Wilfrid Laurier University Press

Out-migration, driven by high unemployment and a floundering economy, has been a defining aspect of Newfoundland society for well over a century, and it reached new heights with the cod moratorium in 1992. This Newfoundland “diaspora” has had a profound impact on the province’s literature.
Many writers and scholars have referred to Newfoundland out-migration as a diaspora, but few have examined the theoretical implications of applying this contested term to a predominantly inter-provincial movement of mainly white, economically motivated migrants. The Newfoundland Diaspora argues that “diaspora” helpfully references the painful displacement of a group whose members continue to identify with each other and with the “homeland.” It examines important literary works of the Newfoundland diaspora, including the poetry of E.J. Pratt, the drama of David French, the fiction of Donna Morrissey and Wayne Johnston, and the memoirs of David Macfarlane. These works are the sites of a broad inquiry into the theoretical flashpoints of affect, diasporic authenticity, nationalism, race, and ethnicity.
The literature of the Newfoundland diaspora both contributes to and responds to critical movements in Canadian literature and culture, querying the place of regional, national, and ethnic affiliations in a literature drawn along the borders of the nation-state. This diaspora plays a part in defining Canada even as it looks beyond the borders of Canada as a literary community.

The artistic impact of Jean-Luc Godard, whose career in cinema has spanned over fifty years and yielded a hundred or more discrete works in different media cannot be overestimated, not only on French and other world cinemas, but on fields as diverse as television, video art, gallery installation, philosophy, music, literature, and dance.
The Legacies of Jean-Luc Godard marks an initial attempt to map the range and diversity of Godard’s impact across these different fields. It contains reassessments of key films like Vivre sa vie and Passion as well as considerations of Godard’s influence over directors like Christophe Honoré. Contributors look at Godard’s relation to philosophy and influence over film philosophy through reference to Wittgenstein, Deleuze, and Cavell, and show how Godard’s work in cinema interacts with other arts, such as painting, music, and dance. They suggest that Godard’s late work makes important contributions to debates in memory and Holocaust Studies.
The volume will appeal to a non-specialist audience with its discussions of canonical films and treatment of themes popular within film studies programs such as cinema and ethics. But it will also attract academic specialists on Godard with its chapters on recent works, including Dans le noir du temps (2002) and Voyage(s) en utopie (2006), interventions in long-running academic debates (Godard, the Holocaust, and anti- Semitism), and treatment of rarely discussed areas of Godard’s work (choreographed movement).

The first serious book-length study of crime writing in Canada, Detecting Canada Canada’s most popular crime writers, including Peter Robinson, Giles Blunt, Gail Bowen, Thomas King, Michael Slade, Margaret Atwood, and Anthony Bidulka.


Genres examined range from the well-loved police procedural and the amateur sleuth to those less well known, such as anti-detection and contemporary noir novels. The book looks critically at the esteemed sixties’ television show Wojeck, as well as the more recent series Da Vinci’s Inquest, Da Vinci’s City Hall, and Intelligence, and the controversial Durham County, a critically acclaimed but violent television series that ran successfully in both Canada and the United States.
The essays in Detecting Canada look at texts from a variety of perspectives, including postcolonial studies, gender and queer studies, feminist studies, Indigenous studies, and critical race and class studies. Crime fiction, enjoyed by so many around the world, speaks to all of us about justice, citizenship, and important social issues in an uncertain world.

Avatar and Nature Spirituality explores the cultural and religious significance of James Cameron's film Avatar (2010), one of the most commercially successful motion pictures of all time. Its success was due in no small measure to the beauty of the Pandora landscape and the dramatic, heart-wrenching plight of its nature-venerating inhabitants. To some audience members, the film was inspirational, leading them to express affinity with the film's message of ecological interdependence and animistic spirituality. Some were moved to support the efforts of indigenous peoples, who were metaphorically and sympathetically depicted in the film, to protect their cultures and environments. To others, the film was politically, ethically, or spiritually dangerous. Indeed, the global reception to the film was intense, contested, and often confusing.

