Pub Date : 2015-01-01DOI: 10.14288/CL.V0I225.186552
D. Gaertner
The return of the repressed is a pervasive trope in Eden Robinson’s Monkey Beach and it has been well theorized in the criticism surrounding the novel—from a Freudian perspective. However, in order to fully understand the aesthetics and politics of this important text more work is needed to develop the ways in which readers can engage with repression and its return from an Indigenous—and more specifically—Haisla, point of view. Via close reading and historical analysis, this essay locates the return of the repressed in relation to settler colonialism and traditional Haisla storytelling and fundamentally reframes arguments concerning psychoanalytic critique and Indigenous literature.
{"title":"“Something in Between”: Monkey Beach and the Haisla Return of the Return of the Repressed","authors":"D. Gaertner","doi":"10.14288/CL.V0I225.186552","DOIUrl":"https://doi.org/10.14288/CL.V0I225.186552","url":null,"abstract":"The return of the repressed is a pervasive trope in Eden Robinson’s Monkey Beach and it has been well theorized in the criticism surrounding the novel—from a Freudian perspective. However, in order to fully understand the aesthetics and politics of this important text more work is needed to develop the ways in which readers can engage with repression and its return from an Indigenous—and more specifically—Haisla, point of view. Via close reading and historical analysis, this essay locates the return of the repressed in relation to settler colonialism and traditional Haisla storytelling and fundamentally reframes arguments concerning psychoanalytic critique and Indigenous literature.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66902506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-01-01DOI: 10.14288/CL.V0I225.187334
M. Goldman, Sarah Powell
By offering an extended close reading of Alice Munro’s “The Bear Came over the Mountain” and Sarah Polley’s filmic adaption of this story, Away from Her, this paper traces the process whereby Munro’s and Polley’s narratives expand our understanding of the Lockean view of identity as “consciousness inhabiting a body.” More precisely, Munro’s and Polley’s texts shed light on Locke’s lesser known insights into the fraught relationship between memory and passions. By underscoring both the passionate, affective and embodied facets of remembering and forgetting and the intersubjective basis of meaning and identity, Munro’s and Polley’s works challenge Locke’s basic conception of an autonomous, rational self. In the process, both the story and the film deconstruct biomedical, mechanistic models by exposing the ironic instabilities and ambiguities associated with the experience of late-onset cognitive decline.
{"title":"Alzheimer’s, Ambiguity, and Irony: Alice Munro’s “The Bear Came over the Mountain” and Sarah Polley’s Away from Her","authors":"M. Goldman, Sarah Powell","doi":"10.14288/CL.V0I225.187334","DOIUrl":"https://doi.org/10.14288/CL.V0I225.187334","url":null,"abstract":"By offering an extended close reading of Alice Munro’s “The Bear Came over the Mountain” and Sarah Polley’s filmic adaption of this story, Away from Her, this paper traces the process whereby Munro’s and Polley’s narratives expand our understanding of the Lockean view of identity as “consciousness inhabiting a body.” More precisely, Munro’s and Polley’s texts shed light on Locke’s lesser known insights into the fraught relationship between memory and passions. By underscoring both the passionate, affective and embodied facets of remembering and forgetting and the intersubjective basis of meaning and identity, Munro’s and Polley’s works challenge Locke’s basic conception of an autonomous, rational self. In the process, both the story and the film deconstruct biomedical, mechanistic models by exposing the ironic instabilities and ambiguities associated with the experience of late-onset cognitive decline.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66902854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-01-01DOI: 10.14288/CL.V0I227.187794
M. Phung
Lee Maracle’s (Sto:lō) “Yin Chin” and SKY Lee’s Disappearing Moon Cafe have inaugurated a literary tradition of acknowledging and restoring Asian-Indigenous relations in the field of Asian Canadian studies. This study extends their intertextual conversation on the impact of racism and colonialism on Asian-Indigenous relations to consider the ways in which contemporary Asian Canadian settler citizens, migrants, and refugees may inherit not only the legacies of white supremacy, global capital, and settler colonialism but also the historical and ongoing relations of Sino-Indigenous indebtedness. Presenting an allegorical reading of Asian-Indigenous relations through scenes of settler/migrant/refugee indebtedness and gratitude represented in several Chinese Canadian literary texts, as well as Kim Thuy’s Ru , I argue that the literary tradition of Sino-Indigenous indebtedness has the capacity to generate a sense of mutuality and self-critique amongst all Asian Canadians to consider their role and responsibilities within the structures of settler colonialism, particularly within Asian migrant and refugee communities shaped by an enduring sense of gratitude towards the state for being granted a new life on colonized lands.
