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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 -
Women's Writing and Writing About Women
Ghent University Faculty of Arts and Philosophy Women’s Writing and Writing about Women: Analysis of The Golden Notebook by Doris Lessing Promotor Prof. Dr. Marysa Demoor Sara Van Butsel MA English 2008-2009 Contents 1. Introduction…………………………………....…………………………6 2. The Representation of Female Characters………….…………………....8 3 2.1 Four Alternative Stories………………..………..……………….………9 2.2 The Künstlerroman……….……………..……………………..…..……10 3. Women‘s Identity in Literature and Society…………………………….12 3.1 Breaking the Sentence, Breaking the Sequence………………………………….13 3.2 The Female Tradition……………………..…….………………….……14 3.3 An Appropriate Definition……………………………………………….16 3.4 Anxiety of Influence………………..…………………………………...17 3.5 Liberating Literature..……………………………….…………………...18 3.5.1 The Golden Notebook: An Icon………………………….………..19 3.5.2 Two Important Themes…………………….…………………….21 4. A Literature of Their Own……………………………………………….22 4.1 The Golden Notebook: An Introduction…….………………..…………….24 4.1.1 The Yellow Notebook.....................................................................26 4.2 The Other Side of the Story………………………………………….…....27 4.2.1 Feminism Versus Modernism…………………………..…….……28 4.2.2 Criticism on The Golden Notebook………………………....….…..30 4.2.3 (Post)Modernist Structure…………………………………….…..31 4.2.4 Realism Versus Modernism………………….……………...….…32 4.2.5 The Limits of Representation…………..……………………….....34 4.2.6 The Novel’s Shortcomings…..……….…………………………...36 5. The Golden Notebook‘s Feminist Theme………………………………..37 5.1 Madness…….………………………………………………………..….38 5.2 Alienation of the Woman Writer……………………………….……….….40 5.2.1 The Lessing Woman…………………………………..……….…44 5.3 An Unconventional Novel………………………………………….….…..45 5.3.1 Theme……………………………………………………..….45 5.3.2 Language Use……………………………..…………………..46 5.3.3 Conventional Men…………………………………………..…48 5.3.4 The Language of Love………………………………………….49 4 5.4 The Novel‘s Shortcomings…………………………………………….…50 6. Conclusion…………………………………………………………...…..52 7. -
Narrative Voice in David Elias's Sunday Afternoon
Speaking Redemption: Narrative Voice in David Elias’s Sunday Afternoon Edna A. Froese, St. Thomas More College, Saskatoon Whatever the recent developments in narrative theology have accomplished by way of allowing Christian believers to negotiate postmodern challenges to the authority of the scriptural foundations of their beliefs, the newly emphasized parallels between theology and literature open up wonderful possibilities for reading fiction as well as the Bible itself. Catherine Wallace, for example, in “Faith and Fiction: Literature as Revelation,” argues that literature “has much to offer religion that religion fails to understand and to accept” (2). With Coleridge and then Steiner, Wallace observes that faith is neither “an act of will [nor] an act of knowledge” but “a creative act, the act of imagination”; thus “art and the encounter with God share a common origin in the human spirit” (5). Since “the knowledge of God is not propositional but visionary” (5-6), the poet (or novelist or playwright) is also an “autonomous and significant theologian” (1), whose task it is “to take all the muddled disruptive incoherence of real fact and actual memory – whether communal or personal – and then select and arrange, reform and recast them into a coherent aesthetic whole that tells a visionary truth that facts alone cannot reveal” (10).1 If the 202 Journal of Mennonite Studies truth that the poet thus reveals is to be understood, whether that poet happens to be the redactor of Scripture or a contemporary novelist, “we must first of all read properly, which is to say attentively, details regarded not as historical facts but as poetic choices” (Wallace 10). -
Imaginary) Boyfriend
! "! (Imaginary) Boyfriend by Toby Cygman A thesis submitted to the Faculty of Graduate Studies of the University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of English, Film, and Theatre University of Manitoba Winnipeg Copyright © 2011 by Toby Cygman ! ! #! ! Table of Contents Abstract…………………………………………………………………………………...ii Preface (read at thesis defense)……………………………………………………….1 Mobile……………………………………………………………………………………..7 Internets………...………………………………………………………………………12 Baggage…………………………………………………...……………………………18 Effexor for the Win……………………………………………………………………..23 Minor Injuries………………………………………………...…………………………37 Past Perfect……………………………………………………...……………………..47 Stories to My (Imaginary) Boyfriend………………………………………………….50 Lady, Motorbike………………………………………………………………………...53 Afterword………………………………………………………………………………..62 Bibliography…………………………………………………………………………….79 ! ##! Abstract (Imaginary) Boyfriend is a cycle of short stories that addresses the tension between stasis and locomotion. The eight stories feature characters who are addicted to motion, but paralyzed by anxiety. This theme manifests itself in both the internal and external spaces the characters occupy. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "! Preface As I was working on my thesis, I looked at other U of M creative theses for direction and inspiration. I found that the large majority of creative theses from the last few years are novellas and began to wonder about my chosen genre, the short story. My preference for this medium has to do with immediacy. -
