Studies of literary reflections on ethnicity are essential to the ever-renewed definition of Canadian literature. The essays in this collection explore the diverse ways of negotiating identity and the articulation of space in Canada, taking ethnicity as a driving force with ideological and cultural implications that lend public and literary discourse an urgent dynamism. While theorizing ethnicity is a valuable critical enterprise, these essays centre on the concrete realization of the problematics of ethnicity in creative writing, covering a wide range of Canada's mosaic. The creative inscription of ethnicity stimulates the evolution and expansion of Canada's literary heritage, the complexity of this cultural experience being the focus of the present collection. Fourteen essays, including a personal account by the Ukrainian-Canadian Janice Kulyk Keefer on the merging of private and public history, and two interviews - with the Chinese-Canadian writer Wayson Choy and the critic Linda Hutcheon - analyze the manifestations of the pluralism that has always characterized Canadian writers' consciousness of themselves, their engagement with the notion of the ‘multicultural' and its significance in contemporary society and, in particular, its effect on creativity.
This volume is designed to bridge a gap in the current theoretical debate about the nature, scope and relevance of postmodern perspectives in the humanist and social sciences in Eastern and Western Europe. While the debate has been reasonably comprehensive and certainly abrasive in Western European and Anglophone countries, it has signally failed to incorporate the viewpoints of Eastern European scholars and intellectuals. Even the current appropriation of Mikhail Bakhtin as a prophet of the postmodern is, paradoxically, a monologic engagement with his thought rather than a dialogic encounter of cultures. Doubtless different historical experiences, ideology and social aspirations go some way to account for the weariness of Eastern Europe with postmodern challenge and its glad embrace by Western scholars. The volume comprises some fifteen essays by leading historians, literary theorists and social scientists from Western and Eastern Europe and America. It has a threefold aim: firstly, to illuminate the distinctiveness of current Western and Eastern European theorizing about history and society; secondly, to reveal points of tension and disagreement, and, finally, to open up a space for a meeting of seemingly incompatible worlds.
The essays collected here represent the latest thinking on postmodernism in a number of key areas: economics, law, postcolonialism, literature, feminism, film, philosophy. One of the issues common to the volume is the desire to cast postmodernism in a predominantly ethical ('just') light, and the opportunities and obstacles postmodernism might place in the path of the description of, and search for, justice. The collection highlights the most recent trends in postmodern thinking, the turn away from postmodernism as mere discourse and language games to a more politically and socially engaged forum. The book will be of interest to all students of contemporary cultural, social and critical thought.
This issue investigates the meaning of photographic image for contemporary art. In Malraux' dream, photography offers the ultimate guarantee for a coherent presentation of art. However, as Douglas Crimp has stated, the appearance and enhancement of photography as a form of art among other art forms disrupted the center of the art world. What does this mean for art and philosophy in our time? Various artists and theorists will delve into that question: Christian Boltanski, Benjamin H.D. Buchloh, Jean-François Chevrier, Douglas Crimp, Jos de Mul, Mirjam de Zeeuw, Rineke Dijkstra, Michael Gibbs, Rodney Graham, Gerald van der Kaap, Karen Knorr, Zoe Leonard, Ken Lum, Hermann Pitz, Liza-May Post, John Roberts, Allan Sekula, Andres Serrano, Jan Simons, Beat Streuli, John M. Swinnen, Renée van de Vall, Hilde van Gelder, Hripsimé Visser, Jeff Wall, Ian Wallace and Herta Wolf.
This book addresses the major critical and interpretive issues of contemporary experimental poetic texts.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work
Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
The title of this book is inspired by Jacques Derrida and by his seminal work,
The Margins of Philosophy. The study of meaning in the past thirty years has focused on core meaning, and largely ignored the margins of meaning, where much of the power of language is to be found. The present work seeks to shift this focus by taking a postmodern approach that sees meaning as an accretion of verbal, social, cultural and personal sign systems, with fluid boundaries that shrink or expand with each
Chapter 1 begins with a brief examination of present-day approaches to meaning, and goes on to a deconstruction of four twentieth century linguists. Chapter 2 takes as its starting point two aspects of the 20th century scientific paradigm, non-deterministic causation and relativity, and considers a number of thinkers who have worked within this paradigm. A major aim of this work is to convince students and teachers of literary theory, cultural studies and feminist theory of the validity of a
linguistics of indeterminacy, so Chapter 3 focuses on an analytical approach that models indeterminacy in language, and Chapter 4 applies the model to a newspaper editorial, a Wallace Stevens' poem, and an extract from a Patrick White novel.
The essays collected here illustrate aspects of recent research conducted by graduate students in Canadian studies at various European universities. The methodological diversity displayed points to the very essence of the culture the contributors explore - what has been commonly termed the Canadian mosaic or, more recently, the Canadian kaleidoscope (Janice Kulyk-Keefer). In analysing the many facets of this mosaic, the numerous images of this kaleidoscope, the contributors offer fresh and youthful reappraisals of traditional visions of Canadianness.