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This article was created based on a talk given by Canisia Lubrin with the Black Canadian Studies Association (BCSA) for their 2022 conference, "Black Solidarities, Thought and the Quest for Black Freedom." It engages with the theme of Black solidarities, thought, and the quest for Black freedom, in the interest of recognizing the complexities of its range. In this era of new forms of Black dispersement, the author offers this as a care work in the core character of Blackness. It is a wish for a kind of respite from the ontological over-determinism that bares down on us from all directions, from the restlessness that forms the tenor of our being in this world. [ABSTRACT FROM AUTHOR]

This study highlights the significance of literature to Expo 67 and the tradition of world exhibitions. Like the world's fairs before it, the Montreal exhibition promoted literature as a technology of national progress. Yet Expo 67 reflected simultaneously the contemporary anxieties about technology and nationhood expounded by George Grant in the 1960s in contrast with the celebration of nationalism and technological progress bound together in the tradition of world's fairs. Though world's fairs had depicted the educational utility of literature throughout their tradition, Expo 67 emphasized literature more than any world exhibition had to that point. Its theme, Terre des hommes, drawn from Antoine de Saint-Exupéry's autobiographical narrative, its literature conferences and poetry performances, and the broader textuality of Expo 67 as a "total environment" were intended to deploy texts in promotion of the ideals of universal humanism. However, I find that poetry performances by Michèle Lalonde, George Clutesi, and Duke Redbird contradicted the event's stated ideals by spotlighting the negative effects of technology and ongoing colonial violence. I argue further that large-scale literature exhibits at Expo 67 resisted the humanist ideals of the event by continuing the world exhibition convention of treating literary works as an educative technology of national progress. As a result, I find that Canadian literature at Expo 67 complicates the Canadian collective memory of the event and the 1967 Centennial Year. [ABSTRACT FROM AUTHOR]

For Alice Munro, "the 1960s" extended in spirit a few years past the end of the decade and centred not upon racial conflict, riots in the cities, or protests against the Vietnam War but, rather, upon the situation of women of her generation as they came to terms with the social and sexual upheavals of the period. In returning to the 1960s decades later, Munro was exploring two related questions: how they were experienced by people like herself at the time and how, provisionally, they and fictionalized versions of herself as actors in them appear with distance. Although apolitical as a writer, Munro could not avoid politics in the home as sympathy with the women's movement merged with that for other forms of contemporary protest, laying bare deep divisions between herself and her husband that found their way into themes in the fiction. Omniscient but non-committal in "Differently" (1989) and related stories set in the 1960s, and sympathetic toward her women but ironic about their missteps and confusions, Munro establishes a distance from fictionalized versions of her younger self without inscribing a moral viewpoint of her own. As she looks back on her characters, on the 1960s as a cultural phenomenon, and vicariously on herself as she felt and behaved at the time, Munro, too, seems to say, with wry aloofness, "Differently." [ABSTRACT FROM AUTHOR]

The 1979 Writing in Our Time series became Vancouver's most attended reading series, bringing light to the viability and international status of the city's literary scene. While it has largely been remembered as a celebration of Vancouver's literary culture, more marginalized voices of Vancouver's literary communities have highlighted the series' implications for gay male and female writers in the city. This article considers whose time was actually represented by the Writing in Our Time series. I suggest that while it gave gay men the opportunity to be onstage and speak about their concerns, including the homophobic attacks against bill bissett in the House of Commons that prompted the series, Writing in Our Time provided women limited opportunities to publicly share their work while relying upon their invisible labour to succeed. Through the production of a new socio-cultural history of the series, including an analysis of printed publications, oral histories, and audiovisual documentation of the events, this article demonstrates that Writing in Our Time was catalyzed by attacks on a gay writer, relied on women's invisible labour, showcased the androcentric relations of Vancouver's literary scene, and sparked resistance from feminists to women's peripheral position in the series. I argue that, due to their proximity to or distance from heterosexual white males in power within the scene, the series simultaneously supported gay writers in Vancouver's literary scene and further marginalized women by reinforcing sexist social hierarchies. The effects of these androcentric relations led to greater dialogue about issues affecting gay men within the series and by women about sexism within and outside of the series at that time. [ABSTRACT FROM AUTHOR]

