Journal articles: 'Canada, fiction'

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Cormier, Matthew. "The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 5–22. http://dx.doi.org/10.2478/abcsj-2020-0014.

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Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.

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Knight, Deborah. "Metafiction, Pararealism and the "Canon" of Canadian Cinema." Articles divers 3, no. 1 (March 8, 2011): 125–46. http://dx.doi.org/10.7202/1001184ar.

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Critical thinking about the English-Canadian and Quebec cinemas has focused lo a large degree on the realist tendencies of our fiction filmmaking-tendencies, it is argued, which fiction filmaking has, historically inherited from Canadian documentary film practices. But in recent fiction filmmaking, Canadian filmmakers have moved beyond social realism. Indeed, the emergence in English-Canada and Quebec of filmmaking that is metafictional and pararealist — in films like Léa Pool's La Femme de l'hôtel, Bruce McDonald's Roadkill and Patricia Rozema's White Room — gives us occasion not only to rethink the criteria that have been used to identify "canonic" film, but more importantly to see how these self-conscious fictional strategies, which initially seem to reject the norms of social realism, are in fact part of an ongoing re-examination of the limits of fiction.

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Danytė, Milda. "Canada as a Superpower in Elizabeth Bear’s Science Fiction: The Jenny Casey Trilogy." Baltic Journal of English Language, Literature and Culture 7 (July 14, 2017): 40–57. http://dx.doi.org/10.22364/bjellc.07.2017.03.

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English-speaking science fiction readers were impressed by Elizabeth Bear’s Jenny Casey trilogy when it appeared in 2005. Along with the high quality of the novels, Hammered, Scardown and Worldwired, the American author surprised her public by a number of features that distinguishes this trilogy from most recent American science fiction. The aim of this article is to examine two of these features more closely: Bear’s combination and revision of certain earlier science fiction genres and her depiction of a world of 2062 in which Canada and not the USA has the leading role in space exploration and global conflicts. The article uses both a comparative examination of science fiction genres and a qualitative analysis of those aspects of Canada that Bear chooses to highlight. American space fiction tends to be nationalistic, but the USA of 2062 is shown as suffering from ecological disasters that its weak and divided society cannot deal with. Canada, on the other hand, though not an ideal society, successfully upholds values like moderation, and is still able to rely on the loyalty of very different kinds of characters.

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Blizzard, Gloria. "A History of Canada: Truth-telling through Fiction." World Literature Today 98, no. 4 (July 2024): 11–12. http://dx.doi.org/10.1353/wlt.2024.a931074.

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Berg, William. "Landscape and Identity: Fiction and Painting in Lower Canada." Quebec Studies 49 (April 2010): 127–44. http://dx.doi.org/10.3828/qs.49.1.127.

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Kwak, Laura. "Problematizing Canadian exceptionalism: A study of right-populism, white nationalism and Conservative political parties." Oñati Socio-Legal Series 10, no. 6 (December 1, 2020): 1166–92. http://dx.doi.org/10.35295/osls.iisl/0000-0000-0000-1127.

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The myth that Canada has resisted the “West’s populist wave” persists despite evidence that demonstrates otherwise. This article traces how the assumption that Canada has avoided the rise of right-wing populism and white nationalism is tethered to the fiction that Canada has been a raceless society. After briefly reviewing the myth of racelessness and the history of right-populism in Canada, the article explores how the Reform Party of Canada conceptualized “the people” in racialized terms. This article examines how the Conservative Party of Canada’s appeals to symbolic “diversity” and denial of systemic oppression have enabled more overt forms of racism. By examining the recent rise of hate crimes, this article makes the case that a direct link can be traced between the Conservative government’s seemingly neutral discourses about the preservation of Canadian “heritage” and “common values” and the re-emergence of right-wing populism and the re-emboldening of white nationalism in Canada. El mito de que Canadá ha resistido la “ola populista de Occidente” perdura a pesar de que se puede demostrar lo contrario. Este artículo expone que la aceptación generalizada de que Canadá ha evitado el auge del populismo de derechas y del nacionalismo blanco está unida a la ficción de que Canadá ha sido una sociedad sin razas. Tras repasar brevemente el mito de la ausencia de razas y la historia del populismo de derechas en Canadá, el artículo explora cómo el Partido Reformista de Canadá conceptualizó “el pueblo” en términos racializados, y examina cómo las apelaciones del Partido Conservador de Canadá a la “diversidad” simbólica y su negación de cualquier opresión sistemática han permitido formas más abiertas de racismo. Al analizar el aumento reciente de crímenes de odio, el artículo argumenta que se puede hallar un nexo directo entre el discurso aparentemente neutral del gobierno conservador sobre la defensa del “patrimonio” y los “valores comunes” de Canadá y el resurgimiento del populismo de derechas y el reforzamiento del nacionalismo blanco en Canadá.

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Sturgess, Charlotte. "Visible difference : Gender as genre in Susan Swans The Wives of Bath." Recherches anglaises et nord-américaines 36, no. 1 (2003): 91–98. http://dx.doi.org/10.3406/ranam.2003.1671.

