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Dissertations / Theses on the topic 'Canada, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Hedler, Elizabeth. "Stories of Canada : national identity in late-nineteenth-century English-Canadian fiction /." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/HedlerE2003.pdf.

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2

McNamara, Josephte Isabel. "Fact or fiction : L'Histoire du Canada and its influence on French Canadian novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ39925.pdf.

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3

Vanderploeg, Emily. ""Be there first thing"." Thesis, Swansea University, 2012. https://cronfa.swan.ac.uk/Record/cronfa42921.

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This thesis is a work of creative fiction accompanied by a critical/reflective essay. The dissertation is a novel (Be There First Thing) comprising thirteen chapters, each in the style of a short story, that give glimpses into the life of the protagonist, Lily Sled, beginning when she is eleven-years-old and ending when she is near thirty-years old. The first seven of these chapters are set in southern Ontario, Canada, while the last six are set in and around Swansea, Wales, employing a juxtaposition of place and the theme of the foreigner via linguistic and cultural similarities. The structure of this novel is similar to a Composite Novel, as it consists of story-like chapters, yet these stories are not autonomous, thus it is more closely aligned with the Bildungsroman genre, employing the technique of vignettes to illustrate the coming of age of the protagonist, while functioning as a novel of development. The accompanying essay seeks to analyse both the writing process and the literary significance of the novel itself.

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4

Stringam, Jean. "Canadian short adventure fiction in periodicals for adolescents, Canada, England, the United States, 1847-1914." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ34842.pdf.

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5

Dyer, Klay. "Parody and the horizons of fiction in nineteenth-century English Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/NQ32443.pdf.

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6

Abram, Zachary. "Knights of Faith: The Soldier in Canadian War Fiction." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34613.

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The war novel is a significant genre in twentieth-century Canadian fiction. Central to that genre has been the soldier’s narrative. Canadian war novelists have often situated the soldier’s story in opposition to how war has functioned in Canadian cultural memory, which usually posits war as a necessary, though brutal, galvanizing force. This dissertation on how novelists depict the Canadian soldier represents a crucial opportunity to examine Canadian cultures of militarization and how Canadian identity has been formed in close identification with the mutable figure of the soldier. The most sophisticated Canadian war novels engage with how militarism functions as a grand narrative in Canadian society, while enabling Canadians to speak about issues related to war that tend to be over-simplified or elided. This dissertation examines emblematic Canadian war novels – The Imperialist by Sara Jeanette Duncan, Generals Die in Bed by Charles Yale Harrison, Turvey by Earle Birney, Execution by Colin McDougall, The Wars by Timothy Findley, Broken Ground by Jack Hodgins, The Stone Carvers by Jane Urquhart, etc. – in order to trace how the representation of the Canadian soldier has shifted throughout the twentieth-century. Canadian war novels are culturally cathartic exercises wherein received notions of Canadian moral and military superiority can be safely questioned. The Canadian soldier, often characterized in official discourse as the personification of duty and sacrifice, has been reimagined by war novelists throughout the twentieth century as a site of skepticism and resistance. In many Canadian war novels, the soldier affords the opportunity to claim counter-histories, reject master narratives, and posit new originary myths.

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7

Fernández, Sandy M. (Sandy Michele). "Notes from a Latina in Canada : criticism and stories." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68087.

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While writing in English by Hispanas has been in publication for decades, it is only in the last few years that the writing and its attendant criticism have attracted mainstream attention in the United States. The purpose of this work is to provide an introduction to different facets of Hispana writing. The first section of the work, an essay titled, "Emerging Criticism and Themes in Hispana Literature," provides an up-dated overview of issues within Hispana literary criticism and major themes within the writing itself. The latter part of that essay uses as its framework Tey Diana Rebolledo's 1985 essay, "The Maturing of Chicana Poetry: the Quiet Revolution of the 1980's." The second section of the work consists of four original short stories which reflect some of the general characteristics of Hispana writing. Together, the two parts are intended to provide Canadian scholars with a succinct introduction to this growing field, and thus aid and encourage them to further explore it on their own.

