Silas De Oliveira Granjo

Total Page:16

File Type:pdf, Size:1020Kb

Silas De Oliveira Granjo Universidade de Aveiro Departamento de Línguas e Culturas 2005 Silas de Oliveira DISCURSO NARRATIVO E LINHAS TEMÁTICAS NA OBRA DE Granjo MARIAN ENGEL ii Universidade de Aveiro Departamento de Línguas e Culturas 2005 Silas de Oliveira DISCURSO NARRATIVO E LINHAS TEMÁTICAS NA OBRA DE Granjo MARIAN ENGEL Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Agregado do Departamento de Línguas e Culturas da Universidade de Aveiro. iii iv o júri presidente Doutor João Lemos Pinto Professor Catedrático da Universidade de Aveiro Doutora Maria Aline Salgueiro de Seabra Ferreira Professora Associada da Universidade de Aveiro Doutor Kenneth David Callahan (Orientador) Professor Associado da Universidade de Aveiro Doutora Maria Salomé Figueirôa Navarro Machado Professora Auxiliar da Faculdade de Letras da Universidade de Lisboa Doutora Laura Fernanda Crisóstomo Fraga da Silva Bulger Professora Auxiliar da Universidade de Trás-os-Montes e Alto Douro Doutora Isabel Maria de Sá Nena Patim Professora Auxiliar da Universidade Fernando Pessoa v vi agradecimentos Desejo, em primeiro lugar, agradecer penhoradamente ao Professor Doutor Kenneth David Callahan pela prontidão com que aceitou dirigir esta dissertação, pelo seu continuado apoio, e pelas inúmeras sugestões ditadas pelo seu fino critério. Gostaria, também, de estender os meus agradecimentos ao Prof. Doutor Pedro Calheiros, por ter encontrado disponibilidade para ler algumas porções deste trabalho, bem como pela repetida troca de impressões que ensejou, e pelas doutas e nunca regateadas sugestões. A minha sincera gratidão vai, também, para a Doutora Kathy Garay, arquivista na McMaster University (Hamilton, Ontario) (Research and Archives Division) – onde se encontra localizado o espólio de Marian Engel – pela ajuda generosa que sempre prestou na disponibilização de cópias do arquivo, e de artigos coligidos em livros e publicações periódicas. O seu guia de pesquisa do arquivo de Marian Engel e o “Marian Engel: An Annotated Bibliography” de Annette Wengle foram de importância vital para a minha investigação. Não me posso esquecer, também, da preciosa ajuda prestada por Jacquie Hamilton, livreira em Castlegar, B.C., por todo o empenho que pôs em encontrar e fazer chegar até mim, da forma mais célere e menos dispendiosa possível, todos os livros e artigos fotocopiados que lhe foi possível, e muitos foram: bem-haja. À McMaster University Library desejo agradecer o acesso irrestrito ao Arquivo Marian Engel, e a autorização para, nesta dissertação, dele citar livremente dentro dos limites legais. Desejo, por último, manifestar o meu profundo reconhecimento à Universidade de Aveiro, por me ter permitido dedicar um semestre lectivo exclusivamente à conclusão deste trabalho. vii viii resumo A presente dissertação propõe-se divulgar a obra da romancista Marian Engel (1933-1985). O estudo inclui um panorama da teoria literária dos últimos cem anos; uma visão do romance canadiano coevo; e a análise de oito dos seus nove livros. Usando dos contributos dados por perspectivas críticas, desde o New Criticism à crítica feminista, são relevados temas e recursos estéticos que asseguram à escritora um lugar singular no panorama literário canadiano. ix x abstract This dissertation aims at revealing the work of the novelist, Marian Engel (1933-1985). It includes an outline of literary criticism theories of the last hundred years; a perspective of coeval Canadian novel; and the analysis of eight of Engel’s nine books. By using analytical tools improved by such critical theories, those themes and aesthetic resources are highlighted that ensure the writer a singular place in the literary history of Canada. xi xii xiii Índice NOTA PREAMBULAR ....................................................................................... 5 I – INTRODUÇÃO .............................................................................................. 9 I.1 BIO-BIBLIOGRAFIA ESSENCIAL .......................................................................11 I.2 ASPECTOS GERAIS DA FICÇÃO DE ENGEL...................................................... 15 I.3 O ROMANCE CANADIANO COEVO................................................................. 21 I.3.1 O Romance Rural ................................................................................. 26 I.3.1.1 Nova Scotia.................................................................................... 26 I.3.1.2 “The Prairie Novel”....................................................................... 30 I.3.1.3 Outros Romances Rurais ............................................................... 