Articles



Paul Wong and Refugee Citizenship
Abstract: At the start of the millennium, Vancouver-based video artist Paul Wong was commissioned by the Canadian Race Relations Foundation, a state-funded agency, to make a series of brief public service announcements for television, which he titled Refugee Class of 2000 and which form part of the CRRF’s “See People for Who They Really Are: Unite Against Racism” campaign. In the three brief videos, Wong brings the viewer face to face with students from the graduating class at Charles Tupper High School in Vancouver, while also exhuming the history of racism and racist exclusion in Canada. This paper examines the subtle ways in which Wong, working for a state-funded agency, negotiates the complex balancing act between complicity and critique in dealing with issues of national belonging, official multiculturalism, racism, identity politics, citizenship, and transnational or diasporic identity in Refugee Class of 2000. It argues that in Wong’s form of Asian Canadian critique, the transnational identities of the refugee subjects—not all of whom are Asian, and not all of whom are refugees by conventional definitions—bring pressure to bear on nationalist concepts of citizenship and belonging, insisting on the paradoxical notion of refugee citizenship as an alternative to conventional concepts of national belonging.

Pays, Parole et Négritude
Abstract: UΝ JEUNE POÈTE s’exclamait tout dernièrement: “Finie, la vieille thématique. Ecrire quelque chose sur le pays, ça ne donne plus ...

Performance and Media: The Use of Image, translated by Rom Birmingham
Abstract: FROM ITS EARLIEST APPEARANCE in the 1950’s around the time of Cage and Kaprow, to its most recent manifestations in ...

Performing Fact: Canadian Documentary Theatre
Abstract: DOCUMENTARY THEATRE IS A CREATION of О11Г Century: its history begins with Erwin Piscator’s production of In Spite of Everything ...

Performing Genres: Peggy Abkhazi’s A Curious Cage and Diaries of War
Abstract: “If you ever do read these letters,” Peggy Abkhazi notes in her published diary, “long before you get this far, ...

Perils of Compassion
Abstract: 1IN ALL THE HOOPLA of publicity and promotion afforded novels over recent years in Canada, Mavis Gallant’s third novel, A ...

Persons and Voices: Sounding Impossible Bodies in M. NourbeSe Philip’s Zong!
Abstract: I argue that in her book Zong! (2008), which concerns the 1781 massacre of 150 enslaved Africans incarcerated on the ship Zong, M. NourbeSe Philip turns toward lyric and legal concepts of personhood in order to theorize poetic voice as bodily emission. Zong!’s politics lie in this historiographic challenge: it must create forms appropriate to the legal nonperson, and must use them to transform this figure “back into human.” Thus, Philip confronts the longstanding philosophical conception of personhood as the ownership of oneself in three ways: first, through “affective possession,” where personhood is not an effect of property in the self, but is conferred upon others through the investment of affect. Second, Philip uses lyric modes such as apostrophe to confer personhood upon the murdered slaves. Third, she proposes a conception of poetic voice as physical utterance, not as expression of interiority, acknowledging the ways in which the body persists beyond and is shaped by its nonrecognition by regimes of power. Thus Zong! returns to concepts of personhood whose promise remains unfulfilled.

Peter Gzowski Interviews Thomas King on Green Grass, Running Water
Abstract: ρ G Over the past couple of years Thomas King has popped up onMorningside from time to time, usually along ...

Peter Susand, Lost Texts, and Black Canadian Literary Culture of the 1850s
Abstract: This essay expands our understanding of nineteenth-century Black Canadian writing by introducing the case of Peter Edward Susand. Susand's 1856 volume of poetry, published in what is now Kitchener, has been lost, raising the questions: how do we write about authors whose work hasn’t survived? Can we recuperate the literary practices of these individuals in the absence of their writings? Is it possible to marshal other evidence to reconstruct their literary networks and affiliations? What might we gain by undertaking such scholarly excavations? And how might doing so on behalf of those authors whose works haven't survived shift our understanding of nineteenth-century Black Canadian literary culture?

Petite Histoire d’une Obsession
Abstract: L»A QUARANTAINE VENUE, je me demande si je dois con- tinuer à écrire. Ce n’est pas la première fois que ...