Abstract Developed as a character in 2011, Mia is part of the world’s first breast cancer trilogy. Miai is a personal and professional project because the play’s roots are subjective (I lost my mother to breast cancer thirty years ago), as well as objective (I hold a PhD in Medical Humanities with publications at the intersection between the arts and medicine). This article focuses on the many cri(s)es that Mia faces as a woman. She is in her early thirties when she is diagnosed with breast cancer. The treatment is aggressive and, consequently, not only does she lose one of her breasts (via mastectomy), but she cannot keep a pregnancy. We meet Mia outside of the white and somewhat terrifying hospital walls, that is, we meet her at home, and because of that, we have the illusion that she is in a protected space. We soon discover otherwise.
{"title":"The Many Cri(s)es of Mia In memoriam, to Rodica","authors":"C. Florescu","doi":"10.2478/abcsj-2022-0022","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0022","url":null,"abstract":"Abstract Developed as a character in 2011, Mia is part of the world’s first breast cancer trilogy. Miai is a personal and professional project because the play’s roots are subjective (I lost my mother to breast cancer thirty years ago), as well as objective (I hold a PhD in Medical Humanities with publications at the intersection between the arts and medicine). This article focuses on the many cri(s)es that Mia faces as a woman. She is in her early thirties when she is diagnosed with breast cancer. The treatment is aggressive and, consequently, not only does she lose one of her breasts (via mastectomy), but she cannot keep a pregnancy. We meet Mia outside of the white and somewhat terrifying hospital walls, that is, we meet her at home, and because of that, we have the illusion that she is in a protected space. We soon discover otherwise.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"16 1","pages":"168 - 183"},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78801476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines descriptions of persons, objects or scenes in three novels, Virginia Woolf’s To the Lighthouse, Margaret Atwood’s The Handmaid’s Tale and Alice Thompson’s The Book Collector, which either straightforwardly or obliquely evoke various painting genres. I argue that although ekphrasis typically names nowadays “the verbal representation of visual representation” (James Heffernan), certain descriptions beg for a revision of the modern category of ekphrasis. My present corpus includes both ekphrases ‘proper’ and descriptions which evoke, without referring to, portraits, still lifes or genre paintings. I call the latter category readerly reverse ekphrasis, to emphasise the reader’s co-operation with the author – during the reading process – to determine, beyond the painterly affinities of the description, its structural makeup as ekphrasis.
{"title":"Ut pictura poesis: Ekphrasis, Genre Painting and Still Life in Virginia Woolf, Margaret Atwood and Alice Thompson","authors":"E. Ciobanu","doi":"10.2478/abcsj-2022-0003","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0003","url":null,"abstract":"Abstract This article examines descriptions of persons, objects or scenes in three novels, Virginia Woolf’s To the Lighthouse, Margaret Atwood’s The Handmaid’s Tale and Alice Thompson’s The Book Collector, which either straightforwardly or obliquely evoke various painting genres. I argue that although ekphrasis typically names nowadays “the verbal representation of visual representation” (James Heffernan), certain descriptions beg for a revision of the modern category of ekphrasis. My present corpus includes both ekphrases ‘proper’ and descriptions which evoke, without referring to, portraits, still lifes or genre paintings. I call the latter category readerly reverse ekphrasis, to emphasise the reader’s co-operation with the author – during the reading process – to determine, beyond the painterly affinities of the description, its structural makeup as ekphrasis.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"35 1","pages":"33 - 53"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73015875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract King Lear makes his daughters compete for inheritances by declaring “which of you . . . doth love us most.” His youngest refuses to let her dowry depend on displaying filial piety, instead declaring her fealty in the old, less emotional language of lineage: “I love your Majesty / According to my bond; no more nor less.” Brontë’s Heathcliff expresses the dialectic of lineage and affect in terms of affective will and testamentary wills. By asserting the former, he succeeds in revising the latter – forcing his dying son to name him his heir. Faulkner’s protagonists identify with grandparents in order to reassert older, extended lineage ties over unacceptable affective ties to parents or siblings. Or else they do just the opposite: repudiating lineages to miscegenetic or incestuous grandparents in order to form more responsible emotional bonds. Whichever generation they consciously identify with, they often end up unconsciously perpetuating the example of the generation they rejected. In family systems, role reversal often keeps things essentially the same. A homeostatic tendency resists the inevitabilities of children growing up and becoming parents, of parents growing old and reliving some of their former feelings of dependency as children, only now vis-à-vis their own children.
