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Erín Moure and Chus Pato's Secession/Insecession And
Document generated on 09/27/2021 9:16 p.m. Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Letters On The Move: Erín Moure and Chus Pato’s Secession/Insecession and Nathanaël (Nathalie Stephens)’s Absence Where As (Claude Cahun and the Unopened Book) Geneviève Robichaud traduire Article abstract translating In this essay I examine the space for exchange and dialogue opened by Erín Number 27, Spring 2016 Moure’s translation of Chus Pato’s Secession, which in its Canadian edition is published alongside Insecession, Moure’s own response or reciprocation to URI: https://id.erudit.org/iderudit/1039815ar Pato’s text. I also turn to Nathanaël’s (Nathalie Stephens) relationship to a DOI: https://doi.org/10.7202/1039815ar photograph of Claude Cahun and to the claim that in Cahun the author resembles herself. I argue that the eloquence of the inclination in both works, as each stages translation as a form of correspondence, suggests a failure of See table of contents reciprocity and equivalences that denies the giving-over of one text to the other. Moure and Nathanaël thus underscore translation as a privileged site for reflecting on translation as a relationship text. Publisher(s) Revue intermédialités (Presses de l’Université de Montréal) ISSN 1920-3136 (digital) Explore this journal Cite this article Robichaud, G. (2016). Letters On The Move: Erín Moure and Chus Pato’s Secession/Insecession and Nathanaël (Nathalie Stephens)’s Absence Where As (Claude Cahun and the Unopened Book). Intermédialités / Intermediality, (27). -
Parliamentary Poet Laureate
Parliamentary Poet Laureate POETRY CONNECTION: LINK UP WITH CANADIAN POETRY Daphne Marlatt (1942 – ) was born in Australia but has lived most of her life in Vancouver. She was a key constituent of the early 1960’s “Tish” group at the University of British Columbia and has published numerous books of fiction and poetry. Since the 1970’s she has been a major participant in feminist writing and critique and, recently, has written for Noh theatre. Her poems here resonate with two earlier books (Vancouver Poems, 1972 and Salvage, 1991) in her ongoing interest in what might be considered a “poetics of renovation” that attends to texts of revision, rewriting, and extension. In 2006 she was made a Member of the Order of Canada. Poems for discussion: Wet fur wavers and animal sheen From: Liquidities: Vancouver Poems Then and Now Talonbooks, 2013 Wet fur wavers up a long eye-line Sunday sprays interior city ground. Aqueous cut of the sea’s a bottomless lagoon. Logs lash on. The grey stretch of sand I walk, footsteps sucked. jumped. Changes air now wet as the sea, the sh’te comes walking up thru humor in the way of Daphne Marlatt vision, salt. Cedar all over. Cedar for headdress. Beaver or bear, what is there to the touch of, you said. Come well back into view. Trappings, change, what runs in the middle, gestures, wired for vision. Spiral back through city even underground (the esplanade traffics in waves to the point that all of your faces echo, through one I. white. Small figures as blue and white when shadows come, down alleyways of sight, peri winkle, vinca, small single flower by the sea (Salt does. -
The Erín Moure Living Knowledge Site
Women who invite collaboration: Caroline Bergvall, Erín Moure, et al. Susan RUDY, Senior Visiting Fellow, Gender Institute, London School of Economics What is meaning, after all, if it is not “our” meaning? - Erín Moure (“Translation” n. pag.) How does one create textual works where the authorial hold over the text is somehow distanced, perhaps neutralized, yet where the structural impact of experience, of living, of loving, of knowing, of reading, are in fact recognized. - Caroline Bergvall (“The Conceptual Twist” 21) In a 2010 dissertation that locates a genealogy of transnational feminist thought in Canadian women’s writing, Andrea Beverley speaks of the centrality of collaborative theory and practice (35).1 For innovative women writers from Canada, transnational and even transhistorical connections have been enabled by collaboration. “[W]omen’s fraught relationship with nationality,” Lianne Moyes notes in an article on citizenship in Erín Moure’s work, “has often led them to affiliate differently and transnationally” (123). It has also led them to imagine collaboration and collaborative writing otherwise. For multi- lingual, mobile, and intellectual poet-investigators like Moure and Caroline Bergvall, the category of the national or even the hemispheric is not big enough. But neither is a single language, historical moment, or author-based notion of collaboration. For Moure, “Poetry […] emerges from or in […] collaboration.”2 In Bergvall’s words, “[w]e need other platforms on which to do poetic work” (Rudy "A Conversation with Caroline -
