Language Arts & Disciplines

The image of the dusty, undisturbed archive has been swept away in response to growing interest across disciplines in the materials they house and the desire to find and make meaning through an engagement with those materials. Archival studies scholars and archivists are developing related theoretical frameworks and practices that recognize that the archives are anything but static. Archival deposits are proliferating, and the architects, practitioners, and scholars engaged with them are scarcely able to keep abreast of them. Archives, archival theory, and archival practice are on the move.

But what of the archives that were once safely housed and have since been lost, or are under threat? What of the urgency that underscores the appeals made on behalf of these archives? As scholars in this volume argue, archives—their materialization, their preservation, and the research produced about them—are moving in a different way: they are involved in an emotionally engaged and charged process, one that acts equally upon archival subjects and those engaged with them. So too do archives at once represent members of various communities and the fields of study drawn to them.

Moving Archives grounds itself in the critical trajectory related to what Sara Ahmed calls “affective economies” to offer fresh insights about the process of archiving and approaching literary materials. These economies are not necessarily determined by ethical impulses, although many scholars have called out for such impulses to underwrite current archival practices; rather, they form the crucial affective contexts for the legitimization of archival caches in the present moment and for future use.

When violence breaks out at the stands of far-right publishers at the Frankfurt Book Fair, Beatrice Deft is provoked into action. An alienated Australian high school teacher who finds herself at the centre of the global book industry, Beatrice encounters a cast of characters including the very hot Caspian Schorle (German police officer), Kurt Weidenfeld (left-wing German publisher), and White Storm (a neo-Nazi publishing organisation).

Such is the premise of The Frankfurt Kabuff, a comic erotic thriller about the publishing industry originally self-published under the pseudonym Blaire Squiscoll. With The Frankfurt Kabuff Critical Edition, Blaire Squiscoll is revealed as the pen name of Beth Driscoll and Claire Squires, who created the novella in the midst of fieldwork at the Frankfurt Book Fair. Published for the first time as a full critical edition, this experimental, playful work combines critical and creative modes for new perspectives on the publishing industry and creative economies.

The Frankfurt Kabuff Critical Edition enriches the novella with an introduction, annotated text, 15 essays by leading scholars and practitioners, and additional creative assemblages. This highly unusual research project offers insights for students, academics and publishers alike.

The image of the dusty, undisturbed archive has been swept away in response to growing interest across disciplines in the materials they house and the desire to find and make meaning through an engagement with those materials. Archival studies scholars and archivists are developing related theoretical frameworks and practices that recognize that the archives are anything but static. Archival deposits are proliferating, and the architects, practitioners, and scholars engaged with them are scarcely able to keep abreast of them. Archives, archival theory, and archival practice are on the move.

But what of the archives that were once safely housed and have since been lost, or are under threat? What of the urgency that underscores the appeals made on behalf of these archives? As scholars in this volume argue, archives—their materialization, their preservation, and the research produced about them—are moving in a different way: they are involved in an emotionally engaged and charged process, one that acts equally upon archival subjects and those engaged with them. So too do archives at once represent members of various communities and the fields of study drawn to them.

Moving Archives grounds itself in the critical trajectory related to what Sara Ahmed calls “affective economies” to offer fresh insights about the process of archiving and approaching literary materials. These economies are not necessarily determined by ethical impulses, although many scholars have called out for such impulses to underwrite current archival practices; rather, they form the crucial affective contexts for the legitimization of archival caches in the present moment and for future use.

For the past four centuries, five major languages have dominated Western literature. This domination has excluded or rendered marginal all other literatures — has, in effect, diminished literary diversity and endangered the existence of the literature of “smaller” cultures.
In an illuminating defence for their preservation, François Paré reflects on the diversity of cultures and languages in the world and on the fantastic richness of “smaller” literatures. He offers us memorable samples of this diversity and, in his original and thought-provoking style, tantalizes us with critical musings on the complexity of “marginal” literature and the regenerative power it can offer. Exiguity: Reflections on the Margins of Literature reflects Paré’s deep involvement with the development and preservation of minority cultures in Canada.

C'est avec des commentaire élogiquex de plusieurs critiques que La langue de Ya'udi du Professeur Dion a été remis à cette Corporation pour être publié. Ces seuls jugements favorables justifient le plaisir que nous prenons à rendre cet ouvrage accessible aux savants. De plus, il contitue, à part notre journal SR - Studies in Religion / Science Religieuses, la première publication française d'importance de cette Corporation, fait dont nous sommes également fiers.

Lors de sa fondation, la Corporation pour la publication des études académiques en religion au Canada avait pour but de publier "un périodique ainsi que d'autres travaux qui répondent aux besoins des savants dont la langue de travail au Canada est soit le français soit l'anglais et qui font de la recherche dans le domaine des sciences religieuses." Ce volume marque une autre publication trimestrielle SR mentionnée ci-dessus, ensuite Le guide des sciences religieuses au Canada, ensuite le premier numéro d'une série de SR Supplements, et maintenant ce volume qui inaugure une nouvelle série, Editions SR.

