Academic literature on the topic 'Canadian Prose poems'

Margaret Atwood is the only Canadian author whose 80th birthday in 2019 was celebrated by the global academic community. This is not surprising, as she is the most famous Canadian writer, popular also outside literary circles. On this occasion, Slovene Canadianists organized a literary event at the Maribor University Library, which presented an outline of Atwood’s oeuvre and a selection of translated poems and excerpts of prose texts; some of these were translated especially for the event. Of Atwood’s rich and varied oeuvre, only eight novels, a few short fiction pieces and some thirty poems have been translated into Slovene. This article thus aims at presenting those aspects of Atwood’s work which are less know to Slovene readers. It is no secret that Atwood is often labelled a feminist writer, mostly on account of The Handmaid’s Tale and the TV series based on the novel. However, many Slovene readers may not know that she also writes poetry, short fiction, non-fiction and children’s literature, that she is a committed environmentalist, and that she discussed the problem of “Debt and the Shadow Side of Wealth” in a prestigious lecture series. There are not many authors who master as many genres as Atwood and who are so well-received by readers and critics alike. The latter is true of Atwood also in Slovenia, and we can only hope that Slovene publishers will make more of Atwood’s work available to Slovene readers. All the more so since Atwood has no plans to end her career: just before her 80th birthday she was on a tour in Europe promoting her latest novel, The Testaments, and she would have continued touring in 2020 were it not for the COVID pandemic.

Margaret Atwood is one of the most famous modern English-language writers. She has won numerous literary awards, including the Booker Prize twice. Her novel “Penelopiada” (2005) did not attract the attention of researchers. Therefore, the purpose of this article is a detailed analysis of the main features of the poetics of the novel as a model of postmodern prose. The source of inspiration for the writer were the ancient myths and heroic poems “Iliada” and “Odyssey” by Homer. In ancient texts, Penelope is a minor heroine. She was the wife of Odysseus, the King of Ithaca, who fought for ten years under the walls of Troy, and then travelled for another ten years. And all this time his wife has been waiting for him, so Penelope is a symbol of marital fidelity and patience. Canadian author Margaret Atwood rethinks this image. Without disturbing the plot of the ancient epic, she psychologically motivates the actions of Penelope, shows the image of a lonely strong woman who is trying to survive in a cruel male world. This text reflects the feminist views of the author. The article focuses on aspects of intertextuality, allusions, and creative dialogue with prototexts. The figurative structure of the novel, the semantic overemphasis of the images of Odysseus, Penelope and Elena, who fled to Troy, are analysed. The events of the Trojan War are considered from the point of view of a woman who was not directly affected by the hostilities, but whose life changed radically. Genre-compositional features of the novel are revealed. The originality of the narrative in the novel is clarified: the story is told on behalf of Penelope, which adds psychological credibility to the image. The article also notes the techniques of irony, parody, which represent the text as a model of postmodernism.

Asian Canadian Photopoetics describes the self-conscious epistemological interplay between photographs and Fred Wah’s “prose-poem sentences,” a process that graphically unfolds “around” the photographs in Sentenced to Light (2008). Wah’s photopoetics, influenced by Roy Kiyooka and racialized Asian Canadian contexts, are primarily marked by figures of ellipsis and extrapolation. These photopoetic tactics support “a poetics of the hyphen, another tool in the resistance to closure that sustains the dynamics of ‘betweenness’.”

The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.

Poetry is a gentle but relentless coach, a lover, personal benchmark, and record for growth. She shifts beliefs, practices, and emotions, tracking pitfalls, steps back, steps around, stillness, like a smooth laketop or slow-streaming river. In this Research-Creation piece, I develop my version of ‘Crip Poetics’ through autoethnographic methods including video poems and hybrid prose-poetry writing. Drawing on Critical Disability Studies, Indigenous Studies, and Mobility Studies, I bring questions of white supremacy and settler colonialism into conversation with accessibility in Canada. I interview Indigenous people with varying relationships to disability and disabled people of multiple settler cultures, using qualitative methods including Hangout as Method (Warren Cariou) and Wheeling Interviews (Laurence Parent). Engaging with interview transcripts as text, to continue conversation and exchange with interviewees, this study offers reflections on interviewing as a method. Reflecting on the limits of participant-action research and representation, I interrogate the role of researchers in marginalized knowledge production, engaging with the limits and possibilities of ‘unsettling research’. I aim to redirect eugenic trends in disability discourse and history towards prioritizing the telling of our own stories. It's my hope that these conversations and the intersections of these struggles are brought to the fore—this selection being one avenue among many to further this work. Dance with me between words and beyond political affiliation.

