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During the first half of the twentieth century in British Columbia, French language was considered a school subject to be taught as any other using formal classical approaches. Generally, no specific provincial or local policies existed to guide how French was taught and learned. By 1981, however, British Columbia had developed explicit language policies for implementing various programs, such as "core French," "French immersion," and "programme-cadre." It did so despite the fact that fewer than two per cent of British Columbians spoke French as their mother tongue, and only about one-half of one per cent used French to communicate at home. The discussion in this article reconstructs the historical context and events that led British Columbia to embrace French language as a subject of study as well as French as a vehicle for learning and instruction. Why, from the end of World War II to the 1980s, did the province embrace core French, cadre and immersion programmes? (Contains 20 endnotes.)

In this article, I have presented findings from survey data to describe elementary teachers' and teacher-librarians' use of various genres of children's literature and their use of children's literature in specific curriculum areas. Data analysis revealed that teachers and teacher-librarians most frequently used the genres of non-fiction, realistic fiction, and fantasy in their teaching. They used children's literature in language and social studies to a greater extent than in other curricular areas. In general, teachers' and teacher-librarians' use of Canadian literature was limited. I have concluded the article with a discussion of the importance of national literature in Canadian classrooms. (Contains 4 notes.) [Published May 2004]

Describes a U.S. literature course and a comparative literature course that focuses on Asian, African, Canadian, Caribbean, and Latin American literature. Asserts that students need to be aware of the European impact on the U.S. identity, even where it is unpleasant. Discusses the magical realism in the distinct artistic vision of Latin America. (PRA)

The paper deals with the processes of integration in Canadian society as represented by three different contemporary ethnic authors – Sharon Bala (The Boat People), Tea Mutonji (Shut up You’re Pretty) and Souvankham Thammavongsa (How to Pronounce Knife), all somewhat translating their transgenerational experiences as immigrants into their works. The negotiation of identities, in their respective works, happens at the margins of the Canadian society – the integral position of the immigrant individual whose marginalized status prescribes the performatives pertaining to class, race and gender. The commodification of this status underscores the shifting nature of Canadianness – as perceived by the margins and the center. The problematics of immigrant identity, its otherness and conditions of integration are represented in a highly ironic and postmodern manner, highlighting the issue of hypocritical enforcement of liberal policies in western societies. [ABSTRACT FROM AUTHOR]

This qualitative study explores factors contributing to refugees’ resilience in Regina, Saskatchewan. It aims to add to the emerging body of Canadian literature on refugees’ strengths and experiences as they navigate resettlement in smaller urban centres. Data were collected from three focus groups that explored the experiences of 15 people from seven countries who had settled in Saskatchewan. Findings show common patterns that contributed to resilience for refugees, including pursuits of Canadian education, employment, social networks, and personal qualities. Conclusions indicate that protective factors (i.e., personal characteristics, social supports and networks, starting over in education and employment) that facilitated resilience for participants interacted and worked together to help them overcome adversity during settlement. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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 review looks at Canadian Literary Fare by Nathalie Cooke and Shelley Boyd, with Alexia Moyer. The book gives an unconventional exploration of 'food voices' in Canadian literature. The authors examine the food narratives of celebrated Canadian writers, like Alice Munro, Eden Robinson, Fred Wah, M. NourbeSe Philip, Tomson Highway, Rabindranath Maharaj, and others. The book explores the interactions between literary characters and food, challenging preconceptions about Canadian cuisine. It highlights the voices of Indigenous and immigrant writers, emphasizing the role of food in decolonization and reshaping identities. The authors discuss iconic Canadian foods, the symbolism of food markets, and food as demonstrative of struggles with poverty. Canadian Literary Fare is a valuable resource for those interested in the interplay between food culture and identity. It provides a refreshing departure from traditional approaches, examining Canadian culture through alternative 'food voices'.

