Women, Reading, Kroetsch: Telling the Difference is a book of both practical and theoretical criticism. Some chapters are feminist deconstructive readings of a broad range of the writings of contemporary Canadian poet-critic-novelist Robert Kroetsch, from But We are Exiles to Completed Field Notes. Other chapters self-consciously examine the history and possibility of feminist deconstruction and feminist readings of Kroetsch’s writing by analyzing Kroetsch, Derrida, and Freud on subjectivity and sexuality; Neuman, Hutcheon, and van Herk on Kroetsch. As such, the book speaks out of and about a number of contemporary theoretical discourses, including particular positions within Canadian literary criticism, feminism, postmodernism, and poststructuralism. Written by a woman reader whose theoretical and methodological orientations are both feminist and poststructuralist, Women, Reading, Kroetsch: Telling the Difference problematizes notions of writing, reading, gender, sexuality, and subjectivity in and through Robert Kroetsch’s writings. In this critical study of one writer’s work the author also challenges the traditionally subservient relationship of reader to text and so empowers the feminist reader as well as, if not rather than, the male writer.
Winner of the Gabrielle Roy Prize in English and the Raymond Klibansky Prize, The Picturesque and the Sublime is a cultural history of two hundred years of nature writing in Canada, from eighteenth-century prospect poems to contemporary encounters with landscape. Arguing against the received wisdom (made popular by Northrop Frye and Margaret Atwood) that Canadian writers view nature as hostile, Susan Glickman places Canadian literature in the English and European traditions of the sublime and the picturesque. Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome – even terrifying – and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. Susan Glickman is a poet living in Toronto. She is the author of Complicity, The Power to Move, Henry Moore's Sheep and Other Poems, and Hide and Seek.
In this trenchant work, Susan Bennett examines the authority of the past in modern cultural experience and the parameters for the reproduction of the plays. She addresses these issues from both the viewpoints of literary theory and theatre studies, shifting Shakespeare out of straightforward performance studies in order to address questions about his plays and to consider them in the context of current theoretical debates on historiography, post-colonialism and canonicity.
Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.
Women, Reading, Kroetsch: Telling the Difference is a book of both practical and theoretical criticism. Some chapters are feminist deconstructive readings of a broad range of the writings of contemporary Canadian poet-critic-novelist Robert Kroetsch, from But We are Exiles to Completed Field Notes. Other chapters self-consciously examine the history and possibility of feminist deconstruction and feminist readings of Kroetsch’s writing by analyzing Kroetsch, Derrida, and Freud on subjectivity and sexuality; Neuman, Hutcheon, and van Herk on Kroetsch. As such, the book speaks out of and about a number of contemporary theoretical discourses, including particular positions within Canadian literary criticism, feminism, postmodernism, and poststructuralism. Written by a woman reader whose theoretical and methodological orientations are both feminist and poststructuralist, Women, Reading, Kroetsch: Telling the Difference problematizes notions of writing, reading, gender, sexuality, and subjectivity in and through Robert Kroetsch’s writings. In this critical study of one writer’s work the author also challenges the traditionally subservient relationship of reader to text and so empowers the feminist reader as well as, if not rather than, the male writer.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.