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8

Lundgren, Jodi. "Narrative aesthetics, multicultural politics, and (trans)national subjects : contemporary fictions of Canada /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9523.

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9

Muller, Kathryn V. "The Two Row Wampum : historic fiction, modern reality." Master's thesis, Université Laval, 2004. http://hdl.handle.net/20.500.11794/17832.

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10

Bowman, Christopher M. "Gallery of the Past: Writing Historical Fiction with 19th Century Photography in Canada and Australia." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365910.

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This thesis, consisting of a novel and dissertation, explores the writing of historical fiction, and the use of photography as research in visualising the several settings that the characters inhabit. As the novel is set in the late 19th century, the conventions of Victorian-era photography came to the forefront of the research. The story sees two fictional brothers leave their home on Vancouver Island in Canada, each traveling alone, and each with a different weight on his heart. They find themselves in towns with very real, and very documented, histories, and this is where my research into photography began. Joseph Richard, the younger brother, finds work in the town of Yale, on the Fraser River in British Columbia during the early days of the construction of the Canadian Pacific Railway. Yale was a boomtown and major depot during railway construction, and there are many photographs from the 1880s to chronicle its buildings and denizens, its remote and wild surroundings, its place in history.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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11

Baker, Suzanne Lynda. "Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada." Thesis, Baker, Suzanne Lynda (1997) Clowning seriously: The political force of magic realism in postcolonial fiction from Australia and Canada. PhD thesis, Murdoch University, 1997. https://researchrepository.murdoch.edu.au/id/eprint/52961/.

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The primary objective of this thesis is to demonstrate that the discursive mode of magic realism can contribute to the political force of postcolonial texts. This is achieved through detailed readings of contemporary works of fiction, written in English, from Australia and Canada. While the term ‘magic realism’ has been in use for more than seventy years, in recent times it has gained increasing currency in the critical discourses of Western literature. Commonly associated with the literature of the Latin American region, with Gabriel Garcia Marquez’s novel One Hundred Years of Solitude generally considered the paradigmatic example of literary magic realism, the term is now being applied to writing emerging from countries as diverse as Canada, Australia, Greece, and Norway. This thesis will argue that because of its inherent ambivalence and hybridity, the mode of magic realism represents a challenge to the authority of colonial discourses and hence its current popularity in the context of postcolonial writing. This thesis works on two fronts. The first part examines the historical evolution of the concept of magic realism, from its origins in the art world to its appearance in the literatures of the Latin American region. Existing definitions of the term will be evaluated in order to delineate the most important characteristics of magic realist writing. By exploring the concept in this way, the thesis aims to demonstrate the relevance of the term for contemporary literary theory. The second part of the thesis specifically addresses magic realism in the context of postcolonial writing from Canada and Australia. These nations have been chosen because of their similar postcolonial literary histories. This thesis represents the first extended study of magic realism in the context of postcolonial writing. The central claim of this thesis is that magic realism is an important politicising agent in that it challenges dominant and coercive ideologies and belief-systems at the same time as it challenges the conventions of the realist genre through which these ideologies are often perpetuated. It is argued here that the transgression of boundaries inherent in magic realism enables writers to move beyond the constrictions of commonly-accepted hierarchies. At the same time, however, by maintaining links with the discourse of realism, magic realism anchors the narrative to a ‘real’ world and thus creates a space where such hierarchies can be challenged and perhaps overturned. The thesis substantiates this claim by presenting readings of selected texts from the postcolonial settler cultures of Canada and Australia in which specific instances of magic realism add political force to the postcolonial themes and concerns which the texts explore. While magic realism has occupied a prominent position in Canadian literary theory for some time, this thesis is the first critical survey of magic realism in Australian fiction. The special contribution which this thesis makes to postcolonial studies is its bringing together of Australian and Canadian texts to explore their use of magic realism in the context of postcolonial writing. Also, included as a part of this thesis is the first annotated critical bibliography of magic realism which, it is anticipated, will be of considerable value for other researchers in the field. There is no doubt that we live in a world where rapid developments in technology and vast increases in scientific knowledge have meant that the limits of the ‘possible’ are constantly being challenged and redefined. This thesis will conclude by arguing that in spite of the fact that everyday ‘reality’ is becoming more and more ‘incredible’ as the borders of the possible and the impossible are subject to constant expansion and change, magic realism will continue to be an important and relevant discursive mode for exposing and critically challenging the ideologies behind the current status quo.

