Seyda Ece Aytac, Andrew Parkin, Anna Triandafyllidou
Focusing on why and how public attitudes towards immigration in Canada have grown more positive between 1998 and 2021, this paper examines whether the changes in. attitudes stem from changes in population characteristics or changes in the effect of these characteristics. Our analysis sheds light on the implications of the 2008–2010 financial crisis on the support for immigration. Our logit regression analysis shows that positive attitudes towards immigration are positively related to higher levels of education attainment regardless of the survey years but negatively associated with the support for conservative political parties, especially during and after the financial crisis. By employing decomposition analysis, we investigate the shift in public opinions across individual characteristics before, during, and after the 2008 financial crisis. We find that, for all periods, most of the attitude shift results from the change in the effect of population characteristics rather than the change in the characteristics themselves.
{"title":"Why Are Public Attitudes towards Immigration in Canada Becoming Increasingly Positive? Exploring the Factors behind the Changes in Attitudes towards Immigration (1998–2021)","authors":"Seyda Ece Aytac, Andrew Parkin, Anna Triandafyllidou","doi":"10.3138/cras-2023-012","DOIUrl":"https://doi.org/10.3138/cras-2023-012","url":null,"abstract":"Focusing on why and how public attitudes towards immigration in Canada have grown more positive between 1998 and 2021, this paper examines whether the changes in. attitudes stem from changes in population characteristics or changes in the effect of these characteristics. Our analysis sheds light on the implications of the 2008–2010 financial crisis on the support for immigration. Our logit regression analysis shows that positive attitudes towards immigration are positively related to higher levels of education attainment regardless of the survey years but negatively associated with the support for conservative political parties, especially during and after the financial crisis. By employing decomposition analysis, we investigate the shift in public opinions across individual characteristics before, during, and after the 2008 financial crisis. We find that, for all periods, most of the attitude shift results from the change in the effect of population characteristics rather than the change in the characteristics themselves.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"15 21","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139173613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recent works of Juliana Chow, Alexander Menrisky and Lowell Wyse on ecology, natural history and ecospatiality in American literature respectively include some interesting insights into the interpretation of the ecological. Chow explores literary representations of natural history in terms of feminism in relation to science and critical race theory and discusses diaspora and “biogeography.” Menrisky examines the identity politics of ecology in American literature. Wyse focuses on space to examine prose works in modern and contemporary American literature through the lens of place. These authors create studies that invite further thought about the possibilities of ecological literature and criticism, the human relation to the environment and the role of literature in representing and understanding the natural world.
{"title":"Ecology, Natural History, and Ecospatiality in American Literature","authors":"Jonathan Locke Hart","doi":"10.3138/cras-2023-010","DOIUrl":"https://doi.org/10.3138/cras-2023-010","url":null,"abstract":"The recent works of Juliana Chow, Alexander Menrisky and Lowell Wyse on ecology, natural history and ecospatiality in American literature respectively include some interesting insights into the interpretation of the ecological. Chow explores literary representations of natural history in terms of feminism in relation to science and critical race theory and discusses diaspora and “biogeography.” Menrisky examines the identity politics of ecology in American literature. Wyse focuses on space to examine prose works in modern and contemporary American literature through the lens of place. These authors create studies that invite further thought about the possibilities of ecological literature and criticism, the human relation to the environment and the role of literature in representing and understanding the natural world.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136079642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tortures and executions have been publicly displayed to deter crime, but their staging has also been characterized as spectacle. Public spectacle, and associated technologies, were foundational to the aggregated graphic depiction of Damiens the regicide sentenced to death by torture. Pain was not considered as the sole purpose, but rather to inflict trauma and cause shame. We see that the sovereign holds power over the body, often considered a vessel to be regulated and managed. In this article, the author explores the events surrounding the walk of atonement conducted by Cersei Lannister in Game of Thrones. This article analyzes how power structures use brutality to cause trauma. The queen is confined to a prison cell where she is psychologically and spiritually tortured by religious fanatics using technologies of private disciplinary power. She is then forced to walk naked through the streets of King’s Landing. As she progresses, her body is pelted with fruit, manure, and bodily fluids, and she endures jeers and curses from the public. A septa (nun) follows her, repeating the word shame eighty-eight times. Her body becomes degraded and objectified. The author’s argument is grounded in a unique reading of disciplinary power, which he has conceptualized as traumapower, defined as the use of public (spectacle) and private (confinement) disciplinary power to inflict physical, psychological, and spiritual harm. In Cersei’s confinement and walk, we see the manifestation of traumapower. This article explores how external power structures are operationalized to assert body control through trauma, thus rendering it docile.
