DOCSLIB.ORG

123011 TXT Placed.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
123011 TXT Placed.Indd Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number !"#, Autumn !"$" Published by %e University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Laura Moss (Reviews), Glenn Deer (Reviews), Larissa Lai (Poetry), Réjean Beaudoin (Francophone Writing), Judy Brown (Reviews) Past Editors: George Woodcock ($&'&–$&((), W.H. New ($&((–$&&'), Eva-Marie Kröller ($&&'–!"")), Laurie Ricou (!"")–!""() 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 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 of Queensland David Williams University of Manitoba Mark Williams Victoria University, New Zealand Editorial Margery Fee Beyond Boomer Nationalism 6 Articles Kevin Flynn The Colony of Unrequited Dreams: Wayne Johnston’s Newfoundland Conversion Narrative !" Katja Lee Goddard v. Mowat: F***ing the Facts Fifteen Years Later "# François Ouellet Tayaout ou la réfutation d’Agaguk $% Articles, continued Lee Rozelle Liminal Ecologies in Margaret Atwood’s Oryx and Crake &! Jeanette den Toonder Aaron d’Yves Thériault, ou comment transgresser l’entre-deux *$ Y-Dang Troeung Forgetting Loss in Madeleine Thien’s Certainty 91 Poems Robert O. Norman 12 Changming Yuan 73 Eric Zboya 29 Phoebe Wang 88 Roger Farr 45 George Elliott Clarke 109 Kate Braid 60 Books in Review Forthcoming book reviews are available at http://www.canlit.ca Authors Reviewed +ierry Dimanche !)" Robert Arthur Alexie !!# James Doyle !(& Nicole Balvay-Haillot !!! Lorne Dufour !!# Bruce Barton !&' Frédérick Durand !'% David Bateman !!( Marie Elliott !(% Corinne Bayle !!$ Deborah Ellis !(# Mathieu Bergeron !)" Gail Faurschou !*! Gregory Betts !&* Janice Fiamengo !"# Mark Blagrave !!' Adrian Fowler !"( E.D. Blodgett !*' Vittorio Frigerio !"" Giles Blunt !!& Rivka Galchen !%) Michel Bock !"% Shoshannah Ganz !** Gérard Bouchard !&$ Bill Gaston !$& Craig Boyko !!* Martin Genetsch !"$ Robert Bringhurst !!) Bertrand Gervais !"' Diana Fitzgerald Bryden !*( Hamida Ghafour !"& Walter Buchignani !(# Graeme Gibson !$* Clint Burnham !%# Anne Gilbert !"% Rosemary Chapman !(! Kim Goldberg !%' Wayson Choy !"& Branko Gorjup !($ Daniel Coleman !(( Hiromi Goto !!( Jean Yves Collette !%$ Anne Guilbault !!$ Hugues Corriveau !%$ Lori Hahnel !!' Douglas Coupland !(" Nancy Hartry !") Normand de Bellefeuille !%" Lee Henderson !$# Barry Dempster !'! Robert Hogg !$! Robert D. Denham !($ Robert Hough !$( William Deverell !!& Coral Ann Howells !$$ Caroline De Wagter !&' Tristan Hughes !$& Stephen Hume !(% Monique Proulx !*) Kevin Hutchings !$* Sina Queyras !%# Dean Irvine !"# David Rampton !%( Elizabeth Jameson !$) Diane Régimbald !%" Gillian Jerome !*' Stuart Ross !!* Josephene Kealey !** André Roy !%$ Tonja Gunvaldsen Klaassen !'! Jacob Scheier !%' Jane Koustas !'( Gregory Sco,eld !%* Eva-Marie Kröller !$$ Peter Dale Scott !%# Andrée Lacelle !'" William Neil Scott !%) Gilles Lacombe !*& Anna Marie Sewell !%* Dany Laferrière !'$ Josef Skvorecky !)# Larissa Lai !!( Nathalie Stephens !!! Robert Lalonde !'' Imre Szeman !*! Lori Lansens !'* Joseph Yvon-+ériault !"% Daniel Leblanc-Poirier !'% Fiona Tolan !)! Dennis Lee !%# Larry Tremblay !)" Monique Le Maner !&# +uong Vuong-Riddick !"& Mireille Levert !)* Fred Wah !*' Eileen Lohka !&# Zoe Whittall !)$ Steve Lundin !&! Emma Wilson !)' Gerald Lynch !** Sharon Rose Wilson !)& Jim Lynch !&( Rita Wong !!( Jeanette Lynes !'* Tim Wynne-Jones !"), !)* Linden MacIntyre !&" Jocelyne Mallet-Parent !&$ Reviewers David Manicom !$( Ariane Audet !%" Ashok Mathur !"( Damon Barta !&( Marc Maufort !&' Mike Borkent !'! Norah McClintock !!& Nicholas Bradley !$*, !%* Ian McKay !&* Alison Calder !$) Neal McLeod !%* Adeline Caute !!$ Sheila McManus !$) Richard Cassidy !!* Anne Michaels !&) Maria Cotroneo !&$ Tolowa M. Mollel !)* Karen Crossley !'* Sourayan Mookerjea !*! Natasha Dagenais !'(, !*& Shani Mootoo !*( Jennifer Bowering Delisle !"( François Moreau !!$ Cecily Devereux !"# Joanne Morency !'% Mark Diotte !(% Alice Munro !&) Kit Dobson !*! Pierre Nepveu !*$ Paul Dubé !"% Pierre Ouellet !*$ Scott Duchesne !&' Madeleine Ouellette- Timothy Dugdale !!' Michalska !*) Pierre-Paul Ferland !&# Kelly Parsons !