Articles

Abstract: GIABRiELLE ROYFIGURE au premier rang des écrivains qué- bécois ayant abordé le genre encore mal défini du recueil de récits ...

Abstract: Jane Willis’s autobiography, Geniesh: An Indian Girlhood, deals with the author’s experiences growing up in the 1950s as a student ...

Abstract: In a poem titled “Their Lonely Betters,” W.H. Auden observes that language entails culpability. Unlike birds and flowers, humans have ...

Abstract: This paper explores Madeleine Thien's engagement with scientific knowledge as a tool for negotiating risk and trauma in her novels Certainty and Dogs at the Perimeter. I argue that, despite her emphasis on the failure of any one scientific discipline to quell the uncertainties experienced by Asian Canadian diasporas, Thien stresses that such unknowns need to be confronted through multiple avenues, as opposed to a single field of inquiry. I thus argue that, more than simply offering a critique of science, Thien’s novels prompt us to consider how diasporic communities might productively engage with the sciences in order to construct the ecologies of knowledge that are necessary for grappling with the complex histories of trauma that continue to shape their experiences. In this sense, these texts make an important contribution to ongoing efforts to rethink the cultural critique of science in order to produce epistemologies that might “deal simultaneously with the sciences, with natures, and with politics, in the plural” (Latour 3).

Abstract: B’ACK IN 1975 H. R. Ellis Davidson delivered a paper to the Annual General Meeting of the Folklore Society entitled ...

Abstract: IN CHAPTER SEVEN OF Under the Volcano, Laruelle chal- lenges the basic validity of the Consul’s quest. The Consul first ...

Abstract: ?HOSE “hippie rags”, known commonly as underground papers, were never ve1ry?f?ar under Canadian ground. To earn the name “under- ground”, ...

Abstract: Girls Fall Down proposes that an awareness of how to one’s position in relation to the situation of others and other things—that is, the very ability to clearly map one’s place in relation to other, shifting people and things—also demands a self-understanding that a control over one’s environment (including how one presents oneself in it) is merely a fantasy. A person’s inability to always map out with certainty the city as it is encountered suggests, in Helwig’s book, a crisis of legibility that is inherent in the urban landscapes themselves. Helwig’s various networks—from assorted means of transportation to interpersonal human relationships—are fragile and fraught, to the extent that what we easily label as “the city,” despite its seemingly solid material forms (both alive and inert), is best understood as provisional: the confluence and convergence of its actors underscore both a place and a landscape that is constantly re-envisioned and is always makeshift.

Abstract: Téa Mutonji’s short story collection, Shut Up You’re Pretty (2019), follows the coming-of-age process of Loli, a Black Canadian woman from a Congolese immigrant family living in contemporary Scarborough, a low-income, multicultural district of Toronto. Relying on the frameworks of Black feminist geography and narratology, I discuss how Loli’s racialized and gendered body interacts with the urban landscape. After tracing the significance of places and spaces of various scales—from the intimate to the global—in the stories, I demonstrate the interrelatedness of the collection’s ubiquitous narratives gaps with emotional and material landscapes in Shut Up You’re Pretty to argue that the sparseness of narration—what I term undernarration—and the volume’s conspicuous focus on places function as symptoms of the protagonist’s disrupted emotional landscape and comment on Black women’s presence in Canada.

Abstract: Mlous VIVONS, dans cette seconde partie du vingtième siècle, une époque de synthèse. La traduction dans les principales langues de ...