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12

Harman, Deborah C. "Constructing canons, creating Canadians, an examination of Canadian fiction on high school curricula." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/MQ36461.pdf.

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13

Anderson, Robyn Lisa, and n/a. "The decolonisation of culture, the trickster as transformer in native Canadian and Maori fiction." University of Otago. Department of English, 2003. http://adt.otago.ac.nz./public/adt-NZDU20070508.145908.

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The trickster is a powerful figure of transformation in many societies, including Native Canadian and Maori cultures. As a demi-god, the trickster has the ability to assume the shape of a variety of animals and humans, but is typically associated with one particular form. In Native Canadian tribes, the trickster is identified as an animal and can range from a Raven to a Coyote, depending on the tribal mythologies from which he/she is derived. In Maori culture, Maui is the trickster figure and is conceptualised as a human male. In this thesis, I discuss how the traditional trickster is contexualised in the contemporary texts of both Native Canadian and Maori writers. Thomas King, Lee Maracle, Witi Ihimaera, and Patricia Grace all use the trickster figure, and the tricksterish strategies of creation/destruction, pedagogy, and humour to facilitate the decolonisation of culture within the textual realms of their novels. The trickster enables the destruction of stereotyped representations of colonised peoples and the creation of revised portrayals of these communities from an indigenous perspective. These recreated realities aid in teaching indigenous communities the strengths inherent in their cultural traditions, and foreground the use of comedy as an effective pedagogical device and subversive weapon. Although the use of trickster is considerable in both Maori and Native Canadian texts, it tends to be more explicit in the latter. A number of possibilities for these differences are considered.

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14

Hagiwara, Tomoko. "Children in fiction and reality, the British Colonies in North America and Canada in the nineteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ26919.pdf.

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15

Hagiwara, Tomoko 1939 Carleton University Dissertation Canadian Studies. "Children in fiction and reality, the British colonies in North America and Canada in the nineteenth century." Ottawa.:, 1997.

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16

Freeze, Eric. "Ridgeview : a collection of short stories /." Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1090936908.

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17

Roupakia, Lydia Efthymia. "Multicultural Questions, Family Matters : Gender, Generation and Ethics in some Contemporary Fiction by Women in Canada and England." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508685.

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18

Sabatini, Sandra. "Making babies, representations of the infant in 20th century Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60564.pdf.

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19

Leeke, Jane. "A novel reading : literature and pedagogy in modern Middle East history courses in Canada and the United States." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98549.

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The purpose of this study is to explore how the Arabic novel can and does challenge the conventional characterization of what constitutes constructive Middle East historiography. The thesis draws on a case study of undergraduate history course syllabi in order to highlight a number of crucial issues related to Arabic literature and the production of modern Middle East history. My analysis of the syllabi concludes that in general, Arabic novels in translation are part of a varied group of resources selected by a professor in order to complement the "official" histories provided by textbooks and government documents. The novel is deemed helpful because it often describes the "ordinary" or daily life of people. Also, the novel is presented as the contribution of an "indigenous voice" to the historical narrative.

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20

Chalykoff, Lisa. "Space and identity formation in twentieth-century Canadian realist novels : recasting regionalism within Canadian literary studies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56523.pdf.

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21

Spergel, Julie. "Canada's "second history": the fiction of Jewish Canadian women writers." Hamburg Kovač, 2009. http://d-nb.info/997540079/04.