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Through its play on the limits of fictional genre which underlines the constructedness of genre categories, The Wives of Bath envisages gender itself as an arbitrary construct. Through a series of inversions, crossings and diverse literary encodings the textual strategies at work in the narrative not only problematize the notion of literary genres, they also point to gender itself as a “fiction”. But The Wives of Bath goes further ; through its playing on the boundaries of representation, and its playing with categories of gender, it ironizes any possible unitary narrative of Canada’s national space. As Barbara Godard has stated, Canada as imaginary construct is the “Discourse of the Other”. The Wives of Bath seems, through its strategies, to bear out this statement ; that Canada breaks through any holistic version of nationhood itself, any containment in a “genre”.

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Zerebeski, Andrea. "Reading Whiteness in Dear Canada and I Am Canada: Historical Fiction of a Multicultural Nation." Jeunesse: Young People, Texts, Cultures 7, no. 1 (June 2015): 158–67. http://dx.doi.org/10.3138/jeunesse.7.1.158.

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Zerebeski, Andrea. "Reading Whiteness in Dear Canada and I Am Canada: Historical Fiction of a Multicultural Nation." Jeunesse: Young People, Texts, Cultures 7, no. 1 (2015): 158–67. http://dx.doi.org/10.1353/jeu.2015.0008.

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Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.

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McDonald, Mary Ruth, and Greg J. Boland. "Forecasting diseases caused bySclerotiniaspp. in eastern Canada: fact or fiction?" Canadian Journal of Plant Pathology 26, no. 4 (December 2004): 480–88. http://dx.doi.org/10.1080/07060660409507168.

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George, Mathew M., and Evangeline Priscilla B. "Is a College Professor Capable of Being A Psychopath? A Character Study from the Campus Novel Black Star." World Journal of English Language 14, no. 2 (January 12, 2024): 203. http://dx.doi.org/10.5430/wjel.v14n2p203.

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Literature reflects society. People study literature to better comprehend their own and other people's experiences. People in all civilizations interact with one another, and as a result, bonds form. Education makes a person more civilized. Campus life is considered as the most flamboyant days of a person. In Canada Undergraduate degree or Bachelor’s Degree requires 3 to 5 years of study. Canada has some of the prestigious universities. When speaking about campus fiction the most customary or habitual way we analyze the same is how campus life is reciprocating student life and vice versa. At the same time campus novels do give a focus on the life of lecturers and faculties but it’s much fewer. In the novel Black Star by Maureen Medwed interestingly portrays a female philosophy professor named Del Hanks. Studies has been conducted based on Canadian Fiction but there is a lack of study on the 21st century academic fiction that too written by a female author. In the novel Black Star, the central character is female professor her hardships and difficult phases are been described with the inner lining application of trauma. But interestingly nowhere in the novel the word trauma is been used.

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Broyld, Dann J. "The Underground Railroad As Afrofuturism: Enslaved Blacks Who Imagined A Future And Used Technology To Reach The “Outer Spaces of Slavery”." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 171. http://dx.doi.org/10.29333/ejecs/301.

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This article employs the lens of Afrofuturism to address the Underground Railroad, detailing what imagination, tact, and technology, it took for fugitive Blacks to flee to the “outer spaces of slavery.” Black enslavement was as terrifying as any exotic fictional tale, but it happened to real humans alienated in the “peculiar institution.” Escaping slavery brought dreams to life, and at times must have felt like “magical realism,” or an out-of-body experience, and the American North, Canada, Mexico, Africa, Europe, and free Caribbean islands were otherworldly and science fiction-like, in contrast to where Black fugitives ascended. This article will address the intersections of race, technology, and liberation, by retroactively applying a modern concept to historical moments.

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Chariandy, David John. ""The Fiction of Belonging": On Second-Generation Black Writing in Canada." Callaloo 30, no. 3 (2007): 818–29. http://dx.doi.org/10.1353/cal.2008.0022.

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Moynagh, Maureen. "Eyeing the north star?: Figuring Canada in postslavery fiction and drama." Comparative American Studies An International Journal 3, no. 1 (March 2005): 15–27. http://dx.doi.org/10.1177/1477570005050947.

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Laberge, Danielle, and Pierre Landreville. "Du droit libéral au droit bureaucratique." Cahiers de recherche sociologique, no. 13 (April 19, 2011): 73–92. http://dx.doi.org/10.7202/1002076ar.

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Les auteurs analysent certaines tendances contemporaines du droit pénal. Après un examen de quelques typologies pour cerner le droit-fiction, ils proposent un modèle des transformations récentes de celui-ci. A titre d’illustration, ce modèle est appliqué à l’évolution législative visant le contrôle de l’ivresse au volant au Canada.

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Bell, Katherine. "Behind the Blackout Curtains: Female Focalization of Atlantic Canada in the Dear Canada Series of Historical Fiction." Children's Literature in Education 49, no. 2 (April 18, 2017): 161–79. http://dx.doi.org/10.1007/s10583-017-9315-9.

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Ducharme, Nathalie. "La mise en fiction de l’invasion américaine de 1775." Tangence, no. 78 (December 14, 2005): 21–43. http://dx.doi.org/10.7202/011940ar.

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La mise en fiction de l’invasion américaine de 1775 implique le recours à un important appareil critique pour les auteurs de quatre romans et de trois nouvelles publiés au Canada et aux États-Unis entre 1872 et 1995. Les modalités d’emprunts aux témoignages d’époque et aux travaux d’historiens sont multiples : citation des sources, intertextualité, simulation de documents au service de l’intrigue, etc. En outre, le choix et le traitement des sources témoignent des rapports ambivalents entre Canadiens français et Américains depuis le xixe siècle.

