George Grant: Language, Nation, The Silence of God
Abstract: M MOST VIVID RECOLLECTION OF FIRST HEARING a b o u t George Grant’s political philosophy and his views of ...
George Jonas: Interview by Linda Sandler
Abstract: SANDLER : It occurs to me that you’re a distant cousin of someone like Sir Walter Raleigh — an adventurer ...
George Woodcock: Voyager of Liberty
Abstract: HOW DOES A CRITIC MAKE SENSE of another writer and critic who remains at once unsystematic and significant? Even stating ...
George, Leda, and a Poured Concrete Balcony: A Study of Three Aspects of the Evolution of Lady Oracle
Abstract: ALTHOUGH MARGARET ATWOOD has stated that the problem with writing a novel is “sustaining your interest long enough to actually ...
Gérard Bessette: A Tribute
Abstract: GÉRARD BESSETTE (b. Ste-Aime-de-Sabrevois, Quebec, 25 February 1920), the editor of three anthologies and the author of one volume of ...
Getting to Resurgence through Sourcing Cultural Strength: An Analysis of Robertson’s Will I See? and LaPensée’s Deer Woman
Abstract: In this paper, I analyze two recently published graphic novels, Will I See? (2016) by Swampy Cree author David Alexander ...
Ghosts in the Phonograph: Tracking Black Canadian Postbody Poetic
Abstract: Sound technologies enact cultural interventions and enable radical experiments of identity through the practice of stripping away, spinning, and splicing sounds—especially the sound of the human voice. This paper reads Black Canadian spoken word and turntable poetry for the symbolic use of sound technologies and other sonic schemas, focusing on Wayde Compton’s “The Reinventing Wheel” (2004) and Tanya Evanson’s “The African All Of It” (2013). In both of these works there is an emphasis upon the role of the body (and postbody) in the production of sound. I present both the spectral figure and sound recording technologies as postbody projections, and read the work of Compton and Evanson for transmissions that cross spatial, temporal, and body boundaries.
The paper engages with posthumanist thought and the work of musicologist R. Murray Schafer to advance that sound technologies forge portals through time and space, as the dub plate reincarnates Compton’s disembodied, pre-recorded voice. Compton’s ghosts are quasi-material, zombies dancing in cargo holds—a reference to the Middle Passage—enacting a kinetic impulse capable of “moving the text” (103); Evanson’s acoustic experimentations with antiphony stress the kinetic and the sensory, and debinarize the relationship between speaker and audience. Finally, I argue that the ghostly emanation of postbody sounds from the turntable challenges culturally constructed binaries and forges a blended space for the celebration of plural, hybrid, and mobile identity formations, demolishing paradigms that work to enclose and encode Black Canada.
Gifts and Questions: An Interview with Anne Carson
Abstract: KM The first thing I want to ask you is about interviews. We’ve been seeing your picture on magazine covers, ...
Girl Power/Grand Prix: Sex, Speed, and the Motorcycle Racer
Abstract: Katherine Sutherland Sex, Speed, and the Motorcycle Racer Few Canadians know the name of Mike Duff, one ...
Glassco’s Governesses: Some Literary and Psychosexual Sources
Abstract: IN FEBRUARY 1928 John Glassco had set off for Europe with his friend Graeme Taylor. Both lately of McGill University ...