To illuminate the film and its reception, this book draws on an interdisciplinary team of scholars, experts in indigenous traditions, religious studies, anthropology, literature and film, and post-colonial studies. Readers will learn about the cultural and religious trends that gave rise to the film and the reasons these trends are feared, resisted, and criticized, enabling them to wrestle with their own views, not only about the film but about the controversy surrounding it. Like the film itself, Avatar and Nature Spirituality provides an opportunity for considering afresh the ongoing struggle to determine how we should live on our home planet, and what sorts of political, economic, and spiritual values and practices would best guide us.

Compassion fatigue from the perspective of insiders in caregiving roles

First used to describe the weariness the public felt toward media portrayals of societal crises, the term compassion fatigue has been taken up by health professionals to name—along with burnout, vicarious traumatization, compassion stress, and secondary traumatic stress—the condition of caregivers who become “too tired to care.” Compassion, long seen as the foundation of ethical caring, is increasingly understood as a threat to the well-being of those who offer it.

Through the lens of hermeneutic phenomenology, the authors present an insider’s perspective on compassion fatigue, its effects on the body, on the experience of time and space, and on personal and professional relationships. Accounts of health professionals, alongside examinations of poetry, images, movies, and literature, are used to explore the notions of compassion, hope, and hopelessness as they inform the meaning of caring work. The authors frame their exposé of compassion fatigue with the very Canadian metaphor of “lying down in the snow.” If suffering is imagined as ever-falling snow, then the need for training and resources for safe journeying in “winter country” becomes apparent. Recognizing the phenomenon of compassion fatigue reveals the role that health services education and the moral habitability of our healthcare environments play in supporting professionals’ ability to act compassionately and to endure.

Examines computer hackers, phone phreaks, urban explorers, calculator and computer collectors, “CrackBerry” users, whistle-blowers, Yippies, zinsters, roulette cheats, and chess geeks. The dangers and joys of struggles for autonomy are underlined in studies of RIM’s BlackBerry and Julian Assange’s WikiLeaks website.
When Technocultures Collide provides rich and diverse studies of collision courses between technologically inspired subcultures and the corporate and governmental entities they seek to undermine. Gary Genosko analyzes these practices for their remarkable diversity and their innovation and leaps of imagination. He assesses the results of a number of operations, including the Canadian stories of Mafiaboy, Jeff Chapman of Infiltration, and BlackBerry users.
The author provides critical accounts of highly specialized attributes, such as the prospects of deterritorialized computer mice and big toe computing, the role of electrical grid hacks in urban technopolitics, and whether info-addiction and depression contribute to tactical resistance. Beyond resistance, however, the goal of this work is to find examples of technocultural autonomy in the minor and marginal cultural productions of small cultures, ethico-poetic diversions, and sustainable withdrawals with genuine therapeutic potential to surpass accumulation, debt, and competition. The dangers and joys of these struggles for autonomy are underlined in studies of RIM’s BlackBerry and Julian Assange’s WikiLeaks website.

Trans/acting Culture, Writing, and Memory is a collection of essays written in honour of Barbara Godard, one of the most original and wide-ranging literary critics, theorists, teachers, translators, and public intellectuals Canada has ever produced. The contributors, both established and emerging scholars, extend Godard’s work through engagements with her published texts in the spirit of creative interchange and intergenerational relay of ideas. Their essays resonate with Godard’s innovative scholarship situated at the intersection of such fields as literary studies, cultural studies, translation studies, feminist theory, arts criticism, social activism, institutional analysis, and public memory. In pursuit of unexpected linkages and connections, the essays venture beyond generic and disciplinary borders, zeroing in on Godard’s transdisciplinary practice that has been extremely influential in the way that it framed questions and modeled interventions for the study of Canadian, Québécois, and Acadian literatures and cultures. The authors work with the archives ranging from Canadian government policies and documents, to publications concerning white supremacist organizations in Southern Ontario, online materials from a Toronto-based transgender arts festival, a photographic mural installation commemorating the Montreal Massacre, and the works of such writers and artists as Marie Clements, Nicole Brossard, France Daigle, Nancy Huston, Yvette Nolan, Gail Scott, Denise Desautels, Louise Warren, Rebecca Belmore, Vera Frenkel, Robert Lepage, and Janet Cardiff.