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Treat, James. "Imagining Ourselves: Classics of Canadian Non-Fiction, and: Going Some Place: Creative Non-Fiction Across Canada, and: Crisp Blue Edges: Indigenous Creative Non-Fiction (review)." Fourth Genre: Explorations in Nonfiction 7, no. 2 (2005): 121–23. http://dx.doi.org/10.1353/fge.2005.0045.

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Gerson, Carole. "Making a Difference: Canadian Women Writers and the Fiction of Social Change." Papers of The Bibliographical Society of Canada 60 (March 21, 2023): 1–31. http://dx.doi.org/10.33137/pbsc.v60i1.39213.

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In January 1944, when the influential Toronto critic William Arthur Deacon lamented the absence of a Canadian “equivalent of ‘Uncle Tom’s Cabin’” because Canadians are “still pioneering, still afraid of ourselves intellectually and emotionally,”[1] little did he know that a significant candidate was on the horizon. Gwethalyn Graham’s second novel, Earth and High Heaven, which appeared later that year, launched an analysis of anti-Semitism that was quickly embraced by cultural arbiters and the general public in both Canada and the United States. This essay situates the production and reception history of Graham’s book in relation to other novels by English-Canadian women writers that advocated for social change, and offers cases studies of the three most widely disseminated works that used the power of fiction to marshal empathy: Marshall Saunders’s Beautiful Joe (1894), Graham’s Earth and High Heaven (1944) and Joy Kogawa’s Obasan (1981). [1]W.A. Deacon, “Gearing the Arts in Canada to Postwar Nation-Building,” Globe and Mail, 1 January 1944: 13.

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Filewod, Alan. "The Hand that Feeds." Canadian Theatre Review 51 (June 1987): 9–16. http://dx.doi.org/10.3138/ctr.51.002.

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By the time this article appears in print, the two winners (in English and French) of the 1986 Governor General’s Award for Drama will have been announced; but as I write this the juries have not yet met to select a short list of candidates. Late in the spring the Canada Council will plant a discreet notice in the media announcing the finalists in each of the prize’s four categories (fiction, non-fiction, poetry, and drama), and about a month later a second terse announcement will name the winners. The official gaze of Canadian culture will fix momentarily on literature, blink and pass on to things that really matter. Like Pay-TV.

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Estévez Yanes, Jennifer, and Sheila Hernández González. "“Hope, but also Danger”: A Conversation with Larissa Lai on not Going Back and the ‘Re’ of Recuperation." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 13 (February 29, 2024): 143–57. http://dx.doi.org/10.14201/candb.v13i143-157.

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Larissa Lai is a poet, fiction writer and academic who holds a Canada Research Chair at the University of Calgary, where she directs The Insurgent Architects’ House for Creative Writing. She has authored nine books. Her most recent works are The Tiger Flu, Iron Goddess of Mercy and The Lost Century. She is a recipient of the Jim Duggins Novelist’s Prize, the Lambda Literary Award, and the Otherwise Honor Book. She was recently awarded a Maria Zambrano Fellowship at the University of Huelva in Spain and has been actively engaged in cultural organizing, experimental poetry and speculative fiction communities since the 1980s. Her work often explores themes of identity intertwined with elements of science fiction and the fantastical imagination. This interview took place in Parque García Sanabria on 24th March 2023 during a visit of Larissa Lai to the University of La Laguna. This interview focuses on the convergence of history, myth and affects, providing a reflection on the circularity of time and the promise of happiness.

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Rogers, Theresa. "Looking for Canada: Places and Cultural Spaces in Recent Fiction for Adolescents." Jeunesse: Young People, Texts, Cultures 2, no. 1 (June 2010): 188–202. http://dx.doi.org/10.3138/jeunesse.2.1.188.

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Rogers, Theresa, Laura Dunford, Mollie Freilich, Megan Lankford, Marilyn Rivers-Bowerman, Vasiliki Tassiopoulos, Karen Taylor, Kay Weisman, and Beth Wilcox. "Looking for Canada: Places and Cultural Spaces in Recent Fiction for Adolescents." Jeunesse: Young People, Texts, Cultures 2, no. 1 (2010): 188–202. http://dx.doi.org/10.1353/jeu.0.0012.

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Pantazopoulos, Peter, Keri Kwong, William Lillycrop, Lynn Wong, Yu Gao, Shirley Chalouh, Mark Samadhin, et al. "Trans and Saturated Fat on Food Labels in Canada: Fact or Fiction?" Canadian Journal of Public Health 102, no. 4 (July 2011): 313–16. http://dx.doi.org/10.1007/bf03404057.

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Blake, Jason. "From Fact to Fiction – An Introduction to the Mythology of Ice Hockey in Canadian Life and Literature." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 81–94. http://dx.doi.org/10.4312/elope.1.1-2.81-94.