The article reveals the main milestones of the 90-year life and scientific work of Petro Petrovich Kononenko - Doctor of Philology, Professor, prominent Ukrainian scholar, literary critic, writer and playwright, initiator of the Ukrainian National Lyceum, founder and director of the National Research Institute of Ukraine. The often mentioned village of Markivtsi, Bobrovytsia district, Chernihiv region, where P. Kononenko was born on May 31, 1931, is the cradle, the first sounds, the first words of the Ukrainian language, and the first knowledge of Ukraine in native people - all for the first time and all native. Milestones in life are graduating from high school in his native village, Faculty of Philology of Taras Shevchenko Kyiv State University, obtaining the degrees of candidate, doctor of philology, academic titles of associate professor and professor, work as head of the Department of History of Ukrainian Literature, dean of the Faculty of Philology. Research Institute of Ukrainian Studies. Researchers of his work M. Velychko and M. Slavynsky define the creative mission and works of PP Kononenko as follows: poet, prose writer, playwright, literary critic and literary critic, whose works have been translated into English, Bulgarian, Spanish, German, Polish, Croatian, Georgian. Tatar and other languages. Author of almost 1000 scientific publications and 50 monographs, including: “In Search of the Essence”, “Village in Ukrainian Literature”, “Ukrainian Literature: Problems of Development”, textbook for higher education institutions “Ukrainian Studies”, “Love Your Ukraine…”, “ Mykhailo Hrushevsky ”,“ The Phenomenon of the Ukrainian Language ”,“ Ukrainian Ethnos: Genesis and Perspectives ”,“ National Idea, Nation, Nationalism ”,“ We ??Have One Ukraine ”(books I, II, III) - co-authored with Taras Kononenko, “Ukrainian land and people in world civilization and culture” (books I, II), “Ukrainians in world civilization and culture. The historical phenomenon of Stepan Bandera “. The works of the recognized master of the word include the tragedy “Mary on Calvary”, selected “Voices in the Desert”, a collection of poems “Sunny Phoenix”. On the eve of P. Kononenko’s 90th birthday, his large-format four-volume memoir and reflections “One Hundred Years - One Hundred Roads… Ukraine and Ukrainian Studies: Origin - Executions - Resurrection” were published. In addressing the readers of the four-volume book, the content of which is reviewed in the article, P. Kononenko calls his work a reflection on Ukraine and the science of Ukrainian studies in intellectual, mental, experiential and mental perception, and thus interpretation, predictability and planning of the future. The personal perception of Ukraine by the author of the four-volume book, world Ukrainians, Ukrainian studies, the fate of Ukraine as the fate of everyone, its role and mission in intellectual-logical and emotional-emotional phenomenality, interdependence of historical and psychological perspectives, philosophical-ideological and psychological-cultural assessment and opportunities for human progress. Among the real characters of the four-volume book, the article reveals the psychology of “residents of profit and career, adapters”, who grew in the tragic circumstances of foreign colonization of Ukraine, the beginning in January 1972 in Kiev and other cities of Ukraine mass arrests of Ukrainian KGB poets, artists, students, to whom P. Kononenko is almost the first among other authors. The origin of the idea and foundation of the Institute of Ukrainian Studies, an example of which was created by Omelyan Prytsak for the preservation and development of Ukrainian cultural heritage “Institute of Ukrainian Studies” at Harvard University, “School Board” in the US and Canada, which manages schools of Ukrainian studies, development of the Center 1988 at the Faculty of Philology of the Taras Shevchenko University of Kyiv, and with it the Institute of Ukrainian Studies and its state status. The chronology of the transformation of this scientific institution into the Research Institute of Ukrainian Studies in the sphere of management of the Ministry of Education and Science and the transfer of the building at 18 Isaakyana Street in Kyiv for its placement are given. The reasons for counteracting the institutional development of Ukrainian studies in modern Ukraine, which still preserves the Soviet system of organization of communist-style science, further strengthened by its communist and post-communist functionaries, are analyzed. P. Kononenko’s reasoning that the phenomenon of synthesis of Ukrainian studies should be anthropology, and the generator of knowledge - the Institute of Man. The conclusions consider the achievements of the future, which include the causal conditionality of Ukrainian authenticity at each stage of the favorable historical development of the Ukrainian nation, determined by the functioning of statehood in the exercise of its protective function.

