Relevant bibliographies by topics / Poets, Canadian (English)

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Academic literature on the topic 'Poets, Canadian (English)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Poets, Canadian (English)"

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Kürtösi, Katalin. "Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets." TTR : traduction, terminologie, rédaction 6, no. 2 (2007): 103–30. http://dx.doi.org/10.7202/037153ar.

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Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.
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Ware, Tracy. "An English-Canadian Poetics. Vol. 1, The Confederation Poets (review)." University of Toronto Quarterly 80, no. 2 (2011): 315–16. http://dx.doi.org/10.1353/utq.2011.0099.

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Joko Yulianto, Henrikus, and Zuhrul Anam. "“Dirty Energy” and Ecological Performativity in Contemporary English Poems: Critiquing Petro Culture of the Anthropocene." E3S Web of Conferences 359 (2022): 03002. http://dx.doi.org/10.1051/e3sconf/202235903002.

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Fossil fuels will always take command of human’s daily life. Despite being “dirty energy”, humans cannot jettison them since they are the mainstay for multipurpose energies. They are more dependable and accessible than renewable energy sources such as hydropower, solar panel, and wind power. Even more so, in this present globalization the increasing scale of consumerism via digital technology and social media consumes the fuels. This petro-overconsumption of the fuels and their derivative products such as plastic certainly has some detrimental impacts: the more emission of carbon dioxide and other toxic particles to the atmosphere. Contemporary English poems are some works that critique the petro-overconsumption. A Canadian poet, Stephen Collis in his poem “Take Oil & Hum”; a Hawaiian poet, Craig Santos Peres in his poem about plastic, “The Age of Plastic”; and two Indonesian poets, AfrizalMalna in “petrol cupboard” and F. Aziz Manna in “Estuary” are the epitome of ecopoems that share this concern. With their performative interiorizing of petro-materiality, their depiction of petro-transcorporeality from one form into another, they articulate the polemics and impacts of non-renewable energy on human and nonhuman creatures as the issue of ecological precarity in the era of anthropocene.
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Belliveau, George. "Drama in the Maritimes: Tides (Plays) Are Strong." Canadian Theatre Review 122 (March 2005): 90–92. http://dx.doi.org/10.3138/ctr.122.020.

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During a keynote address at the 2004 Shifting Tides: Atlantic Canadian Theatre conference, Mary Vingoe noted how, despite the fact that the population of the Atlantic region is small and that the arts are severely underfunded (making it a challenging place to work for theatre artists), Atlantic Canada arguably produces the country’s best English dramatic poets. The recently published anthology Marigraph: Gauging the Tides of Drama from New Brunswick, Nova Scotia, and Prince Edward Island clearly illustrates and supports Vingoe’s claim. This welcome collection, edited by Bruce Barton, highlights ten contemporary plays from the Maritime provinces. A number of the writers included in the anthology, such as Wendy Lill, Daniel MacIvor and Kent Stetson, are nationally and internationally recognized playwrights, while some of the others have been producing fine work for a number of years within the Maritimes despite not being nationally recognized (yet!). Each play has had at least one professional production, and it is easy to imagine its stage potential in a reading. Like Jerry Wasserman’s Modern Canadian Plays, this anthology provides educators, researchers, producers, practitioners and the general public a diverse collection of plays that, I think, read, play and teach well, in addition to enlightening the mind and spirit.
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MacPherson, Chelsey, Brian James MacLeod, Lodaidh MacFhionghain, and Laurie Stanley-Blackwell. "Converses with the Grave: Three Modern Gaelic Laments." Genealogy 5, no. 1 (2021): 22. http://dx.doi.org/10.3390/genealogy5010022.

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Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidelity to literary rules but strive instead to work creatively within tradition while reaching their audiences in a relevant and resonant way. For each poem, the author offers a personal contextualization for his/her lament, which serves to explain the source of inspiration and demonstrates how the work draws upon and reflects its literary roots. In recognition of the strong oral tradition present within Gaelic poetry, this article includes an audio recording of each of the three authors’ laments.
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Mello, Layssa Gabriela Almeida e. Silva. "READING AND WRITING POEMS IN ENGLISH: COLLABORATIVE PRACTICES AT A BRAZILIAN PUBLIC SCHOOL." Trabalhos em Linguística Aplicada 58, no. 3 (2019): 1331–52. http://dx.doi.org/10.1590/010318135697715832019.

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ABSTRACT This study, presenting an experience with eighth-grade students at a Brazilian public school, in Goiânia, Goiás, shows students’ ability to collaboratively read and write poems in English. A poem was selected from the Indian-born, Canadian poet Rupi Kaur’s book The sun and her flowers (KAUR, 2017) to discuss and reflect on themes such as love and loss. Firstly, a theoretical reference on the importance of literary texts for English language teaching and the role of collaboration is presented to provide a theoretical basis for this pedagogical practice. The pre-reading, while-reading and post-reading activities are then described and the students’ written productions, based on Rupi Kaur’s poem, are also presented. Through these activities, students enhanced their lexical knowledge of the English language and their creativity, and also interacted with their colleagues to reflect on current issues.
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Miodek, Jan. "Językowe fascynacje Floriana Śmiei." Słowo. Studia językoznawcze 11 (2020): 7–12. http://dx.doi.org/10.15584/slowo.2020.11.1.

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The aim of the article is to disscus the linguistic fascinations of Florian Śmieja, writer, poet, publicist, profesor at English and Canadian universities who spent his childhood and youth in Silesia. The author of the article analyzes the words related to the Silesia region, selected form of the poems which are lexical markers of Florian Śmieja’s Silesian origin. He discusses their structure, etymology, lexical meaning and function in the analized texts. Presented observations lead to the conclusion that the linguistic fascinations of mother tongue are constantly present in his narrative and life. One can read from them the immense longing for the Silesian land and the Silesian as a regional dialect.
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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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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.