Ontario Boys explores the preoccupation with boyhood in Ontario during the immediate postwar period, 1945–1960. It argues that a traditional version of boyhood was being rejuvenated in response to a population fraught with uncertainty, and suffering from insecurity, instability, and gender anxiety brought on by depression-era and wartime disruptions in marital, familial, and labour relations, as well as mass migration, rapid postwar economic changes, the emergence of the Cold War, and the looming threat of atomic annihilation. In this sociopolitical and cultural context, concerned adults began to cast the fate of the postwar world onto children, in particular boys.
In the decade and a half immediately following World War II, the version of boyhood that became the ideal was one that stressed selflessness, togetherness, honesty, fearlessness, frank determination, and emotional toughness. It was thought that investing boys with this version of masculinity was essential if they were to grow into the kind of citizens capable of governing, protecting, and defending the nation, and, of course, maintaining and regulating the social order.
Drawing on a wide variety of sources, Ontario Boys demonstrates that, although girls were expected and encouraged to internalize a “special kind” of citizenship, as caregivers and educators of children and nurturers of men, the gendered content and language employed indicated that active public citizenship and democracy was intended for boys. An “appropriate” boyhood in the postwar period became, if nothing else, a metaphor for the survival of the nation.

This book stems from an examination of how Western philosophy has accounted for the foundations of law. In this tradition, the character of the “sovereign” or “lawgiver” has provided the solution to this problem. But how does the sovereign acquire the right to found law? As soon as we ask this question we are immediately confronted with a convoluted combination of jurisprudence and theology.
The author begins by tracing a lengthy and deeply nuanced exchange between Derrida and Nancy on the question of community and fraternity and then moves on to engage with a diverse set of texts from the Marquis de Sade, Saint Augustine, Kant, Hegel, and Kafka. These texts—which range from the canonical to the apocryphal—all struggle in their own manner with the question of the foundations of law. Each offers a path to the law. If a reader accepts any path as it is and follows without question, the law is set and determined and the possibility of dialogue is closed. The aim of this book is to approach the foundations of law from a series of different angles so that we can begin to see that those foundations are always in question and open to the possibility of dialogue.

What is Europe? Who is European? What do Europe and European identity mean in the twenty-first century? This collection of sixteen essays seeks to answer these questions by focusing on Europe as it is seen through its own eyes and through the eyes of others across a variety of cultural texts, including sport, film, literature, dance, cartography, and fashion. These texts, as interpreted here by emerging researchers as well as well-established scholars, enable us to engage with European identities in the plural and to understand what these identities mean in larger cultural and political contexts.
The interdisciplinary focus of this volume permits an exploration of European identity that reaches beyond the area of European studies to incorporate understandings of identity from the viewpoints of both insider and other. Contributors explore diverse understandings of what it means to be “other” to a country, a culture, a society, or a subgroup. This book offers a fresh perspective on the evolving concept of identity—in the context of Europe past, present, and future—and expands on the existing literature by considering the political tensions and social implications of the development of European identity, as well as its literary, artistic, and cultural manifestations.

Understanding and Addressing Girls’ Aggressive Behaviour Problems reflects a major shift in understanding children’s aggressive-behaviour problems. Researchers used to study what went wrong with a troubled child and needed to be fixed; we now aim to understand what is going wrong in children’s relationships that might create, exacerbate, and maintain aggressive-behaviour problems in childhood and adolescence. In this volume, leading researchers in the aggression field examine how problems develop for boys and girls in relationships and how we can help children to develop healthy relationships.
Individual chapters explore biological and social contexts, including physical health and relationship problems that might underlie the development of aggressive behaviour problems. The impact of relationships on girls’ development is illustrated to be particularly important for Aboriginal girls. Contributors discuss prevention and intervention strategies that help aggressive children build the requisite skills and relationship capacities and also shift dynamics within critical social contexts, such as the family, peer group, classroom, and school.
The support of healthy development not only of children but of their parents and other important adults in their lives, including teachers has been shown to be effective in reducing the burden of suffering associated with aggression among children and adolescents—for youth themselves as well as their families, peers, schools, communities, and society.