“The Great Dreams Pass On” Phyllis Webb’S “Struggles of Silence”
Laura Cameron “The Great Dreams Pass On” Phyllis Webb’s “Struggles of Silence” “My poems are born out of great struggles of silence,” wrote Phyllis Webb in the Foreword to her 198 volume, Wilson’s Bowl; “This book has been long in coming. Wayward, natural and unnatural silences, my desire for privacy, my critical hesitations, my critical wounds, my dissatisfactions with myself and the work have all contributed to a strange gestation” (9).1 In this frequently cited passage, Webb is referring to the fifteen-year publication gap that divides her forty-year career as a poet. She put out two full volumes before Naked Poems in 1965 and two full volumes after Wilson’s Bowl in 198, but in the interim she produced only a handful of poems that she judged publishable.2 And yet, although it might have appeared from the outside in this period as though Webb had renounced poetry for good, archival evidence—numerous poem drafts in various states of completion, grant applications outlining the projects that she intended to pursue, and radio scripts elaborating on her creative efforts and ideas— reveals that this was not simply a period of absence or withdrawal. On the contrary, the middle years of Webb’s career, her “struggles of silence,” were fertile, eventually fruitful, and integral to her poetic development. The interval was characterized by “dissatisfactions” and “hesitations,” as Webb says, but also—and just as importantly—by ambition and an intense desire to grow and progress as a poet, to expand her vision and to write poetry, as she described it, of “cosmic proportions.”3 The creation of Wilson’s Bowl was “a strange gestation” because Webb’s “progeny” did not mature as expected: Wilson’s Bowl was not the volume that she had initially set out to write. -
Eli Mandel Fonds (MSS 18)
University of Manitoba Archives & Special Collections Finding Aid - Eli Mandel fonds (MSS 18) Generated by Access to Memory (AtoM) 2.4.1 Printed: April 26, 2019 Language of description: English University of Manitoba Archives & Special Collections 330 Elizabeth Dafoe Library Winnipeg Manitoba Canada R3T 2N2 Telephone: 204-474-9986 Fax: 204-474-7913 Email: [email protected] http://umanitoba.ca/libraries/archives/ http://umlarchives.lib.umanitoba.ca/index.php/eli-mandel-fonds Eli Mandel fonds Table of contents Summary information ...................................................................................................................................... 3 Administrative history / Biographical sketch .................................................................................................. 3 Scope and content ........................................................................................................................................... 4 Arrangement .................................................................................................................................................... 4 Notes ................................................................................................................................................................ 4 Access points ................................................................................................................................................... 6 Series descriptions .......................................................................................................................................... -
FLYWAY a Long Poem
FLYWAY A Long Poem A Thesis Submitted to the College of Graduate and Postdoctoral Studies In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Writing In the Department of English University of Saskatchewan Saskatoon By SARAH ENS © Copyright Sarah Ens, August 2020. All rights reserved. PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for an MFA in Writing degree from the University of Saskatchewan, I agree that the Libraries of this University may make its Preliminary Pages freely available for inspection as outlined in the MFA in Writing Thesis License/Access Agreement accepted by the College of Graduate and Postdoctoral Studies in June 2013. Requests for permission to make use of material beyond the Preliminary Pages of this thesis should be addressed to the author of the thesis, or: Coordinator, MFA in Writing University of Saskatchewan Department of English Arts Building, Room 319 9 Campus Drive Saskatoon, Saskatchewan S7N 5A5 Canada OR Dean College of Graduate and Postdoctoral Studies University of Saskatchewan 116 Thorvaldson Building, 110 Science Place Saskatoon, Saskatchewan S7N 5C9 Canada i ABSTRACT Flyway is a long-poem articulation of home set within the Canadian landscape and told through the lens of forced migration and its corollary of trauma. Tracing the trajectory of the Russian Mennonite diaspora, Flyway examines how intergenerational upheaval generates anxieties of place which are mirrored in the human-disrupted migratory patterns of the natural world. Drawing from the rich tradition of the Canadian long poem, from my roots as a third-generation Mennonite immigrant, from eco-poetics, and from ecological research into the impact of climate change on the endangered landscape of Manitoba’s tallgrass prairie, Flyway migrates along geographical, psychological, and affective routes in an attempt to understand complexities of home. -