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The title of Alice Munro’s Who do you think you are? could just as easily be asked of Canada, without eliciting an easy answer. In ethnic, linguistic, even geographical terms, Canada is hardly homogeneous. Because of this, we can only dream of a unified identity; we are, as Leonard Cohen writes in Beautiful Losers, condemned to “nightmares of identity.” If Canada is too complex for a uniform national identity, one derived from a convenient mythology and distilled into simple symbols, it often seems we have yet to realize it. We long for a mythology, even a modern, and blatantly constructed one. In contemporary Canadian society, ice hockey has filled that symbolic role, serving as a mythology that binds a fragmented people. This paper examines the role of ice hockey as a mythologized symbol of Canadian unity in literature, and questions the appropriateness of that usage.

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Day, Dian. "Food insecurity in books for children." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 11, no. 1 (March 29, 2024): 171–91. http://dx.doi.org/10.15353/cfs-rcea.v11i1.654.

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Issues of class and poverty are largely absent from children’s fiction and from elementary school curricula, even though, in Canada, one in every five children live in food insecure households. This paper examines the limited number of middle grade children’s books that feature depictions of food insecurity published in North America in English in the past forty years and interrogates their assumptions about children, poverty, food, and hunger. While the primary cause of food insecurity for children is inadequate household income, often due to systemic inequities, most children’s fiction suggests individual choices or life circumstances are to blame and charity, kind strangers, and simple luck are the solutions, giving children, at best, an incomplete understanding of the social and political issues that produce food insecurity.

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Wilson, Ann. "EDITORIA." Canadian Theatre Review 98 (March 1999): 3. http://dx.doi.org/10.3138/ctr.98.fm.

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The genesis of this issue of CTR, a consideration of aspects of publishing drama in Canada, was the simple observation that a number of playwrights are turning from writing plays to writing fiction. As an editor of this journal, and as an academic, I was curious about what it means to playwrights to see their work in print, particularly what it means to see plays in print.

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Kovačević, Branka. "Intertextuality in the short story "The Death of Robert Browning" by Jane Urquhart." Reci Beograd 14, no. 15 (2022): 82–101. http://dx.doi.org/10.5937/reci2215082k.

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The aim of this paper is to explore the intertextual dialogue and its meaning that is continuously articulated as cultural heritage in the prose of the well-known Canadian writer Jane Urquhart. By including the famous Victorian poet Robert Browning in the plot of her short story "The Death of Robert Browning," Urquhart highlights the postmodern tendency to express the basic human need to mythologize and perpetuate illusions about death. In a broader context, as an author from Canada, she emphasizes the difference between reality and fiction by revising historical facts through various textual interactions and revisions that help to construct an entirely new literary world freed from the psychological influence of British heritage in the context of Canadian culture. The story "The Death of Robert Browning" demonstrates a literary procedure in which a real person was placed at the center of the plot and his fictional life, which continued less than a hundred years after his death, served to allow readers to experience the real character of a historical figure in a special way. Thus, we get a completely new text in which all the sensibility and syncretism that the poet himself reflected are imprinted, but also a text in which the boundaries between values, rules, and prohibitions disappear and in which the mixture of reality and fiction gives way to the classical vision of the text.

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Goldman, Dara E., and Brett Ashley Kaplan. "Twenty-First-Century Jewish Writing and the World." American Literary History 33, no. 4 (November 16, 2021): 703–8. http://dx.doi.org/10.1093/alh/ajab072.

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Abstract This introduction situates the essays about twenty-first century Jewish writing and the world in light of the exciting line up of writers who joined us at the University of Illinois for a series bridging fiction and scholarship. Nicole Krauss, Ruby Namdar, David Bezmozgis, and Ayelet Tsabari--Jewish writers from Israel, the U.S., and Canada, span a range of modalities and thematic concerns that ultimately illuminate the complexities of Jewish writing.

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Ram Autar. "National Politics in the Fiction of Rohinton Mistry." Creative Launcher 4, no. 5 (December 31, 2019): 56–61. http://dx.doi.org/10.53032/tcl.2019.4.5.09.

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Representation of contemporary politics and human problems is a major theme for contemporary litterateurs and social thinkers. A number of prolific and eminent novelists such as Rohinton Mistry, Salman Rushdie, Vikram Seth, Khushwant Singh, Nayantara Sahgal, Shashi Tharoor, Amitav Ghosh, Arundhti Roy, Kiran Desai and many more have tried to explore the hidden truth and treacherous activities carried out over Indian citizens by their elected political representative on the name of different government schemes. Rohinton Mistry, an Indian of Parsi in origin presently living in Canada, represented contemporary Indian politics in his novels by subverting the conscious or unconscious cultural categorisations associated with the forms of novels focussing on the human condition located in time and space. He tried to show us how politics is used by politicians of all parties to remain in power for fulfilling their vested interest. Present paper is an effort to describe and discuss how political upheavals have an impact on the psyche of common man. It would discuss the theme of politics in the fiction of Rohinton Mistry.

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Suvin, Darko. "Circumstances and Stances." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 535–38. http://dx.doi.org/10.1632/003081204x20622.

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The “particular cultural and political circumstances in which i write” have changed decisively several times in my life. I have been several times an expatriate and finally an émigré from Yugoslavia, and I am now an expatriate from Canada—a life that has made me very attuned to global material and moral changes. I shall focus on the changes that I personally felt as inciding deeply into my professional work in the last ten years or so, the watershed for me being the illegal and immoral bombing of Serbia led by the United States. By then I had published three books on science fiction—Metamorphoses of Science Fiction (1979), Victorian Science Fiction in the U.K. (1983), and Positions and Presuppositions in Science Fiction (1988)—and written enough further essays for a fourth book, which was scrapped when the Liverpool University Press had its budget cut. The changes make me, alas, the bearer of bad news, for as I see it our rulers have in practice destroyed the wall that our disciplines wrongly thought existed between culture and political economics, and we had better draw the consequences. And yet the gesture and bearing (see Suvin, “Haltung”) of writing this report also imply a hope that with much clarity, work, and luck we intellectuals—writers and then critics—can make an important difference.