%' Graham Forst !($, !%( Christopher Patton !%' Aaron Giovannone !%# Philip Kevin Paul !%* Stéphane Girard !'" Barbara Colebrook Peace !%' Margo Gouley !$! Sasenarine Persaud !*' Beverley Haun !&) Anthony Phelps !*& Susan Holbrook !!( Joseph Pivato !** Coral Ann Howells !)!, !)& Ronald Poulton !(& Madelaine Jacobs !!# Reviewers, continued Valerie Raoul !(& Sam Knowles !"$ Du-y Roberts !$# Louise Ladouceur !(! Mariloue Sainte-Marie !%$ René LaFleur !'% Sylvano Santini !"' Vincent C. Lambert !)" M. Sean Saunders !") Charles Le Blanc !'' Emer Savage !)# Élise Lepage !*$ Maïté Snauwaert !!! Farah Leplat !"" Reece Steinberg !(#, !$( Daniel Letendre !*) Robert +acker !&! Amanda Lim !%' Jimmy +ibeault !'$ John Moss !!& Monique Tschofen !)' Saleema Nawaz !$& Hilary Turner !)* Stephen Ney !(( Carolyne Van Der Meer !*( Maria N. Ng !"& Bart Vautour !&* Claire Omhovère !$$ Emily Wall !*' Pamela Owen !&" Paul Watkins !!) JC Peters !%) Reilly Yeo !(" Neil Querengesser !** Louise Young !)$ Canadian Literature, a peer-reviewed journal, welcomes original, unpublished submissions of articles, interviews, and other commentaries relating to writers and writing in Canada, and of previously unpublished poems by Canadian writers. %e journal does not publish *ction. Articles of approximately #'"" words (including Notes and Works Cited), double spaced, in $!-point font size, should be submitted in triplicate, with the author’s name deleted from two copies, and addressed to %e Editor, Canadian Literature, %e University of British Columbia, Buchanan +$',, $,## Main Mall, Vancouver, BC, Canada -#. $/$. Submissions should include a brief biographical note ('" words), an abstract ($'" words), and a self-addressed return envelope, either with Canadian stamps or accompanied by International Postal Reply Coupons. Submissions without 010+ cannot be returned. Articles should follow 231 guidelines for bibliographic format. All works accepted for publication must also be available electronically. Canadian Literature, revue universitaire avec comités d’évaluation, reçoit des soumissions originales d’articles, d’entrevues et autres commentaires inédits portant sur les écrivains du Canada et sur leurs oeuvres, de même que des poèmes inédits d’auteurs canadiens. La revue ne publie aucune *ction narrative. Les manuscrits, d’une longueur approximative de #'"" mots, doivent être soumis en trois exemplaires (dont deux anonymisés), adressés au directeur de Canadian Literature, %e University of British Columbia, Buchanan +$',, $,## Main Mall, Vancouver, C.-B., Canada -#. $/$, et accompagnés d’une note biographique ('" mots), d’un résumé ($'" mots), et d’une enveloppe de retour pré-adressée et pré-a4ranchie (timbrée ou munie de coupons-réponse internationaux), sans quoi ils ne pourront être retournés à leurs auteurs. Les articles soumis doivent répondre aux exigences de forme bibliogra- phique dé*nies par la 231. Tous les textes acceptés pour publication devront être fournis électroniquement. Our website, canlit.ca Cumulative index (canlit.ca/search) All issue content can be searched by title, author, or full text; direct links to articles, book reviews, and poems where available. Online store (canlit.ca/store) Order subscriptions and back issues securely with credit card or Interac. Archives (canlit.ca/archives) Issues E$ to $'' are freely available online as are pre-print book reviews, including unpublished upcoming reviews, from issue $'# onwards. Online Exclusives Online Exclusives is content not available in the journal. %is includes our award-winning CanLit Poets poetry archive, interviews with Canadian authors and scholars, and extensive databases of Canadian publishers and scholars. Copyright © !"$" %e University of British Columbia Subject to the exception noted below, reproduction of the journal, or any part thereof, in any form, or transmission in any manner is strictly prohibited. Reproduction is only permitted for the purposes of research or private study in a manner that is consistent with the principle of fair dealing as stated in the Copyright Act (Canada). D0. 8$",$#$((& Publication of Canadian Literature is assisted by %e University of British Columbia, the Faculty of Arts (FGH), and IIJKHH. We acknowledge the *nancial support of the Government of Canada through the Canada Magazine Fund toward web enhancement and promotional costs. Canadian Literature is indexed in Canadian