Japanese Elements in the Poetry of Fred Wah and Roy Kiyooka
Susan Fisher Japanese Elements in the Poetry of Fred Wah and Roy Kiyooka For nearly a century, Japanese poetic forms have pro- vided inspiration for poets writing in English. The importance of Japanese poetry for Ezra Pound and its role in the formation of Imagism have been well documented (see, for example, Kawano, Kodama, and Miner). Charles Olson, in his manifesto "Projective Verse" (1950), drew examples from Japanese sources as well as Western ones. Several of the Beat Generation poets, such as Gary Snyder, Allen Ginsberg, and Philip Whalen, studied in Japan and their work reflects a serious interest in Japanese poetry. Writing in 1973, p o e t and translator Kenneth Rexroth declared that "classical Japanese and Chinese poetry are today as influential on American poetry as English or French of any period, and close to determinative for those born since 1940" (157). Rexroth may have been overstating this influence; he, after all, had a role in creating it. Nonetheless, what Gary Snyder calls the "myste- riously plain quality" of East Asian verse has served as a model for the simple diction and directness of much contemporary poetry ("Introduction" 4). Writers belonging to these two generations of Asian-influenced American poets—the Imagists and the Beat poets—had no ethnic connection to Asia. But the demographic changes of the last few decades have produced a third generation whose interest in Asian poetry derives at least in part from their own Asian background. Several Asian Canadian poets have written works that are modelled on Japanese genres or make sustained allusions to Japanese literature. -
Feminist Translation: Contexts, Practices and Theories Luise Von Flotow
Document generated on 09/24/2021 10:56 p.m. TTR Traduction, terminologie, re?daction Feminist Translation: Contexts, Practices and Theories Luise von Flotow Traduire la théorie Volume 4, Number 2, 2e semestre 1991 URI: https://id.erudit.org/iderudit/037094ar DOI: https://doi.org/10.7202/037094ar See table of contents Publisher(s) Association canadienne de traductologie ISSN 0835-8443 (print) 1708-2188 (digital) Explore this journal Cite this 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, This document is protected by copyright law. Use of the services of Érudit 1991 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 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. -
By Frank Davey
Rampike 15/1 _____________________________________________________________________________________________ INDEX Paul Dutton: “Narcissus A, 7” p. 2 Editorial p. 3 Frank Davey: Interview p. 4 Frank Davey: “Postcards from the Raj” p. 12 Jeanette Lynes: “Frank” p. 17 Michael & Linda Hutcheon: Interview p. 18 Joyce Carol Oates: “The Writer’s (Secret) Life” p. 22 Paul Hegedus: Two Poems p. 29 Darren Wershler-Henry: from The Iron Whim p. 30 Robert Dassanowsky: Three Poems p. 35 George Bowering: “Sworn to Secrecy” p. 36 Gregory Betts “The Geopoetics of Tish” p. 42 Jürgen O. Olbrich: Two Texts p. 55 rob mclennan “Notes on a Day Book” p. 56 Charles Bernstein: Argotist Interview p. 58 Brian Edwards: “Ce n’est pas la guerre!” p. 62 Penn Kemp: “Night Orchestra” p. 66 Matthew Holmes: Two Texts p. 68 Carl Peters: “Writing Should Not Sound Like Writing” p. 70 D. King: “Driving Wheel” p. 72 Louis Cabri: “Foamula” p. 74 Nicole Markotic: Two Poems p. 76 Sandra Alland: Six Poems p. 78 Stan Rogal: “The Celebrity Rag” p. 80 Tanis MacDonald “Practice Lessons” p. 82 Sarah Bonet: “VIP at liquid” p. 83 Anne Walker: 3 Poems p. 84 Lindsey Bannister: “The Tombstone Vandal” p. 85 Photos from the Conference p. 88 1 Rampike 15/1 _____________________________________________________________________________________________ ”NARCISSUS A, 7” BY PAUL DUTTON 2 Rampike 15/1 _____________________________________________________________________________________________ Editorial: This issue of Rampike is dedicated to Frank Davey in response to the conference on “Poetics and Popular Culture” held in his honour at the University of Western Ontario (2005). Keynote speakers at that gathering included Charles Bernstein, Lynette Hunter, and Smaro Kamboureli. -
Th€ Living Mosaic