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Cullingham, Sarah. "On the politics of speculative fiction: A conversation with Drew Hayden Taylor." European Journal of American Culture 41, no. 3 (September 1, 2022): 281–92. http://dx.doi.org/10.1386/ejac_00080_1.

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The alternate realities and imagined futures of speculative fiction provide a rich source of material through which to interrogate our views of history, elucidate our contemporary cultural milieu and chart what we see as possible. This article attends to the politics of Indigenous‐Settler relations through an engagement with speculative fiction. Spatially and temporally located in the country now called Canada in the twenty-first century, the work centres on a conversation between the author, a Settler Canadian, and writer, playwright and humourist, Drew Hayden Taylor, from the Curve Lake First Nation. A full transcript of the conversation, edited for length and clarity, is provided. In it, Taylor describes his speculative writing practice and engagement with Indigenous futures. The article concludes with the author’s reflection on the process of decolonization, situating engagement in Indigenous futurisms as a step in this process.

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Doyon, Nova. "L’Académie de Montréal (1778) : fiction littéraire ou projet utopique ?" Mens 1, no. 2 (April 17, 2014): 115–40. http://dx.doi.org/10.7202/1024446ar.

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L’Académie de Montréal (1778) est la première société intellectuelle fondée par des hommes de lettres au Canada. Son activité se manifeste uniquement dans le premier journal unilingue français du pays, la Gazette Littéraire de Montréal (1778-1779), fondé par l’imprimeur Fleury Mesplet. Son principal collaborateur, l’avocat Valentin Jautard, publie des critiques littéraires entre autres sous le pseudonyme du Spectateur tranquille. À la fin du XVIIIe siècle, il n’y a pas véritablement de champ littéraire au Québec et pourtant, l’imprimeur et le journaliste, membres de l’Académie, agissent comme s’il en existait un. Cet article cherche à démontrer que le lien étroit qui unit le journal et l’académie sous-tend en fait une stratégie — qu’elle participe du registre de la fiction ou qu’elle relève simplement du projet utopique — de la part des animateurs du journal : la présence de l’Académie de Montréal dans la Gazette Littéraire aurait servi à légitimer le discours véhiculé par cette dernière.

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Marmor, Ted. "Fact, Fiction, and Faction: The Politics of Medical Care Re-form in Canada as It Appears South of the Border." Canadian Journal on Aging / La Revue canadienne du vieillissement 14, no. 2 (1995): 426–36. http://dx.doi.org/10.1017/s0714980800011910.

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RÉSUMÉUne perspective internationale est requise pour mieux situer le débat sur l'avenir du régime d'assurance-maladie universel (RAMU) canadien. Les débats canadiens seront de toute façon influencés par les débats transnationaux, en particulier par la situation américaine telle qu'interprétée par les médias de masse. Les canadiens doivent donc être attentifs aux distorsions que font subir au RAMU canadien les reportages américains. La deuxième partie de ce commentaire affirme que dans une perspective comparative, le Canada a réussi à équilibrer les coûts, la qualité et l'accès aux soins. En troisième lieu, un débat qui inclurait des comparaisons internationales démontrerait que les tensions du RAMU sont gérables, ses résultats remarquables et que les dangers à son intégrité sont surtout idéologiques. Cet essai s'interroge sur l'orientation canado-centrique de ce numéro spécial qui passe sous silence l'expérience des pays de l'OCDE.

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Kennedy, Victor. "The Relationship Between Doctors, Patients and the Law in North American and British Literature." Medicine, Law & Society 9, no. 1 (April 15, 2016): 1–10. http://dx.doi.org/10.18690/24637955.9.1.1-10(2016).

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In common law jurisdictions today, the relationship between doctors and patients is generally considered to be a private one (Dorr Goold and Lipkin Jr., 1999). Like most professions, doctors are governed to a large extent by professional associations with their own Codes of Ethics. To practice medicine in the United States, Canada, or Britain, doctors must be licensed by their local Board or College1. Government control of doctor-patient relationships is generally limited to funding, but in a few areas, in particular, those that are considered to be matters of public morality or ethics, criminal statutes can apply. Historically, reproductive rights have often fallen under state control. This paper will compare fictional representations of state interference with reproductive rights in three science-fiction dystopias, Margaret Atwood’s The Handmaid’s Tale (Atwood, 1985), P.D. James’s Children of Men (James, 1992), and Harlan Ellison’s “A Boy and His Dog” (Ellison, 1969), and examine the real-world situations and concerns that these stories comment upon.

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Nagy, Judit. "“The Heave of the Swell” – Metaphors of the Sea in Short Stories from Atlantic Canada (1900-1930)." Studia Universitatis Babeș-Bolyai Philologia 66, no. 2 (March 30, 2021): 97–110. http://dx.doi.org/10.24193/subbphilo.2021.2.07.