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22

Pauly, Susanne. "Madness in English-Canadian fiction." [S.l. : s.n.], 1999. http://deposit.ddb.de/cgi-bin/dokserv?idn=961035455.

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23

Van, Horne Mary. "CARVING A PLACE IN THE CANADIAN IMAGINATION: (RE)WRITING CANADA'S FORGOTTEN HISTORY IN A SELECTION OF CHINESE CANADIAN HISTORICAL FICTION." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27668/27668.pdf.

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24

Leperlier, Henry. "Canadian science fiction, a reluctant genre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0033/NQ61856.pdf.

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25

Leperlier, Henri. "Canadian science fiction a reluctant genre." Thèse, Université de Sherbrooke, 1998. http://savoirs.usherbrooke.ca/handle/11143/2707.

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Cette dissertation vise à une comparaison des littératures de sciences-fiction canadienne anglaise et canadienne française, principalement sous forme de roman ou de nouvelles publiées dans des anthologies. Elle consiste en une introduction générale du phénomène de la science-fiction en général et au Canada. Elle commence par dresser un historique de l'émergence de la science-fiction au Canada, des facteurs ayant favorisé son apparition et des conditions de sa création. Cet historique est suivi d'un examen des relations ambivalentes entre la science-fiction canadienne et la science. Une section de ce chapitre est consacrée aux voyages dans le temps et à leur crédibilité croissante dans le monde scientifique; nous constatons l'absence presque toatle de ce thème dans la science-fiction canadienne française, probablement influencée par une vision linéaire de l'histoire. La dernière partie se concentre tout particulièrement sur les protagonistes des deux courant de science fiction canadienne et des traits qui les différencient ou les unissent dans leurs attitudes et leurs vues philosophiques, plus particulièrement en relation avec les tendances déjà présentes dans la littérature et la société canadienne.

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26

Leperlier, Henri. "Canadian science fiction: A reluctant genre." Sherbrooke : Université de Sherbrooke, 1999.

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27

Hutchison, Lorna. "Strategies of the grotesque in Canadian fiction." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100627.

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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities.
Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization.
Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature.
In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.

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28

Woods, Randy (Randy C. ). 1968 Carleton University Dissertation Canadian Studies. "A typological analysis of Canadian science fiction." Ottawa.:, 1993.

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29

Kellar, Pinard Katrina. "Settler Feminism in Contemporary Canadian Historical Fiction." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39608.

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Canada has seen a veritable explosion in the production and popularity of historical fiction in recent decades. Works by women that present a feminist revision of national narratives have played a key part in this phenomenon. This thesis discusses three contemporary Canadian historical novels: Gil Adamson’s The Outlander (2007), Ami McKay’s The Birth House (2006), and Margaret Atwood’s Alias Grace (1996). By examining these novels through a settler colonial lens and with a specific interest in the critique of settler feminism, this thesis offers readings that can reveal how feminism operates within the confines of the settler fantasy. These readings suggest that women’s historical fiction offers an opportunity to consider different aspects of feminism in the settler setting and to consider different aspects of critiques of patriarchy in settler contexts. This thesis suggests that these novels present a settler women’s history that cannot be properly understood through the simplistic logic of male/female or colonizer/colonized oppositions, and that the ways the novels depict women’s interactions with patriarchal settler structures and institutions can contribute to critical understandings of a colonial history with which Canada continues to reckon.

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30

Mullen, Amanda. "Mythic migrations: Recreating migrant histories in Canadian fiction." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29240.