35 I.3.2 O Romance Urbano .............................................................................. 36 I.3.3 Escrita no Feminino ............................................................................. 46 I.3.4 Outros autores....................................................................................... 52 I.3.5 Conclusão de Engel .............................................................................. 53 I.3.6 Margaret Laurence ............................................................................... 56 I.3.7 Alice Munro .......................................................................................... 61 I.3.8 Margaret Atwood .................................................................................. 61 I.4 PRESSUPOSTOS DOUTRINÁRIOS..................................................................... 65 I.4.1 Formalismo Russo ................................................................................ 65 I.4.2 New Criticism ....................................................................................... 68 I.4.3 Reader-response Criticism.................................................................... 71 I.4.4 Crítica de Matriz Psicanalítica ............................................................ 78 I.4.5 A Crítica Estruturalista ........................................................................ 81 I.4.6 Crítica Semiótica .................................................................................. 85 I.4.7 A Crítica Desconstrutiva....................................................................... 90 I.4.8 Crítica feminista e de género................................................................ 97 I.4.9 Conclusão ........................................................................................... 101 II – OS ROMANCES ...................................................................................... 107 II.1. SARAH BASTARD’S NOTEBOOK (NO CLOUDS OF GLORY) ..............................117 II.1.1 Um inconsciente turbulento............................................................... 128 II.1.2 Percepções cínicas ............................................................................ 133 II.1.3 Dicotomias......................................................................................... 135 II.2. THE HONEYMAN FESTIVAL ......................................................................... 139 II.2.1 O discurso falogocêntrico ................................................................. 143 II.2.2 Uma mente perturbada...................................................................... 146 II.3. MONODROMOS (ONE WAY STREET)............................................................. 151 II.3.1 Tempo e diegese em Monodromos..................................................... 167 II.3.2 Estrutura sinfónica e montagem........................................................ 171 II.3.3 Apresentação indirecta...................................................................... 175 II.4. BEAR ......................................................................................................... 181 II.4.1 Identidade Nacional .......................................................................... 186 II.4.2 Género e Linguagem ......................................................................... 190 II.4.3 Identidade nacional e mito................................................................ 191 II.4.4 A pós-modernidade de Bear .............................................................. 192 II.4.5 Uma leitura de Bear .......................................................................... 195 II.4.5.1 Alegres Impressões Campestres ................................................. 195 II.4.5.2 Tempestade e Bonança ............................................................... 217 II.4.5.3 Crise............................................................................................ 223 II.4.5.4 Idílio, prazer e culpa................................................................... 228 II.4.5.5 Clímax, metamorfose e epílogo.................................................. 236 II.4.6 A concluir .......................................................................................... 246 II.5. THE GLASSY SEA ........................................................................................ 251 II.5.1 Tempo e diegese................................................................................. 259 II.5.2 Narração infiável .............................................................................. 263 II.5.3 Uma prosa poética............................................................................. 267 II.6. LUNATIC VILLAS (THE YEAR OF THE CHILD) ..............................................