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"“The Heave of the Swell” – Metaphors of the Sea in Short Stories from Atlantic Canada (1900-1930). The paper examines the use of sea metaphors in Atlantic Canadian short stories written between 1900 and 1930. Lakoff and Kövecses’s cognitive concept of the metaphor will provide the theoretical framework for the identification and classification of sea metaphors surfacing in the texts to be analysed. Using the socio-cultural background information provided in the first part of the paper, the more substantial second part will constitute the actual analysis, which will concentrate on the sea metaphor use of the works of prominent Atlantic Canadian short story writers from the golden age of the sea story. Keywords: Atlantic Canada between 1900 and 1930, socio-cultural background, short story, sea-related short fiction, cognitive metaphor theory, metaphors of sea "

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Ziemann, Zofia. "It’s a writer’s book. Anglojęzyczni pisarze czytają Schulza (na potęgę)." Schulz/Forum, no. 11 (December 3, 2018): 153–66. http://dx.doi.org/10.26881/sf.2018.11.14.

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The long awaited publication of Madeline G. Levine’s retranslation of Schulz’s fiction has sparked new interest in the reception of Schulz in English-speaking countries. In Poland, the general view seems to be that the author has not received the attention he deserves. Based largely on a review non-specialized periodicals from 1963–2018, the paper presents a strong and lasting trend in the reception of the English Schulz, namely the admiration of hosts of fellow authors: writers of high-brow and popular fiction, poets and playwrights from the whole anglophone world, form Australia to Canada. Examining their reviews of Schulz’s stories, interviews and articles promoting their own work, and intertextual references to Schulz which some of them employed, the paper adds some a new names to the small handful of Schulz-loving anglophone authors of whom Polish scholars have been aware so far.

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Godard, Barbara. "La traduction comme réception : les écrivaines québécoises au Canada anglais." TTR : traduction, terminologie, rédaction 15, no. 1 (July 29, 2003): 65–101. http://dx.doi.org/10.7202/006801ar.

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Résumé S'inspirant de la théorie de Pierre Bourdieu de la stratification violente du « champ de production culturelle » et de la théorie d'André Lefevere de la médiation hégémonique du patronage dans la survivance des oeuvres littéraires, cet essai analyse la ré-écriture de la littérature québécoise au Canada anglais par le biais des pratiques de traduction. Toronto (et New York) contribuent à la légitimation de la littérature québécoise : les maisons d'éditions anglophones choisissent ce que l'on traduit et qui le traduit — des processus de séléction qui ont féminisé la culture québécoise comme alternative au matérialisme américain. Les romans de Gabrielle Roy, Anne Hébert, et Marie-Claire Blais ont été intégrés pleinement au système littéraire anglo-Canadien où, ré-écrits comme « réalistes » et présentant une image d'un Québec unilingue anglais, ils ne circulent que dans le champ de grande production ou le champ de la production restreinte, addressés à la bourgeoisie. En dépit de l'hypothèse de Carolyn Perkes, cependant, l'écriture d'une génération féministe plus jeune (Nicole Brossard, France Théoret, etc.) n'a pas transformé les normes du champ littéraire cannadien-anglais. Un nouveau genre de « fiction/théorie» s'est développé au Canada anglais, mais il ne circule que dans le champ de production marginale (les presses féministe et d'avant-garde) sans la reconnaissance d'autres positions dans le champ culturel. En effet, dans cette fiction/théorie, la thématique du langage, qui met en relief l'asymétrie du pouvoir entre l'anglais et le français, a été fortement critiquée parce qu'elle enfreint les normes de la purété linguistique et du sens transparent qui structurent le champ de la production restreinte. Un dialogue entre féministes à travers les langues a influencé l'écriture des écrivaines québécoises pour qui le motif de la traduction informe quelques romans récents. Répondant par un jeux de variations à la violence d'une subordination symbolique, ces romans entreprennent le travail du deuil pour l'objet perdu (la mère absente, la langue unique) en employant la traduction comme une figure de perlaboration. La traduction n'implique pas la tragédie d'une perte de la langue, mais un excès carnavalesque de la répétition dans beaucoup de langues potentielles. La traduction constitue alors un accès privilégié à une créativité autre.

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Bieber, Ada, and Richard Gooding. "Streams of Consciousness: The Downriver Narrative in Young Adult Fiction." International Research in Children's Literature 13, no. 1 (July 2020): 61–75. http://dx.doi.org/10.3366/ircl.2020.0328.

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This article draws on adaptation and genre theory to argue that the downriver narrative constitutes a distinct genre in literature for youth. This genre is characterised by a repertoire of narrative elements including alternations between the river as a space of reflection and refuge, social interactions that occur on land, and the social and political commentary voiced by the river travellers. These patterns appear in diverse cultural and historical contexts, as exemplified by Auguste Lazar's Jan auf der Zille [Jan on the barge] (1934/1950), Richard Scrimger's Into the Ravine (2007), and David Almond's Heaven Eyes (2000). Published in Germany, Canada, and the UK, these novels deploy episodic accounts of journeying downstream to perform a range of cultural work, including articulating discourses about citizenship and nationhood, raising critical awareness about questions of difference, and promulgating Romantic models of childhood.

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Corridon, Linzey. "Writing the Queer Caribbean / Canada / Beyond – A Conversation with H. Nigel Thomas." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 10 (October 10, 2022): 155–67. http://dx.doi.org/10.14201/candb.v10i155-167.