Long dismissed as a "critical error" (Booth 2016) and still capable of inciting "embarrassment palpable" (Watson 2006) among scholars otherwise happy to emphasize the material contexts that inform the circulation of texts, literary tourism has recently become the focus of serious academic inquiry. Recent work has begun to disaggregate the various forms of literary tourist sites (Fawcett and Cormack 2001), but continues to have a methodological gap surrounding the specifically literary aspects of the practice itself, and—with the notable exception of Green Gables (Squire 1992; Devereux 2001)—has left Canada predictably unexamined. This essay begins with a brief introduction to literary tourism in Canada before moving into a comparative analysis of two National Historic Sites associated with Canadian literary authors: the Robert Service cabin in Dawson City, Yukon, and the John McCrae House in Guelph, Ontario. The sites offer a compelling comparison as the former homes of two of the best-known Canadian poets of the early twentieth century whose works have become popularly synonymous with two of Canada's most heavily mythologized eras. The enduring popularity of poems like "The Cremation of Sam McGee" reflect not only Service's central role in mythologizing Canada's north but also a strategic "cultural commoditization" of the area's gold rush heritage (Jarvenpa 1994; Grace 2001), while McCrae's "In Flanders Fields" retains its status not only as the "most popular poem" of the First World War in Canada and beyond (Fussell 2000), but also as a primary example of the ideological function of Great War literature within Canada (Holmes 2005; Gordon 2014). Although the two author houses may initially appear a study in contrasts, I draw on recent work in literary tourist studies to argue they are linked in their function as "materialized fictions" (Hendrix 2008), or concrete interpretative frames that aim to offer tangible evidence of the Canadian myths their former inhabitants helped to fashion. [ABSTRACT FROM AUTHOR]

This article locates Austin Clarke's writing in relation to the contemporary scandals that are transforming Canadian literature. Clarke's work historicizes the present struggles in Canadian literature to centre Black voices and challenge white supremacy. Furthermore, the monological dimensions of Clarke's writing challenge notions of multicultural recognition and understanding through dialogue. In a manner that reflects Clarke's own experience with the institutions of CanLit, his characters speak to a white Canada that is largely indifferent to their words and refuses to recognize them on their terms. [ABSTRACT FROM AUTHOR]

I conduct a meta-analysis of the Canadian minimum wage literature, using meta-regression methods to determine whether this literature has a publication bias and the size of the empirical effect after adjusting for this bias. For teenagers, the demographic group with the largest share of minimum wage workers and thus providing the findings of most interest to policy-makers and legislators, I find no evidence of a publication bias and a minimum wage elasticity of about −0.27. I also discuss the implications of my findings for researchers and policy-makers. [ABSTRACT FROM AUTHOR]

The article presents literary criticism of Randy Boyagoda's "Original Prin", Manjushree Thapa's "All of Us in Our Own Lives", Rawi Hage's "Beirut Hellfire Society". Topics include "Original Prin" contains multiculturalism approaches such as Christian chauvinism and Islamic chauvinism, "All of Us in Our Own Lives" outlines poverty and the Nepalese patriarchy, and "Beirut Hellfire Society" refers to a fictional group of Lebanese non-believers who disdain Christian and Muslim burial practices.

The article provides an overview of Canadian fiction that challenge readers to expand their understanding of pertinent issues and contemplate new ways of telling stories. Topics include how emerging authors are experimenting with pathos and tragicomedy, theorization of romance and speculative forms, and the romanticization of analogue technology and urban settings.