Load more

Recommended publications
  • Writing Alberta POD EPDF.Indd
    WRITING ALBERTA: Aberta Building on a Literary Identity Edited by George Melnyk and Donna Coates ISBN 978-1-55238-891-4 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. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work.
    [Show full text]
  • Ethnic Minority Writing: the Complexities Surrounding Authenticity, Translation, and Representation in a Global Environment
    Ethnic Minority Writing: The Complexities Surrounding Authenticity, Translation, and Representation in a Global Environment Samuel Rose ※ Abstract: This paper discusses the complex issues surrounding authenticity and ethnic minority writing. It also addresses the broader global issues involved when an individual is educated in the West and then attempts to speak for his or her particular ethnic group. The paper concludes with a specifi c example regarding the complexities of translating a Japanese passage into English and discusses the little-known concept of “deterritorialization.” Key words: authenticity, ethnic minority writing, translation and representation, and deterritorialization Who is an authentic ethnic minority writer? How do we know if an individual truly has the authority to speak for his or her particular community? Does a Western education limit one’s ability to speak for his or her ethnic culture? If we assume that an individual does have the authority to speak for a particular group, can his or her writing be translated into another language and still retain the intended meaning? These are just a few of the questions that arise when discussing ethnic minority writing in Western nations. In this essay, I will use Joseph Pivato’s “Representation of Ethnicity as Problem: Essence or Construction” and attempt to answer the questions above. I will then conclude with an example that demonstrates just how complex the problems of representation in ethnic minority writing can be. Identifying with Minorities In the essay “Representation of Ethnicity as Problem: Essence or Construction,” Joseph Pivato writes, “I have often focussed on the voice of the writer and his/her authority to speak about the minority experi- ence” (Literary Pluralities, p.
    [Show full text]
  • L'exposition Immersive
    L’EXPOSITION IMMERSIVE LIVRET-JEUX DES TRÈS JEUNES ARTISTES BIENVENUE DANS l’EXPOSITION IMAGINE PICASSO Tu vas découvrir un des plus grands artistes de tous les temps : Pablo Picasso. Pas étonnant si tu le connais déjà un peu, c’est un des peintres les plus célèbres du monde ! Ici, tu ne verras pas ses vrais tableaux mais des images immenses de ses peintures et dessins. Avec ce livret, pars à la découverte de son œuvre dans la première partie de l’exposition. Puis entre dans l’espace de projection et promène-toi, regarde et écoute ! Tu pourras finir ton livret de retour chez toi. Prêt pour découvrir Picasso comme tu ne l’as jamais vu ? A toi de jouer ! Une exposition réalisée par Annabelle Mauger et Julien Baron Yo, Picasso Le portrait de Picasso s’est mélangé avec ceux d’autres artistes célèbres. Sauras-tu le reconnaître ? 1 2 3 4 1 Enfant et déja artiste Déjà enfant, Picasso dessinait beaucoup. Il a fait cette peinture sur le couvercle d’une boîte de cigare à l’âge de 8 ans et avec seulement quelques couleurs ! Trouve la palette utilisée par Picasso pour faire cette peinture. Le Petit Picador jaune 1889 1 2 3 4 2 Du bleu et des yeux Pendant 3 ans, Picasso a peint tous ses tableaux en différents tons de bleu. C’est la couleur qu’il a choisie pour évoquer la tristesse. Ce tableau est son propre portrait : vois-tu qu’il a l’air triste avec son teint pâle et son regard fixe dans le vide ? Observe son regard et retrouve-le parmi des yeux venant d’autres tableaux de Picasso et qui donnent des airs très différents ! Autoportrait, 1901, musée national Picasso Paris 3 Les demoiselles Quand Picasso montre ce tableau à ses amis, c’est le choc ! Ces femmes au visage et corps déformés semblent être vues dans un miroir cassé.