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This thesis examines the work of five Canadian writers who use their fiction to recreate an immigrant past and to mythologize an originary moment in Canada: a migrant's arrival and settlement in a new land. Mordecai Richter's Solomon Gursky Was Here (1989), Sky Lee's Disappearing Moon Cafe (1990), Jane Urquhart's Away (1993), Lawrence Hill's Any Known Blood (1997), and Nino Ricci's trilogy, Lives of the Saints (1990), In a Glass House (1993), and Where She Has Gone (1997) each express a nostalgic longing for an authenticating mythology that will give a previously silenced ethno-cultural group a place in the national narrative. Nostalgia literally means a painful return home, and the narrators of these novels express a bittersweet longing for a Canadian past, for a Canadian home. While nostalgia has traditionally played a central role in ethnic literature, this longing has typically rested on a nostalgic desire to return to a distant homeland. Yet the narrators of this study express a nostalgia for a different kind of origins---for origins in a new land. Richter, Lee, Urquhart, Hill, and Ricci create detailed genealogies in their novels that show how their different groups---Jewish, Chinese, Irish, Black, and Italian---helped build the nation and what roles each of these groups played in Canada's past. This thesis thus reveals that the interrogation of Canada's master narratives is not complete and that, even for later generations of immigrants, there remains a desire to establish their identities as Canadian The five writers of this study are deliberately challenging the authority of Canada's dominant cultural paradigm by recreating the immigrant experiences of their ethno-cultural groups in order to refute the myth of two founding nations and to establish Canada as home for their own particular groups. With their mythologized versions of history, these writers are striving to include neglected and forgotten voices in the story of Canada.

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31

Canton, Licia. "The question of identity in Italian-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ43473.pdf.

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32

Lemay, Christian. "Pour une érotologie de la fiction québecoise contemporaine." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/29028.

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L'objet de cette thèse est de faire apparaître, à partir d'oeuvres representatives de la littérature romanesque québecoise des années 1960 à 1996, l'évolution du récit érotique en tant que genre utilisant une structure narrative particulière, ainsi que des procédes littéraires qui mettent en valeur l'ingéniosité de l'auteur et son pouvoir sur le lecteur. La problèmatique essentielle de la représentation des scènes, de leur évolution, des jeux de statut, ainsi que de l'autodérision est au centre de nos préoccupations. La conception du texte, sa construction aussi, modifient considérablement l'esthétique des textes érotiques et leur portée. En ce sens, l'analyse des oeuvres marquantes de la littérature érotique québecoise se veut à la fois une interrogation sur les rapports qu'entretient l'être humain avec les multiples représentations de sa sexualité, mais, au-delà de la simple représentation, elle vise surtout a dévoiler les divers procédés qui concourent a érotiser le récit au plus grand profit du lecteur, procédés qui témoignent d'une pratique complexe et diversifiée, ou l'érotisme s'inscrit dans un savoir-faire, un savoir écrire qui en constitue la littérarité. Les oeuvres convoquées à l'appui de la présente thèse sont les suivantes: Après ski de Philippe Blanchont, OEuvre de chair d'Yves Thériault, Neige noire d'Hubert Aquin, Jacinthe de Charlotte Boisjoli, ainsi que la célèbre saga de Lili Gulliver: L'Univers Gulliver.

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33

Arguin, Maurice. "Le roman québécois de 1944 à 1965 symptômes du colonialisme et signes de libération /." Québec : Centre de recherche en littérature québécoise, Université Laval, 1985. http://catalog.hathitrust.org/api/volumes/oclc/15581996.html.

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Présenté à l'origine comme thèse (de doctorat de l'auteur--Université Laval) sous le titre: Symptômes du colonialisme et signes de libération dans le roman québécois, 1944-1965.
Comprend un index. Bibliogr.: p. 205-217.

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34

Wilcox, Mary Elizabeth. "Canadian cultural identity, disillusionment, and isolation in contemporary realistic Canadian young adult fiction." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/23505.

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This study explores Canadian cultural identity in a selection of contemporary realistic dark-themed Canadian Young Adult (YA) fiction: The Lottery by Beth Goobie, The Space Between by Don Aker, The Beckoners by Carrie Mac, and Swimming in the Monsoon Sea by Shyam Selvadurai. Using close reading, these adolescent novels are analyzed for the “bleak” themes of disillusionment and isolation. The themes are compared to corresponding trends in American YA literature, including self-reflection, ambiguous endings, the role of violence, absent parents, and the forms of the socially and psychologically abject characters. The novels are then analyzed using Canadian critical lenses adapted from John Ralston Saul’s theory of false myths and Daniel Coleman’s theory of wry civility. The critical lenses are also linked to Dennis Lee’s theory of inauthenticity and authenticity in Canadian culture and Northrop Frye’s definitions of unity and uniformity. The analysis concludes that the themes of isolation and disillusionment reflect deep engagement with authentic Canadian cultural theories.