{"title":"Lineage versus Affect in Shakespeare’s, Brontë’s, and Faulkner’s Representations of Family Systems","authors":"J. Peacock","doi":"10.2478/abcsj-2022-0006","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0006","url":null,"abstract":"Abstract King Lear makes his daughters compete for inheritances by declaring “which of you . . . doth love us most.” His youngest refuses to let her dowry depend on displaying filial piety, instead declaring her fealty in the old, less emotional language of lineage: “I love your Majesty / According to my bond; no more nor less.” Brontë’s Heathcliff expresses the dialectic of lineage and affect in terms of affective will and testamentary wills. By asserting the former, he succeeds in revising the latter – forcing his dying son to name him his heir. Faulkner’s protagonists identify with grandparents in order to reassert older, extended lineage ties over unacceptable affective ties to parents or siblings. Or else they do just the opposite: repudiating lineages to miscegenetic or incestuous grandparents in order to form more responsible emotional bonds. Whichever generation they consciously identify with, they often end up unconsciously perpetuating the example of the generation they rejected. In family systems, role reversal often keeps things essentially the same. A homeostatic tendency resists the inevitabilities of children growing up and becoming parents, of parents growing old and reliving some of their former feelings of dependency as children, only now vis-à-vis their own children.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"30 1","pages":"99 - 116"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84186035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editor’s Note: New and Old Crises: Postcards from the Floating World","authors":"Alexandra Mitrea","doi":"10.2478/abcsj-2022-0001","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0001","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"3 1","pages":"1 - 8"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80951619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The article focuses on the evolution of cyberspace from a myth-critical perspective: the presence of irrational and fantasy elements in seemingly rational and scientific cyberpunk as a subgenre of hard science fiction. Our research primarily focuses on two significant works: William Gibson’s Sprawl trilogy (1984-1988), an icon of early cyberpunk, and Neal Stephenson’s Snow Crash (1992), a switch to postcyberpunk. Moreover, we consider the other works of a broad genre of cyberpunk including The Matrix movies and conclude that the cyberpunk of the 1980s and 1990s presented cyberspace as an enchanted Terra incognita and blurred the line between rationality and irrationality, technology and magic. Emerging as a way of escaping the real world, as hope for immortality, transcendence or transgression (Foucault), the cyberpunk ‘matrix’ followed in the footsteps of fantasy, myth, religion, and utopia. In our view, the postcyberpunk ‘Metaverse’ of the 1990s is more ironical and ‘realistic’ as it appears, and the more familiar and routine the cyberspace became to people, the less romantic and mysterious it turned out to be. Nevertheless, the nostalgic attempts to return to the old, fantasy model of cyberspace were made in postcyberpunk almost immediately after its emergence.
{"title":"Here Be Dragons: The Evolution of Cyberspace from William Gibson to Neal Stephenson","authors":"Pol Donets, Nataliya Krynytska","doi":"10.2478/abcsj-2022-0005","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0005","url":null,"abstract":"Abstract The article focuses on the evolution of cyberspace from a myth-critical perspective: the presence of irrational and fantasy elements in seemingly rational and scientific cyberpunk as a subgenre of hard science fiction. Our research primarily focuses on two significant works: William Gibson’s Sprawl trilogy (1984-1988), an icon of early cyberpunk, and Neal Stephenson’s Snow Crash (1992), a switch to postcyberpunk. Moreover, we consider the other works of a broad genre of cyberpunk including The Matrix movies and conclude that the cyberpunk of the 1980s and 1990s presented cyberspace as an enchanted Terra incognita and blurred the line between rationality and irrationality, technology and magic. Emerging as a way of escaping the real world, as hope for immortality, transcendence or transgression (Foucault), the cyberpunk ‘matrix’ followed in the footsteps of fantasy, myth, religion, and utopia. In our view, the postcyberpunk ‘Metaverse’ of the 1990s is more ironical and ‘realistic’ as it appears, and the more familiar and routine the cyberspace became to people, the less romantic and mysterious it turned out to be. Nevertheless, the nostalgic attempts to return to the old, fantasy model of cyberspace were made in postcyberpunk almost immediately after its emergence.