Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.
摘要本文认为，自21世纪初以来，加拿大小说——无论是英裔加拿大人的小说，还是魁族人的小说，还是土著作家的小说——都出现了启示录类型的复兴。虽然启示录小说在20世纪也获得了评论界的关注，但这一最初的浪潮与被剥夺公民权、被边缘化的人物有关，他们被认为是到达应许之地的失败者而被排斥在外。因此，当时的小说——或许在英加两国和魁族的分裂中也是如此——主要是(后)殖民主义和民族主义的产物。然而，自2000年以来，加拿大的末日小说发生了巨大变化。9/11事件、快速的技术进步、日益严重的气候危机、真相与和解委员会:这些变化都标志着加拿大小说的未来。因此，本文考察了三部小说——英裔加拿大小说家艾米丽·约翰·曼德尔的《第11站》(2014年)、土著作家托马斯·金的《Turtle Back of The Turtle》(2014年)和qusambsamcois作者尼古拉斯·迪克纳的《初学者启示录》(2010年)——来讨论他们是如何通过启示录的类型和对新未来的憧憬来摧毁加拿大的民族主义的。
{"title":"The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction","authors":"Matthew Cormier","doi":"10.2478/abcsj-2020-0014","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0014","url":null,"abstract":"Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"1999 1","pages":"5 - 22"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88255168","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":"Kathleen Gallagher and Jonothan Neelands, eds. Drama and Theatre in Urban Contexts. Oxon, New York: Routledge, 2013. ($ 148.80 hb, $ 58.95 pb). Pp 165. ISBN 978-0415835367","authors":"D. Benea","doi":"10.2478/abcsj-2020-0023","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0023","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"32 1","pages":"177 - 182"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76922393","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 Rosa Sonneschein (1847–1932) was an important figure in late nineteenth-century American journalism, activism, and fiction. While a few brief studies were dedicated to her biography and to her role as a Jewish social activist, editor, and contributor to The American Jewess, no critical work has been devoted as yet to her literary production. The aim of this essay is to rectify this critical neglect by examining Sonneschein’s wide literary opus and by investigating its connection, if any, to the views she expressed as a journalist and a public speaker. This essay will explore Sonneschein’s threefold literary oeuvre, consisting of the following genres: Jewish fiction, non-Jewish fiction, and literary sketches. It will also try to explicate Rosa’s often conflicting stance with regard to Judaism, feminism, and Zionism, a standpoint which should be examined in the context of the fin-the-siècle’s turbulent changes American society had to cope with, especially pertaining to massive immigration, religious and social reforms, suffrage and temperance movements, etc.
{"title":"Rosa Sonneschein’s Fin-the-Siècle Fiction: The Clashing Worlds of Zionism, Reform Judaism, Feminism and Conformity","authors":"I. Rabinovich","doi":"10.2478/abcsj-2020-0009","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0009","url":null,"abstract":"Abstract Rosa Sonneschein (1847–1932) was an important figure in late nineteenth-century American journalism, activism, and fiction. While a few brief studies were dedicated to her biography and to her role as a Jewish social activist, editor, and contributor to The American Jewess, no critical work has been devoted as yet to her literary production. The aim of this essay is to rectify this critical neglect by examining Sonneschein’s wide literary opus and by investigating its connection, if any, to the views she expressed as a journalist and a public speaker. This essay will explore Sonneschein’s threefold literary oeuvre, consisting of the following genres: Jewish fiction, non-Jewish fiction, and literary sketches. It will also try to explicate Rosa’s often conflicting stance with regard to Judaism, feminism, and Zionism, a standpoint which should be examined in the context of the fin-the-siècle’s turbulent changes American society had to cope with, especially pertaining to massive immigration, religious and social reforms, suffrage and temperance movements, etc.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"3 1","pages":"147 - 166"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87346172","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 aims to contribute to the body of scholarly discussion surrounding Ernest Hemingway’s Nick Adams Stories as interconnected works of subtle yet complex depictions of trauma and memory. It primarily focuses on two stories, “Now I Lay Me” and “A Way You’ll Never Be,” and attempts to unearth hidden parallels between the two, ultimately positing that each story informs the other in vital ways. The article does so through an examination of memory types, the narrative nature of episodic personal memory, and incorporation of an analysis on the disruptive nature of traumatic memory. Using that framework, it examines the function of screen memory and trauma in “Now I Lay Me,” a story of nocturnal haunting, and unearths the existence of dual traumas within the text, those suffered in combat and those in childhood. Connections are made to the events and experiences of “A Way You’ll Never Be,” with the episodes Nick suffers interpreted as dreams. Thus, the image of the unplaceable yellow house is viewed as a manifestation of the domestic trauma of Adams’s childhood, with the home itself representative of the terror of obliteration, a second trauma revealed and existing beyond the boundaries of the text.