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35

Gardiner, Heather. "The portrayal of old age in English-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27927.pdf.

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36

Gordon, Neta. "Charted territory, women writing genealogy in recent Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2002. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ65674.pdf.

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37

Morel, Pauline. "Rag bags: Textile crafts in Canadian fiction since 1980." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32559.

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The very impetus of this study — to examine the representations of craft in literature — defies the functional binaries so long attributed to art and craft. This study examines the literary formulations of textile crafts and their makers in Canadian works of fiction at the turn of the twenty-first century. Included are three Canadian novels published after 1990: Margaret Atwood's Alias Grace (1996), Austin Clarke's The Polished Hoe (2002) and Rohinton Mistry's A Fine Balance (1995). Through close analysis of these patchwork novels, I suggest ways of reading quilts and other textile crafts as a recontextualization of the forms of the past (through the workings of displacement and parody) in Canadian literature. Chapter One proposes theoretical reconceptualizations of crafts culminating in the 1990s and establishes three paradigms that structure my analysis in each of the chapters: the relations of textile crafts with (a) narrative, (b) trickery, and (c) a dehierarchical and plural aesthetic. In the subsequent chapters, each one dealing with a single novel, I explore the reassembled quality of the narratives and variations of the spider-weaver archetypes they represent, both of which I consider fundamental to the patchwork novel. In Chapter Two, I posit the patchwork quilt in Atwood's Alias Grace as a model for the processes of recollection and fragmentation involved in historiographic metafiction. Chapter Three establishes the crafted object in Clarke's The Polished Hoe as a site of struggle and an embodiment of the collective and composite nature of heritage in the neoslave narrative. Chapter Four focuses on the way the "sordid quiltings" (379) of Mistry's A Fine B
Cette étude contribue à remettre en question la célèbre dichotomie entre l'art et l'artisanat en se penchant sur les représentations de l'artisanat dans la littérature. Plus spécifiquement, cette étude vise à explorer les représentations de l'artisanat textile et de la figure de l'artisan dans le roman canadien au tournant du vingt-et-unième siècle, à travers trois romans publiés après 1990 : Alias Grace (1996) de Margaret Atwood, The Polished Hoe (2002) d'Austin Clarke et A Fine Balance (1995) de Rohinton Mistry. Une analyse de ces trois romans-patchwork et du rapiéçage qui en informe leur structure et leur contenu nous révèle une nouvelle façon de conceptualiser l'artisanat tout en remettant en contexte des formes traditionnelles du passé (tels que tissage, tressage, couture) dans la littérature canadienne contemporaine. Le premier chapitre, explorant les théories transdisciplinaires autour de l'artisanat apparues vers 1970 et atteignant leur apogée dans les années 1990, propose trois paradigmes structurant mon analyse dans chacun des chapitres, à savoir, les relations entre l'artisanat textile et (a) le récit, (b) la ruse, et (c) la transformation et la pluralité. Chacun des chapitres suivants explore les récits rapiécés et les variations autour de la figure mythique du (de la) fileur(euse) rusé(e) (la figure du « trickster » dans le mythe nord-américain) qui constituent un ensemble caractéristique du roman patchwork. Le deuxième chapitre propose le patchwork présent dans Alias Grace comme un modèle de processus de récupération et de fragmentation propre au roman historique (ou ce que Linda Hutcheon nomme « historiographic m

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38

Reid, Michelle. "National identity in contemporary Australian and Canadian science fiction." Thesis, University of Reading, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413934.