Anne Carson's Nox (2010) is a multi-form double elegy in memory of the poet's brother, Michael, and of an elegiac precursor to Catullus's "Elegy no. 101." While Nox's uniquely monumental form has invited analyses particularly by scholars of media studies and book history, this article focuses instead on Nox's conceptualization at the intersection of elegy and epitaph. I argue that Nox's peculiar contribution to contemporary elegy arises from its merging of the long poem elegy with the epitaph, resulting in a poetics of loss that is at once expansive and economical. As such, Nox embodies the paradox of an epitaph in long verse form, a form marked by a unique style of ironic economic rationalism. Further, I argue that Nox requires reading strategies that take into account both its materiality as a textual artefact and its simultaneous excess of that materiality, insofar as it can be read as a further unfolding from earlier phases of Carson's work with elegy and epitaph, especially Economy of the Unlost (1999). [ABSTRACT FROM AUTHOR]

This essay intervenes in debates on visibility in Asian Canadian literary criticism by engaging with Kim Fu’s novel, For Today I Am a Boy, through Rey Chow’s theorization of capture in Entanglements. In Asian Canadian literary criticism, the idea of visibility is both a demand and a site of critique. Fu’s novel responds to the doubled experience of being invisible and yet all too visible as a minority subject. This essay is interested not only in how visibility functions as a trap, but also in how the experience of being trapped can be one that captivates. For Today brings into relief the relentlessness of the entanglement of race, of its seemingly inescapable visibility, and calls it out for the trap that it is. In so doing, Fu’s novel demands an engagement with what it means to be held by something and to be caught in beholding. [ABSTRACT FROM AUTHOR]

At the Mikinaakominis/TransCanadas conference held at the University of Toronto in May 2017, Rinaldo Walcott described Canadian literature as being as white then as it was when Insomniac Press published his Black like Who? twenty years prior. This essay responds to Walcott’s critique with a personal ethnography that describes Canadian literature as a field of study, that pays particular attention to the internal fractures that belie the field’s whiteness, and that considers students’s self-governance within neo-liberal universities. Beyond Canadian post-secondary education’s anti-Black structural barriers, graduate-level studies in the humanities depend on students’ access to financial and social credit. In turn, credit limits who can afford to study Canadian literature. Academic labour’s growing precarity further redlines non-professional fields of study, intensifying racial divisions within Canadian post-secondary education. [ABSTRACT FROM AUTHOR]

This article historicizes cultural appropriation in Canadian literature today by examining key texts from the critiques of cultural appropriation in Canadian culture in the 1990s. Appropriation is contextualized in relation to a modernist temporality that constructs an Other outside of modernity and to the temporality in Frantz Fanon’s A Dying Colonialism, a temporality in which the colonized is liberated but the colonizer is still “choked” and not yet rehabilitated. Reading appropriation through its cultural historical context in relation to modernist art and conceptual art, the practice of appropriation emerges as an extension of colonial practices and as an extractivist economy. Countering this, I point to the Indigenous concept of “cultural belongings” as a form of critique and alterity that counters the logic of cultural appropriation. [ABSTRACT FROM AUTHOR]

The article provides information on the literary scholarship of reading asian canadian literature including limits of official multiculturalism, theatrical representation of violence against indigenous women and complicated intersections between race, sexuality and gender identity. Topics include indigenous peoples responding to colonization, africans of canada and women of colour.

This article presents a framework for identifying and analyzing the Newfoundland master narrative, a narrative that is powerful and persistent in Newfoundland literature, its marketing, and its popular and critical reception. This master narrative problematically positions Newfoundlanders as timeless and authentic but also moving inexorably toward loss and disappearance. As a representative case, this narrative is shown to be fundamental to the novels, public persona, and reception of Michael Crummey, one of Newfoundland's most popular and acclaimed writers, focusing on his 2009 novel Galore. Through an analysis of Galore and Crummey's framing authorial comments, the figures, structures, and perspectives that are fundamental to the Newfoundland master narrative are identified. While Crummey's novel does contain diverse characters, and while he has publicly affirmed the diversity of the Newfoundland population, we show that his depiction of diversity ultimately affirms the exclusionary master narrative. And, in this, he is part of a wider tendency, even among those who explicitly critique the Newfoundland master narrative, to overlook its presence, underestimate its power, or use it despite themselves. This interpretive framework is thus intended to expose and to critically engage with the often hidden workings of the Newfoundland master narrative. [ABSTRACT FROM AUTHOR]

The article presents an introduction to this issue of the journal that focuses on French-Canadian literatures.