This article explores the experiences of Eastern and Central European immigrants in North America, focusing on themes of memory, identity, and belonging. It discusses the challenges faced by these immigrants, including nativist rhetoric and the risk of assimilation. The article examines the changing representations of Eastern and Central Europe in North America through various narrative forms such as novels, memoirs, graphic novels, and TV shows. It highlights the importance of memory and identity in understanding the complex experiences of these immigrant communities, and includes analyses of specific works and an interview with a Polish American writer. Overall, the article provides a diverse and nuanced perspective on the presence of Eastern and Central European communities in North America. [Extracted from the article]

There have been increased calls to address the growing mental health concerns of postsecondary students in Canada. Health promotion focuses on prevention and is needed as part of a comprehensive approach to student mental health support, with an emphasis on not just the individual but also the sociocultural environment of postsecondary institutions. The aim was to conduct a scoping review of the literature pertaining to the associations between postsecondary institutional factors and student wellbeing. The review included a comprehensive search strategy, relevance screening and confirmation, and data charting. Overall, 33 relevant studies were identified. Major findings provide evidence that institutional attitudes, institutional (in)action, perceived campus safety, and campus climate are associated with mental wellbeing, suggesting that campus-wide interventions can benefit from continued monitoring and targeting these measures among student populations. Due to the large variability in reporting and measurement of outcomes, the development of standardized measures for measuring institutional-level factors are needed. Furthermore, institutional participation and scaling up established population-level assessments in Canada that can help systematically collect, evaluate, and compare findings across institutions and detect changes in relevant mental health outcomes through time. [ABSTRACT FROM AUTHOR]

This paper analyzes different forms of intertext (biblical, artistic, and mythological) in L.M. Montgomery's bestselling novel Anne of Green Gables in order to determine the novel's intertextual connections with various phenomena of literature and art, and explore how the meanings of these intertextual elements are transformed in Anne of Green Gables as opposed to their original sources. While the plot of Anne Shirley's growing up unravels locally (in a small Canadian town named Avonlea), it is also part of a broader cultural context, which is represented largely by intertextual means (direct and indirect quotations, allusions to the works by R. Browning, H.C. Andersen, W. Shakespeare, L. Carroll, W. Scott et al.). In this way, the author emphasizes Anne's romantic worldview, her open-mindedness and vivid interest in literature, art and nature. By referencing the works of W. Shakespeare and S.T. Coleridge, L.M. Montgomery aims to further illustrate the motive of loneliness and abandonment as they are related to her heroine's story (having lost her parents and spent the majority of her life in an orphan asylum). Biblical intertext also plays an important role when it comes to the relationship between Anne Shirley and Matthew Cuthbert. Different forms of intertext (literary, biblical, mythological) fulfil important functions in the text, especially in terms of creating multi-faceted characters, the social and cultural atmosphere of L.M. Montgomery's era, and the various problems (social, moral, and artistic) discussed in her works. [ABSTRACT FROM AUTHOR]

While the Künstlerroman may well be considered one of the genres that have blossomed most prominently in the 20th century English-Canadian literature, research investigating its poetics has remained on the fringes of literary scholarship. This paper examines L.M. Montgomery's sophisticated use of the Künstlerinroman through her portraits of female writers in the Emily and Anne series. My goal is to explore how Montgomery's heroines choose to narrate themselves and the world around them, how they transcend difficulties and assert their own unique perspectives. Therefore, this paper examines not only the socio-cultural environment which served as background for the creation of literature, but also the writer's reflections regarding the process of bringing said literature into the world. Drawing on the scholarship of J. Buckley, R. Seret, E. Varsamopoulou, F. Hammill, K. Macfarlane, G.A. Guth and others, this paper aims to analyze L.M. Montgomery's "sophisticated handling of genre" (E.R. Epperly) in greater depth and place her portraits of the female artists within a broader cultural and literary context. The question of female subjectivity, which concerns women's perceptions of their own writing (and their fate as artists), is central to my research. [ABSTRACT FROM AUTHOR]