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"26 1","pages":"76 - 98"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89735490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reviews: Sir Gawayn and the Grene Knyght – Sir Gawain și Cavalerul cel Verde. Translated by Mircea M. Tomuș. Cluj-Napoca: Editura Școala Ardeleană, 2021. pp. vi, 350. 50 RON (softcover). ISBN: 978-606-797-644-1","authors":"A. Crişan","doi":"10.2478/abcsj-2022-0013","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0013","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"21 1 1","pages":"252 - 256"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75524950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Since Cheryll Glotfelty’s 1996 call to transnationalize ecocriticism, several strands of ecocriticism have managed, with varying degrees of success, to extend the study of nature beyond the white American context. Nevertheless, ecocritical studies to deal with multi-ethnic and diasporic subjects such as Arabic literature written in diaspora are still quite sparse. The present study aims to examine the degree to which the transnational turn in ecocritical theory has been implemented in Arabic literature in diaspora, by conducting an ecocritical analysis of My Name Is Salma (2007), a diasporic novel written by the Arab-British writer Fadia Faqir. The protagonist’s interactions with various natural settings in Lebanon, Cyprus and England offer a deeper insight into the role nature plays in shaping the identity of the Arab immigrant who leaves his or her native land to live in a foreign one. In this sense, not only would a more theoretically-based attention to ecocritical studies in Arab diasporic literature contribute to the current discussions of ecocriticism, but it would also offer further perspectives on the most commonly raised questions in Arabic diasporic literature.
{"title":"Transnationalizing Ecocritical Studies in Arab Diasporic Fiction: A Case Study of Fadia Faqir’s My Name Is Salma","authors":"E. Mukattash","doi":"10.2478/abcsj-2022-0010","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0010","url":null,"abstract":"Abstract Since Cheryll Glotfelty’s 1996 call to transnationalize ecocriticism, several strands of ecocriticism have managed, with varying degrees of success, to extend the study of nature beyond the white American context. Nevertheless, ecocritical studies to deal with multi-ethnic and diasporic subjects such as Arabic literature written in diaspora are still quite sparse. The present study aims to examine the degree to which the transnational turn in ecocritical theory has been implemented in Arabic literature in diaspora, by conducting an ecocritical analysis of My Name Is Salma (2007), a diasporic novel written by the Arab-British writer Fadia Faqir. The protagonist’s interactions with various natural settings in Lebanon, Cyprus and England offer a deeper insight into the role nature plays in shaping the identity of the Arab immigrant who leaves his or her native land to live in a foreign one. In this sense, not only would a more theoretically-based attention to ecocritical studies in Arab diasporic literature contribute to the current discussions of ecocriticism, but it would also offer further perspectives on the most commonly raised questions in Arabic diasporic literature.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"106 1","pages":"179 - 200"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89300170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay seeks to trace and investigate ecologically inflected concepts in Jeanette Winterson’s Art & Lies. The general tendency in ecological and ecocritical analyses has long been a selective focus on how nature is represented in literary texts; however, the ecological crisis, globalization, and technological factors that drive environmental degradation are all tethered at the root to preliminary concepts relating to human behaviours, beliefs, values, and expectations. This essay maintains that the diagnoses should begin at the level of culture since it is at that level that ecological problems begin to germinate. Through a discussion that draws on Federico Campagna’s Technic and Magic: The Reconstruction of Reality, this essay performs a thematic reading of Art & Lies. Using Campagna’s elucidation of the metaphysical assumptions that inform environmentally destructive practices, it argues that Art & Lies draws attention to these assumptions and identifies in them an obstacle to raising ecological awareness. Additionally, by employing an approach that draws on ecocritical scholarship, this essay discusses how formal and linguistic experimentation in Art & Lies inscribes ecological viewpoints and attempts the mission of redress that could benefit a more ecologically attuned future.