    [Show full text]
  • Selected Bibliography of Work on Canadian Ethnic Minority Writing
    UNIVERSITY PRESS <http://www.thepress.purdue.edu> CLCWeb: Comparative Literature and Culture ISSN 1481-4374 <http://docs.lib.purdue.edu/clcweb> Purdue University Press ©Purdue University The Library Series of the peer-reviewed, full-text, and open-access quarterly in the humanities and the social sciences CLCWeb: Comparative Literature and Culture publishes scholarship in the humanities and social sciences following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the CLCWeb Library Series are 1) articles, 2) books, 3) bibliographies, 4) resources, and 5) documents. Contact: <[email protected]> Selected Bibliography of Work on Canadian Ethnic Minority Writing <http://docs.lib.purdue.edu/clcweblibrary/canadianethnicbibliography> Steven Tötösy de Zepetnek, Asma Sayed, and Domenic A. Beneventi 1) literary histories and bibliographies of canadian ethnic minority writing 2) work on canadian ethnic minority writing This selected bibliography is compiled according to the following criteria: 1) Only English- and French-language works are included; however, it should be noted that there exists a substantial corpus of studies in a number Canada's ethnic minority languages; 2) Critical works about the literatures of Canada's First Nations are not included following the frequently expressed opinion that Canadian First Nations literatures should not be categorized within Canadian "Ethnic" writing but as a separate corpus; 3) Literary criticism as well as theoretical texts are included; 4) Critical texts on works of authors writing in English and French but usually viewed or which could be considered as "Ethnic" authors (i.e., immigré[e]/exile individuals whose works contain Canadian "Ethnic" perspectives) are included; 5) Some works dealing with US or Anglophone-American Ethnic Minority Writing with Canadian perspectives are included; 6) M.A.
    [Show full text]
  • Oltreoceano15 Tagliato
    ITALIAN CANADIAN WRITING: THE DIFFERENCE A FEW DECADES MAKE* Linda Hutcheon** The article explores the changes in the last 40 years both in the language of Canadian ethnic literature itself and in its authors’ self-identifying as Italian Canadian in light of the deve- lopments of those years both in ‘identity politics’ and in Canada’s national sense of selfhood. En route it tests the usefulness of various labels used, over time, to identify these writings against the literary corpus produced for almost thirty years now by Nino Ricci, born and raised in Canada, by Italian immigrant parents. Scrittura italo-canadese: pochi decenni possono fare la differenza Il contributo analizza i cambiamenti che negli ultimi quaranta anni si sono verificati nel lin- guaggio, utilizzato per definire la letteratura etnica canadese, e nel modo in cui gli autori si sono identificati come italo-canadesi a fronte sia delle mutate politiche identitarie sia degli sviluppi nel senso nazionale di identità canadese, susseguitisi in quell’arco temporale. Per testare la validità delle varie etichette utilizzate via via per definire tale letteratura, viene esaminato il corpus letterario, ormai trentennale, prodotto da Nino Ricci, scrittore nato e cresciuto in Canada da genitori immigranti di origine italiana. To Begin With a Story In the mid-1990s – in another century and in another country – I was invited to participate in a panel dedicated to the topic of “Ethnicity and Writing/ Reading” at the annual conference of the Modern Language Association of * This article began life as the Pugliese-Zorzi Italian Canadian Studies Lecture presented in February 2018 to the Canadian Studies Program and the University College Alumni, Uni- versity of Toronto.
