No description available.

Following the writing practice of learned Anishinaabe Elders Alexander Wolfe (Benesih Doodaem), Dan Musqua (Mukwa Doodaem) and Edward Benton-Banai (Geghoon Doodaem), this Midewiwin-like naming Manidookewin acknowledges Anishinaabe Spiritual teachings as belonging to the body of Midewiwin knowledge. Unlike any other study of Canadian literature, this dissertation is set up like a naming Manidookewin (ceremonial way) to resuscitate Midewiwin teachings that were forced underground during the fervor of colonial settlement and Christian proselytism. Therefore, this dissertation makes a valuable contribution to Canadian literary criticism because it uses Midewiwin teachings as a Spiritual path set down by ancestors to create a Manidookewin for engaging with selected contemporary Anishinaabe stories. An Anishinaabe-specific theoretical method, this Manidookewin attends to Midewiwin teachings carried by Doodaem (clan) relations in selected Anishinaabe stories written in English. A naming Manidookewin does not seek to render as meaningless all other critical interpretations, rather this ceremonial way adheres to Midewiwin Doodaem protocols for attending to the ways of ancestors. According to such protocols, I participate personally in this Manidookewin by entering the text as an Anishinaabekwe-Metis-Nehiowe (Plains Ojibway-Metis-Cree woman). Guided by the storied teachings of Anishinaabe paternal ancestors, I enter the text as a member of the Benesih Doodaem (Bird Clan) to negotiate discursive spaces for the re-settlement of Doodaemag, Manitoukwe, Chibooway and Nindawemeganidok, or Midewiwin Clan relations, a Mother Creator, Spiritual ancestors, and living relations.<p> In accordance with Midewiwin traditions, this naming Manidookewin relies on the previous work of community-acknowledged authorities. Therefore, Alexander Wolfes Earth Elder Stories: The Pinayzitt Path; Dan Musquas Seven Fires: Teachings of the Bear Clan; Edward Benton-Banais The Mishomis Book; Basil Johnstons Ojibway Heritage, Ojibway Ceremonies, The Manitous: The Spiritual World of the Ojibway; and Gerald Vizenors The People Named the Chippewa: Narrative Histories provide the foundation for this naming Manidookewin. Their work is used to resuscitate Midewiwin teachings that appear to be submerged in written English in Marie Annharte Bakers Bird Clan Mother, Kimberly Blaesers Of Landscape and Narrative, Kateri Akiwenzie-Damms this is where we stand our ground, and Kahgegagabowhs The Traditional History and Characteristic Sketches of the Ojibway Nation. Their work is also used to shine a light on the Midewiwin teachings recalled by Doodaem relations in Winona LaDukes Giiwedahn: Coming Home and Richard Wagameses Keeper N Me. Along with Anishinaabe scholars Margaret Noori, Lawrence Gross, Darcy Rheault, and Patricia McQuire, these writers are included as members of specific Doodaemag to show how Midewiwin teachings ground some Anishinaabe stories. In connecting stories written in English to Midewiwin and Doodaemag prechristian and precolonial systems of governance and signification, this study illustrates how Anishinaabe literature performs Spiritual and political functions by re-membering and relating Being to Gitchi Manitou, Manitoukwe, Chibooway, and Nindawemeganidok.