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Galletly, Sarah. "Work, class and gender in Canadian fiction, 1890s-1920s." Thesis, University of Strathclyde, 2012. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=25538.

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40

Seiler, Tamara Palmer. "Stories from the margin, insider fictions of immigrant and ethnic experience in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0011/NQ34830.pdf.

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Hill, Colin. "The modern-realist movement in English-Canadian fiction, 1919-1950." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19471.

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This dissertation offers the first comprehensive examination of realism in English-Canadian fiction of the early twentieth century. It argues for the existence of a "modern-realist" movement that is Canada's unique and unacknowledged contribution to the collection of international movements that makes up literary modernism. This argument involves a detailed analysis of the aesthetics, aims, preoccupations, and techniques of the modern realists, a reexamination of the oeuvres of the movement's most prominent writers, and a critical reevaluation of the "modernity" of Canada's three most significant realist sub-genres—prairie realism, urban realism, and social realism. This study also provides a literary-historical overview of the movement as a whole, which begins with the inauguration of the Canadian Bookman in 1919, and concludes with the emergence of a contemporary Canadian fiction in the 1950s. The conclusions arrived at in this work are based upon a reading of dozens of novels and works of short fiction, many of them unpublished and/or critically neglected and forgotten. The findings in this study are also based on original research into archival materials from seven institutions across Canada.

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42

Wang, Mei-Chuen. "Narrative, genre and national myth in postmodern Canadian historical fiction." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54365/.

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This thesis investigates the expansion and continuing proliferation of Canadian historical fiction during the past three decades, and makes a case for reading a number of these novels as postmodern historical fiction. Characterized by the postmodern tendency to problematize history and cross genre boundaries, the novels discussed here are nevertheless rooted in their Canadian context. To establish a theoretical framework, the thesis reviews the reconfiguration of history in contemporary critical theories and its impact on the writing of history and historical fiction, and investigates the debate over Canada's postcoloniality. In the textual analysis, I address the questions raised by the interaction between postmodern problematization of history and local concerns in the selected novels. What narrative strategies are employed to launch an epistemological and ontological questioning of history? Are alternative reconceptualizations of history offered after the problematization? How do these texts achieve genre transgression through narrative devices and what is the purpose of this? What meta-narratives of national history are challenged? What national myths are subverted and dismantled? Are some other myths accidentally reasserted in this deconstructive process? What effects does this historical revisionism or scepticism have on the understanding of Canadian national identity? The focus of the discussion is on the relationships between formal experimentation and thematic concerns and the ways these texts interweave general critiques of history and its representation with specific investigations into the Canadian context. Finally, I propose explanations for the flourishing of contemporary Canadian historical fiction by taking into account both the combined theoretical framework and the complexities and subtleties of the texts under scrutiny. The thesis concludes that the authors of these novels have complicated the postmodern questioning of history at a variety of levels and made that questioning accommodate the novelists' concern with Canadian specificities.

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Cook, Victoria Maria. "Transnational space and the discourse of multiculturalism : contemporary Canadian fiction." Thesis, University of Central Lancashire, 2010. http://clok.uclan.ac.uk/2962/.

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This thesis engages in a study of the construction of identity as “process” in four contemporary English-Canadian novels. The novels under discussion are: Cereus Blooms at Night, by Shani Mootoo; Life of Pi, by Yann Martell; Fugitive Pieces, by Anne Michaels; and Childhood, by Andre Alexis. It offers a transnational model of analysis in relation to each of the novels, which enables the investigation of the “multiple” and “fluid” cultural identities in the four examples of contemporary Canadian fiction under scrutiny.

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Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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Lesk, Andrew. "The play of desire Sinclair Ross's gay fiction /." Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.nlc-bnc.ca/obj/s4/f2/dsk3/ftp04/NQ60597.pdf.

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46

Guenther, Bruce Lloyd. "An enigmatic and contentious novel towards a thematic synthesis and a literary appraisal of Rudy Wiebe's M̲y̲ l̲o̲v̲e̲l̲y̲ e̲n̲e̲m̲y̲ /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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Balsom, Edwin James. "Dialogic regional voices, a study of selected contemporary Atlantic-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ42471.pdf.