The article reveals the main milestones of the 90-year life and scientific work of Petro Petrovich Kononenko - Doctor of Philology, Professor, prominent Ukrainian scholar, literary critic, writer and playwright, initiator of the Ukrainian National Lyceum, founder and director of the National Research Institute of Ukraine. The often mentioned village of Markivtsi, Bobrovytsia district, Chernihiv region, where P. Kononenko was born on May 31, 1931, is the cradle, the first sounds, the first words of the Ukrainian language, and the first knowledge of Ukraine in native people - all for the first time and all native. Milestones in life are graduating from high school in his native village, Faculty of Philology of Taras Shevchenko Kyiv State University, obtaining the degrees of candidate, doctor of philology, academic titles of associate professor and professor, work as head of the Department of History of Ukrainian Literature, dean of the Faculty of Philology. Research Institute of Ukrainian Studies. Researchers of his work M. Velychko and M. Slavynsky define the creative mission and works of PP Kononenko as follows: poet, prose writer, playwright, literary critic and literary critic, whose works have been translated into English, Bulgarian, Spanish, German, Polish, Croatian, Georgian. Tatar and other languages. Author of almost 1000 scientific publications and 50 monographs, including: “In Search of the Essence”, “Village in Ukrainian Literature”, “Ukrainian Literature: Problems of Development”, textbook for higher education institutions “Ukrainian Studies”, “Love Your Ukraine…”, “ Mykhailo Hrushevsky ”,“ The Phenomenon of the Ukrainian Language ”,“ Ukrainian Ethnos: Genesis and Perspectives ”,“ National Idea, Nation, Nationalism ”,“ We ??Have One Ukraine ”(books I, II, III) - co-authored with Taras Kononenko, “Ukrainian land and people in world civilization and culture” (books I, II), “Ukrainians in world civilization and culture. The historical phenomenon of Stepan Bandera “. The works of the recognized master of the word include the tragedy “Mary on Calvary”, selected “Voices in the Desert”, a collection of poems “Sunny Phoenix”. On the eve of P. Kononenko’s 90th birthday, his large-format four-volume memoir and reflections “One Hundred Years - One Hundred Roads… Ukraine and Ukrainian Studies: Origin - Executions - Resurrection” were published. In addressing the readers of the four-volume book, the content of which is reviewed in the article, P. Kononenko calls his work a reflection on Ukraine and the science of Ukrainian studies in intellectual, mental, experiential and mental perception, and thus interpretation, predictability and planning of the future. The personal perception of Ukraine by the author of the four-volume book, world Ukrainians, Ukrainian studies, the fate of Ukraine as the fate of everyone, its role and mission in intellectual-logical and emotional-emotional phenomenality, interdependence of historical and psychological perspectives, philosophical-ideological and psychological-cultural assessment and opportunities for human progress. Among the real characters of the four-volume book, the article reveals the psychology of “residents of profit and career, adapters”, who grew in the tragic circumstances of foreign colonization of Ukraine, the beginning in January 1972 in Kiev and other cities of Ukraine mass arrests of Ukrainian KGB poets, artists, students, to whom P. Kononenko is almost the first among other authors. The origin of the idea and foundation of the Institute of Ukrainian Studies, an example of which was created by Omelyan Prytsak for the preservation and development of Ukrainian cultural heritage “Institute of Ukrainian Studies” at Harvard University, “School Board” in the US and Canada, which manages schools of Ukrainian studies, development of the Center 1988 at the Faculty of Philology of the Taras Shevchenko University of Kyiv, and with it the Institute of Ukrainian Studies and its state status. The chronology of the transformation of this scientific institution into the Research Institute of Ukrainian Studies in the sphere of management of the Ministry of Education and Science and the transfer of the building at 18 Isaakyana Street in Kyiv for its placement are given. The reasons for counteracting the institutional development of Ukrainian studies in modern Ukraine, which still preserves the Soviet system of organization of communist-style science, further strengthened by its communist and post-communist functionaries, are analyzed. P. Kononenko’s reasoning that the phenomenon of synthesis of Ukrainian studies should be anthropology, and the generator of knowledge - the Institute of Man. The conclusions consider the achievements of the future, which include the causal conditionality of Ukrainian authenticity at each stage of the favorable historical development of the Ukrainian nation, determined by the functioning of statehood in the exercise of its protective function.