Following the writing practice of learned Anishinaabe Elders Alexander Wolfe (Benesih Doodaem), Dan Musqua (Mukwa Doodaem) and Edward Benton-Banai (Geghoon Doodaem), this Midewiwin-like naming Manidookewin acknowledges Anishinaabe Spiritual teachings as belonging to the body of Midewiwin knowledge. Unlike any other study of Canadian literature, this dissertation is set up like a naming Manidookewin (ceremonial way) to resuscitate Midewiwin teachings that were forced underground during the fervor of colonial settlement and Christian proselytism. Therefore, this dissertation makes a valuable contribution to Canadian literary criticism because it uses Midewiwin teachings as a Spiritual path set down by ancestors to create a Manidookewin for engaging with selected contemporary Anishinaabe stories. An Anishinaabe-specific theoretical method, this Manidookewin attends to Midewiwin teachings carried by Doodaem (clan) relations in selected Anishinaabe stories written in English. A naming Manidookewin does not seek to render as meaningless all other critical interpretations, rather this ceremonial way adheres to Midewiwin Doodaem protocols for attending to the ways of ancestors. According to such protocols, I participate personally in this Manidookewin by entering the text as an Anishinaabekwe-Metis-Nehiowe (Plains Ojibway-Metis-Cree woman). Guided by the storied teachings of Anishinaabe paternal ancestors, I enter the text as a member of the Benesih Doodaem (Bird Clan) to negotiate discursive spaces for the re-settlement of Doodaemag, Manitoukwe, Chibooway and Nindawemeganidok, or Midewiwin Clan relations, a Mother Creator, Spiritual ancestors, and living relations.<p> In accordance with Midewiwin traditions, this naming Manidookewin relies on the previous work of community-acknowledged authorities. Therefore, Alexander Wolfes Earth Elder Stories: The Pinayzitt Path; Dan Musquas Seven Fires: Teachings of the Bear Clan; Edward Benton-Banais The Mishomis Book; Basil Johnstons Ojibway Heritage, Ojibway Ceremonies, The Manitous: The Spiritual World of the Ojibway; and Gerald Vizenors The People Named the Chippewa: Narrative Histories provide the foundation for this naming Manidookewin. Their work is used to resuscitate Midewiwin teachings that appear to be submerged in written English in Marie Annharte Bakers Bird Clan Mother, Kimberly Blaesers Of Landscape and Narrative, Kateri Akiwenzie-Damms this is where we stand our ground, and Kahgegagabowhs The Traditional History and Characteristic Sketches of the Ojibway Nation. Their work is also used to shine a light on the Midewiwin teachings recalled by Doodaem relations in Winona LaDukes Giiwedahn: Coming Home and Richard Wagameses Keeper N Me. Along with Anishinaabe scholars Margaret Noori, Lawrence Gross, Darcy Rheault, and Patricia McQuire, these writers are included as members of specific Doodaemag to show how Midewiwin teachings ground some Anishinaabe stories. In connecting stories written in English to Midewiwin and Doodaemag prechristian and precolonial systems of governance and signification, this study illustrates how Anishinaabe literature performs Spiritual and political functions by re-membering and relating Being to Gitchi Manitou, Manitoukwe, Chibooway, and Nindawemeganidok.

Thesis (M.A.)--University of Alberta, 2010. / Title from pdf file main screen (viewed on January 11, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Comparative Literature. Includes bibliographical references.

This study focuses on a rather neglected, although significant, part of Robert Charbonneau's (1911-1967) works: his criticism. Founder, with some friends from college, of la Releve (1934) and les editions de l'Arbre (1940), well-known novelist Charbonneau creates a critical work closely linked to that publishing and intellectual experience. Thus, literature, according to Charbonneau, is an economic phenomenon. But literature also fits in a world where the human is the dominant feature, where it is a preferred way to shed light on the human mystery. Influenced by Maritain and Mounier, admirer of Dostoevski and Mauriac, Charbonneau, with his Catholic viewpoint, conflicts with traditional French-Canadian nationalism because of the opening onto the world and the search for universality he proposes. The novel appears as the human expression's ideal form. Charbonneau finally wishes that French-Canadian literature be alive, human, and universal, and that its American meaning be understood. National is, in his opinion, unessential since a literary work is necessarily produced somewhere and, above all, intended to be literary in the first place.

The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality. / Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity. / Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.

The paper examines changes made to the first edition of Tay John for the 1960 Crown publication and argues that they were authorial.

This dissertation develops and demonstrates a new mode of regional literary analysis. I begin by assessing the work of five Canadian literary regionalists from perspectives provided by human geographers and spatial theorists. Although discourses of Canadian literary regionalism vary, I argue that this field has tended to rely upon a reified understanding of regional analysis, a mystified conception of regional identity, and a passive construction of regional space. I offer a means of disrupting these tendencies by re-imagining the process of regional literary analysis. As I define it, literary regionalism is the process of demonstrating patterns in the way that literary texts deploy representations of sociomaterial space to enable performances of identity. This approach foregrounds literature's capacity to elucidate space's social efficacy. It also directs literary regionalism towards a more contemporary understanding of space and identity. In part two I begin to apply my mode of analysis to eight twentieth-century Canadian realist novels by introducing the concept of place. Because place-studies focus on the organization of social relations within a single text, I argue that they offer a useful means of initiating cross-textual, regional analyses. I demonstrate this point by analyzing the relationship between place and gender identity in Charles Bruce's The Channel Shore, and then looking for parallels in the way other novels articulate this relationship. In part three I construct a "region of denial and purgation" by interrogating how and why authors deploy representations of nature to deny the social origins of identity formation. I relate the power such representations have to articulate seemingly epiphanic shifts in identity to the sublime's enduring legacy. Because sublime experience enables characters to reconstitute themselves as new, it facilitates their desires to purge those aspects of their personal histories that have caused them guilt or shame. I conclude that this dissertation makes two contributions to Canadian literary studies. First, it advances a productive dialogue between human geography and Canadian literary studies. Second, by re-imagining the practice of Canadian literary regionalism through alternate disciplinary lenses, this dissertation helpfully foregrounds the heterodox character—and'unexplored potential—of a regional mode of literary analysis.