Trans and gender nonconforming (TGNC) people who make refugee claims in Canada negotiate a complex nexus of identity, belonging, and citizenship. Drawing on insights from TGNC refugees, immigration lawyers, and frontline workers, in this paper we examine the ways the state controls the trans body through the refugee claims process and in the process of integration into life in Canada, while also highlighting trans refugee methods of survival and resistance. What emerges is an understanding of the ways that refugees navigate the tension between gender, sexuality, and homecoming as both intimately felt and geopolitically managed. We convey TGNC refugee narratives to demonstrate how they both confirm and expand upon the existing literature on Canadian LGBTQ+ refugees. TGNC refugees' experiences at the Immigration and Refugee Board confirm insights from existing LGBTQ+ refugee studies. However, TGNC refugees' day‐to‐day lives differ significantly from LGB refugee lives as recounted in the literature. In TGNC refugees' attempts to access gender‐affirming documentation, healthcare, housing, and income, they confront distinct systems of transgender exceptionalism, border imperialism, and racial and heteropatriarchal capitalism that limit their access to basic necessities and impact how they build home both conceptually and materially. Key Messages: Refugee narratives elicited at the Immigration and Refugee Board follow a logic of "transgender exceptionalism" and often diverge from the complexity of Trans and gender nonconforming (TGNC) refugee experiences.TGNC refugees experience barriers to accessing housing, healthcare, adequate documentation, and employment due to histories and systems of oppression.These narratives demonstrate that the trans refugee homemaking process is implicated in nationalism, but also shows the needs to push against this limiting frame. [ABSTRACT FROM AUTHOR]

The article analyzes two versions of feminine nihilism in the French-speaking Canada: Nelly Arcan, especially in her posthumous book, Burqa de chair, and Catherine Mavrikakis, in two of her novels, Deuils cannibales et mélancoliques and La ballade d’Ali Baba. By emphasizing the terms mélanomanie and néantisme, the headliners of the “professors of despair” in the homonymous book by Nancy Huston, my text defends the idea that the story-telling operation specific to the search for the “great novel” in La ballade d’Ali Baba is capable, through its reiteration of nomadism, cosmopolitanism and a “poisoned narrative”, to overcome the nihilism inherent to the solipsistic writings of Nelly Arcan.

Mark Anthony Jarman’s characters are often down and out, and often wandering and wondering. Using theories of wonder, this essay argues that wonder plays a key role in many of Jarman’s stories—stories that are marked not by narrative or psychological closure, but by a sense of wonder as characters muse on their lot in life. After briefly considering Jarman’s role within Canadian literature, including his innovative approaches to the short story form, and his odd status as an influential yet often ignored writer, the essay moves to a discussion of the various ways that wonder is at play in his works, both as a verb and a state. Jarman’s characters are frequently in doubt, and the act of wondering takes us into their drifting, self-reflecting minds. However, there is also the sense of wonder as the miraculous. Jarman’s narrators find optimism in the world around them, thanks to flashes of the beauty of the unlikely. Wonder, thus, has a crucial structural function.

This article attends to non-human agency and plant communities in Martha Ostenso’s 1925 novel Wild Geese. As non-humans shape the novel’s setting and plot, they are entwined with human action but not subordinated to human agency or political systems; on the contrary, plant communities are political forces who ally, resist, and clash during the implementation of European agricultural practises in the early twentieth century. Thus, the setting details of this CanLit novel can be repurposed to think about the possibilities of community beyond colonial control. This article begins by drawing on Vanessa Watts’ articulation of ecosystems-as-societies as a framework for plant agency. It then follows Margret Boyce’s eco-critical engagement with Wild Geese to examine how the farm’s monocrops are connected to, but not determined by, the heteropatriarchal family and the colonial state. Further, by considering how homoeroticism emerges against colonial heteropatriarchy in non-agricultural settings, queerness is shown to pre-exist and resist the organizing tendencies of settler colonialism. Finally, this article turns to non-human alliances in the novel’s finale to demonstrate the ongoing struggle between political powers. To grapple with colonialism and its legacies, non-human agency and political power must also be recognized.