Nous espérons qu'en publiant cet ouvrage du Professeur Dion, nous contribuons à l'avancement des études scientifiques en religion dans ce pays et ailleurs, et que, par là, nous manifestons notre désir d'aider les savants au Canada à publier leurs travaux.

The papers published in this volume were originally read and discussed at a three day seminar sponsored by the Canadian Society for the Study of Religion/Societie Canadienne des Sciences Religieuses at Laval University, Quebec City, Quebec, May 28th to 30th, 1976. This seminar served the important function of bringing together the majority of the Canadian scholars who specialize in Indian Philosophy and Religion. The topic, Language was chosen a year earlier so that advance study on a common theme could be undertaken by all who participated. Some thirty professors, as well as a few senior graduate students, engaged in the discussion. An additional and important feature of the seminar was that since it was held during the Learned Societies meetings, a number of Western scholars with an interest in language were able to listen in to the thinking of their Eastern colleagues. This provided the basis for some interesting and informed dialogue.

At the beginning of a new writing project—whether it’s the first page of a new novel or a less ambitious project, writers often experience exhilaration, fear, or dread. For Kristjana Gunnars, the call of a new project is “like someone you don’t know knocking on your door—you either choose to let the person in or not. It’s both exciting and dangerous to start a new manuscript.” This book is an engagement with that “stranger” called writing.
Creative or imaginative writing is a complex process that involves more than intellect alone. Writers make use of everything: their sensibilities, history, culture, knowledge, experience, education, and even their biology. These essays seek out, and gather into a discussion, what writers have said about their own experiences in writing. Although the writers are from around the world and of very different backgrounds, the commonality of their remarks brings home the realization that writers everywhere are grappling with similar problems—with the seemingly simple problems of when, where, why, and what to write, but also larger questions such as the relationship between writer and society, or issues of privacy, appropriation, or homelessness. While none of these questions can be definitively answered, they can be fruitfully discussed.
Originating as questions posed in creative-writing seminars, these essays have grown into companion texts for both writers and readers who want to participate in a conversation about what writers do.

Have the Canadian media given feminism a bad name or have they been among the movement’s strongest supporters?
Is journalistic objectivity a myth when it comes to women’s voices, or doesn’t it matter?
In this provocative new book — the first one to examine print and broadcast news coverage of women’s issues in English Canada — Barbara Freeman explores what the media were saying about women and their concerns during an important period in our history — and why.
The Satellite Sex is both a social history and a media case study of the years 1966-1971, when the feminist movement began once more to gather support. Women wanted equal treatment under the law, and they wanted rights they had not gained when they won the vote many years earlier. In response, the Canadian government appointed a federal inquiry on the status of women, and hundreds of women came forward to talk to the Commission about the injustices they experienced at school, at work, in public life, in their homes, and even in their bedrooms.
The Satellite Sex demonstrates that the print and broadcast media coverage of women’s issues at that time were much more complex and fragmented than revealed by research in the United States on the same era. This book, released thirty years after the Canadian Commission presented its report, also raises questions about the lack of strong feminist voices in today’s news media.

Canadian Women in Print, 1750—1918 is the first historical examination of women’s engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women’s published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons.
This study situates English Canadian authors within an extensive framework that includes francophone writers as well as women’s work as compositors, bookbinders, and interveners in public access to print. Literary authorship is shown to be one point on a spectrum that ranges from missionary writing, temperance advocacy, and educational texts to journalism and travel accounts by New Woman adventurers. Familiar figures such as Susanna Moodie, L.M. Montgomery, Nellie McClung, Pauline Johnson, and Sara Jeannette Duncan are contextualized by writers whose names are less well known (such as Madge Macbeth and Agnes Laut) and by many others whose writings and biographies have vanished into the recesses of history.
Readers will learn of the surprising range of writing and publishing performed by early Canadian women under various ideological, biographical, and cultural motivations and circumstances. Some expressed reluctance while others eagerly sought literary careers. Together they did much more to shape Canada’s cultural history than has heretofore been recognized.

The essays in Canadian Cultural Exchange / Échanges culturels au Canada provide a nuanced view of Canadian transcultural experience. Rather than considering Canada as a bicultural dichotomy of colonizer/colonized, this book examines a field of many cultures and the creative interactions among them. This study discusses, from various perspectives, Canadian cultural space as being in process of continual translation of both the other and oneself.
Les articles réunis dans Canadian Cultural Exchange / Échanges culturels au Canada donnent de l’expérience transculturelle canadienne une image nuancée. Plutôt que dans les termes d’une dichotomie biculturelle entre colonisateur et colonisé, le Canada y est vu comme champ où plusieurs cultures interagissent de manière créative. Cette étude présente sous de multiples aspects le processus continu de traduction d’autrui et de soi-même auquel l’espace culturel canadien sert de théâtre.