{"title":"The Spectacle and Reification of <i>Game of Thrones</i>","authors":"Sylva Sheridan","doi":"10.3138/cras-2023-011","DOIUrl":"https://doi.org/10.3138/cras-2023-011","url":null,"abstract":"Tortures and executions have been publicly displayed to deter crime, but their staging has also been characterized as spectacle. Public spectacle, and associated technologies, were foundational to the aggregated graphic depiction of Damiens the regicide sentenced to death by torture. Pain was not considered as the sole purpose, but rather to inflict trauma and cause shame. We see that the sovereign holds power over the body, often considered a vessel to be regulated and managed. In this article, the author explores the events surrounding the walk of atonement conducted by Cersei Lannister in Game of Thrones. This article analyzes how power structures use brutality to cause trauma. The queen is confined to a prison cell where she is psychologically and spiritually tortured by religious fanatics using technologies of private disciplinary power. She is then forced to walk naked through the streets of King’s Landing. As she progresses, her body is pelted with fruit, manure, and bodily fluids, and she endures jeers and curses from the public. A septa (nun) follows her, repeating the word shame eighty-eight times. Her body becomes degraded and objectified. The author’s argument is grounded in a unique reading of disciplinary power, which he has conceptualized as traumapower, defined as the use of public (spectacle) and private (confinement) disciplinary power to inflict physical, psychological, and spiritual harm. In Cersei’s confinement and walk, we see the manifestation of traumapower. This article explores how external power structures are operationalized to assert body control through trauma, thus rendering it docile.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136079263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Americans since Darwin have projected onto chimpanzees, the primates closest to us in evolutionary history, their anxieties about race, sex, family, and questions regarding the relationship between nature and nurture, questions basic to understanding what it means to be human. The history of scientific discourse and discourse in American popular culture about chimpanzees since the middle of the nineteenth century show patterns responsive to specific American anxieties at moments in history.
{"title":"From Chico to Caesar, Why Chimps Are Good to Think","authors":"Jay Mechling","doi":"10.3138/cras-2023-015","DOIUrl":"https://doi.org/10.3138/cras-2023-015","url":null,"abstract":"Americans since Darwin have projected onto chimpanzees, the primates closest to us in evolutionary history, their anxieties about race, sex, family, and questions regarding the relationship between nature and nurture, questions basic to understanding what it means to be human. The history of scientific discourse and discourse in American popular culture about chimpanzees since the middle of the nineteenth century show patterns responsive to specific American anxieties at moments in history.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Might the pre-revolutionary setting of Boston, as depicted in Hawthorne’s “My Kinsman, Major Molineux,” relate to high-society Paris in James’s The Ambassadors? What do the nepotistic outlooks of Robin Molineux and Lambert Strether have in common? How does the narrative technique of Hawthorne’s tale anticipate the artistry of one of James’s most complex narratives, and in what manner does James go beyond his predecessor in refining the reflector-narrator technique? The magnitude and significance of such concerns—although in Hawthorne’s tale, historically momentous; in James’s narrative, highly personal—stand to enhance understanding of how James enhanced the narrative technique of “My Kinsman, Major Molineux” in dramatic renderings of apperceptive consciousness and post-factum narrative speculation.
