In Memoriam Barbara Godard (1941-2010)

Total Page:16

File Type:pdf, Size:1020Kb

In Memoriam Barbara Godard (1941-2010) In Memoriam Barbara Godard (1941-2010) The loss of Barbara Godard, on May 17, 2010, resonates feminist writing, and even acted as interpreter for Luce beyond the York University community, where she Irigaray during her visit in Toronto. taught English, French, Social and Political Thought, Barbara is internationally celebrated for her pioneer- and Women’s Studies, and extends to other academic ing work in feminist translation studies. Her concept circles in Canada and abroad. She has influenced of feminist translation as “rewriting in the feminine” several generations of students and colleagues through has become a classic. She tested her translation theory her innovative scholarship situated at the intersec- and practice on the pages of Tessera, a bilingual feminist tion of literary, cultural, and arts criticism, semiotics, journal that she co-founded in 1982. It published experi- translation studies, memorializing and archives, as well mental writing and established critical dialogue between as social and institutional analysis. The significance women from Quebec and English Canada. She was also and impact of her work is only beginning to be fully involved in editorial work for other feminist journals, acknowledged, through an outpouring of honours, including Fireweed and Resources for Feminist Research. awards, and symposia organized in her name, including Known for her collaborative spirit, she fostered truly a recent posthumous induction in the Royal Society of egalitarian and collegial relationships among women, Canada, a forthcoming special issue of Open Letter, and making no distinction of status, age, or tenure. a festschrift of essays dedicated to her. Throughout the 1980s, she was involved in develop- Reading her sixty-page long academic résumé (avail- ing both undergraduate and graduate women’s studies able at <http://www.yorku.ca/yorkspace> in the Barbara programs at York. Until 2009, she offered seminars on Godard Collection), one is struck with a realization that French feminism, the role of humanities in WS, and during her almost forty years at York she averaged five issues of feminist theory, pedagogy, and methodology published articles per year, in addition to eight books for graduate WS students. Concerned about the dif- and numerous edited collections, special issues, book ference in male and female graduate experience, in translations, reviews, reports, and catalogues. All this is 1992 she prepared a report on the status of women eloquent testimony to her stature as a scholar, her intel- graduate students, commenting on the phenomenon lectual passion and curiosity, and her formidable work of the glass ceiling and employment difficulties. Her ethic. Although she has been acclaimed as a pioneer in dedication to mentoring was recognized by prestigious comparative studies of Canadian and Quebec literatures teaching awards. and the interdisciplinary field of Canadian Cultural Barbara was interested in investigating the impact of Studies, and one of the first mainstream academics to stress linked to systemic sexism and racism on women study First Nations writing in the early 1980s, I want in academic settings. Thinking about her two late col- to highlight here the aspect of her career that pertains to leagues, Lorraine Gauthier and Kathleen Martindale, her contributions to Canadian feminism and women’s who both died of cancer, she noted a high level of ill- studies. The majority of her published texts deal with nesses related to the immune system among women at women’s writing, feminist literary theory, feminist York. She believed that the institutional chilly climate translation studies, and feminist cultural production. and the constant burden to prove themselves compro- As early as her undergraduate years at the University mised their health. One must inevitably think about the of Toronto, Barbara fought for inclusion of Canadian breathtaking pace of Barbara’s own work, in response to women writers in the curriculum. Beginning in the her own institutional struggles for long-denied tenure 1970s, she started to make available in English the and promotion to the rank of full professor. works of Nicole Brossard, Antonine Maillet, France Barbara agreed to be on our Editorial Board and Théoret, Louky Bersianik, and other Quebec authors. used her superb research skills so as to stay on the cut- Since 1979 she taught courses on women for English ting edge of knowledge about nutrition, mindfulness, and Women’s Studies at Glendon. She helped to estab- genetic testing, new drugs, and cancer research. As a lish the field of feminist literary theory and criticism in companion on her cancer journey, I was privileged to Canada, organizing Writers in Dialogue Conference in witness her courage and determination that helped her Toronto (1981) and participating in Women and Words to defeat ovarian cancer and remain productive until Conference in Vancouver (1983), which