Women's Voices: Women Writers of Ancient
Women’s Voices: Women Writers of Ancient Greece and Rome Lekythos: Paris, Louvre CA 2220 (about 440-430 BC) AHPG 826 2011 Dr Ian Plant Ancient History Faculty of Arts Macquarie University GENERAL INFORMATION Convenor Name: Ian Plant Email: [email protected] Phone: (02) 9850-8880 Office: W6A 538 Contact with Ian is best made: through the email facility in the unit's webpage in person in class in my office at my specified office hours He is happy to see students at other times too. General inquiries Ancient History Department Office Name: Raina Kim Email: [email protected] Phone: +61 2 9850 8833 Office: W6A 541 Unit website http://learn.mq.edu.au Duration of the unit The unit runs for 15 weeks There are 13 weeks of online seminars [‘teaching weeks’] There is a two week seminar break between teaching weeks 7 and 8. The examination period follows week 13. There is no examination for this unit; the final essay is due the week after week 13. Dates for Teaching Weeks Week 1: Starts August 1st Semester Break: Starts September 19th Week 8: Starts October 4th (public holiday October 3rd) Week 13 finishes: November 11th. Page 2 Women’s Voices: Women Writers of Ancient Greece and Rome Introduction There is a general perception that almost all writing in antiquity was done by men. However, some important literature written by women during this period has survived, and many other women writers published work that has not survived. In this course you are asked to read the extant texts by women, from Sappho, who lived in the seventh century BC, through to Eudocia and Egeria in the fifth-sixth centuries AD. -
& Circulating Libraries
Parasols & Gloves & Broches & Circulating Libraries MARY MARGARET BENSON Northup Lrbrary, Linfield College, McMinnville, OR 97128 "Charlotte was to go . & to buy new Parasols, new Gloves, & new Broches, for her sisters & herself at the Library, which Mr. P. was anxiously wishing to support" (Sanditon 374). What kind of library was this circulating library at Sanditon? It is certainly not like any library familiar to most contemporary readers. Not only could one purchase "so many pretty Temptations" (S 390), but Mrs. Whitby, the "librarian," seems as likely to refer one to sources for Chamber- Horses as to a copy of Camilla. Before the eighteenth century, libraries in England were strictly for those who were associated with universities or other learned societies, or for those wealthy enough to collect and house their own books. While we don't see the former sort of library in the works of Jane Austen, we certainly see the latter. The library at Pemberley is surely magnificent-even though we have Miss Bingley's word for it. As Mr. Darcy says, "'It ought to be good . it has been the work of many generations"' (P&P 38). One can imagine that Mr. Knightley, too, would have an excellent library, though perhaps his collection would be of less antiquity. However, for those who could not afford a "gentleman's" library or even for those gentlefolk who were in town or at a spa for a short time, the circulating library filled the gap. Circulating libraries were part of the popular culture of the day, and references to them are found throughout Jane Austen. -
Women's Education During the Regency: Jane Austen's Quiet Rebellion
Women's Education During the Regency: Jane Austen's Quiet Rebellion BARBARA HORWITZ English Department, c. w. Post Campus of Long Island University, Greenvale, NY, 1 1548 One more universally acknowledged truth is that Jane Austen's novels concem education. D. D. Devlin noted her reliance on Locke's work. Marilyn Butler noted the similarity of many of her ideas to those of the deeply conservative writers of conduct books for women.' It seems to me, however, that while Jane Austen shares some of the ideas common to the more conservative writers of her time, she is far less doctrinaire than they are. She is also much more interested in using these ideas for their literary value, involving characterization, plot structure and the comic dynamic of her novels. In addition, she does differ from the other writers on education and