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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed details of Birney’s personal life. Then we trace Birney’s long-standing interest in geography and exploration to show how he used maps, especially mappaemundi, as visual metaphors for his intellectual, spiritual, and personal life.
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Kulieva, Sheker A., and Nina V. Shchennikova. "Translingual poetry by Rupi Kaur." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 115–22. http://dx.doi.org/10.20339/phs.6s-22.115.

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The article is devoted to understanding the problem of translingualism in modern English poetry. Based on the research of domestic and foreign scientists, the authors come to the conclusion that translingualism is not only the practice of switching codes and the ability of the author to create in a language that is learned for him, but also the creation of a special type of narrative, which is built on the basis of the logic of an ethnically primary culture: its patterns, archetypal substrates, key themes and motifs. The material of the article was the works of the modern Canadian writer of Indian origin Rupi Kaur, in particular, the book of poems the sun and her flowers. In the zone of special interest is the chapter “Acceleration”, devoted to the problems of immigration, the search for ontological coordinates, identity and language.
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Dissertations / Theses on the topic "Poets, Canadian (English)"

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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.

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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.

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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.

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Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.

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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.<br>May 2016
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Books on the topic "Poets, Canadian (English)"

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Cameron, Elspeth. Irving Layton: A portrait. Stoddart, 1985.

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Cameron, Elspeth. Irving Layton: A portrait. Stoddart, 1985.

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Nadel, Ira Bruce. Leonard Cohen: A life in art. ECW Press, 1994.

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Nadel, Ira Bruce. Leonard Cohen: A life in art. ECW Press, 1994.

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David, O'Rourke, ed. Waiting for the Messiah: A memoir. McCelland and Stewart, 1985.

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David, O'Rourke, ed. Waiting for the Messiah: A memoir. McClelland & Stewart, 2012.

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Schwab, Arnold T. Canadian poets: Vital facts on English-writing poets born from 1730 through 1910. Dalhousie University, School of Library and Information Studies, 1989.

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Gary, Geddes, ed. 15 Canadian poets X 3. 4th ed. Oxford University Press, 2001.

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1943-, Greene Elizabeth, ed. Kingston poets' gallery. Artful Codger Press, 2006.

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Layton, Irving. Waiting for the Messiah: A memoir. Totem Press, 1986.

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Book chapters on the topic "Poets, Canadian (English)"

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Hall, Molly. "Newlove, John (1938–2003)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1987-1.

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Born on 13 June 1938 in Regina, Saskatchewan, Canada, John Newlove was a poet and editor who helped to define Canadian national literature during a key period of its formation. Never formally finishing college, Newlove spent many years travelling around Canada doing various jobs. He taught high school English in 1957 in Manitoba, and was a social worker in Saskatchewan in 1958, but spent most of his career as a copywriter, editor, and announcer on various radio stations. In 1960 he settled in Vancouver, British Columbia for the remainder of the decade, engrossed in self-guided study and publication in chapbooks and literary and poetry magazines.
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Betts, G. "Ross, W. W. E. (1894–1966)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2011-1.

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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.
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Toswell, M. J. "Earle Birney as Public Poet:." In Medievalism in English Canadian Literature. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvnwbzb5.10.

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Toswell, M. J. "Earle Birney as Public Poet: a Canadian Chaucer?" In Medievalism in English Canadian Literature. Boydell and Brewer Limited, 2020. http://dx.doi.org/10.1017/9781787448858.008.

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Toswell, M. J. "7 Earle Birney as Public Poet: a Canadian Chaucer?" In Medievalism in English Canadian Literature. Boydell and Brewer, 2020. http://dx.doi.org/10.1515/9781787448858-008.

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Clark, Heather. "The Belfast Group." In The Ulster Renaissance Poetry in Belfast 1962—1972. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199287314.003.0003.

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Abstract In 1960, literary life in Belfast had begun to stagnate. Although Sam Hanna Bell, Michael McLaverty, and Roy McFadden were still living and writing in the city, John Hewitt was away in Coventry and the Ulster literary magazine Rann had folded. When looking back, several Northern Irish poets remembered these years as particularly bleak. James Simmons, an English lecturer in Coleraine, was at the time living in Portrush and performing his songs in the local bars. As an aspiring poet, he felt isolated in his provincial surroundings: ‘You can’t believe the loneliness of someone beginning to write, say, in Portrush when I was writing, or Derry, and there’s no one to talk to, no one who’ll listen or understand.’ Longley would have empathized. In 1964, he moved back to Belfast in order to be closer to Edna, who had been appointed as an English lecturer at Queen’s. He began teaching Classics at Inst, though he longed to spend more time writing. With Mahon in Canada, and Boland and Kennelly across the border in Dublin, there was little opportunity for lively poetic exchange. Yet one man would soon breathe air into literary Belfast’s sagging sails.
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Schuchard, Ronald. "“As Regarding Rhythm”: Minstrels and Imagists." In The Last Minstrels. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199230006.003.0008.

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Abstract Soon after Florence Farr returned from her American tour and began writing dramatic criticism for the New Age, she found herself in the company of T. E. Hulme and a group of poets who were soon to form what Ezra Pound called “the forgotten school of 1909.” Hulme, a brilliant student of maths, Bergson, and French vers libre, had been sent down from Cambridge for prankish behavior and had left the University of London in 1906 without graduating. After a maturing year of travel, hard labor, and philosophical reflection in Canada and a short period of teaching English and perfecting his French in Brussels, he returned to London intent upon making an impact on English poetry with his developing Imagist aesthetic.
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