inspired her the end. We dedicate this issue to her. groundbreaking collection Gynocritics/Gynocritiques (1987). She tirelessly promoted French and Quebec —Eva C. Karpinski VOLUME 28, NUMBERS 2,3 7 In Memoriam Patricia (Trish) Monture (1958-2010) Trish Monture: Haudenosaunee woman, Mohawk Trish was also a steadfast ally of other women and woman, mother, sister, auntie, cousin and kinswoman, members of minority groups seeking tenure and pro- friend, ally, thinker, scholar, writer, advocate, orator, motion, a commitment recognized in 2007, with the lawyer, mentor, adviser, athlete, woman of integrity and Sarah Shorten Award from the Canadian Association courage, and, of course, schemer par excellence, passed of University Teachers. away on November 17, 2010, taken by the cancer that When she was a little girl, Trish wanted to be writer she had battled for over three years. She was only 52 when she grew up. Writing, she tells us in Thunder in years old. My Soul, has always been “soul comfort” to her. But Into those 52 years, she packed more experience and with the complexity of vision that characterizes her accomplishments than might be considered humanly work, Trish also tells us that her impressive body of possible. Despite being discouraged from university academic writing was both a source of pride, and also a studies by a so-called “guidance” counsellor, Trish ex- source of bittersweet feelings: “as I have always written celled in her undergraduate degree in sociology at the for my people, it seems ironic that they have the least University of Western Ontario, and earned her first access to what I have published.” Thunder in My Soul law degree at Queen’s. There, she began her work with and its successor, Journeying Forward, changed that. She women and men in prison which continued through- would recount with satisfaction hearing from students, out her life. Her next degree from Queen’s would be incarcerated women, activists, or friends, how her work an honourary doctorate, one of two she received from inspired them to make and take their place in the world. Canadian universities. The influence of her ideas was felt worldwide, not only Trish was called to the bar of Ontario in 1994, after in the domain of policy-making, but more important to the Law Society made optional the requirement that Trish, in the lives of ordinary people seeking to reclaim candidates for the bar swear allegiance to the Crown. their voice, their dignity and assert their equality. As a member of a sovereign nation, she had contended This is not to say that Trish avoided the world of that she should not have to swear allegiance to a foreign policy-making. To the contrary. A key member of the monarch. She was quoted at the time as saying that if Task Force on Federally Sentenced Women in the early she lost that battle, she would not practise law. Though 1990s, she ensured that the voices of Indigenous women she won the battle, she chose not to practise anyway. were central to the process. Her guidance strongly in- After earning her Master’s in law at Osgoode Hall on full fluenced the Task Force final report and the subsequent scholarship, Trish became a law professor at Dalhousie establishment of the Okimaw Ohci Healing Lodge for and then Ottawa University. Aboriginal women. Trish was a vital expert witness at the Trish described her decision to leave law teaching to Commission of Inquiry into Certain Events at the Prison join the Native Studies Department at the University of for Women in Kingston (the Arbour Commission), Saskatchewan as a conscious choice and a personal act which investigated the unlawful stripping and shackling of resistance that followed her realization that the law of women, imposition on women of lengthy segregation, contains no answers but is in fact a very large and very and their involuntary movement to a men’s prison. Nor real part of the problem Aboriginal people continue to did her contribution end with the completion of the face. Law is one of the instruments, she wrote, through Task Force and Commission. Trish did not hesitate to which colonization continues to flow. Trish later became bring attention to government shortcomings in realizing a full Professor in the Department of Sociology at the the vision of the Task Force and the Arbour inquiry. She University of Saskatchewan. Though she had turned was one of the staunchest critics of Correctional Services’ her back on teaching and practising law, Trish never divergence from the original inspiration for the Healing stopped her quest for justice. Reflecting her view of Lodge. She worked with the Canadian Association of justice, she was one of the founders of the newsletter, Elizabeth Fry Societies and was a trusted advisor and Justice as Healing, published through the Native Law friend to Kim Pate, when they launched a complaint to Centre at the University of Saskatchewan. the Canadian Human Rights Commission against the Trish is remembered as a beloved colleague and an Government of Canada on behalf of all women serv- inspiring teacher.