{"title":"Asian-Indigenous Relationalities: Literary Gestures of Respect and Gratitude","authors":"M. Phung","doi":"10.14288/CL.V0I227.187794","DOIUrl":"https://doi.org/10.14288/CL.V0I227.187794","url":null,"abstract":"Lee Maracle’s (Sto:lō) “Yin Chin” and SKY Lee’s Disappearing Moon Cafe have inaugurated a literary tradition of acknowledging and restoring Asian-Indigenous relations in the field of Asian Canadian studies. This study extends their intertextual conversation on the impact of racism and colonialism on Asian-Indigenous relations to consider the ways in which contemporary Asian Canadian settler citizens, migrants, and refugees may inherit not only the legacies of white supremacy, global capital, and settler colonialism but also the historical and ongoing relations of Sino-Indigenous indebtedness. Presenting an allegorical reading of Asian-Indigenous relations through scenes of settler/migrant/refugee indebtedness and gratitude represented in several Chinese Canadian literary texts, as well as Kim Thuy’s Ru , I argue that the literary tradition of Sino-Indigenous indebtedness has the capacity to generate a sense of mutuality and self-critique amongst all Asian Canadians to consider their role and responsibilities within the structures of settler colonialism, particularly within Asian migrant and refugee communities shaped by an enduring sense of gratitude towards the state for being granted a new life on colonized lands.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66903202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-01-01DOI: 10.14288/CL.V0I226.187498
A. Kroon
In Margaret Atwood’s novel Oryx and Crake , the apocalypse is brought about by the character Crake, who devises and unleashes a virus to wipe out human life. Far from a typical mad-scientist villain who abandons reason and turns against his own society, however, Crake exists in a social milieu that encourages the “mad” prizing of knowledge at the expense of feeling and the routine degradation and oppression of other humans. Drawing on the affect theory of Jonathan Flatley, Lauren Berlant, and Sara Ahmed, I analyze Crake as an exemplary denizen of the “happiness dystopia” that is his society. I argue that Crake’s disanthropic attitude is not recognized by other characters because the scientific and socioeconomic systems are perpetuated by a disaffected response to suffering. Crake does not appear mad, as even his genocidal endgame conforms to the affective logic of his society, effectively camouflaging his methods and motives from detection.
{"title":"Reasonably Insane: Affect and Crake in Margaret Atwood’s Oryx and Crake","authors":"A. Kroon","doi":"10.14288/CL.V0I226.187498","DOIUrl":"https://doi.org/10.14288/CL.V0I226.187498","url":null,"abstract":"In Margaret Atwood’s novel Oryx and Crake , the apocalypse is brought about by the character Crake, who devises and unleashes a virus to wipe out human life. Far from a typical mad-scientist villain who abandons reason and turns against his own society, however, Crake exists in a social milieu that encourages the “mad” prizing of knowledge at the expense of feeling and the routine degradation and oppression of other humans. Drawing on the affect theory of Jonathan Flatley, Lauren Berlant, and Sara Ahmed, I analyze Crake as an exemplary denizen of the “happiness dystopia” that is his society. I argue that Crake’s disanthropic attitude is not recognized by other characters because the scientific and socioeconomic systems are perpetuated by a disaffected response to suffering. Crake does not appear mad, as even his genocidal endgame conforms to the affective logic of his society, effectively camouflaging his methods and motives from detection.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66903189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-01-01DOI: 10.14288/CL.V0I224.186670
J. MacLatchy
This paper explores Shawna Dempsey and Lorri Millan’s performance art piece Lesbian National Parks and Services, in which they enact the persona of lesbian park rangers. After investigating ways that white European settler surveyors and early park rangers formulated a narrative of Canadian wilderness embedded with colonialism and heteronormativity, this paper questions how Dempsey and Millan subvert these myths with their effective enactment of the park ranger persona. Dempsey and Millan’s ventures into the frontiers of the previously uncharted lesbian wilds thus serve to redo what the original park wardens and surveyors did, but this time without the omission of their own queer identities. Finally, this paper considers how we might move even further into this frontier—away from the masculinist colonial construction of Canadian wilderness, toward a narrative of nature shaped by desire, including queer desire.