In 2012, the Mohawk saint Catherine Tekakwitha was finally canonized by the Catholic church. She has been the subject of many accounts and narratives —both historical and fictional—and figures as the main subject of Leonard Cohen’s 1966 novel Beautiful Losers. While having been lauded for its post-modernist and presumably postcolonialism stance on Tekakwitha’s figure, Cohen’s novel remains controversial in its depiction and appropriation of Indigenous womanhood. Beautiful Losers relies heavily on missionaries’ accounts of Tekakwitha and is entrenched in the male protagonist’s sexual claim and fixation on her character. Given the significant status of women in Indigenous communities, I argue that Cohen’s novel not only participates in an ongoing violation of the Indigenous female body but also denies the integrity of Indigenous family structures and their social as well as narrative authority. It hinders, rather than encourages, a shift in narrative authority pertaining to Canada’s colonial heritage. While Cohen’s text remains a necessary testament to the shortcomings and failures of history and its criticism, what is required in forthcoming scholarship and narratives dealing with Tekakwitha and figures similar to her is a narration originating in Indigenous communities. An emergence of such narratives requires a definite reckoning with Canada’s violent history of mistreating Indigenous womanhood that continues to this day.

The CBC operates on a mandate that defines it as a company of content whose vision is to connect Canadians through attractive Canadian content and whose values include serving the Canadian public. This article responds to the questions of how the CBC uses social media to disseminate national literatures, taking a Facebook wall, Canada Reads, as a case study, based on the small stories method (Georgakoupoulou) to analyze narrative activities that are important for recognizing the identity-forging work of their narrator as well as the social fabric of practices that people become involved in, with the objective of discovering if it has created a virtual community of practice (as conceived by Robert V. Kozinets) and if it has achieved, at the same time, the ultimate goal of discussing contemporary Canadian identities and if it has fulfilled its aim to disseminated contemporary regional and national quality content. Methodology: Small Stories, Virtual Communities, and Communities of Practice. [ABSTRACT FROM AUTHOR]

This article discusses patriarchy and sexuality portrayed in Milk and Honey; a poetry collection written by Canadian author Rupi Kaur. Kaur is an amazing poet, artist, and performer who touches on trauma, feminism, migration, love, and loss in her works. Milk and Honey is a unique book of poetry as it combines written poetry with line art images. The collection is split into four chapters: "the hurting," "the loving," "the breaking," and "the healing." This research aims to show how the illustrations that appear alongside the poems have amplified the speaker's voice in response to patriarchy and sexuality. This study deployed a descriptive, qualitative approach with close textual analysis. The illustrations are highly meaningful in how they intimately depict women's bodies. Thus, these poems were analyzed within the framework of feminist literary criticism. Existing research will be considered to define the terms of the study and enrich discussion of patriarchy and women's issues. The results show that patriarchal traditions portrayed in the poems deem women as inferior, marginalizing them in a family setting (as a mother and daughter), in the setting of romantic or intimate relationships, and even in the social and economic environment due to cultural norms. It is also revealed that women and their sexuality functioned as recreational objects for males' pleasure. Within the text, women are expected to be sexually submissive, thus prone to sexual abuse in a patriarchal society. However, the speaker consistently expresses her stance against these patriarchal values throughout all chapters of this poetry collection. In conclusion, this work criticizes patriarchy and its treatment of sexuality by presenting the speaker's experiences of patriarchy while also taking a stand against it through poems and illustrations. [ABSTRACT FROM AUTHOR]

