Family and Gender 42 3.1. The Notion of Family and Home in Madeleine Thien‟s Stories 43 3.2. The Portrayal of Children 46 3.3. Alice Munro‟s Girls and Women 50 4. Place 57 4.1. Canada as Utopia 57 4.2. The Country and the City 63 5. Conclusion: The Relationship Between Form and Theme 68 Works Cited 74 Resumé (English) 78 Resumé (České) 79 1. Introduction: What Makes the Canadian Short Story Canadian? How do readers know that they are reading a Canadian short story? Lynch and Robbeson suggest an apparently easy and “common sense” solution for the problem: “we know [that] we‟re reading Canadian stories [when] the author is Canadian or / and the setting is Canadian” (2).