本文旨在为围绕欧内斯特·海明威的《尼克·亚当斯故事集》这一微妙而复杂的创伤和记忆描写作品的学术讨论做出贡献。它主要关注两个故事，《现在我躺着我》(Now I Lay Me)和《你永远不会成为的人》(A Way You Never Be)，并试图发掘这两个故事之间隐藏的相似之处，最终假设每个故事都以重要的方式相互联系。这篇文章通过对记忆类型、情景性个人记忆的叙事性以及对创伤性记忆的破坏性的分析来做到这一点。利用这一框架，作者研究了《现在我躺下》(Now I Lay Me)中屏幕记忆和创伤的功能，这是一个夜间闹鬼的故事，并揭示了文本中存在的双重创伤，那些在战斗中遭受的创伤和那些在童年遭受的创伤。这些情节与《A Way You Never Be》中的事件和经历有关，尼克经历的情节被解释为梦境。因此，无法放置的黄色房子的形象被视为亚当斯童年家庭创伤的一种表现，家本身代表了被毁灭的恐惧，这是第二种创伤的揭示和存在，超越了文本的界限。
{"title":"Impalpable Scars: Dual Traumas in Hemingway’s “Now I Lay Me” and “A Way You’ll Never Be”","authors":"Richard Kovarovic","doi":"10.2478/abcsj-2020-0011","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0011","url":null,"abstract":"Abstract This article aims to contribute to the body of scholarly discussion surrounding Ernest Hemingway’s Nick Adams Stories as interconnected works of subtle yet complex depictions of trauma and memory. It primarily focuses on two stories, “Now I Lay Me” and “A Way You’ll Never Be,” and attempts to unearth hidden parallels between the two, ultimately positing that each story informs the other in vital ways. The article does so through an examination of memory types, the narrative nature of episodic personal memory, and incorporation of an analysis on the disruptive nature of traumatic memory. Using that framework, it examines the function of screen memory and trauma in “Now I Lay Me,” a story of nocturnal haunting, and unearths the existence of dual traumas within the text, those suffered in combat and those in childhood. Connections are made to the events and experiences of “A Way You’ll Never Be,” with the episodes Nick suffers interpreted as dreams. Thus, the image of the unplaceable yellow house is viewed as a manifestation of the domestic trauma of Adams’s childhood, with the home itself representative of the terror of obliteration, a second trauma revealed and existing beyond the boundaries of the text.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"19 1","pages":"189 - 207"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81864683","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 present contribution examines the representation of the city in Margaret Atwood’s 1985 dystopian novel, The Handmaid’s Tale, with the aim of uncovering how the urban space is transformed and repurposed in order to uphold the ideological pillars of the theocratic regime described in the book. The urban space depicted in the book, which the reader sees through the eyes of the protagonist and narrator Offred, is built upon the contrasting image of “everything looks the same” versus “everything is fundamentally different.” Inspired by the Puritan colonies of 17th-century New England, the Republic of Gilead, in a manner similar to many reallife totalitarian regimes throughout history, remodels the urban space in such a way as to correspond to its worldview and help maintain its hold on power. The first part of the article examines how this is done in the novel itself (also making brief references to the representation of the city in the 2019 sequel to The Handmaid’s Tale, entitled The Testaments) while the second part discusses how the city is portrayed in the 2017 TV series adaptation of the novel in order to highlight similarities and differences between the literary and televised versions.