Recommended publications
  • Women Writing Translation in Canada Les Actes De Passage : Les Femmes Et « L’Écriture Comme Traduction » Au Canada Alessandra Capperdoni
    Document generated on 10/01/2021 3:41 a.m. TTR Traduction, terminologie, rédaction Acts of Passage: Women Writing Translation in Canada Les actes de passage : les femmes et « l’écriture comme traduction » au Canada Alessandra Capperdoni TTR a 20 ans I Article abstract TTR Turns 20 I This article discusses the relationship of writing and translation in Canadian Volume 20, Number 1, 1er semestre 2007 feminist poetics, specifically experimental. As feminist poetics collapsing the boundaries between theory and creative act, “writing as translation” is a mode URI: https://id.erudit.org/iderudit/018505ar of articulation for female subjectivity and a strategy for oppositional poetics. DOI: https://doi.org/10.7202/018505ar The article engages with the practice of “writing as translation” in the works of two leading avant-garde artists, the francophone Nicole Brossard and the anglophone Daphne Marlatt, located respectively in Montreal and Vancouver. See table of contents Building on the groundbreaking critical work of Barbara Godard, Kathy Mezei and Sherry Simon, it situates these practices in the socio-political and intellectual context of the 1970s and 1980s, which witnessed the emergence of Publisher(s) women’s movements, feminist communities and feminist criticism, and in relation to the politics of translation in Canada. This historicization is Association canadienne de traductologie necessary not only to understand the innovative work of Canadian feminist poetics but also the political dissemination of a feminist culture bringing ISSN together English and French Canada. 0835-8443 (print) 1708-2188 (digital) Explore this journal Cite this article Capperdoni, A. (2007). Acts of Passage: Women Writing Translation in Canada.
    [Show full text]
  • The Forest for the Trees Catalogue
    “The Forest For The Trees” Concept by the intersperse curatorial collective Anne O’Callaghan, Francesca Vivenza, Jocelyne Belcourt Salem. Essay: Trees, Looking by Barbara Godard. Poem: Tree Symphony (Eight Movements) by Maralynn Cherry Toronto Exhibition Supported by Chad Wolfond, Director of the Lonsdale Art Gallery, November 2006 @ Lonsdale Art Gallery, Toronto, Ontario, Canada Fall 2007 @ Circolo Culturale Il Gabbiano La Spezia, Italy “The Forest for the Trees” Artistic practices that focus on the reconstructions of language, where the aim is to question, investigate or reconsider social attitudes of interpretation, has a long history. Coming from a similar perspective, but diverging from these reconstructive tenden- cies, the 97 artists participating in the exhibition (you can’t see) “The Forest for the Trees” respond to the title and concept of the project - in a myriad of ways from humorous charm to a certain disquietude. Anne O’Callaghan, Tree Symphony (eight movements) The dreaming body is free to dance amongst the trees weaving patterns into a geography. Hidden morphologies become rooted, lingering in silence and setting rhythms in motion. Walking into the forest, the trees absorb your body into a dance. By resisting the too distant, primal aspects of being here, each incident becomes a container for the senses. Signs and symbols arise slipping into the mental constructs of an imaginary forest. Shadows refl ect the whispers of wind moving between limbs. Your feet take root before vertical thrusts of growth, sounding. Touching hands shape a chorus of trees. Maralynn Cherry, 2006 Trees, Looking by Barbara Godard `“I lean against a tree. I am a tree leaning.” In the words of her nameless protagonist of Surfacing, Margaret Atwood gives form to the most intimate relationship between humans and nature.
