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This thesis is a study of the treatment of mental disability in Canadian literature. Literature reflects the perceptions and practises of the culture of which it is a part. Radical changes have been made in recent years in the thinking about persons with mental handicaps. The issue of whether the changes are reflected in literature prompted the writing of this thesis. Little is known about characters labelled as mentally disabled in non-didactic, Canadian Literature. They are not commonly discussed in the academic journals of Canadian Literature and Education. The purpose of this thesis was to get to know ten of the above characters. The following questions were drawn from issues in the academic literature regarding mental disability. All seven questions were applied to each character in turn. (1) Label? (2) Personal relationships? (3) Thoughts and feelings? (4) Choices? (5) Daily activity? (6) Relationship with service providers? (7) Personal assets and abilities? Short story characters: Benny Parry, "The Time of Death," Munro, 1968; Dolores Boyle, "Dance of the Happy Shades," Munro, 1968; Kelvin, "Circle of Prayer," Munro, 1986; Neddy Baker, "Hello Cheeverland, Goodbye," Findley, 1984; Stella Bragg, "Bragg and Minna," Findley, 1988. Characters from novels: Francis Cornish, "What's Bred in the Bone," Davies, 1985; John-Gustav Skandl, "What the Crow Said," Kroetsch, 1978; Lotte, "Not Wanted on the Voyage," Findley, 1984; Rowena Ross, "The Wars," Findley, 1977; Tehmul Lungraa, "Such a Long Journey," Mistry, 1991. Findings indicated that Canadian literature is not yet reflecting the new movement to develop full personhood. Most characters were limited in the choices they made. A variety of labels were used. Little was said about what the characters think or feel. No characters were married, had children, or a job. Most of the characters had a personal relationship with another character. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

This dissertation argues that, since at least the 1960s, there has been a distinguished tradition of Canadian poets who have turned to the novel as a result of their dissatisfaction with the limitations of the lyric and instead have built the lyric into a mode of narrative that contrasts sharply with the descriptive conventions of plot-driven novels. Citing the affinity between the lyric sequence and the visual series, the introduction maintains that the treatment of narrative as a series of frames, as well as the self-conscious dismantling of these framing devices, is a topos in Canadian literature. The term "(un)framing" expresses this double movement. The thesis asserts that Michael Ondaatje, George Bowering, Joy Kogawa, Daphne Marlatt, and Anne Carson (un)frame their novels according to formal precedents established in their long poems. Chapter 2 illustrates the relation of the visual series to the song cycle in Ondaatje's long poems the man with seven toes (1969) and The Collected Works of Billy the Kid (1970), as well as his first novel Coming Through Slaughter (1976). Chapter 3 traces the development of the "serial novel" from Bowering's early serial poems to his trilogy, Autobiology (1972), Curious (1973) , and A Short Sad Book (1977). Chapter 4 argues that Joy Kogawa structures her novel Ohasan (1981) on the concentric narrative model established in her long poem "Dear Euclid" (1974) . Chapter 5 shows how Daphne Marlatt performs a series of variations on the quest narrative that she finds in Hans Christian Andersen's The Snow Queen (1844), and thereby develops a lesbian quest narrative in her long poem Frames of a Story (1968), her novella Zocalo (1977), and her novel Ana Historic (1988). Chapter 6 explores the combination of lyric, essay, and interview in Carson's long poem "Mimnermos: The Brainsex Paintings" (1995) and argues that the long poem forms the basis of her novel in verse, Autobiography of Red (1998). The final chapter assesses some of the strengths and limitations of lyrical fiction and concludes that a thorough grasp of the contemporary long poem is essential to an understanding of the development of the novel in Canada. / Arts, Faculty of / English, Department of / Graduate

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In the aftermath of the Shoah (Holocaust)—the mass murder of 6,000,000 Jews—Jean-Paul Sartre wrote Reflexions sur la Question Juive (1946), in which he concluded that the fate of the Jews, the fate of the individual non-Jew, and the fate of the entire world are inextricably and reciprocally intertwined. Building on Sartre's perception, Portrait of a Jew (1962) and The Liberation of the Jew (1966) describe what the author, Albert Memmi, terms "the universal Jewish fate": that of being the paradigmatic "colonized" Other—insofar as the Jews are a particularly oppressed minority, that is, their marginalization epitomizes the fate of all humanity. Further, Memmi argues both that "to be a Jewish writer is ... to express the Jewish fate" and that a "true Jewish literature" is necessarily one which revolts against the imposition and acceptance of this fate. Sartre's and Memmi's insights posit that Jewish consciousness acts upon both national and world consciousness. Memmi suggests that one means of expressing the Jewish consciousness is through literature. In their imaginative interpretations of the post-Shoah interconnections between the Jew, the nation, and the world, modern Jewish fiction writers of the Diaspora (dispersion) —at least those whose work foregrounds tropes of Jewish sensibility, incorporating Jewish characters and themes—often delineate a world which, in the aftermath of Auschwitz, is socially and existentially even more precarious than it was before the war. This study examines post-Shoah Jewish consciousness and its relation to national/world consciousness,as represented in the English-language Jewish fiction of Australia, South Africa, and Canada, Commonwealth countries whose diverse Jewish literatures have been overshadowed by the predominant English-language Jewish literary culture of the U.S.A. The structure of this study is bipartite. Part B is an indexed Bibliography enumerating primary works by Jewish prose fiction writers of Australia, Canada, and South Africa. Part A is a critical commentary on Part B. The Introduction (Chapter 1) outlines the theoretical bases for the study. The three following chapters scrutinize Jewish Australian (Chapter 2), Jewish South African (Chapter 3), and Jewish Canadian (Chapter 4) fiction. Among the writers considered are Australians B.N. Jubal, Judah Waten, David Martin, Morris Lurie, Serge Liberman, and Lily Brett; South Africans Nadine Gordimer, Dan Jacobson, Jillian Becker, Antony Sher, and Rose Zwi; and Canadians Henry Kreisel, A.M. Klein, Adele Wiseman, Mordecai Richler, and Robert Majzels. Each of these three chapters follows a similar format: a description of the origin, history, and demography of the Jewish community; an outline of the important pre-World War II Jewish fiction writers and their work; an examination of representative post-Shoah works; and concluding remarks about the ways in which the works under consideration here contest and revise both the canons of nation and national literature and the very concepts of nation, canon, and canon-making. An Epilogue (Chapter 5) contextualizes the thematic patterns common to the Jewish fiction of the three countries and suggests ways in which this fiction can be located within the larger framework of Jewish Literature.