This article examines how contemporary Québécois literature is worlding itself. The term "worlding" being problematic, its use in this article departs from that of David Damrosch and other scholars who consider literature to be "worlded" when it has been integrated into a canon of literary works from around the world that ought to be, and sometimes are, read. In this study, I focus on the works of literature themselves in order to analyze how they inscribe the "world" through a problematization of history, identity, languages, and, in Wajdi Mouawad's theatre in particular, of time and space. The four plays that make up Mouawad's Sang des promesses cycle are connected through overarching themes such as war and conflict, ruptured family lines, death, and blurred identities, but, more importantly, they are preoccupied with historical and political events suggesting that, regardless of how distant they may be (in time and in space), they nonetheless shape the world now. Thus, the plays show that events such as the Franco-Prussian War of 1870 or the Lebanese Civil War of the 1970s and 1980s have an impact now, even on readers or spectators in Quebec. Mouawad's tetralogy highlights how Quebec is inextricably connected to global concerns and urges that we share the ethical responsibility in creating a world that is less violent. [ABSTRACT FROM AUTHOR]

The objective of the present article is to analyze the representation of Quebec literature in four literary blogs: Littérature du Québec, Passion chronique, le fil rouge and Page par Page. In light of the claims made by the authors of the manifesto "Pour une 'littérature-monde' en français" (Le Bris et al. 2007), we will examine the extent to which the writers of these blogs perceive Quebec literature as a component of the world literary landscape, characterized by esthetic and stylistic diversity beyond the political and ethnocultural compartmentalization of writers. We will also attempt to examine the role of literary blogs, one of the contemporary forms of literary criticism, in promoting and legitimizing literary works in the Quebec literary field, one of the most advanced in the use of new technologies in the service of literature. [ABSTRACT FROM AUTHOR]

The goal of this research is to empirically analyze the constitution of the subsystem of French-Canadian literatures, its inscription in Canadian literature and its relations with the literatures of the world, particularly those geographically and linguistically related to it. Theoretically, it is based on Pierre Bourdieu's concept of a field (1992), on polysystems theory developed by Itamar Even-Zohar (1990) and on scientometrics (de Solla Price 1963). From the methodological viewpoint, we have retrieved from the most important literary database, the Modern Language Association International Bibliography, references that correspond to the different literatures analyzed. The compilation and the analysis of the metadata of these references allowed us, firstly, to map French-Canadian literatures and to describe the diffusion of the critical bibliography. Secondly, we elaborated several indicators in order to study the relations of French-Canadian literatures to, on the one hand, literatures of the Americas, and, on the other hand, francophone literatures. We observed that French-Canadian literatures are characterized by their vitality, their youth, and their relative independence from other systems. We consider that this paper constitutes an illustration of the potentiality of the new observable resources of the digital age, as they may increase our understanding of the configuration and the evolution of the literary systems. [ABSTRACT FROM AUTHOR]

Drug treatment courts (DTCs) have been proposed as an alternative to custody that will better deal with drug-dependent offenders through application of therapeutic jurisprudence (TJ). While DTC proponents emphasize the positive aspects of the judicial involvement and intense treatment that most courts provide, critics observe that there are many punitive aspects to DTCs. Frequent court appearances, curfews, urinalysis, multiple bail conditions, and delayed sentencing can be viewed as extensions of coercive social control rather than as benevolent measures intended to help offenders. Further, critics of Canadian DTCs have challenged the efficacy of treatment. This paper seeks to add to a limited Canadian research literature by examining a DTC in the Prairie city of Winnipeg, Manitoba. Two samples are used: sample 1 examines sentencing outcomes and reoffence data for 199 DTC admissions from 2006 to 2014; sample 2 is employed for a quasi-experimental comparative recidivism study using a propensity score matching determined sample of 63 DTC cases with 167 adult probationers from 2010–12. Graduates showed lower rates of reoffence compared to unsuccessful cases. Sentencing outcomes showed that unsuccessful participants were most often incarcerated when re-sentenced on original charges. Probation cases reoffended at higher rates than the matched DTC group. Administrative violations were still higher than in the probation group, and may actually result in an inflated reoffence rate for Canadian DTCs. Policy implications and directions for further research are discussed. [ABSTRACT FROM AUTHOR]