{"title":"The Dystopian Transformation of Urban Space in Margaret Atwood’s The Handmaid’s Tale","authors":"Raluca Moldovan","doi":"10.2478/abcsj-2020-0007","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0007","url":null,"abstract":"Abstract The present contribution examines the representation of the city in Margaret Atwood’s 1985 dystopian novel, The Handmaid’s Tale, with the aim of uncovering how the urban space is transformed and repurposed in order to uphold the ideological pillars of the theocratic regime described in the book. The urban space depicted in the book, which the reader sees through the eyes of the protagonist and narrator Offred, is built upon the contrasting image of “everything looks the same” versus “everything is fundamentally different.” Inspired by the Puritan colonies of 17th-century New England, the Republic of Gilead, in a manner similar to many reallife totalitarian regimes throughout history, remodels the urban space in such a way as to correspond to its worldview and help maintain its hold on power. The first part of the article examines how this is done in the novel itself (also making brief references to the representation of the city in the 2019 sequel to The Handmaid’s Tale, entitled The Testaments) while the second part discusses how the city is portrayed in the 2017 TV series adaptation of the novel in order to highlight similarities and differences between the literary and televised versions.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"43 1","pages":"103 - 123"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79077883","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":"Emily Apter, Against World Literature: On the Politics of Untranslatability. London and New York: Verso, 2013. (Pb, £20/Hb, £70) Pp 382. ISBN: 9781844679706.","authors":"Mihaela Mudure","doi":"10.2478/abcsj-2020-0012","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0012","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"119 1","pages":"208 - 215"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73419924","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 present article sets out to explore the tradition and the innovative forces involved in the production of the first city atlas, Civitates orbis terrarum, a six-volume collection of town images published by Georg Braun and Franz Hogenberg between 1572 and 1617. In doing so, it considers the consequences of the rediscovery of Ptolemy’s notions of geography and chorography and traces how time-honoured ideas and new practices of describing places meet in the depiction of early modern cities. The article discusses the potential of chorography as a genre capable of representing a city while trying to convey information about its character and addresses the role of printing in the dissemination of city views. The analysis extends from classic notions and modern practices of chorography to the humanist pursuit of a global vision that can be identified in the design of the Civitates, where the metaphor of the theatre appears to extend from the material of the atlas to the book itself. The research is mostly based on social and cultural histories of cartography and cosmography which can contribute to a better understanding of the complex significance of city images in Braun and Hogenberg’s project.
本文旨在探讨第一本城市地图集《城市轨道》(Civitates orbis terrarum)的制作过程中的传统和创新力量。《城市轨道》是由乔治·布劳恩(Georg Braun)和弗朗茨·霍根伯格(Franz Hogenberg)在1572年至1617年间出版的六卷本城镇图集。在此过程中，它考虑了托勒密的地理和地理概念的重新发现的后果，并追溯了历史悠久的思想和描述地方的新做法如何在早期现代城市的描述中相遇。本文讨论了地理学作为一种体体学的潜力，它能够表现一个城市，同时试图传达有关其特征的信息，并讨论了印刷在传播城市景观中的作用。分析从经典概念和现代地理实践延伸到人文主义对全球视野的追求，这可以在civitites的设计中识别出来，其中剧院的隐喻似乎从地图集的材料延伸到书本身。该研究主要基于地图学和宇宙学的社会和文化历史，这有助于更好地理解Braun和Hogenberg项目中城市图像的复杂意义。
{"title":"A Book of Cities: Mapping Urban Space in Braun and Hogenberg’s Civitates Orbis Terrarum (1572-1617)","authors":"Petruţa Năiduţ","doi":"10.2478/abcsj-2020-0002","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0002","url":null,"abstract":"Abstract The present article sets out to explore the tradition and the innovative forces involved in the production of the first city atlas, Civitates orbis terrarum, a six-volume collection of town images published by Georg Braun and Franz Hogenberg between 1572 and 1617. In doing so, it considers the consequences of the rediscovery of Ptolemy’s notions of geography and chorography and traces how time-honoured ideas and new practices of describing places meet in the depiction of early modern cities. The article discusses the potential of chorography as a genre capable of representing a city while trying to convey information about its character and addresses the role of printing in the dissemination of city views. The analysis extends from classic notions and modern practices of chorography to the humanist pursuit of a global vision that can be identified in the design of the Civitates, where the metaphor of the theatre appears to extend from the material of the atlas to the book itself. The research is mostly based on social and cultural histories of cartography and cosmography which can contribute to a better understanding of the complex significance of city images in Braun and Hogenberg’s project.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"37 1","pages":"25 - 8"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80912083","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 As unprecedented waves of immigrants poured into Britain in the wake of World War Two, racism reared its ugly head. Literary works, like several branches of learning, made a considerable contribution towards bringing the problems of otherness and foreignness to the forefront of public attention. Malcolm Bradbury’s academic novel, Eating People Is Wrong (1959), is a typical case in point. This essay attempts to turn the spotlight on the unjust and unjustifiable racist judgments and practices inflicted on black African students in the said novel’s provincial redbrick university and, by extension, in the social universe. Unlike previous scholarly research on Bradbury’s work, the present paper pursues a new line of investigation by leaning on George Lakoff and Mark Johnson’s analysis of metonymy in their Metaphors We Live By (1980). This interdisciplinary venture aims to gauge the extent to which metonymic concepts involving skin colour and certain body parts inform race-related attitudes and demeanour. More precisely, I maintain that by purposely boiling the appearance and identity of a Nigerian student called Eborebelosa down to a “black face” or a “black head,” some prejudiced white academics cast him in the role of an inferior other and an unwelcome alien. This is all the more lamentable as intellectuals are supposed to ensure the prominence and permanence of tolerance, equality, and justice, instead of assuming the role of complacent and complicit social actors.