$1.2$ pw C0Py Autumn, ig6g TH€ LIVING MOSAIC Articles BY PHYLLIS GROSSKURTH, JOHN OWER, MAX DORSINVILLE, SUSAN JACKELj MARGARET MORRISS Special Feature COMPILED BY JOHN REEVES, WITH POEMS BY YAR SLAVUTYCH, HENRIKAS NAGYS, WALTER BAUER, Y. Y. SEGAL, ZOFJA BOHDANOWICZ, ROBERT ZEND, ARVED VDRLAID, INGRIDE VIKSNA, LUIGI ROMEO, PADRAIG BROIN Reviews BY RALPH G USTAFSON , WARREN TALLMAN, JACK WARWICK, GEORGE BOWERING, DOUGLAS BARBOUR, VI C T O R HOAR, K E AT H F R ASE R , CLARA THOMAS, G AR Y GEDDES, ANN SADDLEMYER, G E O R G E WO O D C O C K , YAR SLAVUTYCH, W. F. HALL A QUARTERLY OF CRITICISM AND R6VI6W AN ABSENCE OF UTOPIAS LIITERATURES are defined as much by their lacks as by their abundances, and it is obviously significant that in the whole of Canadian writing there has appeared only one Utopian novel of any real interest; it is significant in terms of our society as much as of our literature. The book in question is A Strange Manuscript Found in a Copper Cylinder. It was written in the 1870's and published in 1888, eight years after the death of its author, James de Mille, a professor of English at Dalhousie, who combined teach- ing with the compulsive production of popular novels ; by the time of his death at the age of 46 he had already thirty volumes to his credit, but only A Strange Manuscript has any lasting interest. It has been revived as one of the reprints in the New Canadian Library (McClelland & Stewart, $2.75), with an introduction by R. -
Media and Trauma in the Work of Phyllis Webb and Daphne
INTIMATE ENCOUNTERS WITH VIOLENCE: MEDIA AND TRAUMA IN THE WORK OF PHYLLIS WEBB AND DAPHNE MARLATT by © Collin Campbell A Dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English Memorial University of Newfoundland May 2021 St. John’s, Newfoundland and Labrador i Abstract This dissertation looks at the work of Phyllis Webb and Daphne Marlatt, two West Coast Canadian poets who explored questions of media technologies and trauma violence in their work during the latter half of the twentieth century. This thesis takes up contemporary phenomenological and feminist analyses of the connections between media technologies and trauma, especially war violence, in relation to both the creative and practical careers of these two writers. Research into the histories of media technologies such as the letter, radio, photography, and television shows how these technologies have shaped our experience of violence both globally and locally, from nineteenth-century colonial garrisons in Canada to the internment of Japanese Canadians during the Second World War to the 1991 Gulf War. Ultimately, this dissertation suggests that these two poets offer new phenomenological interpretations of the ways in which media technologies shape our perception of historical, hidden traumas. ii Acknowledgements I would like to thank Dr. Joel Deshaye for endless patience and insight in supervising this dissertation. And thank you to the administrative staff and faculty of the English department at Memorial University. I am also endlessly indebted to the staff at Memorial University’s Queen Elizabeth II library for their dedication and ingenuity. -
Coach House Books Spring 2010 Catalogue
•BLACK •BLACK •YELLOW •YELLOW •MAGENTA •MAGENTA Coach House Books | www.chbooks.com 80 bpNichol Lane Toronto, Ontario, Canada m5s 3j4 Coach House Books | Spring 2010 416 979 2217 | 800 367 6360 | [email protected] •CYAN •CYAN We’re nuts about Coach House! Ordering and Distribution Information Our cover models, Mr. and Mrs. Roderick Sciurus, are simply nuts about Coach Individuals House – squirrely, even. And they cordially invite you to peruse our publishing You can find Coach House books at your favourite bookstore, or you can visit our website, house’s latest literary wares. So, please, don’t disappoint the Sciuri … www.chbooks.com, to purchase books by credit card through our secure server. You can call us at 416 979 2217 or 1 800 367 6360 or visit our Factory Outlet at 80 bpNichol Lane. Standing-order The fall had us scurrying around, publishing books for readers to store over the customers receive a 10% discount and pay no shipping; please contact us for details. winter. Titles like Cordelia Strube’s novel Lemon (rodents need vitamin C, too) and In Canada David Derry’s sharply comic Sentimental Exorcisms. Mrs. Sciurus was particularly fond of Prismatic Publics: Innovative Canadian Women’s Poetry and Poetics, and Mr. Coach House Books is part of Sciurus (a Sunday crossword puzzler) was enraptured with Eunoia: The Upgraded The Literary Press Group Edition. And being verse-lovin’ vermin, they rekindled their romance with Susan 501 – 192 Spadina Ave., Toronto, on m5t 2c2 Holbrook’s Joy Is So Exhausting and Kate Hall’s The Certainty Dream. It goes without Phone: 416 483 1321 Fax: 416 483 2510 www.lpg.ca [email protected] saying that the fuzzy couple loved The Edible City: Toronto’s Food from Farm to Fork: to them, the city has always been edible.