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H. Nigel Thomas is the writer of twelve books and a retired professor of American literature at Laval University. Born and raised in St. Vincent and the Grenadines, he moved to Montréal in 1968. Nigel’s illustrious career includes short stories, poems and articles that have appeared in multiple journals and anthologies. His novels Spirits in the Dark and No Safeguards were shortlisted for the Quebec Writers Federation Hugh MacLennan Fiction Prize. Des vies Cassées (the translation of Lives: Whole and Otherwise) was shortlisted for le Prix Carbet des Lycéens. In this interview, Linzey Corridon explores queerness in the Caribbean Canadian diaspora, intergenerational queer subjectivities, multiculturalism, audience reception, publishing, and circulation in the Caribbean.

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Verduyn, Christl. "FROM THE “WORD ON FLESH” TO THE “FLESH MADE WORD”: WOMEN'S FICTION IN CANADA." American Review of Canadian Studies 15, no. 4 (December 1985): 449–64. http://dx.doi.org/10.1080/02722018509480832.

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Ken, Don, Guy Vanderhaeghe, and Per K. Brask. "Rebels in Time: 3 Plays by Ken Mitchell, I Had a Job I Liked. Once." Canadian Theatre Review 77 (December 1993): 81–83. http://dx.doi.org/10.3138/ctr.77.014.

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Saskatchewan must have the highest number of produced and published playwrights per capita of any province in Canada. Playwrights such as Connie Gault, Kim Morrissey, Barbara Sapergia, Dianne Warren, Rod MacIntyre, Ken Mitchell, Archie Crail, Geoffrey Ursell, (until fairly recently) Rex Deverell, and (until even more recently) Greg Nelson, among others, have graced Saskatchewan with their habitation. Many of these playwrights are also accomplished in other genres and now Guy Vanderhaeghe, celebrated for his prose fiction, has joined their number by adding playwriting to his substantial abilities.

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Landry, Kenneth. "Le roman-feuilleton français dans la presse périodique québécoise à la fin du xix e siècle : surveillance et censure de la fiction populaire." Études françaises 36, no. 3 (December 16, 2004): 65–80. http://dx.doi.org/10.7202/009723ar.

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Résumé Pendant la deuxième moitié du xix e siècle, la fiction populaire française, sous la forme du roman-feuilleton, envahit les colonnes de la presse périodique. Le clergé catholique québécois, qui tente d’exercer un contrôle sur la lecture en général, s’inquiète de la moralité de cette littérature de divertissement. Si la plupart des rédacteurs font lire et corriger leurs textes littéraires avant de les publier, les dirigeants de Canada-Revue, eux, refusent d’emboîter le pas. La condamnation du périodique par l’évêque de Montréal constitue un cas d’espèce, qui n’empêchera pas les feuilletons de proliférer.

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Córdoba Serrano, María Sierra. "Traduction littéraire et diplomatie culturelle. Le cas de la fiction québécoise traduite en Espagne1." Globe 13, no. 1 (October 6, 2010): 47–71. http://dx.doi.org/10.7202/044639ar.

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Cet article montre que si la fiction québécoise réussit à franchir les frontières linguistiques et culturelles et à se créer un espace de réception dans les champs littéraires espagnol et catalan – et ce malgré les nombreux obstacles à la diffusion d’une littérature minoritaire – c’est grâce à l’action d’acteurs institutionnels associés au gouvernement fédéral canadien et au gouvernement provincial québécois. Un tel investissement est motivé par le fait que la traduction littéraire est considérée comme un outil au service de la diplomatie culturelle qui sert à construire une « image de marque » positive du Canada et du Québec à l’étranger, une image qui les rendrait compétitifs sur la scène internationale. Or, une fois hors de la portée des réseaux institutionnels, les textes sélectionnés pour être traduits entrent dans les réseaux des espaces cibles où ils se voient recontextualisés. Dans ce nouveau contexte, ils ne pourront pas échapper à leur resémantisation axio-idéologique par les agents issus des champs cibles, une resémantisation qui peut d’ailleurs être loin des représentations du Canada ou du Québec voulues par les acteurs institutionnels qui avaient encouragé le transfert littéraire. Ainsi, cet article dégage la portée, mais également les limites de l’action de ces acteurs institutionnels, ainsi que les rapports ambivalents qui s’établissent entre eux et les agents appartenant au champ littéraire, notamment les éditeurs québécois, mais aussi les éditeurs espagnols et catalans, qui ont le dernier mot en ce qui concerne la sélection des oeuvres à traduire.

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Skrynsky, Hannah. "From Dystopic to Decolonial." Extrapolation: Volume 61, Issue 3 61, no. 3 (December 1, 2020): 317–36. http://dx.doi.org/10.3828/extr.2020.17.

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This paper looks to Haisla-Heiltsuk writer Eden Robinson’s short story “Terminal Avenue” (2004) as a literary example of what Canada’s future might look like if the collectively felt anxiety that underpins settler society remains unchecked. I analyze “Terminal Avenue” as a work of speculative fiction that represents what I term the genre’s “ideology of indeterminacy” as a politically productive condition under which Indigenous/settler relations in contemporary Canada can be reassessed. My analysis builds on the work of settler scholars David M. Higgins and Conrad Scott published in Extrapolation, vol 57, nos. 1-2, 2016.

