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From Translation to the Writing: On the Quebec Feminists, Anglo-Canadian Women Translators and the Translation ContinuumThe article presents the unique relationship between French- and English- -speaking translators in Canada, which has resulted in a great number of interesting translation phenomena. The author makes reference to the distinction between feminist translation and translation in the feminine, derived from literature in the feminine, both widely practiced in Quebec. One of the representatives of this trend was Suzanne de Lotbiniere-Harwood, mostly French-English translator, known for her translations of Nicole Brossard’s works. Her activity, as well as that of other translators, contributed to the spread of the idea of translation in the feminine among Canadian writers and theoreticians. What is more, their cooperation has resulted in the creation of the magazine Tessera and in the emergence of a range of phenomena on the borderline between translation and literature. This relationship is also a rare example of the impact of “minor literature”, which is the literature of Quebec, on the English-language Canadian literature.

Canadian literature, and specifically the teaching of Canadian literature, has emerged from a colonial duty to a nationalist enterprise and into the current territory of postcolonialism. From practical discussions related to specific texts, to more theoretical discussions about pedagogical practice regarding issues of nationalism and identity, Home-Work constitutes a major investigation and reassessment of the influence of postcolonial theory on Canadian literary pedagogy from some of the top scholars in the field.

Love is used in different ways in literature. The treatment of love in the love stories of Janette Oke are nearly similar and all show the roles that love plays in life of people and how deal with it. Her novels are among the finest works in Canadian literature without whom the world of Canadian literature would be dark and empty. Love is the eventual weakness, but philosophy, religion and art during time have portrayed it in its place as a way to a higher level of being beyond the pain and transformation of every day. This paper points out to different kinds of love relationship in Oke’s fictions. 1. INTRODUCTION The history of different love is not similar. Each love has its own history. It has a start and an end and between these a procedure of waxing and waning within which the significance of the pattern of distinctions changes. It is then often proposed in the literature that the start of a love affair, before the love has been granted any social definitely, depends above all on satisfaction. Love, in order to be differentiated from the communication in which it may be camouflaged, must be able to take on the function of a comprehensive symbolic medium and as a result becomes subject to a further set of conditions, in the context of which endeavors to satisfy can only figure as foreplay. Things become even more compound if the difference between true and pretended love is treated in such a behavior that one distinguishes the latter structure in terms of its simulation or dissimulation. A double camouflage must therefore be deemed: the simulation and dissimulation of love. Both can, especially if working in carriage, throw up adequate hurdles to begin a love affair. The paradox notwithstanding stays dependent on the fact that love is a procedure and that it donates a temporal condition on all information. There are three kinds of love in Janette Oke's romantic novels including unselfish love, logical love, and romantic love. Romantic love includes gallantry, pure romantic love, trial marriage and courtly love that I discuss in this paper. 2. GALLANTRY