{"title":"Lesbian Rangers on a Queer Frontier","authors":"J. MacLatchy","doi":"10.14288/CL.V0I224.186670","DOIUrl":"https://doi.org/10.14288/CL.V0I224.186670","url":null,"abstract":"This paper explores Shawna Dempsey and Lorri Millan’s performance art piece Lesbian National Parks and Services, in which they enact the persona of lesbian park rangers. After investigating ways that white European settler surveyors and early park rangers formulated a narrative of Canadian wilderness embedded with colonialism and heteronormativity, this paper questions how Dempsey and Millan subvert these myths with their effective enactment of the park ranger persona. Dempsey and Millan’s ventures into the frontiers of the previously uncharted lesbian wilds thus serve to redo what the original park wardens and surveyors did, but this time without the omission of their own queer identities. Finally, this paper considers how we might move even further into this frontier—away from the masculinist colonial construction of Canadian wilderness, toward a narrative of nature shaped by desire, including queer desire.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66902090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-01-01DOI: 10.14288/CL.V0I223.186487
V. Austen
Abstract: This article establishes that Tuyen’s practice of installation art functions as a means of negotiating the past’s space within the present. By establishing Tuyen’s initial lack of control over the intrusion of her family’s loss into her physical surroundings, this essay perceives her art practice as Tuyen’s means of gaining agency over the spaces she inhabits and thereby over how the history of her family’s tragedy infiltrates these spaces. As this essay argues, in giving the past a material presence that can be bodily experienced, installation art, as represented by Brand, becomes a key means through which the destructive power of the traumatic past can be defused.
{"title":"Spaces of Agency: Installation Art in Dionne Brand’s What We All Long For","authors":"V. Austen","doi":"10.14288/CL.V0I223.186487","DOIUrl":"https://doi.org/10.14288/CL.V0I223.186487","url":null,"abstract":"Abstract: This article establishes that Tuyen’s practice of installation art functions as a means of negotiating the past’s space within the present. By establishing Tuyen’s initial lack of control over the intrusion of her family’s loss into her physical surroundings, this essay perceives her art practice as Tuyen’s means of gaining agency over the spaces she inhabits and thereby over how the history of her family’s tragedy infiltrates these spaces. As this essay argues, in giving the past a material presence that can be bodily experienced, installation art, as represented by Brand, becomes a key means through which the destructive power of the traumatic past can be defused.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66902031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-01-01DOI: 10.14288/CL.V0I223.186457
Kerry Lappin-Fortin
This interview with Canadian writer Lawrence Hill addresses some of the difficulties faced by translators of his work, particularly when attempting to render period dialogue and Black idiom as authentically as possible. Much of the discussion focuses on his novel A Book of Negroes (also published under the title Someone Knows my Name , and, in French, as Aminata ). The author is asked to reflect on what is lost−and gained−in translation.
{"title":"Talking Translation: An Interview with Lawrence Hill","authors":"Kerry Lappin-Fortin","doi":"10.14288/CL.V0I223.186457","DOIUrl":"https://doi.org/10.14288/CL.V0I223.186457","url":null,"abstract":"This interview with Canadian writer Lawrence Hill addresses some of the difficulties faced by translators of his work, particularly when attempting to render period dialogue and Black idiom as authentically as possible. Much of the discussion focuses on his novel A Book of Negroes (also published under the title Someone Knows my Name , and, in French, as Aminata ). The author is asked to reflect on what is lost−and gained−in translation.","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66901962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Literature, Healing, and the Transformational Imaginary: Thoughts on Jo-Ann Episkenew's Taking Back Our Spirits: Indigenous Literature, Public Policy, and Healing","authors":"Daniel Justice","doi":"10.5860/choice.47-0714","DOIUrl":"https://doi.org/10.5860/choice.47-0714","url":null,"abstract":"","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71126496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-01-01DOI: 10.1002/9781119118589.CH19
Lily Cho
{"title":"Asian Canadian Futures : Diasporic Passages and the Routes of Indenture","authors":"Lily Cho","doi":"10.1002/9781119118589.CH19","DOIUrl":"https://doi.org/10.1002/9781119118589.CH19","url":null,"abstract":"","PeriodicalId":44701,"journal":{"name":"CANADIAN LITERATURE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2008-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1002/9781119118589.CH19","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50748771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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