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Albanese, Laurie Lico. "Note: The 1832 Cholera Epidemic and the Book Nathaniel Hawthorne Never Wrote." Nathaniel Hawthorne Review 47, no. 1 (May 1, 2021): 167–70. http://dx.doi.org/10.5325/nathhawtrevi.47.1.0167.

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Abstract On June 28, 1832, Nathaniel Hawthorne penned a letter to Franklin Pierce describing plans for a Northern tour through New York into Canada, a trip that he was forced to postpone due to the 1832 cholera outbreak in Montreal. Hawthorne intended to gather tales for The Story Teller on this ill-timed trip, but the trip was never made and the collection of interlinked traveling tales never published. The author of this note paper considers the cholera epidemic's impact on Hawthorne's writing life and how it reverberates through her own writing of historical fiction during the 2020 coronavirus pandemic.

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Dr. Rashmi Dubey. "A Study of Diasporic Divulgencies in the Works of Rohinton Mistry." Creative Launcher 5, no. 6 (February 28, 2021): 53–59. http://dx.doi.org/10.53032/tcl.2021.5.6.08.

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Diaspora fiction deals with the issues of two different social milieus having discriminating margins, disintegration or combination of cultures and is also lingers over the related feelings such as nostalgia, loneliness, alienation, existential rootlessness, homelessness, quest of identity, protest, assertions and questioning etc. Rohinton Mistry is one such writer who is well known for his depiction of these psycho-sociological problems by the emigrants and immigrants. Rohinton belongs to the Parsi Zoroastrain religious minority while residing in Brampton, Ontario, Canada. Being himself a victim, most of his works are concerned to scrutinize the complexities of contemporary rootlessness and alienated identities of the Parsi community he describes. While in India these Parsis are called “Ghatis” and when they move towards the United States and Canada, they are called “Pakis”, and Mistry considers both of them to be dehumanizing. He raises voice against the victimization of these emigrants and immigrants and highlights their struggle also.

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Legault-Beauregard, Myriam. "Ne rien avoir ou ne rien être, au gré des variations : une analyse de l’œuvre Nous qui n’étions rien de Madeleine Thien (trad. Catherine Leroux) en tant que « nouveau » roman historique." Traduction et Langues 22, no. 2 (December 31, 2023): 39–58. http://dx.doi.org/10.52919/translang.v22i2.949.

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Various Variations from Having Nothing to Being Nothing, an Analysis of Madeleine Thien’s Do Not Say We Have Nothing (and its French Version) as a “New” Historical Novel Traditionally, historical novels have been subjected to various negative preconceptions and have often been categorized as lowbrow. Despite their popular and commercial success, authors of such novels rarely win prestigious literary awards. However, 'Do Not Say We Have Nothing,' a historical novel by Madeleine Thien published in 2016, was critically acclaimed and received high praise, winning two major Canadian prizes— the Scotiabank Giller Prize and the Governor General’s Literary Award for Fiction. It was also shortlisted for the Man Booker Prize. Its French translation, 'Nous qui n’étions rien,' also gained significant recognition, as Catherine Leroux, Thien’s translator, was awarded a Governor General’s Literary Award for the French version in 2019. The novel has been translated into thirteen other languages, another significant sign of consecration. In this paper, two questions will be explored. Firstly: what characteristics of 'Do Not Say We Have Nothing' (and of its French translation 'Nous qui n’étions rien') explain its critical success? Secondly: do these characteristics match those of the 'new' historical novel? 'New' historical novels are here understood as well-documented, complex, and intertextual works that started to appear in the 1980s and tend to break away from the tradition of historical novels based on bewildering action and detailed descriptions, often written in plain language. A general finding is that the appreciations of the juries of two important English-language literary prizes in Canada, as well as many reviews published in different journals and magazines, mention that the book’s complexity and the reflections it prompts are two major positive aspects of the novel. As for the writing itself, whereas Thien’s style has been deemed 'simple,' consistent with traditional historical novels, Leroux’s version does not appear to be as accessible. Nevertheless, it was lauded by critics and the Governor General’s Literary Awards jury. It is worth asking if this more formal and literary style was not seen as an additional strength by the French institution and reviewers. A brief analysis of fiction works winning major prizes in Canada in the years prior to and following 'Do Not Say We Have Nothing' has also been conducted and seems to indicate that historical novels tend to win more prizes in English Canada than in French Canada.

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Williams, Hector. "A new watercolour by Robert Hood of the first Franklin expedition." Polar Record 46, no. 2 (September 8, 2009): 179–80. http://dx.doi.org/10.1017/s0032247409990088.

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Perhaps the most tragic story from the Franklin expedition of 1819–1822 was the murder of Robert Hood, a talented midshipman who left a number of watercolours of the trip and of the peoples and fauna encountered (Houston 1974; Franklin 2000). The story even became the basis for a novel that won the annual Governor General of Canada's prize for fiction in 1994 for the Alberta writer, Rudy Wiebe (Wiebe 1994). The expedition undertook a desperately difficult trek that saw only nine survivors of the original twenty members, but it resulted in the first map of 800 km (500 miles) of the northern central Arctic coast of Canada.

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Journal articles on the topic 'Canada, fiction'

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