The common assumption is that translation helps to share ideas and build bridges between societies, cultures and languages. Nevertheless, in Canadian history translation has been a tool of colonial domination and oppression of indigenous communities as well as francophone minorities scattered across Canada after 1763. In view of the above, this paper aims to show from a translational point of view the attempts to redress decades of persecution and assimilation that are currently taking place, particularly in light of the findings and recommendations of the Truth and Reconciliation Commission released in June 2015. The analysis covers a unique context, involving the translation of works of Indigenous Literature into a minority language such as French in Canada. After presenting current trends in this area, the paper will discuss an autobiographical novel Halfbreed by Metis author Maria Campbell, which appeared in French translation in 2021 almost half a century after the original was published. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore the intertextual dialogue and its meaning that is continuously articulated as cultural heritage in the prose of the well-known Canadian writer Jane Urquhart. By including the famous Victorian poet Robert Browning in the plot of her short story "The Death of Robert Browning," Urquhart highlights the postmodern tendency to express the basic human need to mythologize and perpetuate illusions about death. In a broader context, as an author from Canada, she emphasizes the difference between reality and fiction by revising historical facts through various textual interactions and revisions that help to construct an entirely new literary world freed from the psychological influence of British heritage in the context of Canadian culture. The story "The Death of Robert Browning" demonstrates a literary procedure in which a real person was placed at the center of the plot and his fictional life, which continued less than a hundred years after his death, served to allow readers to experience the real character of a historical figure in a special way. Thus, we get a completely new text in which all the sensibility and syncretism that the poet himself reflected are imprinted, but also a text in which the boundaries between values, rules, and prohibitions disappear and in which the mixture of reality and fiction gives way to the classical vision of the text.

Language is used in our daily routine as a communicative tool. Language users engage in a wide range of activities within the context of their daily social life and interact in several ways to make their goals understandable to their peers. Style is defined as an individual method of expressing ideas while speaking the common language exceptionally well. An individual's style dictates how one shapes one's language use to fit his or her objective. In a language, there are a variety of designs that may be characterised as scientific, literary, historical, legal, religious, rite, and rhetorical. These designs supported the modalities of communication and, as a result, the realms of language use. These communicative idioms take on completely diverse meanings in various fields of study. Atwood is widely regarded as a writer who is easy to read. She is the most well-known writer in Canadian literature. Her unique way of thinking is shown in her book, The Handmaid's Tale, through the writing process. [ABSTRACT FROM AUTHOR]

This article examines a number of practices of observation as represented in contemporary Canadian dystopias in light of technological developments as seen by transhumanist thought. It argues that the transhumanist scopic practices that underlie their science-fictional imaginaries are in fact dystopian, and, as such, it takes examples from dystopian literature to illustrate how the nature of sight and seeing in the techno- and image-mediated context presents dangerous pitfalls for subject formation, identity politics, and agency. The article distinguishes between “vision” as a body of ideas and “sight” as the actual ways of seeing that may be reciprocal and create bonds of affectivity or, in the case of the transhumanist predicament, be instead founded on watching as the one-sided commodifying alternative.

Foregrounded reports of remembered speech habits typify Alice Munro’s short fiction. In one story, the author refers to this, almost casually, as “country speech.” I will examine instances of generalized speech tags (such as “As they used to say”) to explore their relation to the creation of spatial and temporal depth in the fictional landscape. Distinctions are established between types of these foregrounded speech tags, and the category of “country speech” is extended to include a related concept of “country manners.” These combine to help create the subtly layered distinctions between place (city, country, small town) and time (decades and generations) that add texture to Munro’s narratives.

The contribution introduces the special issue of ELOPE (Vol. 19, No. 1, 2022) and the collection of articles in honour of the doyenne of Canadian short fiction: Alice Munro.

The paper explores the dimensions of focalization from the point of view of cognitive poetics leaning on the idea that focalization directly affects the reading experience and, therefore, the reception of the narrative discourse. The importance of deixis, their referential value in the storytelling process and reception, is illustrated on the example of the short story “Something I’ve Been Meaning to Tell You” by Alice Munro. Focalization is treated as a rhetorical instrument modifying various layers of the narrative discourse and strategically guiding the process of reception. The first section presents the theories relevant for the understanding of the concept of focalization, and it includes a short overview of deixis from the point of view of cognitive poetics. The analysis of the short story by Alice Munro follows to serve as an illustration of the rhetorical flexibility of storytelling. Finally, the concluding remarks offer arguments against the conventional comprehension and interpretation of third-person narration. [ABSTRACT FROM AUTHOR]