Taxes connect us to one another, to the common good, and to the future. This is a book about taxes: who pays what and who gets what. More than that, it’s about the role of government, about citizenship and our collective well-being, about the Canada we want. The contributors, leading Canadian practitioners and scholars, explore how taxes have become a political “no-go zone” and how changes in taxation are changing Canada. They challenge the view that any tax is a bad tax and provide broad directions for fairer and smarter approaches.
This is a book that will be of interest to anyone concerned with public policy and public affairs, economics, and political science and to anyone interested in challenging the conventional wisdom that lower taxes and smaller government are the cures to what ails us.

The education provided by Canada’s faith-based schools is a subject of public, political, and scholarly controversy. As the population becomes more religiously diverse, the continued establishment and support of faith-based schools has reignited debates about whether they should be funded publicly and to what extent they threaten social cohesion.
These discussions tend to occur without considering a fundamental question: How do faith-based schools envision and enact their educational missions? Discipline, Devotion, and Dissent offers responses to that question by examining a selection of Canada’s Jewish, Catholic, and Islamic schools. The daily reality of these schools is illuminated through essays that address the aims and practices that characterize these schools, how they prepare their students to become citizens of a multicultural Canada, and how they respond to dissent in the classroom.
The essays in this book reveal that Canada’s faith-based schools sometimes succeed and sometimes struggle in bridging the demands of the faith and the need to create participating citizens of a multicultural society. Discussion surrounding faith-based schools in Canada would be enriched by a better understanding of the aims and practices of these schools, and this book provides a gateway to the subject.

In Writing Surfaces, derek beaulieu and Lori Emerson present a collection of John Riddell’s work. Riddell’s poems and short stories are a remarkable mix of largely typewriter-based concrete poetry mixed with fiction and drawings. Riddell’s oeuvre fell out of popular attention, but it has recently garnered interest among poets and critics engaged with media studies (especially studies of the typewriter) and experimental writing.
Riddell is best known for his short fiction pieces “H” and “Pope Leo: El Elope,” a pair of graphic fictions written in collaboration with, or dedicated to, bpNichol. However, his work moves well beyond comic strips into a series of radical fictions.
Riddell’s work embraces game play, unreadability and illegibility, procedural work, non-representational narrative, photocopy degeneration, collage, handwritten texts, and gestural work. His self-aware and meta-textual short fiction challenges the limits of machine-based composition and his reception as a media-based poet.
With media studies increasingly turning to “media archaeology” and the reading and study of antiquated, analogue-based modes of composition (as typified by the photocopier and the fax machine as well as the typewriter), Riddell is a perfect candidate for further appreciation and study by new generations of readers, authors, and scholars.

Tens of thousands of people around the world die each day from causes that could have been prevented with access to affordable health care resources. In an era of unprecedented global inequity, Cuba, a small, low-income country, is making a difference by providing affordable health care to millions of marginalized people.
Cuba has developed a world-class health care system that provides universal access to its own citizens while committing to one of the most extensive international health outreach campaigns in the world. The country has trained thousands of foreign medical students for free under a moral agreement that they serve desperate communities. To date, over 110,000 Cuban health care workers have served overseas.
Where No Doctor Has Gone Before looks at the dynamics of Cuban medical internationalism to understand the impact of Cuba’s programs within the global health landscape. Topics addressed include the growing moral divide in equitable access to health care services, with a focus on medical tourism and Cuba’s alternative approach to this growing trend. Also discussed is the hidden curriculum in mainstream medical education that encourages graduates to seek lucrative positions rather than commit to service for the marginalized. The author shows how Cuba’s Escuela Latinoamericana de Medicina (ELAM) serves as a counter to this trend.
An acknowledgement of Cuba’s tremendous commitment, the book reveals a compelling model of global health practice that not only meets the needs of the marginalized but facilitates an international culture of cooperation and solidarity.

People who have high levels of H are sincere and modest; people who have low levels are deceitful and pretentious. The “H” in the H factor stands for “Honesty-Humility,” one of the six basic dimensions of the human personality. 