{"title":"Racial/Facial Discrimination in Malcolm Bradbury’s Eating People Is Wrong","authors":"Noureddine Friji","doi":"10.2478/abcsj-2020-0010","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0010","url":null,"abstract":"Abstract As unprecedented waves of immigrants poured into Britain in the wake of World War Two, racism reared its ugly head. Literary works, like several branches of learning, made a considerable contribution towards bringing the problems of otherness and foreignness to the forefront of public attention. Malcolm Bradbury’s academic novel, Eating People Is Wrong (1959), is a typical case in point. This essay attempts to turn the spotlight on the unjust and unjustifiable racist judgments and practices inflicted on black African students in the said novel’s provincial redbrick university and, by extension, in the social universe. Unlike previous scholarly research on Bradbury’s work, the present paper pursues a new line of investigation by leaning on George Lakoff and Mark Johnson’s analysis of metonymy in their Metaphors We Live By (1980). This interdisciplinary venture aims to gauge the extent to which metonymic concepts involving skin colour and certain body parts inform race-related attitudes and demeanour. More precisely, I maintain that by purposely boiling the appearance and identity of a Nigerian student called Eborebelosa down to a “black face” or a “black head,” some prejudiced white academics cast him in the role of an inferior other and an unwelcome alien. This is all the more lamentable as intellectuals are supposed to ensure the prominence and permanence of tolerance, equality, and justice, instead of assuming the role of complacent and complicit social actors.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"13 1","pages":"167 - 188"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85176059","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 Reality in Angela Carter’s magical realist novels is depicted through the deployment of numerous picturesque details that correspond to the readers’ experiential reality, differentiating such a world from non-realist forms. Though the magical realist fictional world is akin to the one outside of the fictional reality, the mode’s strategy still differs from that of traditional realism due to the absence of a purely mimetic role. Initially serving to establish what Roland Barthes termed l’effet de reel (the effect of reality), the city in Carter’s novels is indeed constructed according to the principles of magical realism and creates plausible links between textual and extratextual realities. Further inclusion of magical, uncanny elements into such a world, in one respect, leads to the creation of excentric spaces that promote the position of the marginalized Other and allow alternative outlooks on life to gain prominence. A hybrid reality that is the ultimate result of the coexistence of the normal and the uncanny leads to the subversion of what Carter saw as patriarchal stereotypes, primarily due to the fact that it problematizes and ultimately negates their very foundation. In other words, if we cannot agree on the criteria for what is real, how can we trust the ultimate authority of any other criteria? The city in Carter’s novels thus acts as a suitable literary venue for revealing the author’s ideological position.
{"title":"Alchemical Cities, Apocalyptic Cities: The City as an Exponent of Magical Realism and Ideology in Angela Carter’s Novels","authors":"Nina Muždeka","doi":"10.2478/abcsj-2020-0004","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0004","url":null,"abstract":"Abstract Reality in Angela Carter’s magical realist novels is depicted through the deployment of numerous picturesque details that correspond to the readers’ experiential reality, differentiating such a world from non-realist forms. Though the magical realist fictional world is akin to the one outside of the fictional reality, the mode’s strategy still differs from that of traditional realism due to the absence of a purely mimetic role. Initially serving to establish what Roland Barthes termed l’effet de reel (the effect of reality), the city in Carter’s novels is indeed constructed according to the principles of magical realism and creates plausible links between textual and extratextual realities. Further inclusion of magical, uncanny elements into such a world, in one respect, leads to the creation of excentric spaces that promote the position of the marginalized Other and allow alternative outlooks on life to gain prominence. A hybrid reality that is the ultimate result of the coexistence of the normal and the uncanny leads to the subversion of what Carter saw as patriarchal stereotypes, primarily due to the fact that it problematizes and ultimately negates their very foundation. In other words, if we cannot agree on the criteria for what is real, how can we trust the ultimate authority of any other criteria? The city in Carter’s novels thus acts as a suitable literary venue for revealing the author’s ideological position.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"214 1","pages":"49 - 68"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73215129","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":"Writing the City, Narrating Identity","authors":"Dragoş Ivana","doi":"10.2478/abcsj-2020-0001","DOIUrl":"https://doi.org/10.2478/abcsj-2020-0001","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"15 1","pages":"1 - 7"},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74788304","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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