Clearly devoted to the analysis of various issues of belonging, the work of Marusya Bociurkiw, a Ukrainian-Canadian queer writer, director, academic, and activist, examines culture, memory, history, and subjectivity in a fascinatingly unique way. Such a thematic composition is, however, not the only aspect that visibly marks and unities Bociurkiw’s multi-generic oeuvre; what clearly stands out as yet another distinguishing characteristic that Bociurkiw’s works have in common is the idea that seems to stand behind their creation – an impelling notion that “[t]o have one’s belonging lodged in a metaphor is voluptuous intrigue” (Brand 2001: 18). Consequently, what Bociurkiw’s works vividly portray is the writing-self “in search of its most resonant metaphor” (Brand 2001: 19). In one of her works, Comfort Food for Breakups: The Memoir of a Hungry Girl (2007), this metaphor is food as the art of food-making and the act of eating become here a crucial background against which the issues of belonging are played out. The aim of this article is thus to show how Bociurkiw finds her way of discussing various aspects of subjectivity by means of writing about food, whether about preparing it, tasting it, or recollecting its preparation and tastes. Ultimately, however, the article is to prove that food in Bociurkiw’s memoir not only reflects identity but is presented as a vital site of intersectionality. Thus, embedded in intersectionality discourse, and particularly instructed by Vivian May’s Pursuing Intersectionality, Unsettling Dominant Imaginaries (2015), the analysis of Comfort Food for Breakups is carried out from an interdisciplinary perspective because it is simultaneously grounded in food studies theory, i.e., the ideas developed by Elspeth Probyn in Carnal Appetites: FoodSexIdentities (2000), confirming, in this way, that vital connections can and should be made between the two, ostensibly unrelated, fields of study.

This article approaches recent discussions on the state of contemporary CanLit as a body of literary texts, an academic field, and an institution. The discussion is informed primarily by a number of recent or relatively recent publications, such as Trans.CanLit. Resituating the Study of Canadian Literature (Kamboureli & Miki 2007), Refuse. CanLit in Ruins (McGregor, Rak & Wunker 2018), Luminous Ink: Writers on Writing in Canada (McWatt, Maharaj & Brand 2018), and the discussions and/or controversies some of those generated – expressed through newspaper and magazine articles, scholarly essays, but also through tweets, etc. The texts have been written as a response to the current state and – in some cases – scandals of CanLit. Many constitute attempts at starting or contributing to a discussion aimed at not only taking stock of, but also reinterpreting and re-defining the field and the institution in view of the challenges of the globalising world. Perhaps more importantly, they address also the challenges resulting from the rift between CanLit as implicated in the (post)colonial nation-building project and rigid institutional structures, perpetuating the silencings, erasures, and hierarchies resulting from such entanglements, and actual literary texts produced by an increasingly diversified group of writers working with a widening range of topics and genres, and creating often intimate, autobiographically inspired art with a sense of responsibility to marginalised communities. The article concludes with the example of Indigenous writing and the position some young Indigenous writers take in the current discussions.

In the twenty-first century, Canadian writers have been doing something they did infrequently in the past: acknowledging and referencing the work of past Canadian writers. Although declining pedagogical and academic interest in Canadian literature has made this development hard to see, writers themselves have been quietly building upon and contributing to something that looks very much like a literary tradition. Canadian writers of course continue to read and be influenced by writers outside Canada, just as they always have: but in their own words, they are now telling us that they are reading, learning from, and responding to other Canadian writers – that there is a Canadian literary tradition that crosses generational and regional borders, and that Canadian writers (and publishers, and readers) are aware of parts of that tradition, the parts that matter to them.

Two recent anthologies of Canadian writing – Refuse: CanLit in Ruins and Resisting Canada: An Anthology of Poetry – reflect stances of resistance to mainstream institutional understandings of Canadian writing culture. They highlight recent scandals in academia and in literary communities, as well as highlighting the voices of Indigenous and women writers. These stances echo earlier forms of cultural revolution in Canada, in particular the Refus global manifesto, which provoked conventional Quebec society in the late 1940s. This paper contrasts these forms of refusal with a period in the 1950s and 1960s when influential Jewish writers, including Leonard Cohen and Irving Layton, took a counter-cultural stance while appearing in mainstream venues offered to them by CBC television and radio.