This study traces the development of prose, poetry, drama, and (creative) nonfiction written in English by Canadians of Ukrainian descent during the twentieth century. The thesis argues that, although Ukrainian Canadian literature has been underrepresented in Canadian and Ukrainian Canadian studies, it makes a substantial contribution to ongoing debates about the ways in which individuals (re)define their sense of self, community, history, and home in the process of writing. Chapter One provides an overview of Ukrainian Canadian history, and outlines the development of a Ukrainian Canadian literary tradition. Chapter Two examines the assimilationist rhetoric articulated by such non-Ukrainian Canadian writers as Ralph Connor, Sinclair Ross, and Margaret Laurence, as well as that of Vera Lysenko (author of Yellow Boots, 1954, the first English-language novel by a Ukrainian Canadian). Chapter Three focuses on Maara Haas's novel The Street Where I Live (1976), George Ryga's play A Letter to My Son (1981), and Andrew Suknaski's poetry (published in Wood Mountain Poems, 1976; the ghosts call you poor, 1978; and In the Name of Narid, 1981), and explores these writers' responses to the policies and practices of multiculturalism. Chapter Four identifies the shift toward transnational or transcultural discourses of individual- and group-identity formation in Janice Kulyk Keefer's and Myrna Kostash's writing, especially that which records their travels "back" to Ukraine. The central argument of the thesis is that if Ukrainian Canadians are to maintain meaningful ties to their ethnic heritage, they must constantly—if paradoxically—reinvent themselves as Ukrainians and as Canadians. In examining this paradox, the study draws parallels between Lysenko and Kulyk Keefer, both of whom rely on conventional narrative techniques in their writing and privilege nation-based models of identity that marginalize the experiences of ethnic minorities. Haas, Ryga, Suknaski, and Kostash, by contrast, experiment with multiple languages and genres: shaped, thematically and formally, by their experiences as hybrid subjects, their texts illustrate that ethnicity is less product than process; less fixed than fluid; constantly under construction and open to negotiation. The concluding chapter of the thesis, reflecting on the past and the present of Ukrainians in Canada, calls for the next generation of writers to continue re-imagining their communities by pushing the boundaries of existing language and forms.

This dissertation complicates conventional understandings of the emergence of modernism in Canadian cultural production, proposing instead a multiplicity of modernist practices that emerge through direct engagement with leftist politics. By examining various genres—poetry, fiction, theatre, and reportage—“Writing Left” uncovers a set of organizational principles that frame several modes of modernist production within the interwar period. Steeped in the work of recovery, this project examines critical narratives of modernism and analyzes theoretical approaches that inform a revitalized understanding of modernism in Canada. Furthermore, this dissertation offers a series of strategies for reading the ways in which Canadian modernism and political modernity are deeply intertwined. Following an introduction that situates the uneven development of Canadian modernism’s emergence in the larger field of transnational modernism, six theoretically linked case studies show the multiplicity of Canadian modernism’s emergence in relation to leftist political organization. While the first case study discusses the modernist experimentations that came out of the largely antimodernist coterie who produced The Song Fishermen’s Song Sheets (1928–1930), the second case study explores the particularly modernist tensions between representations of art and collective action in the strike novels of Douglas Durkin and Irene Baird. A re-reading of F.R. Scott’s early poetry in the third case study shows the coextensive emergence of a modernist poetics of institutional critique and the development of the Co-operative Commonwealth Federation, while the fourth case study examines the modernist theatricality of leftist responses to Section 98 of the Criminal Code of Canada. The fifth case study looks to the ways in which the Spanish Civil War prompted modernist developments in the journalism and reportage of Norman Bethune, Hazen Sise, Jean Watts, and Ted Allan. Finally, the sixth case study reads across Charles Yale Harrison’s alternative strategies of anti-war modernism, ending with his characterization of the North American leftist imaginary in his fourth novel, Meet Me on the Barricades (1938). Together, the six case studies question teleological accounts of the development of modernism in English Canadian Literature.