Recommended publications
  • The Underpainter
    Canadian Literature / Littérature canadienne A Quarterly of Criticism and Review Number 212, Spring 212 Published by The University of British Columbia, Vancouver Editor: Margery Fee Associate Editors: Judy Brown (Reviews), Joël Castonguay-Bélanger (Francophone Writing), Glenn Deer (Poetry), Laura Moss (Reviews) Past Editors: George Woodcock (1959–1977), W.H. New (1977–1995), Eva-Marie Kröller (1995–23), Laurie Ricou (23–27) 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 Lianne Moyes Université de Montréal 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
    [Show full text]
  • DOCUMENT RESUME BD 055 010 SO 001 939 Project Canada West
    DOCUMENT RESUME BD 055 010 SO 001 939 TITLE Project Canada West. Urbanization as Seen Through Canadian Writings. INSTITUTION Western Curriculum Project on Canada Studies, Edmonton (Alberta). PUB DATE Jun 71 NOTE 105p. EDRS PRICE 1F-$0.65 HC-$6.58 DESCRIPTORS Curriculum Development; *Environmental Education; Interdisciplinary Approach; Literature; *Literature Programs; Projects; Self Concept; Senior High Schools; Social Problems; *Social Studies; Urban Culture; Urban Environment; *Urbanization; *Urban Studies IDENTIFIERS Canada; *Project Canada West ABSTRACT Facing the reality that students have become very aware of their environment and the problems we face merely to survive, and being aware of the alienation of a person as urbanization increases, the project staff decided to develop a curriculum to examine the urban environment through the works of Canadian writers, poets, novelists, etc. IR this way, tenth, eleventh, and twelfth grade students could confront some of the major concerns; become involved personally, though vicariously, in the lives and situations of individuals; and, learn about himself, his place, his role in urban society, and his Canadian literary heritage. The content selection and coMpilation of the writings was from a national point of view related to all parts of Canadian urbanization. The materials accumulated or referred to them during six months are included here in various categories taking into consideration the physical and human elements of each work:1) Faces of the City: descriptions, rejection of and attraction to the city; 2) Faces in the City: dwellers life styles, reactions, age, ef'-nic groups, city natives; 3) Poverty; 4) Handicapped; 5)So-. Tres; and, 6) Pollution. The material discussed is very co allow for survey studies city or local studies, or intensive area studies of urban regions; and, may be used as supplementary material or as primary content.
    [Show full text]
  • Anansi Fall 2011
    Karin Altenberg Threes Anna Edem Awumey Peter Behrens Lynn Coady Elena Forbes John Fraser Misha Glenny Adam Gopnik Ian Hamilton Marjorie Harris Jim Harrison Robert Hough Fred Jourdain Stephen Kelman Robert Lepage Roberta Lowing Ai Mi ANANSI Marie Michaud GRANTA • PORTOBELLO Steve Milton FALL 2011/WINTER 2012 Scott Moir Erín Moure Alison Pick Iain Reid Edward Riche Frauke Scheunemann Steve Sem-Sandberg Carrie Snyder Tessa Virtue ISBN: 978-1-77089-060-2 9 7 8 1 7 7 0 8 9 0 6 0 2 Anansi_F11_cover_final_REV.indd 1 11-04-19 2:46 PM • • House of Anansi Press Inc. 110 Spadina Avenue, Suite 801, Toronto, Ontario M5V 2K4 Tel: 416.363.4343 Fax: 416.363.1017 www.anansi.ca recent AWArdS For AnAnSi booKS Ann Abel by KAthleen Winter h oldinG Still For as lonG as PoSSible by • Finalist, Orange Prize for Fiction Zoe WhittAll • Finalist, Scotiabank Giller Prize • Winner, Earla Dunbar Consumer Award • Finalist, Rogers Writers’ Trust Fiction Prize • Finalist, ReLit Award • Finalist, Governor General’s Literary Award: Fiction • Finalist, Lambda Literary Awards: Transgender Fiction • Finalist, Amazon.ca First Novel Award • Finalist, Lambda Literary Awards: Lesbian Fiction • Finalist, Thomas Head Raddall Atlantic Fiction Award • ALA Stonewall Book Awards: Barbara Gittings • Finalist, CBA Libris Awards for Fiction Book of the Year Literature Award Honor Book and Author of the Year t rhe ir AtionAliSt byA SuZ nne buFFAm • Finalist, OLA Evergreen Award • Finalist, CBC Bookies: Best Overall Book • Finalist, Griffin Poetry Prize • #1 National Bestseller oP reS lAndor by erín moure • A New York Times Editors’ Choice • Finalist, A. M.