    [Show full text]
  • Of Her Own Volition: Barbara Godard As a Case Study of the Translator's
    Of Her Own Volition: Barbara Godard as a Case Study of the Translator’s Agency Anne Sophie Voyer hat would Canadian literature be today without the efforts of Barbara Godard? The part that she played as “a creator and a cartographer” (Fuller 3) is reflected in her Wnumerous and diverse contributions to Canadian literature, especially her translations. In the past few decades, developments in translation studies have given the field the self-confidence and theoretical breadth to account for a wide variety of translation practices and an ever-grow- ing range of types of text. The necessarily interdisciplinary nature of the field calls on the neighbouring disciplines of linguistics, sociology, communication theory, discourse analysis, and pragmatics, not to men- tion literary theory, in order to bring into focus the world of translations and translators. This interdisciplinarity echoes Godard’s own prolific writing, which ranges from reflections on gender and sexuality, through discussions pertaining to feminist semiotics, all the way to studies of cultural memory and remembrance. If the earliest theories of translation tended to offer a somewhat restrictive Eurocentric perspective on the subject, scholars of translation today welcome more diversified perspec- tives. Outi Paloposki argues that “different theoretical frameworks do not necessarily compete with each other. Rather, difference may be seen as a question of supplementarity” (190), which ultimately strengthens the discipline as a whole. Surprisingly, the translator’s agency is not especially valued in critic- al work on translation. Although critics such as Antoine Berman and Lawrence Venuti tend to acknowledge the translator’s responsibility for his or her choices, a unified theoretical framework for the discus- sion and analysis of a translator’s agency has yet to be developed and universally adopted.
    [Show full text]
  • Barbara Godard Fonds Inventory #236
    page 1 Barbara Godard fonds Inventory #236 File: Title: Date(s): Note: Call Number: 2002-039/001 Professional Files: General (1) AD HOC Grant: Travel to India 1995-1996 (2) Application for Teacher Learning Grant submitted by 1998 Godard and Deborah Britzman (3) Banff Centre for the Arts 1992-2001 (4) Can Council of SSHRC Leave Approach (5) Bill 103 Presentation Feb. 1997 (6) Canada Council, 2001 (7) Canada Council, Governor-General's Award for 1984-1988 Translation (8) Canada Council, Governor-General's Award Literary 2001 Awards (9) Canadian Topographical Poetry project 1974-1975 (10) Class Lists 1996-1999 (11) Committee Work, SSHRC etc. 1991-1992 (12) Consulting 1980 (13) Correspondence 1976 (14) General Correspondence 1978-1988 (15) Ongoing Correspondence 1984-1986 (16) Correspondence, General 1985-1989 1 of 2 (17) Correspondence, General 1985-1989 2 of 2 (18) Correspondence 1987-1989 (19) General Correspondence 1987-1990 (20) Correspondence 1990-1992 (21) General Correspondence 1991-1992 (22) General Correspondence 1991-1993 1 of 3 (23) General Correspondence 1991-1993 2 of 3 (24) General Correspondence 1991-1993 3 of 3 (25) General Correspondence 1991-1995 1 of 6 (26) General Correspondence 1991-1995 2 of 6 (27) General Correspondence 1991-1995 3 of 6 (28) General Correspondence 1991-1995 4 of 6 (29) General Correspondence 1991-1995 5 of 6 (30) General Correspondence 1991-1995 6 of 6 (31) General Correspondence 1992-1993 1 of 3 (32) General Correspondence 1992-1993 2 of 3 (33) General Correspondence 1992-1993 3 of 3 (34) Correspondence
    [Show full text]
  • Avant Desire : a Nicole Brossard Reader
    AvantDesire_v31.qxp_Layout 1 2020-03-11 4:34 PM Page 9 avant Desire, the Future Shall Be Swayed An Introduction by Sina Queyras, Geneviève Robichaud, and Erin Wunker ‘I occupy space in Utopia. I can push death away like a mother and a future.’ In the epigraph above, taken from Picture Theory, the speaker makes a statement that is both factual and futuristic: I occupy space in Utopia. It feels risky even to speak of Utopia when, at the time of this introduction, we see irrefutable evidence of the destructive forces of late capitalism, of heteropatriarchy, of racism and colonialism. None of these structures that fundamentally shape our different lives make space for Utopia, and yet Brossard writes that future into the present. The confidence and power of her speaker is both seductive and generative. Here, in Utopia, the speaker can push death away like a mother, without having to be a mother. Nicole Brossard’s work is both thrill and balm – and now, in Avant Desire: A Nicole Brossard Reader, readers can encounter the full range and scope of her trajectory. We have worked to curate selections that will be relevant and, we think, exhilarating to new and returning readers of Brossard’s work, and we have moved across genres and through time, not in a linear way but in a way that fits the always-aliveness of her work. If Utopia seems impossible to readers in 2020, Brossard’s work reminds us that when we gather – either on the page reading, or in rooms together – our co-presence conjures the possibility of Utopia.