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48

Selby, Sharon Dawn. "Myth, memory, and narrative : (re)inventing the self in Canadian fiction." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6318.

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In this dissertation, I examine how the themes of memory, storytelling, and the construction of narrative identity develop in the works of Canadian authors Alistair MacLeod, Michael Ondaatje, and Jane Urquhart. As a means of delving more deeply into these themes, I focus on the specific narrative strategies that all three writers employ in the expression of the relationship between the individual and his/her community, as well as between physical and psychological realities. For the narrative voices in these authors’ works—given the different ways they envision and encode communal identity as constitutive of subjectivity—the past is inextricably embedded in the present. As they construct and record unfolding experience, a wider cultural history is written over with personal connections and significance. In the works of each of these authors, the act of telling stories (re)shapes people and events for the audience: speakers reform and reconstitute their experiences, allowing them both to rewrite the past and be haunted by it. Storytelling becomes an existential act in which personal landscapes are invested with structures of feeling that transcend local significance yet are manifested in everyday connections between ordinary people, and in daily (often unrecognized) struggles and acts of heroism. This includes a study of the means through which psychological evolution and trauma can be depicted. I also discuss how stylistic techniques such as fragmentation, repetition, self-reflexivity, and literary allusion function within these narratives. This aspect of my investigation provides the opportunity to engage more fully with the body of literary research that has already been produced on these authors.

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Rudd, Alison. "'Demons from the deep' : postcolonial Gothic fictions from the Caribbean, Canada, Australia and New Zealand." Thesis, University of Northampton, 2006. http://nectar.northampton.ac.uk/2962/.

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This thesis explores the field of Postcolonial Gothic, initially through an examination of theories of the Gothic and the postcolonial and their points of intersection. Homi Bhabha’s notion of the ‘unhomely’ as the paradigm for postcolonial experience, particularly with regard to migrancy and Julia Kristeva’s concept of the abject are identified as particularly productive for a Postcolonial Gothic framework, which is then applied to a survey of the way the Gothic is figured on the individual and the Local, regional or national levels in the context of Caribbean, Canadian, Australian and New Zealand postcolonial writing and demonstrates how the Gothic as a mode of writing furnishes postcolonial authors with a narrative strategy to express the traumas of colonialism and their postcolonial legacies. In coming to terms with the past, historical temporality and authority are rendered problematic by postcolonial writers because the physical and psychic violence of colonialism and its effects on the individual and on society are compounded by the repression of past trauma. The effects of such trauma threaten to resurface despite resistance. These experiences underpin the images of postcolonial revenants as hybrid, distorted and monstrous figures, which arise out of cultural contact between colonised and coloniser. The ghost, the phantom, the revenant, gain new meanings in the service of the postcolonial, where the duppy, and the soucouyant, from the Caribbean; the Bunyip from Australia and the shape- shifting figure of Coyote from Canada are hybrid manifestations created from European, indigenous and cross-cultural remains and they speak of culturally specific histories, traumas and locations. The thesis is arranged into four chapters: Caribbean gothic, Canadian Gothic, Australian Gothic and New Zealand Gothic. Each chapter provides an overview of the Gothic in the national or regional context, placing the emphasis on the postcolonial and then focuses on the way the Gothic is utilised by both dominant and marginal cultures: by white settlers and indigenous peoples in Canada, Australia and New Zealand, by the descendents of people forcibly mobilised through slavery in the Caribbean, and by other more recent migrants to, or between these locations. The writers discussed have different tales to tell about the effects of colonialism on the individual and on their society, but they have chosen the Gothic as means of expression for some of the most violent and unspeakable acts of colonialism and their legacy in the postcolonial

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Sandrock, Kirsten A. "Gender and region : maritime fiction in English by Canadian women, 1976-2005 /." Augsburg : Wissner, 2009. http://d-nb.info/99550590X/04.

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