Background: Few studies have assessed the relationship between poverty and the risk of infection with antimicrobial resistant organisms (AROs). We sought to identify, appraise, and synthesize the available published Canadian literature that analyzes living in poverty and risk of AROs. Methods: A structured narrative review methodology was used, including a systematic search of three databases: MedLINE, EMBASE and Web of Science for articles pertaining to poverty, and infection with AROs in Canada between 1990 and 2020. Poverty was broadly defined to include economic measures and associated social determinants of health. Based on inclusion and exclusion criteria, there were 889 initial articles, and 43 included in the final review. The final articles were extracted using a standard format and appraised using the Joanna Briggs Institute Levels of Evidence framework. Results: Of 43 studies, 15 (35%) related to methicillin-resistant Staphylococcus aureus (MRSA). One study found a 73% risk reduction (RR 0.27, 95%CI 0.19–0.39, p = < 0.0001) in community-acquired MRSA (CA-MRSA) infection for each $100,000 income increase. Results pertaining to homelessness and MRSA suggested transmission was related to patterns of frequent drug use, skin-to-skin contact and sexual contact more than shelter contact. Indigenous persons have high rates of CA-MRSA, with more rooms in the house being a significant protective factor (OR 0.86, p = 0.023). One study found household income over $60,000 (OR 0.83, p = 0.039) in univariate analysis and higher maternal education (OR 0.76, 95%CI 0.63–0.92, p = 0.005) in multivariate analysis were protective for otitis media due to an ARO among children. Twenty of 43 (46.5%) articles pertained to tuberculosis (TB). Foreign-born persons were four times more likely to have resistant TB compared to Canadian-born persons. None of the 20 studies used income in their analyses. Conclusions: There is an association between higher income and protection from CA-MRSA. Mixed results exist regarding the impact of homelessness and MRSA, demonstrating a nuanced relationship with behavioural risk factors. Higher income and maternal education were associated with reduced ARO-associated acute otitis media in children in one study. We do not have a robust understanding of the social measures of marginalization related to being foreign-born that contribute to higher rates of resistant TB infection. [ABSTRACT FROM AUTHOR]

Mark Anthony Jarman's characters are often down and out, and often wandering and wondering. Using theories of wonder, this essay argues that wonder plays a key role in many of Jarman's stories--stories that are marked not by narrative or psychological closure, but by a sense of wonder as characters muse on their lot in life. After briefly considering Jarman's role within Canadian literature, including his innovative approaches to the short story form, and his odd status as an influential yet often ignored writer, the essay moves to a discussion of the various ways that wonder is at play in his works, both as a verb and a state. Jarman's characters are frequently in doubt, and the act of wondering takes us into their drifting, self-reflecting minds. However, there is also the sense of wonder as the miraculous. Jarman's narrators find optimism in the world around them, thanks to flashes of the beauty of the unlikely. Wonder, thus, has a crucial structural function. [ABSTRACT FROM AUTHOR]

As defined by Georg G. Iggers and promoted by Hayden White, the postmodern challenge of historiography calls into question the objective enquiry and truth value of history writing. Many works of fiction have embodied this trend, embracing the challenge by exploring objectivity and the retrievability of the past. In contemporary Canadian literature, such cases are also to be found. The novel Weird Sister (1999) by Kate Pullinger thematizes history and history writing, utilizes Gothic elements, and employs the elements of historiographic metafiction, e.g. as characterized by Linda Hutcheon. The book features characters representing the so‐called silent voices whose testimony had remained lost in the official historical record. This paper aims to show that the depiction of the impossibility of uncovering the truth about the past represents a significant contribution by contemporary fiction authors to the postmodern challenge of historiography, with Pullinger’s novel emerging as a notable contribution to this discourse. [ABSTRACT FROM AUTHOR]

This paper addresses the noticeably low presence of Canadian literature in hemispheric American literary research. The fact that hemispheric literary studies focuses on a comparison of the United States and Spanish America is partly because of Canada's marginal position in the Americas, its lack of identification with the continent, and Canadian scholars' reluctance to engage in hemispheric studies due to their insecurity concerning cultural identity and the discipline's potential imperialistic impulses. By examining a representative history of Canadian literature and several literary studies for intersections and tangencies between Canadian literature and other literatures of the Americas, this paper will demonstrate that there are natural links between them, which make a transnational comparative approach to Canadian literature both legitimate and desirable. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Law / Revista de Llengua i Dret is the property of Revista de Llengua i Dret 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.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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.)