{"title":"Ontology and Ecological Aesthetics in Jeanette Winterson’s Art & Lies","authors":"Qateralnada Melhem","doi":"10.2478/abcsj-2022-0002","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0002","url":null,"abstract":"Abstract This essay seeks to trace and investigate ecologically inflected concepts in Jeanette Winterson’s Art & Lies. The general tendency in ecological and ecocritical analyses has long been a selective focus on how nature is represented in literary texts; however, the ecological crisis, globalization, and technological factors that drive environmental degradation are all tethered at the root to preliminary concepts relating to human behaviours, beliefs, values, and expectations. This essay maintains that the diagnoses should begin at the level of culture since it is at that level that ecological problems begin to germinate. Through a discussion that draws on Federico Campagna’s Technic and Magic: The Reconstruction of Reality, this essay performs a thematic reading of Art & Lies. Using Campagna’s elucidation of the metaphysical assumptions that inform environmentally destructive practices, it argues that Art & Lies draws attention to these assumptions and identifies in them an obstacle to raising ecological awareness. Additionally, by employing an approach that draws on ecocritical scholarship, this essay discusses how formal and linguistic experimentation in Art & Lies inscribes ecological viewpoints and attempts the mission of redress that could benefit a more ecologically attuned future.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"12 1","pages":"9 - 32"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89339016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay demonstrates how Richard Wagamese employs oral storytelling techniques to make the complex idea of Indigenous dispossession sensually and intellectually accessible to readers of his novel, Indian Horse. The Wabseemoong First Nation writer depicts the devastating effects of white entitlement when rendering character Saul Indian Horse’s experiences in Canada’s residential schools and the effect those schools had on his subsequent life. Using narrative analysis, it will be shown how Saul loses his ability to perceive places as being alive and resonant, and is thereby dispossessed on an individual, social, and spiritual level. Furthermore, Wagamese’s descriptions of the physical, emotional, and sexual abuse of Indigenous children draw attention to the harrowing histories of Canada’s residential schools, thus laying bare the necropolitical potential of settler-colonial dispossession. This essay links Wagamese’s narrative to recent arguments brought forward in Indigenous studies. It aims to demonstrate that Indigenous dispossession in settler colonial states is part of modernity, and its overarching political economy, that is capitalism.i
本文展示了理查德·瓦加梅塞如何运用口述叙事技巧，让他的小说《印第安马》的读者在感官和智力上都能理解土著被剥夺的复杂概念。这位Wabseemoong First Nation作家在描绘人物Saul Indian Horse在加拿大寄宿学校的经历以及这些学校对他后来生活的影响时，描绘了白人权利的破坏性影响。通过叙事分析，我们将看到扫罗如何失去了感知地方的能力，从而在个人、社会和精神层面上被剥夺了权利。此外，Wagamese对土著儿童身体、情感和性虐待的描述引起了人们对加拿大寄宿学校悲惨历史的关注，从而暴露了定居者-殖民地剥夺的死亡政治潜力。这篇文章将Wagamese的叙述与最近在土著研究中提出的论点联系起来。它的目的是证明，在殖民国家，对土著居民的剥夺是现代性的一部分，它的总体政治经济，即资本主义
{"title":"Nighttime Invasions, Colonial Dispossession, and Indigenous Resilience in Richard Wagamese’s Indian Horse","authors":"Doro Wiese","doi":"10.2478/abcsj-2022-0004","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0004","url":null,"abstract":"Abstract This essay demonstrates how Richard Wagamese employs oral storytelling techniques to make the complex idea of Indigenous dispossession sensually and intellectually accessible to readers of his novel, Indian Horse. The Wabseemoong First Nation writer depicts the devastating effects of white entitlement when rendering character Saul Indian Horse’s experiences in Canada’s residential schools and the effect those schools had on his subsequent life. Using narrative analysis, it will be shown how Saul loses his ability to perceive places as being alive and resonant, and is thereby dispossessed on an individual, social, and spiritual level. Furthermore, Wagamese’s descriptions of the physical, emotional, and sexual abuse of Indigenous children draw attention to the harrowing histories of Canada’s residential schools, thus laying bare the necropolitical potential of settler-colonial dispossession. This essay links Wagamese’s narrative to recent arguments brought forward in Indigenous studies. It aims to demonstrate that Indigenous dispossession in settler colonial states is part of modernity, and its overarching political economy, that is capitalism.i","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"38 1","pages":"54 - 75"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91137537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.
{"title":"Postcards: Flotsam and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (I)","authors":"David Brian Howard","doi":"10.2478/abcsj-2022-0012","DOIUrl":"https://doi.org/10.2478/abcsj-2022-0012","url":null,"abstract":"Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"25 1","pages":"224 - 251"},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78811386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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