    [Show full text]
  • Johannes Brahms
    Johannes Brahms ORCHESTRE NATIONAL DE FRANCE EMMANUEL KRIVINE direction «JE FRÉQUENTE BRAHMS DEPUIS MES DÉBUTS» « J’ai enregistré les symphonies avec l’Orchestre de Bamberg en 1995 et je les ai données, ainsi que beaucoup d’autres œuvres de Brahms, de nombreuses fois avec des orchestres de tailles et de nationalités différentes, y compris récemment avec la Chambre philharmonique*. Brahms se prête à différents types de formations. La Première Symphonie et la Quatrième ont été créées, à Karlsruhe et à Meiningen, avec des effectifs de qua- rante-neuf musiciens. La Deuxième et la Troisième, à Vienne, l’ont été avec une centaine d’exécutants, sous la direction de Hans Richter. Dans ce vaste répertoire, nous avons choisi quelques œuvres afin d’éviter l’« impératif d’intégrale » qui me semble souvent roboratif. Notre saison est construite dans un esprit diététique : il ne faut fatiguer ni le public, ni les musiciens, et il est très bon de passer d’un style à l’autre au cours d’une même soirée. Quant au Requiem allemand, c’est un joyau, une partition d’une grande ferveur et d’une grande sincérité. Brahms était imprégné de la tradition polypho- nique qui va de Sweelinck, Schütz, etc., jusqu’à Bach, et continue jusqu’à Bruckner et au-delà. » Emmanuel Krivine Directeur musical de l'Orchestre National de France *Orchestre non permanent jouant sur instruments anciens fondé par Emmanuel Krivine en 2004. ILLUSTRATION : FRANÇOIS OLISLAEGER ILLUSTRATION RF_DM_Concert_A5.indd 1 04/04/2018 16:42 Sommaire UNE SAISON AVEC BRAHMS À partir des quatre symphonies, Emmanuel Krivine et l’Orchestre National de France ont imaginé une saison en partie consacrée à Brahms mais sans esprit LE CYCLE DES SYMPHONIES UN REQUIEM ALLEMAND de système, comme l’explique le directeur musical de l’orchestre.
    [Show full text]
  • Introduction
    WRITING ALBERTA: Aberta Building on a Literary Identity Edited by George Melnyk and Donna Coates ISBN 978-1-55238-891-4 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. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work.
    [Show full text]
  • Liepman Belletristik FJ2021.Pdf
    Belletristik Frühjahr 2021 Literatur 3 Unterhaltung 24 Spannung 34 Weitere Highlights 42 Marc Koralnik [email protected] Anja Kretschmann Liepman AG Asylstrasse 92 [email protected] CH-8032 Zürich +41 43 268 23 80 [email protected] Hannah Nuspliger-Fosh www.liepmanagency.com [email protected] Mai Al-Nakib STRANGE BIRDS Publisher Client Custom House Ayesha Pande Literary 2022 Contact 393 pages Anja Kretschmann Acclaimed short-story writer Mai Al-Nakib’s transporting debut novel, STRANGE BIRDS is a multigenerational saga which spans Lebanon, Iraq, India, the United States, and Kuwait to bring to life the heart-stopping triumphs and failures of three generations of Arab women. In 2013, Sara is a philosophy professor at Kuwait University, hav- ing returned to Kuwait from Berkeley in the wake of her mother’s sudden death eleven years earlier. Her main companions are her grandmother’s talking parrot, Bebe Mitu; the family cook, Aasif; and Maria, her childhood ayah and the one person who has always been there for her. When she is faced with the twin calamities of an accusation Literatur of blasphemy (for teaching Nietzsche in her Intro to Philosophy course), which carries with it the threat of execution, and Maria’s sudden heart-attack, Sara begins to unravel. As the days leading up to her trial tick down, Sara finds herself retracing the past, exca- vating what she remembers of her own choices and those of the women who made her, hoping that if she can understand what led her home in the first place, she might figure out how to leave behind this country she no longer recognizes – if it is not too late.