Mary Shelley’s iconic Frankenstein is a pivotal work in the Western canon. Since its publication in 1818, the novel has been re-written and adapted many times. Shelley’s magnum opus sublimely evokes the postlapsarian condition of the fallen, while also capturing the imminent fear of technology, scientific progress and artificial procreation. The paper aims to explore the Frankenstein legacy and the development of Frankensteinian motifs in Atwood’s speculative fiction. More precisely, the paper focuses on The Handmaid’s Tale (1985), The MaddAddam Trilogy – Oryx and Crake (2003), The Year of the Flood (2009), MaddAddam (2013), and The Heart Goes Last (2015), analyzing how postmodern literature recycles and incorporates elements from Frankenstein to reflect (on) contemporary anxieties and to insist on the fluid discursivity of monstrosity.

This article looks at trauma beyond the fixation on the limits of narrative as expressed in the mainstream theory of trauma in the 1990s, in the work of Cathy Caruth, Shoshana Felman and Dori Laub, among others. Its purpose is to achieve an appreciation of narrative as a navigable textual itinerary whose very flows and discontinuities are energized by a reconciliation (or lack thereof) with life’s shocking and incomprehensible moments. I build upon Amir Khadem’s rejection of the polarity between narrative and the incurable psychic wound in order to provide textual analyses of a corpus of three contemporary novels set in the context of a historically traumatized regional identity, that of Newfoundland in Canada: The Town That Forgot How to Breathe (2003), by Kenneth J. Harvey, February (2009), by Lisa Moore, and Sweetland (2014), by Michael Crummey. A revision of the role of genres traditionally used to describe historical and personal crises will help us observe how their conventions function within a context of outrage at the global and regional mismanagement of natural resources.

What happens once the rogue rides off into the sunset? This cross-genre essay considers the figure of the rogue’s decline and gradual dismemberment in the face of the pressures of the world. Beginning with the “rogue” digits and other body parts lost by the men who surrounded him in his youth—especially his grandfather—Dobson considers the costs of labour and poverty in rural environments. For him, the rogue is one who falls somehow outside of cultural, social, and political norms— the one who has decided to step outside of the establishment, outside of the corrupt élites and their highfalutin ways. To do so comes at a cost. Turning to the life of writer George Ryga and to the poetry and fiction of Patrick Lane, this essay examines the real, physical, material, and social costs of transgression across multiple works linked to rural environments in Alberta and British Columbia. The essay shows the ways in which very real forms of violence discipline the rogue, pushing the rogue back into submission or out of mind, back into the shadowy past from whence the rogue first came. Resisting nostalgia while evincing sympathy, this essay delves into what is at stake for one who would become a rogue.

Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation.

Alice Munro published in 2012 her last collection of short stories, Dear Life, which includes "Finale", a quartet of stories introduced by the author in semiautobiographical terms. The relevance of the themes addressed is, as may be inferred, significant in relation to her life and previous work. In fact, they echo her first two collections of short stories --Dance of the Happy Shades (1968) and Lives of Girls and Women (1971)-- not only in motifs and events, but also in style. This paper analyses and compares this last section --Munro's conclusive contribution to the literary world-- with her early work to establish joint features and similarities in order to support and extend the often-claimed autobiographical dimension of Munro's fiction from this unexplored perspective. In addition, this process of analogy has recognised the author's literary and emotional closure in relation to her mother, a hitherto elusive endeavour in her work. [ABSTRACT FROM AUTHOR]

The article focuses on real trauma in literature especially on the works of the Canadian author Margaret Atwood. It reports that psychological novels are also works of prose fiction that draws upon contemporary Atwootheories and one such theory is the trauma theory. It mentions that Atwood was the first writer in Canada to address gender issues later she widened her perspective.

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