    [Show full text]
  • Generic Experiment and Confusion in Early Canadian Novels of the Great War
    Generic Experiment and Confusion in Early Canadian Novels of the Great War Colin Hill he Canadian novel changed dramatically in the years immediately following the Great War of 1914-18. In the 1920s and ’30s an innovative, modern, cosmopolitan, and multi-gen- ericT literary realism began to challenge and supersede the nineteenth- century romanticism that had loomed large in the national fiction at least since Confederation. Two formative literary magazines were found- ed shortly after the 1918 armistice: Canadian Bookman in 1919 and The Canadian Forum in 1920. Both publications printed articles and mani- festos that demanded a new realism capable of representing the modern and independent Canada that had emerged from the war. In these same years, Canadian writers from all regions began to produce modern-real- ist novels in various sub-genres, including prairie realism, urban realism, and social realism. These writers challenged the verbose and ornate styles of their predecessors with a language that was idiomatic and dir- ect. They sought narrative objectivism and impersonality in accordance with the documentary approach they brought to their representations of contemporary Canada. The most ambitious and creative modern realists experimented with literary form and reworked innovative and international modernist devices to express their interest in exploring and representing human psychology. By the end of the 1920s, some of the best examples of these multi-generic modern-realist works had been published, and a few of them are still read today: J.G. Sime’s Sister Woman (1919), Douglas Durkin’s The Magpie (1923), Frederick Philip Grove’s Settlers of the Marsh (1925), Martha Ostenso’s Wild Geese (1925), Morley Callaghan’s Strange Fugitive (1928), and Raymond Knister’s White Narcissus (1929).
    [Show full text]
  • Genre, Narrative, and History in Timothy Findley's the Wars
    臺大文史哲學報 第七十二期 2010年05月 頁129~151 臺灣大學文學院 Genre, Narrative, and History in Timothy Findley’s The Wars Wang, Mei-chuen∗ Abstract Timothy Findley’s The Wars (1977) started to investigate the underlying ideological assumptions about the writing of history before the rise of the postmodern epistemological and ontological questioning about history. Its problematization of realist presumptions of historical representation has been analysed by commentators, but the way Findley engages in genre transgression in order to unsettle history’s claims to authenticity and objectivity has not received adequate critical attention. This essay is concerned with how he employs the biographic form for his protagonist’s story but juxtaposes it with a nameless researcher’s collection of information about him and investigation into related historical documents as a metafictional device to problematize the writing of biography and history as mimetic representation. The focus will be on the narrative strategies used to achieve genre transgression and blur the distinction between biography and history. Keywords: Timothy Findley, The Wars, history writing, biography, genre transgression 99.2.22 收稿,99.05.13 通過刊登。 ∗ Ph.D. student, English Literature, Cardiff University, UK. 130 臺大文史哲學報 Timothy Findley’s fascination with the writing of history is exhibited in two of his novels, The Wars (1977) and Famous Last Words (1981). Integrating elements of factual history with the world of fiction, the two novels approach the issue of historical representation from a metahistorical perspective that allows for alternative visions of historical events and epistemological and ontological questioning of historiography. Linda Hutcheon celebrates Famous Last Words as a classic example of historiographic metafiction because it exhibits an intense postmodern self-reflexivity while simultaneously remaining grounded in social, historical, and political realities (13).
    [Show full text]
  • 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.