 It isn’t intuitively obvious that traits of honesty and humility go hand in hand, and until very recently the H factor hadn’t been recognized as a basic dimension of personality. But scientific evidence shows that traits of honesty and humility form a unified group of personality traits, separate from those of the other five groups identified several decades ago.

This book, written by the discoverers of the H factor, explores the scientific findings that show the importance of this personality dimension in various aspects of people’s lives: their approaches to money, power, and sex; their inclination to commit crimes or obey the law; their attitudes about society, politics, and religion; and their choice of friends and spouse. Finally, the book provides ways of identifying people who are low in the H factor, as well as advice on how to raise one’s own level of H.

Since the beginning of his poetic career in the 1990s, derek beaulieu has created works that have challenged readers to understand in new ways the possibilities of poetry. With nine books currently to his credit, and many works appearing in chapbooks, broadsides, and magazines, beaulieu continues to push experimental poetry, both in Canada and internationally, in new directions. Please, No More Poetry is the first selected works of derek beaulieu.
As the publisher of first housepress and, more recently, No Press, beaulieu has continually highlighted the possibilities for experimental work in a variety of writing communities. His own work can be classified as visual poetry, as concrete poetry, as conceptual work, and beyond. His work is not to be read in any traditional sense, as it challenges the very idea of reading; rather, it may be understood as a practice that forces readers to reconsider what they think they know. As beaulieu continues to push himself in new directions, readers will appreciate the work that he has created to date, much of which has become unavailable in Canada.
With an introduction by Kit Dobson and an interview with derek beaulieu by Lori Emerson as an afterword, Please, No More Poetry offers readers an opportunity to gain access to a complex experimental poetic practice through thirty-five selected representative works.

Terry Copp’s tireless teaching, research, and writing has challenged generations of Canadian veterans, teachers, and students to discover an informed memory of their country’s role in the Second World War. This collection, drawn from the work of Terry’s colleagues and former students, considers Canada and the Second World War from a wealth of perspectives.
Social, cultural, and military historians address topics under five headings: The Home Front, The War of the Scientists, The Mediterranean Theatre, Normandy/Northwest Europe, and The Aftermath. The questions considered are varied and provocative: How did Canadian youth and First Nations peoples understand their wartime role? What position did a Canadian scientist play in the Allied victory and in the peace? Were veterans of the Mediterranean justified in thinking theirs was the neglected theatre? How did the Canadians in Normandy overcome their opponents but not their historians? Why was a Cambridge scholar attached to First Canadian Army to protect monuments? And why did Canadians come to commemorate the Second World War in much the same way they commemorated the First?
The study of Canada in the Second World War continues to challenge, confound, and surprise. In the questions it poses, the evidence it considers, and the conclusions it draws, this important collection says much about the lasting influence of the work of Terry Copp.
Foreword by John Cleghorn.

Not the Whole Story is a compilation of sixteen stories narrated by single mothers in their own way and about their own lives. Each story is unique, but the same issues appear again and again. Abuse, parenting as single mothers, challenges in the labour market, mental health and addictions issues, a scarcity of quality childcare, immigration and status vulnerability, struggles with custody, and poverty—these factors, combined with a lack of support, contribute to their continued struggles.
The themes that recur across stories illustrate that the issues the women face are not just about individual struggle; they demonstrate that major issues in Canada’s social system have been neglected in public policy. In order for these issues to be addressed we need to challenge the flawed public policies and the negative discourse that continue to marginalize single mothers—in terms of the opportunities in their own lives and in terms of how they are understood by other Canadians.
The first-person narratives of the struggles and issues faced by low-income single mothers provide narrative richness and are augmented by introductory and concluding chapters that draw the narrative themes together and offer overarching discussion and analysis.