Inglis, Kate. If I were a Zombie. Illustrated by Eric Orchard. Nimbus Publishing, 2016.This book is a collection of poems written and illustrated by Canadians. Each poem introduces the reader to a new creature or monster with a picture that looks drawn by a child. The poems detail how the creature or monsters would behave through the mind of a child. Some examples of the monsters or creatures in this book are a giant, vampire, alien, goblin, mermaid and a zombie. The rhythmic prose of each stanza adds to the playful nature of each creature.The illustrations in this book are bright and vibrant with bold colours such as green, brown and blue. They are consistent and an integral part of the picture book, providing visual support for the text. The illustrator’s use of line and alternating black and white text, add to the mysteriousness of these creatures.I immediately picked up this book because of the captivating jacket design with the large, inviting title and quirky zombie picture. Yet the jacket design, both the cover and the teaser, misled me to believe that the book would be about zombies. Rather, the theme of the book revolves around a child’s imagination and what they would do if they were a certain creature or monster. The content of the book would be very enjoyable as a read aloud for a younger child, yet some text may be not easily understood by children of any age unfamiliar with our North American culture with words used such as kayak, Frisbee or cauldron.Recommended: 3 out of 4 starsReviewer: Tina VossTina is an elementary school teacher currently pursuing a Master’s degree in Education. When she is not reading any book she can get her hands on, she is walking her dog Phill.

There’s a strange forgetfulness around the term fictocriticism as it’s used in Australia now - for fictocriticism made its appearance here in the writing (mostly non-academic) of women very well aware of those strange, exciting and provocative texts emanating first of all from France and then later from Canada from the late seventies onward - most influential were Helene Cixous’ manifesto ‘The Laugh of the Medusa’ and her polemical essay ‘Castration or Decapitation’, Luce Irigaray’s first two books and in particular the collection of essays This Sex Which Is Not One. In Australia, an awareness of this writing was manifest soon after in the work of a number of writers in Frictions, published by Sybylla Press in 1982 & edited by myself & Alison Tilson - one of the first collections of Australian women’s (fiction) writing edited from a feminist perspective (and still trying to figure out exactly what that meant). I would cite in this context the contributions of Sneja Gunew, Wendy Morgan, Kerryn Goldsworthy & myself most obviously - but also, less obviously, Anna Couani & Kathleen Mary Fallon. Meaghan Morris’ very critical reading of ecriture feminine which appeared in Hecate in 1978 was crucial, and the influence of Marion Campbell’s first novel, Lines of Flight (1985) is incalculable. Much of this writing blends essay and fiction, shifts suddenly between fiction and poetry, makes use of indeterminate forms like the prose poem, and also of lists, fables, cliches - all manner of literary detritus.

William Wrightson Eustace Ross was a pioneering modernist poet in Canada in the early twentieth century. He experimented with free verse, Imagism, and Japanese poetic forms, and translated primarily avant-garde works from the original French, German, Greek, and Latin into English. His most famous and anthologised poems were sparse, clean articulations of a scene or image pared down to its most essential features. Ross also experimented with more abstract Surrealist writing techniques, including dream transcription, automatic writing (which he called ‘hypnagogic’, after André Breton), and paragraph-length sketches of analogical or anti-realist scenarios. His literary sketches in the 1930s are often said to be the first prose-poems published in Canada.