    [Show full text]
  • The Artist and the Witness:: Jane Urquhart's The
    Document généré le 28 sept. 2021 07:40 Studies in Canadian Literature / Études en littérature canadienne The Artist and the Witness: Jane Urquhart’s The Underpainter and The Stone Carvers Neta Gordon Volume 28, numéro 2, fall 2003 Résumé de l'article Jane Urquhart's The Underpainter takes a different approach than most Great URI : https://id.erudit.org/iderudit/scl28_2art03 War novels: it does not presume the implied authority of combatant's accounts, like Generals Die in Bed, but nor does it interrogate the war novel as a Aller au sommaire du numéro postmodern pastiche, as in Timothy Findley's The Wars. She presents a realistically conceived persona, while nevertheless questioning the authority of the unengaged artist to represent an historical event. Her extensive use of Éditeur(s) historical data is not applied in a postmodern method, but is rather inspiration for a fiction that refuses to grant itself full authority. Urquhart's The Stone The University of New Brunswick Carversis similarly concerned with the paradoxical combination of control and detachment in the relationship between the artist and her work. ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer cet article Gordon, N. (2003). The Artist and the Witness:: Jane Urquhart’s The Underpainter and The Stone Carvers. Studies in Canadian Literature / Études en littérature canadienne, 28(2), 59–73. All rights reserved © Management Futures, 2003 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.
    [Show full text]
  • Explosion in Halifax Harbour December 6, 1917
    Explosion In Halifax Harbour December 6, 1917 Courtesy of Maritime Museum of the Atlantic, Halifax, MP207.1.184/270,M90.61.15, 40459.tif http://maritime.museum.gov.ns.ca Materials From Halifax Public Libraries www.halifaxpubliclibraries.ca NON-FICTION: Christian Science War Time Explosion in Activities, by the Christian Science Amazing Medical Stories, by War Relief Committee. Boston: Halifax Harbour George Burden & Dorothy Grant, 79- Christian Science Publishing Society, December 6, 1917 84. Fredericton, N.B.: Goose Lane 19__ . Editions, 2003. Cinders and Saltwater: The Story INTRODUCTION: Autobiography, by Benjamin of Atlantic Canada Railways, by Russell, 264-273. Halifax: Royal Shirly E. Woods, 178-180. Halifax: The morning of Tuesday, December Unable to control the blaze, and fully Print and Litho, 1932. Nimbus, 1992. 6, 1917 dawned clear and aware of the dangerous cargo, the unseasonably warm in Halifax. The Mont-Blanc crew abandoned ship, Behind the Headlines! From Moose Crime Wave: Con Men, Rogues harbour was busier than usual, and the vessel drifted toward the River to Shangri-la, by Ralph Kelly and Scoundrels from Nova teeming with ships whose schedules Richmond Pier on the Halifax side. Morton, 15-17. Halifax: Nimbus, Scotia’s Past, by Dean Jobb, 57-66. were dictated by the commerce of Shortly after nine a.m., as hundreds 1986. Porter’s Lake: Pottersfield, 1991. World War I. Halifax Harbour watched from the shoreline and from served as a gathering point for ships windows, the Mont-Blanc exploded The Bicentennial of the Halifax Darkest Hours: The Great Book of being escorted by convoy to Europe, in a ball of fury, laying waste two Fire Department: 1768-1968: 200 Worldwide Disasters From and it was bustling with activity.
    [Show full text]
  • Anglo-French Relations and the Acadians in Canada's
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Göteborgs universitets publikationer - e-publicering och e-arkiv GOTHENBURG STUDIES IN ENGLISH 98 ______________________________________ Anglo-French Relations and the Acadians in Canada’s Maritime Literature: Issues of Othering and Transculturation BIRGITTA BROWN For C. R. Dissertation for PhD in English, University of Gothenburg 2008 © Birgitta Brown, 2008 Editors: Gunilla Florby and Arne Olofsson ISSN 0072–503x ISBN 978-91-7346-675-2 Printed by Intellecta InfoLog, Kållered 2010 Distributor: Acta Universitatis Gothoburgensis, Box 222, SE-405 30 Göteborg, Sweden Abstract PhD dissertation at the University of Gothenburg, 2008 Title: Anglo-French Relations and the Acadians in Canada’s Maritime Literature: Issues of Othering and Transculturation. Author: Birgitta Brown Language: English Department: English Department, University of Gothenburg, Box 200, SE-405 30 Gothenburg Anglo-French relations have had a significant influence on the fiction created in Canada’s Maritime Provinces. The 18th century was a period of colonial wars. Contacts between the English and French in Canada were established and de- termined by the hostilities between the two colonizing nations, France and Great Britain. The hostilities passed on a sense of difference between the two nations through situations of othering. Contacts, however, always generate transcultural processes which transcend or mediate cultural difference. Othering and transculturation are closely interdependent phenomena acting in conjunc- tion. They work in processes manifesting themselves in so-called contact zones both during the colonial era and in a postcolonial context. This study investi- gates how processes of othering and transculturation are explored and dis- cussed in a number of Maritime novels, Anglophone and Acadian, published in different decades of the 20th century, in order to account for a broad perspec- tive of the interdependency of othering and transculturation.