{"title":"Missing the Boat: Narrative Artistry in Hawthorne’s “My Kinsman, Major Molineux” and James’s <i>The Ambassadors</i>","authors":"James Duban","doi":"10.3138/cras-2023-001","DOIUrl":"https://doi.org/10.3138/cras-2023-001","url":null,"abstract":"Might the pre-revolutionary setting of Boston, as depicted in Hawthorne’s “My Kinsman, Major Molineux,” relate to high-society Paris in James’s The Ambassadors? What do the nepotistic outlooks of Robin Molineux and Lambert Strether have in common? How does the narrative technique of Hawthorne’s tale anticipate the artistry of one of James’s most complex narratives, and in what manner does James go beyond his predecessor in refining the reflector-narrator technique? The magnitude and significance of such concerns—although in Hawthorne’s tale, historically momentous; in James’s narrative, highly personal—stand to enhance understanding of how James enhanced the narrative technique of “My Kinsman, Major Molineux” in dramatic renderings of apperceptive consciousness and post-factum narrative speculation.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"247 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135854322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Barracoon: The Story of the Last “Black Cargo” (2018) and At the Full and Change of the Moon (1999), Zora Neale Hurston and Dionne Brand, two prominent African diasporic writers, pen narratives in which they centralize the challenges ingrained in the in-between spaces black people occupy at the nexus of slavery and freedom. Through Hurston’s non-fiction narrative and Brand’s fictional narrative, they offer us important stories in which two African-descended men, Kossola and Kamena, bravely inhabit that nexus and willfully forge a space in which they assert and pursue their versions of freedom and fulfillment despite the tragedies and longing that haunt them. In Barracoon and At the Full and Change of the Moon, both authors document how persistent freedom quests and insistence on retaining and passing remembrances serve as forms of resistance to consumption by this liminal space. In both texts, then, Hurston and Brand provide us with important African diasporic narratives about the continuity of survival, resilience, and empowerment in the face of tremendous adversity.
在《Barracoon:最后一艘“黑货船”的故事》(2018)和《月圆月缺》(1999)中，两位杰出的非洲散居作家卓拉·尼尔·赫斯顿和迪翁·布兰德用笔法集中了黑人在奴隶制和自由的关系中所占据的中间空间中根深蒂固的挑战。通过赫斯顿的非虚构叙事和布兰德的虚构叙事，他们为我们提供了两个重要的故事，在这些故事中，两个非洲裔男人，科索拉和卡梅纳，勇敢地居住在这种联系中，并故意打造一个空间，在这个空间里，他们坚持并追求自己版本的自由和满足，尽管悲剧和渴望萦绕着他们。在《Barracoon》和《At the Full and Change of the Moon》中，两位作者都记录了持久的自由追求和对保留和传递记忆的坚持如何成为抵抗这种有限空间消耗的形式。在这两篇文章中，赫斯顿和布兰德都为我们提供了重要的非洲散居故事，讲述了面对巨大逆境时生存、恢复和赋权的连续性。
{"title":"Liminality and Longing in Zora Neale Hurston’s <i>Barracoon: The Story of the Last “Black Cargo”</i> and Dionne Brand’s <i>At the Full and Change of the Moon</i>","authors":"Kim Green","doi":"10.3138/cras-2023-002","DOIUrl":"https://doi.org/10.3138/cras-2023-002","url":null,"abstract":"In Barracoon: The Story of the Last “Black Cargo” (2018) and At the Full and Change of the Moon (1999), Zora Neale Hurston and Dionne Brand, two prominent African diasporic writers, pen narratives in which they centralize the challenges ingrained in the in-between spaces black people occupy at the nexus of slavery and freedom. Through Hurston’s non-fiction narrative and Brand’s fictional narrative, they offer us important stories in which two African-descended men, Kossola and Kamena, bravely inhabit that nexus and willfully forge a space in which they assert and pursue their versions of freedom and fulfillment despite the tragedies and longing that haunt them. In Barracoon and At the Full and Change of the Moon, both authors document how persistent freedom quests and insistence on retaining and passing remembrances serve as forms of resistance to consumption by this liminal space. In both texts, then, Hurston and Brand provide us with important African diasporic narratives about the continuity of survival, resilience, and empowerment in the face of tremendous adversity.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135854853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The nature, history, and transformation of the American sentence in twentieth-century American fiction is the focus of this article, which examines the shift from the oracular to ordinary style, the contrast between James and Hemingway, or Thomas Wolfe and Cormac McCarthy. Examples of twentieth-century writers include Gertrude Stein, William Faulkner, J.D. Salinger, Thomas Pynchon, Cormac McCarthy, and Jennifer Eagan. Overlooked, the sentence remains the core of literary expression, but it is a problematic form associated with such cultural changes as the telegraph, World War II, and crime writing, as much as the literary imagination.