    [Show full text]
  • Faking, Forging, Counterfeiting
    Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) Faking, Forging, Counterfeiting Daniel Becker, Annalisa Fischer, Yola Schmitz (eds.) in collaboration with Simone Niehoff and Florencia Sannders Faking, Forging, Counterfeiting Discredited Practices at the Margins of Mimesis Funded by the Elite Network of Bavaria as part of the International Doctoral Program MIMESIS. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3762-9. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Maria Arndt, Bielefeld
    [Show full text]
  • L'exposition Immersive
    L’EXPOSITION IMMERSIVE LIVRET-JEUX DES JEUNES ARTISTES BIENVENUE DANS l’EXPOSITION IMAGINE PICASSO Tu vas découvrir un des plus grands artistes de tous les temps : Pablo Picasso. Pas étonnant si tu le connais déjà un peu, c’est un des peintres les plus célèbres du monde ! Ici, tu ne verras pas ses vrais tableaux mais des images immenses de ses peintures et dessins. Avec ce livret, pars à la découverte de son œuvre dans la première partie de l’exposition. Puis entre dans l’espace de projection et promène-toi, regarde et écoute ! Tu pourras finir ton livret de retour chez toi. Prêt pour découvrir Picasso comme tu ne l’as jamais vu ? A toi de jouer ! Une exposition réalisée par Annabelle Mauger et Julien Baron Yo, Picasso Le portrait de Picasso s’est mélangé avec ceux d’autres artistes célèbres. Sauras-tu le reconnaître ? 1 2 3 4 5 6 1 Enfant et déja artiste Déjà enfant, Picasso dessinait beaucoup. Il a fait cette peinture sur le couvercle d’une boîte de cigare à l’âge de 8 ans et avec seulement quelques couleurs ! Trouve la palette utilisée par Picasso pour faire cette peinture. 1 3 2 4 Le Petit Picador jaune 1889 Sais-tu ce que représente la scène qu’il a peinte ? C’est un spectacle très répandu en Espagne. Un cirque Une corrida Une course 2 de chevaux Du bleu et des yeux Pendant 3 ans, Picasso a peint tous ses tableaux en différents tons de bleu. C’est la couleur qu’il a choisie pour évoquer la tristesse.
    [Show full text]
  • 2015 Arthur Ellis Awards
    2015 Arthur Ellis Awards Toronto May 28, 2015 Hosted by comedian, actor and radio personality Allison Dore The Derrick Murdoch Award Known as the Chairman’s Award when first presented in 1984, it was later renamed in honour of its first recipient, Derrick Murdoch. Sylvia McConnell is the former owner and publisher of Napoleon & Company, a Canadian trade publishing house in Toronto, Canada. In 2011, after twenty- two years of producing great Canadian fiction, Napoleon and Company, which included the imprint Rendezvous Crime, was sold to Dundurn Press. Since selling her company, Sylvia McConnell has been working as a freelance book editor, as well as Sylvia McConnell an acquisitions editor. Best Unpublished First Crime Novel Sponsored by Unhanged Arthur Ryan Aldred Rum Luck Ben Cooper awoke in a Costa Rican prison cell to find that he had bought a bar on a beach – and was arrested on suspicion of murder. ‘Rum Luck’ is the first book in the Bar on a Beach series. When not writing, Ryan Aldred runs a small Canadian charity that supports education in Afghanistan, Tanzania, Uganda, and other at-risk regions. He previously worked as a defense analyst and continues to serve as a Sergeant in the Canadian Forces Reserve. Ryan and his family live in beautiful Prince Edward County, Canada. He’s never met a beach he doesn’t like. Ryan Aldred Dave Butler Full Curl When Banff National Park Warden Jenny discovers a dead bull elk, its antlers brutally removed, she begins a hunt for the killer that leads her to British Columbia and Washington State.
    [Show full text]
  • ÉCRITURE ARTISTE and the IDEA of PAINTERLY WRITING in NINETEENTH-CENTURY FRANCE by ALEXANDRA SLAVE a DISSERTATION Presented To
    ÉCRITURE ARTISTE AND THE IDEA OF PAINTERLY WRITING IN NINETEENTH-CENTURY FRANCE by ALEXANDRA SLAVE A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2017 DISSERTATION APPROVAL PAGE Student: Alexandra Slave Title: Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Evlyn Gould Chairperson Nathalie Hester Core Member Alexandre Albert-Galtier Core Member George J. Sheridan Institutional Representative and Sara D. Hodges Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2017 ii © 2017 Alexandra Slave iii DISSERTATION ABSTRACT Alexandra Slave Doctor of Philosophy Department of Romance Languages September 2017 Title: Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments.
    [Show full text]