From late fifteenth- to late sixteenth-century Europe, travellers and intellectuals from Iberia, Italy, France, and England (at least) were dazzled by the so-called areitos of the Caribbean and mainland Americas. Most held them to be a public-performed poetry/song that kept peoples’ history, spirituality, and shared culture alive in ways lost to contemporary European elites but known to the ancients and folk life. Many yearned to transfer such usage from the Americas to Europe, even to integrate them into a European poetics and historiography. This was all the more so because the areitos seemed linked to pictorial and pictographic practice, seeming to recall notably those Egyptian hieroglyphs that had fascinated the same European scholars since the mid-fifteenth century. This moment of possible Americo-European transculturation stayed alive throughout the sixteenth century, but it did not survive it in any meaningful way [ABSTRACT FROM AUTHOR]

This article considers the many productive forms of theatrical, historical, and musical haunting in Harry Somers's 1967 opera Louis Riel. Although the opera has been criticized for its datedness, an examination of the several layers of haunting and manipulations of embodiment and sound/silence in the score and libretto suggest that the opera has the potential to resonate beyond its original historical context to create meaning for contemporary Canadians. A consideration of how the 2017 Canadian Opera Company's production, directed by Peter Hinton, amplified these hauntings reveals that the opera presents opportunities for both the past and present to haunt one another. [ABSTRACT FROM AUTHOR]

In exploring Still Stands the House by Gwen Pharis Ringwood, Scott considers how a particularly gendered experience of the Canadian landscape finds expression in a murderous act by a woman. The act of murder can be a powerful theatrical device for reflecting, on stage, a Canadian reaction to the experience of being embedded in a hostile environment. The play provides a fascinating case study for the convergence of gender roles, violence, geography, and climate, and springs from the perspectives and concerns of Alberta settler-colonial farm families in the early twentieth century. The theories of Northrop Frye and Margaret Atwood have been challenged by subsequent critics and by the changing realities of Canadian society and literature, and many of their assumptions thoroughly problematized by colonial and Indigenous studies. But, keeping these crucial criticisms in mind, Scott argues that some of Frye's and Atwood's key concepts can still prove applicable to the imaginative world of Ringwood's play, and are therefore useful for understanding its impact and continuing status in the Canadian dramatic canon. By realistically evoking the hardship of the time and the isolation of the settler farmer lifestyle, Ringwood makes the harsh environment an active character in the drama and, by linking the violence of the environment with the violent act of her character, Hester, Ringwood suggests something intrinsically brutal behind the rhetoric of the pioneer spirit and the settler experience in Canada. [ABSTRACT FROM AUTHOR]

The article informs presents critical review of featured texts organized into sections on literary experiments, feminist fiction and literary short fiction. It also analyzes broader patterns in emerging Canadian fiction and suggest how texts contribute to an emerging experimentalism. It is evident that heightened thematic interest was demonstrated by authors in feminism and many writers pursued creative means to take issues associted with patriarchy.

The article informs that five novels were published in 2016 from all areas of Canada. It is noted outstanding novel of this year is Madeleine Thien's third novel, "Do Not Say We Have Nothing." It also discusses several other novels of Thien and their theme of Thine. It is stated that second novel of Thine "Dogs at the Perimeter" deals with the Cambodian genocide of the 1970s and long periods of Chinese unrest.

The article offers information on various books on drama. Some of the drama books include "Redheaded Stepchild," by Johnnie Walker; "Black Dog: 4 Vs the Wrl," by Matthew Heiti; "I Am for You," by Mieko Ouchi; "Sultans of the Street," by Anusree Roy; and "My Family and Other Endangered Species," by Ellen Close and Braden Griffiths.