{"title":"“The American Sentence”","authors":"Ira Nadel","doi":"10.3138/cras-2023-013","DOIUrl":"https://doi.org/10.3138/cras-2023-013","url":null,"abstract":"The nature, history, and transformation of the American sentence in twentieth-century American fiction is the focus of this article, which examines the shift from the oracular to ordinary style, the contrast between James and Hemingway, or Thomas Wolfe and Cormac McCarthy. Examples of twentieth-century writers include Gertrude Stein, William Faulkner, J.D. Salinger, Thomas Pynchon, Cormac McCarthy, and Jennifer Eagan. Overlooked, the sentence remains the core of literary expression, but it is a problematic form associated with such cultural changes as the telegraph, World War II, and crime writing, as much as the literary imagination.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135854497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The term Asian America was first coined in the late 1960s. Although initially closely associated with political subversiveness and establishing a collective pan-Asian ethnic identity, the name has been continuously reinventing itself to be more diverse and elastic with the changing relationship between the United States and Asian countries and the arrival of new groups of Asian immigrants. Along the way, heterogeneity has always been an undeniable mark on the rubric of Asian America. This article revisits the expanding literary field of Asian American poetry, articulating a heterogeneous and indeterminate poetics from the movement era to the new century of globalization. It takes several poems of Russell Leong as a case study and foregrounds, through the conception tool of cultural translation, his in-betweenness, and the mixture of ethnic experiences and transnational concerns.Résumé:Le terme « Asio-Américain » a été formulé pour la première fois à la fin des années 1960. Bien qu'initialement étroitement associé à la subversion politique et à la mise en place d'une identité ethnique panasiatique collective, cette appellation a constamment été réinventée pour devenir de plus en plus diverse et adaptable, en fonction de l'évolution des relations entre les États-Unis et les pays asiatiques et de l'arrivée de nouveaux groupes d'immigrants asiatiques. Tout au long de ce parcours, l'hétérogénéité a toujours constitué une caractéristique indéniable de la notion d'Asio-Américain. Cet article revisite le champ littéraire en expansion de la poésie Asio-Américaine, articulant une poétique à la fois hétérogène et indéterminée depuis l'ère du mouvement jusqu'à l'avènement du nouveau siècle marqué par la mondialisation. Il prend plusieurs poèmes de Russell Leong comme cas d'étude, et met en exergue, à travers le prisme de la traduction culturelle, sa situation intermédiaire ainsi que la combinaison d'expériences ethniques et de préoccupations transnationales.
