Articles

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 ...

Abstract:   UNE POESIE  D’EXIL  Gilles Marcotte  L  LECTEUR FRANÇAIS n’éprouvera généralement, de-  vant la poésie canadienne-française d’aujourd’hui, aucune impression de  ...

Abstract: This essay is situated at the intersection of nineteenth-century literary history, women’s literature, and print culture. It opens by resolving an admittedly minor debate about the identity of a contributor to the Canadian nineteenth-century journal, The Literary Garland. However, as a result of this resolution, a series of previously unnoted literary connections between Canadian authors and a single U.S. periodical is revealed; networks of Canadian literary women—both as writers and editors—are explored and our understanding of them expanded; and lost writings by Canadian authors are identified. Those covered include Harriet Vaughan Cheney, Eliza Lanesford Cushing, Catherine Parr Traill, and Emma Donoghue Grant.

Abstract: Some lives are only seen through windows beyond which the appearance of laughter and of screaming is the same. .. ...

Abstract: Since its foundation during the Second World War, the Canadian comics industry has championed a settler nationalism that has prioritized whiteness, appropriated Indigeneity, and omitted representations of racialized minorities—including Jews—almost entirely. However, creators from these marginalized groups are reclaiming the comics form. I examine this process from the perspective of a comics researcher and creator. By exploring the devices used in David Alexander Robertson’s The Ballad of Nancy April and The Scout and John Olbey’s anti-racist comics published in NOW Toronto, I establish the contours of a movement of comics makers restorying Canadian history outside of the confines of the white-settler national narrative. My central case study, an autoethnographic reflection of the techniques used in creating Christie Pits, offers insights into the making process and comics specific techniques that may be valuable to other creators writing back against dominant readings of history.

Abstract: W’HATEVER YOU MAY make of it, I think you have to admit that one of the more astonishing features of ...