conduct in that they insist the goal of education for women is the development of good nature, while she believes the goal of education.for *o*"n to be identical to the goal of eduction for men: self-knowledge. The eighteenth century took its ideas on the subject of education from John Locke. His some Thoughts on Education (1678) was widely read and immensely influential. Locke's medical background assured that he would be considLred an authority on the physical aspects of child care and his concern with perception and knowledge as evidenced in his Essay on Human Understandiig (1690) made him an authority on intellectual development. Locke,s workwas designed to apply to the education of young gentlemen. He insisted, -
A Writer-Centered World May 29Th to June 1St Delta St
2014 ONWORDS CONFERENCE AND ANNUAL GENERAL MEETING CENTERING THE MARGINS: A Writer-Centered World May 29th to June 1st Delta St. John’s 120 New Gower Street St. John’s, NL 2 2014 OnWords Conference and Annual General Meeting what’s INSIDE Agenda 04 Chair’s Report 10 Minutes, 2013 11 National Council & AGM Directives, 2013 21 Auditor’s Report 30 Forward, Together: Strategic Plan, 2010-2014 40 Regional Reports 41 Liaison, Task Force, and Committee Reports 46 Executive Director’s Welcome 69 Members and Guests Attending 70 Panelist and Speed Networker Biographies 71 Cover image © MUN, Department of Geography, 2013-80 May 29th – June 1st . Centering the Margins: A Writer-centered World 3 AGENDA Centering the Margins: A Writer-Centered World Hashtag for the weekend is: 2014 OnWords Conference and Annual General Meeting #OnWords Delta St. John’s Hotel and Conference Centre *Please remember to also add 120 New Gower Street, St. John’s, NL @twuc to your tweets as well May 29 – June 1, 2014 Thank to our lead sponsors the Access Copyright Foundation, ACTRA Fraternal Benefit Society, Amazon.ca, Random House of Canada, Mint Literary Agency, and Newfoundland Labrador. Please be aware that the use of spray colognes, hairsprays, and/or air fresheners, may trigger allergic reactions and create health problems for others. THURSDAY, May 29, 2014 2:00 pm – 3:00 pm EXECUTIVE MEETING — Placentia Bay room 3:00 pm – 5:00 pm NATIONAL COUNCIL MEETING — Placentia Bay room 4:00 pm – 6:00 pm REGISTRATION — Main Lobby 6:15 pm – 7:00 pm NEW MEMBER RECEPTION — Rocket Bakery and Fresh Foods, 272 Water Street 7:00 pm – 8:30 pm WELCOME RECEPTION WITH THE WRITERS ALLIANCE OF NEWFOUNDLAND AND LABRADOR — Rocket Bakery and Fresh Foods, 272 Water Street, 3rd floor. -
Ms. Lampert, Arlene Papers Coll. 730 1 Gift of Arlene Lampert 2016 Extent
Ms. Lampert, Arlene papers Coll. 730 Gift of Arlene Lampert 2016 Extent: 14 boxes (3 metres) Includes extensive correspondence from writers, 1960s-2000s, to Arlene Lampert. The correspondence is primarily personal in nature. Photographs from the University of Toronto Writers’ Workshops held in Toronto and The Bahamas, 1972-1978, form part of this accession. The photographs include many well- known authors, such as Austin Clarke, Al Purdy, Dennis Lee, Graeme Gibson, P.K. Page, Joe Rosenblatt, Marian Engel, George Bowering. Frequent correspondents include Bill Bissett, Susan Musgrave, Stephen Reid, Joe Rosenblatt, Jeni Couzyn, Rosemary Sullivan, Anne Michaels, Patrick Lane, Lorna Crozier, Alice Denham, P.K. Page, Earle Birney and Wailan Low, Phyllis Webb and others. Arrangement note: original correspondence order has been maintained. Biographical note from League of Canadian Poets directory: Arlene Lampert was the first Executive Secretary and later Executive Director of the League of Canadian Poets in the 1970s. She was married to Gerald Lampert and granted Honourary Membership in the League of Canadian Poets in 1981. She lives in Toronto. Box 1 Photographs from the University of Toronto 15 folders Writers’ Workshops held at Toronto and The Bahamas, 1972-1978 Folder 1 University of Toronto Writers’ Workshop, held at Toronto and The Bahamas, 1972-1978 Austin Clarke, Graeme Gibson, Dennis Lee and others 8 black and white photographs Folder 2 University of Toronto Writers’ Workshop, held at Toronto and The Bahamas, 1972-1978 8 black and white photographs Folder 3 University of Toronto Writers’ Workshop, held at Toronto and The Bahamas, 1972-1978 8 black and white photographs Folder 4 University of Toronto Writers’ Workshop, held at Toronto and The Bahamas, 1972-1978 8 black and white photographs 1 Ms. -
"A Press with Such Traditions": Oxford University Press of Canada Ruth