{"title":"Revisiting Asian American Poetics: A Review of Heterogeneity and a Case of Russell Leong","authors":"Shang-Lin Wu","doi":"10.3138/cras-2023-007","DOIUrl":"https://doi.org/10.3138/cras-2023-007","url":null,"abstract":"Abstract:The term Asian America was first coined in the late 1960s. Although initially closely associated with political subversiveness and establishing a collective pan-Asian ethnic identity, the name has been continuously reinventing itself to be more diverse and elastic with the changing relationship between the United States and Asian countries and the arrival of new groups of Asian immigrants. Along the way, heterogeneity has always been an undeniable mark on the rubric of Asian America. This article revisits the expanding literary field of Asian American poetry, articulating a heterogeneous and indeterminate poetics from the movement era to the new century of globalization. It takes several poems of Russell Leong as a case study and foregrounds, through the conception tool of cultural translation, his in-betweenness, and the mixture of ethnic experiences and transnational concerns.Résumé:Le terme « Asio-Américain » a été formulé pour la première fois à la fin des années 1960. Bien qu'initialement étroitement associé à la subversion politique et à la mise en place d'une identité ethnique panasiatique collective, cette appellation a constamment été réinventée pour devenir de plus en plus diverse et adaptable, en fonction de l'évolution des relations entre les États-Unis et les pays asiatiques et de l'arrivée de nouveaux groupes d'immigrants asiatiques. Tout au long de ce parcours, l'hétérogénéité a toujours constitué une caractéristique indéniable de la notion d'Asio-Américain. Cet article revisite le champ littéraire en expansion de la poésie Asio-Américaine, articulant une poétique à la fois hétérogène et indéterminée depuis l'ère du mouvement jusqu'à l'avènement du nouveau siècle marqué par la mondialisation. Il prend plusieurs poèmes de Russell Leong comme cas d'étude, et met en exergue, à travers le prisme de la traduction culturelle, sa situation intermédiaire ainsi que la combinaison d'expériences ethniques et de préoccupations transnationales.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"158 - 172"},"PeriodicalIF":0.1,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article proposes that the works of the modern American poet Robinson Jeffers and those of the contemporary Canadian poet Robert Bringhurst are linked by an ecological ethos. Although specific instances of Jeffers’s influence occur here and there in Canadian literary history, the connection between Jeffers and Bringhurst is more substantial, if not immediately obvious. It consists in an aesthetic and intellectual affinity—in a shared poetic terrain that is a conceptual equivalent of the western North American geography they have in common. (Jeffers was a Californian poet; Bringhurst is often associated with the Pacific Northwest.) The poets are comparably concerned with wilderness, which in their works is not always remote or uninhabited but rather characterized by the peripheral place of humanity. In attending to parallels between the authors’ works, the article suggests that reading across the border between Canada and the United States brings into view significant literary connections.Résumé:L’analyse présentée ici suggère que les œuvres du poète étatsunien de la modernité Robinson Jeffers et celles du poète canadien contemporain Robert Bringhurst sont liées par des valeurs écologiques. Bien que des exemples particuliers de l’influence de Jeffers émergent ici et là dans l’histoire littéraire canadienne, la connexion entre Jeffers et Bringhurst, même si elle n’est pas immédiatement perceptible, est plus substantielle. Elle consiste en une affinité esthétique et intellectuelle qui, prenant la forme d’un terrain poétique partagé, est l’équivalent conceptuel de la géographie qu’ils ont en commun, celle de l’ouest de l’Amérique du Nord. (Jeffers est un poète californien ; Bringhurst est souvent associé à la région côtière du Nord-Ouest.) Les deux poètes s’intéressent semblablement aux grands espaces, qui dans leurs œuvres ne sont pas toujours lointains ni inhabités, mais se caractérisent plutôt par la place périphérique qu’y occupe l’humanité. En étudiant les parallèles entre les deux poètes, l’article montre qu’une lecture transfrontalière met en évidence de riches connexions littéraires entre le Canada et les États-Unis.