    [Show full text]
  • Barbara Godard
    A literature in the making:... 49 A LITERATURE IN THE MAKING: REWRITING AND THE DYNAMISM OF THE CULTURAL FIELD. QUEBEC WOMEN WRITERS IN ENGLISH CANADA Barbara Godard Abstract The essay focuses on a study of the reception of Quebec literature in English in Canada and the United States, taking into consideration the indices of its reception in relation to the field of textual production of Quebec literature in English translation, especially the position of women writers in these intercultural relations. Keywords: translation studies – Quebec women writers in English – cultural production Resumo Este ensaio apresenta um estudo da recepção da literatura quebequence em inglês no Canadá e nos Estados Unidos, levando-se em consideração os índices de recepção em termos da produção textual da literatura do Quebec nas traduções para o inglês, em especial a posição das escritoras nessas relações interculturais. Are Toronto and New York sites for the consecration of Quebec literature since the 1940s as Paris has long been? In reframing Antoine Sirois’ question regarding the horizon of expectation of Parisian Ilha do Desterro Florianópolis nº 42 p.049-102 jan./jun. 2002 50 Barbara Godard professional readers that influenced the awarding of French literary prizes to three Quebec women writers (147), I am responding to Pierre Hébert’s invitation to carry out a more sustained analysis of the “Carrier phenomena” with a study of the reception of Quebec literature in English Canada and the United States (“Carrier” 109). However, I shall not undertake the systematic analysis of the reception of the Quebec corpus by the English-Canadian and American literary institutions that he called for, because I shall not analyze the place of Quebec literature in the educational system.
    [Show full text]
  • Multicultural Capitalism and the Canadian Literary Prize Industry
    Banking on a Prize: Multicultural Capitalism and the Canadian Literary Prize Industry Jennifer Scott and Myka Tucker-Abramson rom the beginning of Brian Mulroney’s election campaign in 1988, it was clear that a vote for Mulroney was a vote for free trade. Everyone working within the Trudeau-era cultural appar- Fatuses — apparatuses which attempted to foster the development of a distinctly nationalist Canadian system of artists and writers through content quotas, competition limitations, and immense cultural funding bodies — recognized that this election would decide the future direc- tion of the Canadian cultural system; however, not everyone agreed on which direction was best. Frank Davey, in Post-National Arguments: The Politics of the Anglophone-Canadian Novel since 1967, argues that the 1988 election essentially functioned as a referendum on free trade. In order to map the effects of free trade on Canadian conceptions of cul- ture, Davey focuses on two newspaper advertisements placed in the Globe and Mail the day before the federal election, both by groups of well-known Canadian cultural producers and critics. The two argu- ments were predictable: those who were opposed to free trade (or the “Mulroney-Reagan Trade Deal” as they called it) argued that a vote for Mulroney would harm “the Canada we care about” (qtd. in Davey 11), while those in support of free trade argued that There is no threat to our national identity anywhere in the Agreement. Nor is there a threat to any form of Canadian cultural expression. As artists and writers, we reject the suggestion that our ability to create depends upon the denial of economic opportunities to our fellow citizens.