The Toronto Star called him a legendary figure in Canadian writing, and indeed George Fetherling has been prolific in many genres: poetry, history, travel narrative, memoir, and cultural studies. Plans Deranged by Time is a representative selection from many of the twelve poetry collections he has published since the late 1960s. Like his novels and other fiction, many of these poems are anchored in a sense of place—often a very urban one. Filled with aphorism and sharp observation, the poems are spare of line and metaphor; they display a kind of elegant realism: loading docks, back doors of restaurants, doughnut shops with karate schools upstairs.
In the introduction, A.F. Moritz places Fetherling in the modern picaresque tradition in the aftermath of Eliot and Pound, highlighting his characteristic speaker as an itinerant cosmopolitan outsider, a kind of flâneur, impoverished and keenly observant, writing from a position of “communion-in-isolation.” He contrasts Fetherling’s contemplative intellectualism with that of the public intellectual and highlights this outsider’s fellow-feeling, making the poems indirectly political.
Fetherling’s afterword is an anecdote-anchored exploration of what the poet sees as his two central approaches—“the desire to create new codes of hearing” and “writing-to-heal”—and how they are reflected in the collection.

Youth, Education, and Marginality: Local and Global Expressions is a close examination of the lives of marginalized young people in schools. Essays by scholars and educators are complemented by youth poetry, prose, and visual art.

The book includes insights from Australia, United Kingdom, Polynesia, United States, and Canada and is grounded in educational and community practice and policy. The content covers the range and intersections of marginalization: poverty, Aboriginal cultures, immigrants and newcomers, gay/lesbian youth, rural–urban divides, mental health, and so forth. Presenting challenges faced by marginalized youth alongside initiatives for mitigating their impact, the contributors critique existing systems and engage in a dialogue about where to go from here.

Traditions and Transitions: Curricula for German Studies is a collection of essays by Canadian and international scholars on the topic of why and how the curriculum for post-secondary German studies should evolve. Its twenty chapters, written by international experts in the field of German as a foreign or second language, explore new perspectives on and orientations in the curriculum.
In light of shifts in the linguistic and intercultural needs of today’s global citizens, these scholars in German studies question the foundations and motivations of common curriculum goals, traditional program content, standard syllabus design, and long-standing classroom practice. Several chapters draw on a range of contemporary theories—from critical applied linguistics, second-language acquisition, curriculum theory, and cultural studies—to propose and encourage new curriculum thinking and reflective practice related to the translingual and cross-cultural subjectivities of speakers, learners, and teachers of German. Other chapters describe and analyze specific examples of emerging trends in curriculum practice for learners as users of German.
This volume will be invaluable to university and college faculty working in the discipline of German studies as well as in other modern languages and second-language education in general. Its combination of theoretical and descriptive explorations will help readers develop a critical awareness and understanding of curriculum for teaching German and to implement new approaches in the interests of their students.

Sovereignty. Sugar. Revolution. These are the three axes this book uses to link the works of contemporary women artists from Haiti—a country excluded in contemporary Latin American and Caribbean literary studies—the Dominican Republic, and Cuba. In From Sugar to Revolution: Women’s Visions of Haiti, Cuba, and the Dominican Republic, Myriam Chancy aims to show that Haiti’s exclusion is grounded in its historical role as a site of ontological defiance. Her premise is that writers Edwidge Danticat, Julia Alvarez, Zoé Valdés, Loida Maritza Pérez, Marilyn Bobes, Achy Obejas, Nancy Morejón, and visual artist Maria Magdalena Campos-Pons attempt to defy fears of “otherness” by assuming the role of “archaeologists of amnesia.” They seek to elucidate women’s variegated lives within the confining walls of their national identifications—identifications wholly defined as male. They reach beyond the confining limits of national borders to discuss gender, race, sexuality, and class in ways that render possible the linking of all three nations. Nations such as Haiti, the Dominican Republic, and Cuba are still locked in battles over self-determination, but, as Chancy demonstrates, women’s gendered revisionings may open doors to less exclusionary imaginings of social and political realities for Caribbean people in general.