The essays in Writing between the Lines explore the lives of twelve of Canada’s most eminent anglophone literary translators, and delve into how these individuals have contributed to the valuable process of literary exchange between francophone and anglophone literatures in Canada.
Through individual portraits, this book traces the events and life experiences that have led W.H. Blake, John Glassco, Philip Stratford, Joyce Marshall, Patricia Claxton, Doug Jones, Sheila Fischman, Ray Ellenwood, Barbara Godard, Susanne de Lotbinire-Harwood, John Van Burek, and Linda Gaboriau into the complex world of literary translation. Each essay-portrait examines why they chose to translate and what linguistic and cultural challenges they have faced in the practice of their art. Following their relationships with authors and publishers, the translators also reveal how they have defined the goals and the process of literary translation.
Containing original, detailed biographical and bibliographical material, Writing between the Lines offers many new insights into the literary translation process, and the diverse roles of the translator as social agent. The first text on Canadian translators, it makes a major contribution in the areas of literary translation, comparative literature, Canadian literature, and cultural studies.

The essays in Writing between the Lines explore the lives of twelve of Canada’s most eminent anglophone literary translators, and delve into how these individuals have contributed to the valuable process of literary exchange between francophone and anglophone literatures in Canada.
Through individual portraits, this book traces the events and life experiences that have led W.H. Blake, John Glassco, Philip Stratford, Joyce Marshall, Patricia Claxton, Doug Jones, Sheila Fischman, Ray Ellenwood, Barbara Godard, Susanne de Lotbinire-Harwood, John Van Burek, and Linda Gaboriau into the complex world of literary translation. Each essay-portrait examines why they chose to translate and what linguistic and cultural challenges they have faced in the practice of their art. Following their relationships with authors and publishers, the translators also reveal how they have defined the goals and the process of literary translation.
Containing original, detailed biographical and bibliographical material, Writing between the Lines offers many new insights into the literary translation process, and the diverse roles of the translator as social agent. The first text on Canadian translators, it makes a major contribution in the areas of literary translation, comparative literature, Canadian literature, and cultural studies.

Can the strategy of negative political advertising developed in the United States succeed in Canada, or does this kind of advertising do more harm than good?

The year 1988 saw elections in both the United States and Canada. It also saw a turning point in the tenor of television campaign advertising. By the early 1990s there was a growing reliance upon negative political images and symbols.

This book is about that growing reliance. While focusing on the use of “attack” ads, Television Advertising in Canadian Elections provides a historical overview of the growth of negative advertising. It includes a discussion of advertisers’ intentions and strategies, an analysis of the ads played on both English language and French television and their impact and the ethics of political advertising.

This is the first book-length investigation of negative political advertising in Canada. Professional politicians, as well as anyone interested in election politics, journalism, communication studies or advertising, will find this an absorbing study.

Borrowed Tongues is the first consistent attempt to apply the theoretical framework of translation studies in the analysis of self-representation in life writing by women in transnational, diasporic, and immigrant communities. It focuses on linguistic and philosophical dimensions of translation, showing how the dominant language serves to articulate and reinforce social, cultural, political, and gender hierarchies.
Drawing on feminist, poststructuralist, and postcolonial scholarship, this study examines Canadian and American examples of traditional autobiography, autoethnography, and experimental narrative. As a prolific and contradictory site of linguistic performance and cultural production, such texts challenge dominant assumptions about identity, difference, and agency.
Using the writing of authors such as Marlene NourbeSe Philip, Jamaica Kincaid, Laura Goodman Salverson, and Akemi Kikumura, and focusing on discourses through which subject positions and identities are produced, the study argues that different concepts of language and translation correspond with particular constructions of subjectivity and attitudes to otherness. A nuanced analysis of intersectional differences reveals gender, race, ethnicity, nationality, culture, and diaspora as unstable categories of representation.

Producing Canadian Literature: Authors Speak on the Literary Marketplace brings to light the relationship between writers in Canada and the marketplace within which their work circulates. Through a series of conversations with both established and younger writers from across the country, Kit Dobson and Smaro Kamboureli investigate how writers perceive their relationship to the cultural economy—and what that economy means for their creative processes.
The interviews in Producing Canadian Literature focus, in particular, on how writers interact with the cultural institutions and bodies that surround them. Conversations pursue the impacts of arts funding on writers; show how agents, editors, and publishers affect writers’ works; examine the process of actually selling a book, both in Canada and abroad; and contemplate what literary awards mean to writers. Dialogues with Christian Bök, George Elliott Clarke, Daniel Heath Justice, Larissa Lai, Stephen Henighan, Roy Miki, Erín Moure, Ashok Mathur, Lee Maracle, Jane Urquhart, and Aritha van Herk testify to the broad range of experience that writers in Canada have when it comes to the conditions in which their work is produced.
Original in its desire to directly explore the specific circumstances in which writers work—and how those conditions affect their writing itself—Producing Canadian Literature will be of interest to scholars, students, aspiring writers, and readers who have followed these authors and want to know more about how their books come into being.