{"title":"North of Carmel: Jeffers, Bringhurst, and the Ecological View","authors":"Nicholas Bradley","doi":"10.3138/cras-2023-006","DOIUrl":"https://doi.org/10.3138/cras-2023-006","url":null,"abstract":"Abstract:This article proposes that the works of the modern American poet Robinson Jeffers and those of the contemporary Canadian poet Robert Bringhurst are linked by an ecological ethos. Although specific instances of Jeffers’s influence occur here and there in Canadian literary history, the connection between Jeffers and Bringhurst is more substantial, if not immediately obvious. It consists in an aesthetic and intellectual affinity—in a shared poetic terrain that is a conceptual equivalent of the western North American geography they have in common. (Jeffers was a Californian poet; Bringhurst is often associated with the Pacific Northwest.) The poets are comparably concerned with wilderness, which in their works is not always remote or uninhabited but rather characterized by the peripheral place of humanity. In attending to parallels between the authors’ works, the article suggests that reading across the border between Canada and the United States brings into view significant literary connections.Résumé:L’analyse présentée ici suggère que les œuvres du poète étatsunien de la modernité Robinson Jeffers et celles du poète canadien contemporain Robert Bringhurst sont liées par des valeurs écologiques. Bien que des exemples particuliers de l’influence de Jeffers émergent ici et là dans l’histoire littéraire canadienne, la connexion entre Jeffers et Bringhurst, même si elle n’est pas immédiatement perceptible, est plus substantielle. Elle consiste en une affinité esthétique et intellectuelle qui, prenant la forme d’un terrain poétique partagé, est l’équivalent conceptuel de la géographie qu’ils ont en commun, celle de l’ouest de l’Amérique du Nord. (Jeffers est un poète californien ; Bringhurst est souvent associé à la région côtière du Nord-Ouest.) Les deux poètes s’intéressent semblablement aux grands espaces, qui dans leurs œuvres ne sont pas toujours lointains ni inhabités, mais se caractérisent plutôt par la place périphérique qu’y occupe l’humanité. En étudiant les parallèles entre les deux poètes, l’article montre qu’une lecture transfrontalière met en évidence de riches connexions littéraires entre le Canada et les États-Unis.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"141 - 157"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45436731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:There are many ways to look at the making of American poetry. The author begins with the land and Native Americans in the New World, including what is in the United States, decentring or defamiliarizing the Anglo-American tradition by beginning with the Indigenous peoples and their languages and discussing poets of aboriginal, African, and Asian backgrounds in poetry and translation. With settlers, the author begins with Gaspar Pérez de Villagrá, a Creole writing an epic in Spanish, and ends with Forrest Gander, also born in the United States, including a poem that mixes English and Spanish. In between, a mixed group of poets is discussed to show the richness and diversity of American poetry and culture: Anne Bradstreet, Phillis Wheatley, Langston Hughes, Joan Kane, Marilyn Chin, Russell Leong, and the translation of Shuri Kido by Gander and Tomoyuki Endo. These are some alternative makings of American poetry in one strand among many, then, now, and going forward.Résumé:Il y a plusieurs façons d’envisager la manière dont s’est formée la poésie américaine. Je m’intéresse pour commencer à la terre et aux Autochtones du Nouveau Monde, y compris le territoire correspondant aux États-Unis. Opérant un décentrage ou une défamiliarisation de la tradition anglo-américaine, je considère les peuples autochtones et leurs langues, ainsi que des poètes d’origines autochtone, africaine ou asiatique, leur poésie et sa traduction. En ce qui concerne les pionniers, j’aborde en premier lieu Gaspar Pérez de Villagrá, auteur créole d’une épopée en espagnol, et termine par Forrest Gander, poète né lui aussi en Amérique et auteur d’un poème qui mêle l’anglais et l’espagnol. Entre les deux, je présente un groupe mixte de poètes et poétesses qui illustre la richesse et la diversité de la poésie et de la culture américaine : Anne Bradstreet, Phillis Wheatley, Langston Hughes, Joan Kane, Marilyn Chin et Russell Leong, ainsi que Shuri Kido, dans la traduction de Gander et Tomoyuki Endo. Ils et elles représentent des façons différentes de suivre le fil de la poésie américaine – un fil parmi d’autres, du passé au présent et vers l’avenir.