Cold War Comforts examines Canadian women’s efforts to protect children’s health and safety between the dropping of the first atomic bomb in Hiroshima in 1945 and the end of the Vietnam War in 1975. Amid this global insecurity, many women participated in civil defence or joined the disarmament movement as means to protect their families from the consequences of nuclear war. To help children affected by conflicts in Europe and Asia, women also organized foreign relief and international adoptions.
In Canada, women pursued different paths to peace and security. From all walks of life, and from all parts of the country, they dedicated themselves to finding ways to survive the hottest periods of the Cold War. What united these women was their shared concern for children’s survival amid Cold War fears and dangers. Acting on their identities as Canadian citizens and mothers, they characterized with their activism the genuine interest many women had in protecting children’s health and safety. In addition, their activities offered them a legitimate space to operate in the traditionally male realms of defence and diplomacy. Their efforts had a direct impact on the lives of children in Canada and abroad and influenced changes in Canada’s education curriculum, immigration laws, welfare practices, defence policy, and international relations.
Cold War Comforts offers insight into how women employed maternalism, nationalism, and internationalism in their work, and examines shifting constructions of family and gender in Cold War Canada. It will appeal to scholars of history, child and family studies, and social policy.

Linda Hutcheon, in this original study, examines the modes, forms and techniques of narcissistic fiction, that is, fiction which includes within itself some sort of commentary on its own narrative and/or linguistic nature. Her analysis is further extended to discuss the implications of such a development for both the theory of the novel and reading theory.
Having placed this phenomenon in its historical context Linda Hutcheon uses the insights of various reader-response theories to explore the “paradox” created by metafiction: the reader is, at the same time, co-creator of the self-reflexive text and distanced from it because of its very self-reflexiveness. She illustrates her analysis through the works of novelists such as Fowles, Barth, Nabokov, Calvino, Borges, Carpentier, and Aquin. For the paperback edition of this important book a preface has been added which examines developments since first publication. Narcissistic Narrative was selected by Choice as one of the outstanding academic books for 1981–1982.

The first English-language translation of Der Weltkrieg, the German official history of the First World War.

Originally produced between 1925 and 1944 using classified archival records that were destroyed in the aftermath of the Second World War, Der Weltkrieg is the inside story of Germany’s experience on the Western front. Recorded in the words of its official historians, this account is vital to the study of the war and official memory in Weimar and Nazi Germany. Although exciting new sources have been uncovered in former Soviet archives, this work remains the basis of future scholarship. It is essential reading for any scholar, graduate student, or enthusiast of the Great War.

This volume covers the outbreak of war in July–August 1914, the German invasion of Belgium, the Battles of the Frontiers, and the pursuit to the Marne in early September 1914. The first month of war was a critical period for the German army and, as the official history makes clear, the German war plan was a gamble that seemed to present the only solution to the riddle of the two-front war. But as the Moltke-Schlieffen Plan was gradually jettisoned through a combination of intentional command decisions and confused communications, Germany’s hopes for a quick and victorious campaign evaporated.

Listening Up, Writing Down, and Looking Beyond is an interdisciplinary collection that gathers the work of scholars and performance practitioners who together explore questions about the oral, written, and visual. The book includes the voices of oral performance practitioners, while the scholarship of many of the academic contributors is informed by their participation in oral storytelling, whether as poets, singers, or visual artists. Its contributions address the politics and ethics of the utterance and text: textualizing orature and orality, simulations of the oral, the poetics of performance, and reconstructions of the oral.

This collection of essays studies the cultural and literary contexts of narrative texts produced in English Canada over the last forty years. It takes as its starting point the nationalist movement of the 1960s and 70s, when the supposed absence or weakness of a national sense became the touchstone for official discourses on the cultural identity of the country. That type of metaphor provided the nation with the distinctive elements it was looking for and contributed to the creation of a sense of tradition that has survived to the present.
In the decades following the 1970s, however, critics, artists, and writers have repeatedly questioned such a model of national identity, still fragile and in need of articulation, by reading the nation from alternative perspectives such as multiculturalism, environmentalism, (neo)regionalism, feminism, or postcolonialism. These contributors suggest that the artistic and cultural flowering Canada is experiencing at the beginning of the twenty-first century is, to a great extent, based on the dismantlement of the images constructed to represent the nation only forty years ago. Through their readings of representative primary texts, their contextual analysis, and their selected methodological tools, the authors offer a tapestry of alternative approaches to that process of dismantlement. Together, they read as an unruly Penelopiad, their unravelling readings self-consciously interrogating Canada’s (lack of) ghosts.