Although Canadian literature was virtually unknown in the USSR during the Cold War era (1945-1991), although few works by Canadian authors were published in Russian translation in the Soviet Union, and there were no critical reviews of these books before the Perestroika period of the 1980s, the Soviet press at times referred to Canadian authors in order to serve its own objectives or rather the objectives of the ruling Communist Party. This article explores how Canadian literature was received in the USSR during the Cold War, what purposes this reception served, and which projected images of Canada can be found in the reviews of Canadian books and articles on Canadian literature published in the Russian language in magazines and newspapers of the time. The monographs on Canadian literature published in the USSR in Russian are also discussed here, to see, among other reasons, if Soviet critics made a distinction between English-Canadian literature and French-Canadian (or Québécois) literature. Finally, this article sets out to examine not only the representations of Canadian literature and Canadian society as conveyed by the Soviet press but also those put forward by Russian researchers of the period in their scholarly monographs. [ABSTRACT FROM AUTHOR]

The article discusses the literary movement in Canada and its impact on its poetry and literature category. Topics include work done in books "The Winds of War," "Roots" and "The Thorn Birds"; work done by authors such as Anne Carson's "Short Talks," Michael Crummey's "Hard Light," and Marilyn Dumont's "; and work of John Thompson in "Collected Poems and Translations."

This article examines the critical reassessment in the 1960s of Hugh MacLennan's novel Two Solitudes. It argues that the novel's fading appeal in that decade had less to do with questions about its literary value and more with changing attitudes about who could legitimately write about French Canadians. By the sixties, critics no longer believed that MacLennan understood Quebec society and thus could not believe that he could produce a realistic fictional portrait of the province. This attitude framed the critical response to his novel The Return of the Sphinx (1967) as well as the reconsideration of Two Solitudes. The shift away from MacLennan as a source for understanding Quebec and toward presumably more authentic French-language voices during this decade also signalled the beginning of a larger disengagement from Quebec on the part of English-Canadian writers, who came to believe that they lacked the legitimacy to write about Quebec. [ABSTRACT FROM AUTHOR]

The article offers information on the trend in literary translations in Canada. Topics discussed include the Governor General's Literary Awards for translations, the lack of literary translators in the country, and the francophone translators in the country. Also mentioned are several translators such as Sheila Fischman, Donald Winkler, and Linda Gaboriau.

Copyright of International Journal of Canadian Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay recuperates Brian Moore's mostly forgotten classic of Canadian immigrant fiction, The Luck of Ginger Coffey (1960), in a reading of its protagonist as a study in the necessary self-renovation of a new Canadian. Employing the scholarly work that has been done on the Irish in Canada over the past few decades, this essay contextualizes its reading of Moore's mid-century novel in a mildly corrective history of Irish immigration to that point. Ginger Coffey will also be seen to prefigure--on the eve of Canada's officially becoming the much-admired multicultural nation it is today--the central question facing Canadians respecting immigration. The unaccommodating setting of Ginger Coffey, its historical contexts, and its compromising immigrant's (Ginger Coffey's) hard-won promise of eventual integration into Canadian society challenge readers to entertain questions about the extent of Canada's tolerance of immigrants' tenaciously mistaken dreams. [ABSTRACT FROM AUTHOR]

The early efforts of CBC Radio to promote Canadian literature through programs such as Canadian Short Stories and its successor, Anthology, gave rise to various issues related to media integrity, including the selection of content, the use of language, and the format of presentation. Even before Robert Weaver retired in 1985, the approach he developed in the 1950s gave way to a different philosophy of literary arts programming, one focusing less on the needs of CanLit and more on the contingencies of radio. As in other cases of textual migration across media, the ontological requirements of the destination medium eventually took precedence. The process by which this shift occurred is examined using the relatively unexplored papers of Weaver and Howard Engel and other documents. [ABSTRACT FROM AUTHOR]

The article offers an overview of Canadian literary translations published in 2013. Emphasis is given to topics such as translations for children and young adults, Francophone poetry translated into English, and nonfiction texts with historical themes. Authors noted include France Daigle, Robert Dickson, and Nicole Brossard.

The article provides an overview of Canadian poetry published in 2013. Books noted include "Red Doc>" by Anne Carson, "Correspondences" by Anne Michaels, and "Ocean" by Sue Goyette. Other poets noted include Don Domanski, Russell Thornton, and Adam Dickinson. Emphasis is given to topics such as poetry awards, Canadian identity, and intertextual experimental collaborations.