    [Show full text]
  • “Lest We Forget”: Canadian Combatant Narratives of the Great War by Monique Dumontet a Thesis Submitted to the Faculty of G
    “Lest We Forget”: Canadian Combatant Narratives of the Great War by Monique Dumontet A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of Doctor of Philosophy Department of English, Film, and Theatre University of Manitoba Winnipeg, Manitoaba Copyright © 2010 by Monique Dumontet Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-70307-6 Our file Notre référence ISBN: 978-0-494-70307-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • News from Dalhousie Libraries Marlo Mackay, Communications Coordinator
    Volume 81, Issue 2, Fall 2017 ISSN: 0001-2203 News from Nova Scotia News from Dalhousie Libraries Marlo MacKay, Communications Coordinator New LGBTQ+ Health Guide The new LGBTQ+ Health Guide was ready just in time for Pride Week this year: http://dal.ca.libguides.com/LGBTQHealth Pride Week is an important and meaningful time of year — a reminder of the ongoing movement to make our communities more welcoming, safe, and inclusive for the diverse individuals who identify as LGBTQ+. This health guide is the result of a partnership between Dalhousie Libraries, the Nova Scotia Health Authority Library Services, and Halifax Public Libraries. In partnering, resources from all three organizations are linked, including publicly available resources. The goal of the guide is to address the need for curated and trustworthy health information for this minority population that addresses the need for cultural respect and understanding of the particular health needs of individuals in the LGBTQ+ community. The guide contains resources directed at three groups: researchers, clinicians and trainees, and community members. A survey was conducted prior to launching the guide and excellent suggestions were received and incorporated. Continued feedback and suggestions for the guide are welcome. Joint Author Reading: Karen Smythe & Ian Colford Karen Smythe and Ian Colford recently did a joint author reading at the Killam Library. The event was the Halifax launch of Karen’s new novel, This Side of Sad. Ian read from a new, yet-to-be published piece of fiction. Karen is the author of a short story collection, Stubborn Bones, and Figuring Grief, a groundbreaking analysis of the depiction of mourning in fiction by Mavis Gallant, Alice Munro, Virginia Woolf, Edna O’Brien, and others.
    [Show full text]
  • Selected English-Canadian Fiction 1925-1932
    THE MELODRAMATIC IMAGINATION: SELECTED CANADIAN FICTION THE MELODRAMATIC IMAGINATION: SELECTED ENGLISH-CANADIAN FICTION 1925-1932 By MARILYN J. ROSE, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University April 1979 DOCTOR OF PHILOSOPHY (1979) McMASTER UNIVERSITY TITLE: The Melodramatic Imagination: Selected English-Canadian Fiction 1925-1932 AUTHOR: Marilyn J. Rose, B.A. (McMaster University) M.A. (Sir George Williams University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: x, 193 ii ABSTRACT The decade of the nineteen-twenties has generally been recognized as a dynamic period in English-Canadian literature, but so far as fiction is concerned its achievement is widely assumed to be the introduction of social realism into the Canadian novel. Those novels which employ other than realistic conventions have been assumed by many critics to be inferior because of their non-realistic aspects. 'lllis dissertation examines four such novels, supposedly flawed by melodramatic excess~ Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The .!2!!_ of Life (1930) - in order to discover the function and significance of melodramatic conventions and the sort of vision they project. The first part of the dissertation defines such terms as "realism" and ''melodrama." and explains the critical approach to be used. In the central four chapters, this critical approach is applied to each novel in turn. When the novels are compared, following the detailed analysis of each, significant similarities emerge.
    [Show full text]