    [Show full text]
  • Feminist Translation: Contexts, Practices and Theories Luise Von Flotow
    Document généré le 2 oct. 2021 15:27 TTR Traduction, terminologie, re?daction Feminist Translation: Contexts, Practices and Theories Luise von Flotow Traduire la théorie Volume 4, numéro 2, 2e semestre 1991 URI : https://id.erudit.org/iderudit/037094ar DOI : https://doi.org/10.7202/037094ar Aller au sommaire du numéro Éditeur(s) Association canadienne de traductologie ISSN 0835-8443 (imprimé) 1708-2188 (numérique) Découvrir la revue Citer cet article von Flotow, L. (1991). Feminist Translation: Contexts, Practices and Theories. TTR, 4(2), 69–84. https://doi.org/10.7202/037094ar Tous droits réservés © TTR: traduction, terminologie, rédaction — Les auteurs, Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des 1991 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Feminist Translation : Contexts, Practices and Theories Luise von Flotow Or, How to translate "Ce soir j'entre dans l'histoire sans relever ma jupe"1 I would like to open this essay with a specific translation problem from La Nef des sorcières1, a dramatic work produced by a group of feminist writers in Quebec in 1976. The problem is how to translate the following line: "Ce soir, j'entre dans l'histoire sans relever ma jupe." There are two translators available for the job: one with more or less traditional views on the importance of "fidelity" and equivalence in translation, who believes that a translator's work should be seen through, and not heard about The other is a feminist translator.
    [Show full text]
  • August 2010 the ROYAL SOCIETY of CANADA (RSC) NEW
    THE ROYAL SOCIETY OF CANADA (RSC) NEW FELLOWS 2010 ACADEMY OF ARTS AND HUMANITIES DIVISION OF HUMANITIES BRAUN, Marta – Art / History Photography, Ryerson University Marta Braun is a renowned expert in nineteenth-century stop-motion photography, the area where photography and cinema begin to merge. Her research and publications in scientific photography and the beginnings of cinema have brought her international acclaim. COOK, Terry – History of archives and of recorded information, University of Manitoba Terry Cook has transformed archives from being perceived as storehouses of old records to sites of power worthy of scholarly attention. In rethinking appraisal to decide what records become archives, responding to the challenges of digital records and critical theory and exploring archival history, Cook has developed, nationally and internationally, a distinctive voice for Canadian archival scholarship. EMBLETON, Sheila – Linguistics, York University Sheila Embleton is the leading expert in mathematical methods in historical linguistics and dialectology. Her 1986 book on family tree reconstruction still anchors the field. Her revolutionary digital methods led to major advances in Finnish and Romanian dialectology. Archeologists and geneticists cite her innovative interdisciplinary research, a true marriage of mathematics and humanities. She also solved the elusive origins of Suomi and Bermuda. FOSTER, John Wilson – Literature, University of British Columbia John Wilson Foster is an international authority on the literature and culture of modern Ireland, including those of his troubled native region of Northern Ireland. He has spent his academic career in Canada, where he has been a pioneer in Irish Studies since the 1970s. 1GODARD, Barbara – English Literature and Cultural Studies, York University Barbara Godard is internationally recognized as one of the most important researchers, translators and critics of Canadian literature.
    [Show full text]
  • Francophone and Anglophone Literary Translators in Canada Agnes Whitfield
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by YorkSpace The Case For Local Specificities: Francophone And Anglophone Literary Translators In Canada Agnes Whitfield The focus of this article is the changing role of Anglophone and Francophone literary translators as cultural mediators in Canada since the 1960s. Using a comparative model sensitive to both differences and similarities, I will offer an overview of literary translation in Canada during this period. Drawing from my introductions to two recent edited volumes of portraits of individual Canadian translators,1 I will examine how translators from both cultures became the purveyors and advocates of their cultural “other”, and within what intercultural traditions they inscribe their own practice. Special attention will be paid to the role these translators have assumed as cultural and literary agents within each literary institution. In more general terms, this analysis from the perspective of translators as cultural agents will provide insights into how English and French- language literary translation in Canada has worked towards building local specificities during a period of global cultural change. Creating a Tradition of Literary Translation The decades from the 1960s to the present constitute the founding period of literary translation into both French and English in Canada, for reasons directly related to local imperatives. For both linguistic groups, the 1960s and 1970s were marked by a new determination to free themselves from the imperial yoke of European English and French literatures, and to develop their own forms of writing, reflecting their particular context and priorities. In Quebec, cultural nationalism and political nationalism were closely intertwined.