The article, informed by the recent work of scholars who have examined and theorized the feminization of nation-states in the context of contemporary post-colonial literary production, performs an analysis of Rawi Hage's De Niro's Game (2006) that focuses on the novel's conflations of woman and nation. The paper argues that, while Bassam, the text's narrator and protagonist, undertakes a journey toward manhood that is troubled by his country's (Lebanon's) civil unrest and violent political upheaval, he, like the text's other male characters, is and remains throughout an active subject-citizen endowed with agency. Because the same cannot be said about the female characters in De Niro's Game, the narrative ultimately illustrates that, however "in flux" Lebanon society may be, patriarchal power structures persist, rendering real women the passive objects and symbolic projections of a nation whose destiny is determined by her "sons" and "lovers." [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Canadian Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the disproportionate sexual violence faced by Indigenous women to the incidents that prompted Canadian activists to found the SlutWalk movement, the nation-state's relationship to violated bodies continues to highlight the ways in which legal and cultural discourses often situate victims of sexualized violence as self-surveilling agents who are ultimately deemed responsible for their own safety. Building on work by Michel Foucault, I trace a history of vulnerable bodies and subjectivity vis-à-vis sexual violence, arguing that through the politics of selfsurveillance and contemporary rape-prevention discourse, both specific bodies and specific geographical locations are materialized as abject. Focusing specifically on Vancouver's Downtown Eastside and drawing on literary texts that directly address O how vulnerable bodies are legally constituted, I suggest that violated bodies are not merely passively inscribed by the law, but rather that our readings of them can help to unsettle and resist the discourses that attempt to constrain and define them. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Canadian Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paul Quarrington's novel King Leary utilizes a late-life perspective in a way that questions prevailing ideals of masculinity in the culture of Canadian hockey. Leary's reminiscences of his past athletic prowess betray an abiding appreciation for forms of bodily movement associated with the feminized spheres of figure skating and dance, complicating his attempts to narrate a stable identity that conforms to the ideal of the tough, aggressive hockey player. Leary's ongoing affinity with these forms of movement suggests the possibility of sustaining his identity as an athlete into old age in a way that departs from his customary drive to dominate others. Foregrounding the body as an important site of identity in late life, the text challenges persistent cultural narratives of aging--particularly when accompanied by dementia--as a loss of self. [ABSTRACT FROM AUTHOR]

This essay explores aspects of passion in three Acadian poems, Herménégilde Chiasson's "Rouge" ("Red") which first appeared in Mourir à Scoudouc in 1974, Henri-Dominique Paratte's "Rouge Sang" ("Blood Red") which first appeared in Éloizes: Revue de l'Association des écrivains acadiens in 1984, and " La petite sorcière rouge..." (The little red witch), an excerpt from Dyane Léger's L'incendiaire, published in 2008 in collaboration with Paul Savoie. Although there is a period of 34 years between the publication of the first and last work, and they range in form from the prose poem to lineated free verse, ail three share the leitmotif of the passionate colour red with its many, often opposing, symbolic, historical, and literary associations; the list as a poetic device that incorporates past and present, real and surreal, poetic and political; and finally the love story, which aspires towards a happy ending, however elusive. The red of fire and blood that marked Le Grand Dérangement of 1755 is a testament to the passion o f a people determined to endure. [ABSTRACT FROM AUTHOR]

This essay demonstrates that, in developing the plot outline and male protagonist of his last novel, Maria Chapdelaine (1914), Louis Hémon repeatedly evoked Pierre Loti's then-popular narrative about Breton fishermen and their community, Pêcheur d'Islande (1886). A Breton himself, Hémon seems to have evoked Loti's male protagonist, Yann Gaos, repeatedly in presenting his own, François Paradis, because such intertextualization allowed him to deal in a new way with the question of a perceived decline of masculinity, an issue that he had treated in several of his previous narratives and that was occupying Western European thought at the time. Such intertextualization also allowed him to address an issue that had been of personal significance to him since his adolescence: the importance of finding a way to be free of the constraints that he believed modern society was trying to impose on men. [ABSTRACT FROM AUTHOR]