摘要:美国诗歌的形成有多种途径。作者从新大陆的土地和印第安人开始，包括在美国的情况，从土著民族和他们的语言开始，讨论土著、非洲和亚洲背景的诗人的诗歌和翻译，使英美传统分散化或陌生化。关于移民，作者从用西班牙语写史诗的克里奥尔人加斯帕尔·帕萨雷兹·比利亚格尔开始，以同样出生在美国的福雷斯特·甘德结束，其中包括一首混合了英语和西班牙语的诗。在此期间，我们讨论了一群混合的诗人，以展示美国诗歌和文化的丰富性和多样性:安妮·布拉德斯特里特，菲利斯·惠特利，兰斯顿·休斯，琼·凯恩，玛丽莲·琴，罗素·梁，以及甘德和远藤友之翻译的木户修里。这些是美国诗歌在众多流派中的一种，过去、现在和未来都是如此。汇源:汇源:汇源:汇源:汇源:汇源:汇源:汇源:汇源:汇源:汇源:汇源Je ' m ' intacresse pour commencer la terre et aux Autochtones du Nouveau Monde, y包括États-Unis的领土通讯员。美国人的薪金和薪金由英国人的薪金和薪金组成，英国人的薪金和薪金由英国人的薪金和薪金组成，英国人的薪金和薪金由英国人的薪金和薪金组成，非洲人的薪金和薪金由非洲人的薪金和薪金组成。“我是先驱”、“我是加斯帕尔·帕姆兹·维拉格兰德的前任总理”、“我是阿斯帕尔·帕姆兹·维拉格兰德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”、“我是阿斯帕尔·甘德的前任首相”。Entre les deux, je pracentente, je pracentente, je pracentente, de poacentente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente, de poacente“i”和“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”代表的是不同的“i”。
{"title":"Alternative Makings in American Poetry","authors":"J. Hart","doi":"10.3138/cras-2023-004","DOIUrl":"https://doi.org/10.3138/cras-2023-004","url":null,"abstract":"Abstract:There are many ways to look at the making of American poetry. The author begins with the land and Native Americans in the New World, including what is in the United States, decentring or defamiliarizing the Anglo-American tradition by beginning with the Indigenous peoples and their languages and discussing poets of aboriginal, African, and Asian backgrounds in poetry and translation. With settlers, the author begins with Gaspar Pérez de Villagrá, a Creole writing an epic in Spanish, and ends with Forrest Gander, also born in the United States, including a poem that mixes English and Spanish. In between, a mixed group of poets is discussed to show the richness and diversity of American poetry and culture: Anne Bradstreet, Phillis Wheatley, Langston Hughes, Joan Kane, Marilyn Chin, Russell Leong, and the translation of Shuri Kido by Gander and Tomoyuki Endo. These are some alternative makings of American poetry in one strand among many, then, now, and going forward.Résumé:Il y a plusieurs façons d’envisager la manière dont s’est formée la poésie américaine. Je m’intéresse pour commencer à la terre et aux Autochtones du Nouveau Monde, y compris le territoire correspondant aux États-Unis. Opérant un décentrage ou une défamiliarisation de la tradition anglo-américaine, je considère les peuples autochtones et leurs langues, ainsi que des poètes d’origines autochtone, africaine ou asiatique, leur poésie et sa traduction. En ce qui concerne les pionniers, j’aborde en premier lieu Gaspar Pérez de Villagrá, auteur créole d’une épopée en espagnol, et termine par Forrest Gander, poète né lui aussi en Amérique et auteur d’un poème qui mêle l’anglais et l’espagnol. Entre les deux, je présente un groupe mixte de poètes et poétesses qui illustre la richesse et la diversité de la poésie et de la culture américaine : Anne Bradstreet, Phillis Wheatley, Langston Hughes, Joan Kane, Marilyn Chin et Russell Leong, ainsi que Shuri Kido, dans la traduction de Gander et Tomoyuki Endo. Ils et elles représentent des façons différentes de suivre le fil de la poésie américaine – un fil parmi d’autres, du passé au présent et vers l’avenir.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"110 - 129"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41626312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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