    [Show full text]
  • Multicultural Capitalism and the Canadian Literary Prize Industry Jennifer Scott Et Myka Tucker-Abramson
    Document généré le 26 sept. 2021 10:06 Studies in Canadian Literature Banking on a Prize: Multicultural Capitalism and the Canadian Literary Prize Industry Jennifer Scott et Myka Tucker-Abramson Volume 32, numéro 1, 2007 URI : https://id.erudit.org/iderudit/scl32_1art01 Aller au sommaire du numéro Éditeur(s) The University of New Brunswick ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer cet article Scott, J. & Tucker-Abramson, M. (2007). Banking on a Prize:: Multicultural Capitalism and the Canadian Literary Prize Industry. Studies in Canadian Literature, 32(1), 5–20. All rights reserved © The University of New Brunswick, 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Banking on a Prize: Multicultural Capitalism and the Canadian Literary Prize Industry Jennifer Scott and Myka Tucker-Abramson rom the beginning of Brian Mulroney’s election campaign in 1988, it was clear that a vote for Mulroney was a vote for free trade. Everyone working within the Trudeau-era cultural appar- Fatuses — apparatuses which attempted to foster the development of a distinctly nationalist Canadian system of artists and writers through content quotas, competition limitations, and immense cultural funding bodies — recognized that this election would decide the future direc- tion of the Canadian cultural system; however, not everyone agreed on which direction was best.
    [Show full text]
  • Reviews in Cultural Theory 1:1 [Winter 2010]
    1.2 SUMMER 2010 Contents Reviews in Cultural Th eory is a journal of reviews and review essays, published twice 1 Smart Homes and Shrunken Visions annually. We welcome off ers to review or suggestion of forthcoming books engaged WILL STRAW with contemporary theories of culture. We also wecome suggestions for review es- 5 “Intellectual Craftwork”: Reading Barbara says and similiar, lengthier variations on the review form. Godard We can be reached by email at [email protected], or by mail at ERIN WUNKER Reviews in Cultural Th eory 12 Late Postmodernism Department of English and Film Studies DANIEL WORDEN 3-5 Humanities Centre University of Alberta 17 Atoning, Reconciling, and Forgiving: Edmonton, AB Interdisciplinary Investigations of Justice T6G 2E5 JILL SCOTT Canada 30 From Virtuality to Actuality: The Power, http://reviewsinculture.com Wealth and Ambivalence of Video Games Editors: Sarah Blacker, Justin Sully, Imre Szeman. LISA DUSENBERRY Copyright for reviews published in Reviews in Cultural Th eory is owned by the 35 A Long Chinese Century? review author. PETER HITCHCOCK 43 Urban Revolution and the ‘Chinese Century’ LESLIE SKLAIR 49 How to Save the World: A Politics of the ©Copyright 2009-2011 Reviews in Cultural Th eory People ISSN 1918-9710 MATHIAS NILGES 55 Identifying Universal Particularities DAVID LAWRIMORE 60 The Language of the Back LIAM MITCHELL 66 Resistance in the Affirmative DANA C. MOUNT 70 Queering the Problem TERRY GOLDIE 76 Popular Culture in the Classroom CHRISTINE BOLD 81 America’s Primitive Turn: Capital and the “War on Terror” in Post-9/11 America JAAFAR AKSIKAS 88 The Object in Question JOHANNA SKIBSRUD 93 Can Melancholia Speak?: On Maps for the Modern Subject RICKY VARGHESE 99 National Ghosts and Global Literature FIONA LEE Smart Homes and Shrunken Visions WILL STRAW Davin Heckman.
    [Show full text]