"A Press with Such Traditions": Oxford University Press of Canada Ruth Panofsky' On Tuesday, 10 August 1904, when Oxford University Press established a branch in Canada,2 it joined a small but significant group of publishing houses already operating in Toronto. By the turn of the century, Toronto had become a centre for Canada's burgeoning publishing industry, home to the Copp Clark Company, W.J. Gage and Company, and the Methodist Book and Publishing House (later Ryerson Press), for example. When Oxford University Press set up shop on "Booksellers' Row"3 at Zy Richmond Street West, the company sought to consolidate its presence in the small Canadian market with a view to establishing itself as an important branch. Eight years earlier, in September 1896, Oxford had opened its first branch operation in New York. The founding of a second branch in Toronto served, in fact, to widen Oxford's presence in North America. By 1929, the Toronto branch could announce with "great pride" that it represented "a Press with such traditions, and such a record of useful and important work, not only in the development of printing but in the History of England."4 After twenty-five years in Canada, Oxford University Press had begun to realize its hopes for expansion. I Ruth Panofsky is Associate Director of the ]Joint Graduate Programme in Communication and Culture at Ryerson University. Her most recent publications include Adele Wiseman: Essays on Her Works and Lifeline, a volume of poetry. She thanks Joanna Gertler, Laura Macleod, Martin Maw, and Phyllis Wilson of Oxford University Press; Jan Walter of Macfarlane Walter 8< Ross; Jim Armour, Vivian Luong, Roy MacSkimming, and Bill Toye for their assistance . -
Henry James, Women Writers, and the Friendly Narrator
Misreading Jane Austen: t Henry James, Women :L Writers, and the i Friendly Narrator WILLIAM C. DUCKWORTH, JR. William C. Duckworth, a retired chemical engineer, has published articles on chemi- cal technology and English literature, as well as poetry. He now confines himself to literary endeavors. A legion of Jane Austen’s readers would agree when Mal- colm Bradbury observes that Jane Austen, “a great artist working in a small compass,” has constructed a reader who can recover from her novels an experience of life “as serious and intense as even Henry James could wish for” (186). However, Henry James would not have agreed. Though he assigned to her a high rank among novelists, saying that she is “shelved and safe for all time,” “close to reality,” and that “the tissue of her narrative is close and firm,” he spoke patronizingly of her unconscious wool-gathering, criticized the absence in her works of striking examples of com- position, distribution, and arrangement, and called her heroines “she-Philistines.” One is surprised by these severe criticisms of the novelist he called “dear old Jane Austen,” who devised and prac- ticed literary techniques that he later developed. Why did Austen fail to win a perceptive reader like James who was so indebted to her? An examination of James’s view of women writers and Austen’s narrative technique, and of the relation of these two fac- tors to Henry James’s criticisms of Jane Austen, will enable us to better understand James’s comments on his great predecessor. In a letter of 8 April 1883, James wrote to the publisher of 96 PERSUASIONS No. -
A Redemption of Motherhood in Jane Austen Destiny Cornelison [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Georgia College: Knowledge Box Georgia College Knowledge Box English MA Theses Department of English Spring 4-22-2019 Beyond Marital Bliss: A Redemption of Motherhood in Jane Austen Destiny Cornelison [email protected] Follow this and additional works at: https://kb.gcsu.edu/english Part of the Literature in English, British Isles Commons Recommended Citation Cornelison, Destiny, "Beyond Marital Bliss: A Redemption of Motherhood in Jane Austen" (2019). English MA Theses. 5. https://kb.gcsu.edu/english/5 This Thesis is brought to you for free and open access by the Department of English at Knowledge Box. It has been accepted for inclusion in English MA Theses by an authorized administrator of Knowledge Box. Georgia College & State University Beyond Marital Bliss: A Redemption of Motherhood in Jane Austen By Destiny Cornelison M.A. Candidate A Thesis Submitted to the Graduate Faculty of The College of Arts and Sciences Department of English at Georgia College & State University April 2019 Cornelison 2 Cornelison 3 Acknowledgements This thesis would not have been possible without the support of dedicated professors and friends. First, I would like to thank my thesis advisor, Dr. Eustace Palmer, for his insight and encouragement. He asked the hard questions and would not let me settle. I am also grateful to the other members of my committee, Dr. Jennifer Flaherty and Dr. Julian Knox, for their patience and feedback. All of these professors have not only played an integral role in my thesis process, but in my college career as a whole.