Music education in Canada is a vast enterprise that encompasses teaching and learning in thousands of public and private schools, community groups, and colleges and universities. It involves participants from infancy to the elderly in formal and informal settings. Nevertheless, as post-secondary faculties of music and programs are growing significantly, academic books and materials grounded in a Canadian perspective are scarce. This book attempts to fill that need by offering a collection of essays that look critically at various global issues in music education from a Canadian perspective. Topics range from a discussion of the roots of music education in Canada and analysis of music education practices across the country to perspectives on popular music, distance education, technology, gender, globalization, Indigenous traditions, and community music in music education. Foreword by composer R. Murray Schafer.

This collection of essays studies the cultural and literary contexts of narrative texts produced in English Canada over the last forty years. It takes as its starting point the nationalist movement of the 1960s and 70s, when the supposed absence or weakness of a national sense became the touchstone for official discourses on the cultural identity of the country. That type of metaphor provided the nation with the distinctive elements it was looking for and contributed to the creation of a sense of tradition that has survived to the present.
In the decades following the 1970s, however, critics, artists, and writers have repeatedly questioned such a model of national identity, still fragile and in need of articulation, by reading the nation from alternative perspectives such as multiculturalism, environmentalism, (neo)regionalism, feminism, or postcolonialism. These contributors suggest that the artistic and cultural flowering Canada is experiencing at the beginning of the twenty-first century is, to a great extent, based on the dismantlement of the images constructed to represent the nation only forty years ago. Through their readings of representative primary texts, their contextual analysis, and their selected methodological tools, the authors offer a tapestry of alternative approaches to that process of dismantlement. Together, they read as an unruly Penelopiad, their unravelling readings self-consciously interrogating Canada’s (lack of) ghosts.

Listening Up, Writing Down, and Looking Beyond is an interdisciplinary collection that gathers the work of scholars and performance practitioners who together explore questions about the oral, written, and visual. The book includes the voices of oral performance practitioners, while the scholarship of many of the academic contributors is informed by their participation in oral storytelling, whether as poets, singers, or visual artists. Its contributions address the politics and ethics of the utterance and text: textualizing orature and orality, simulations of the oral, the poetics of performance, and reconstructions of the oral.

The Daughter’s Way investigates negotiations of female subjectivity in twentieth-century Canadian women’s elegies with a special emphasis on the father’s death as a literary and political watershed. The book examines the work of Dorothy Livesay, P.K. Page, Jay Macpherson, Margaret Atwood, Kristjana Gunnars, Lola Lemire Tostevin, Anne Carson, and Erin Mouré as elegiac daughteronomies—literary artifacts of mourning that grow from the poets’ investigation into the function and limitations of elegiac convention. Some poets treat the father as a metaphor for socio-political power, while others explore more personal iterations of loss, but all the poets in The Daughter’s Way seek to redefine daughterly duty in a contemporary context by challenging elegiac tradition through questions of genre and gender.
Beginning with psychoanalytical theories of filiation, inheritance, and mourning as they are complicated by feminist challenges to theories of kinship and citizenship, The Daughter’s Way debates the efficacy of the literary “work of mourning” in twentieth-century Canadian poetry. By investigating the way a daughter’s filial piety performs and sometimes reconfigures such work, and situating melancholia as a creative force in women’s elegies, the book considers how elegies inquire into the rhetoric of mourning as it is complicated by father-daughter kinship.

The Daughter’s Way investigates negotiations of female subjectivity in twentieth-century Canadian women’s elegies with a special emphasis on the father’s death as a literary and political watershed. The book examines the work of Dorothy Livesay, P.K. Page, Jay Macpherson, Margaret Atwood, Kristjana Gunnars, Lola Lemire Tostevin, Anne Carson, and Erin Mouré as elegiac daughteronomies—literary artifacts of mourning that grow from the poets’ investigation into the function and limitations of elegiac convention. Some poets treat the father as a metaphor for socio-political power, while others explore more personal iterations of loss, but all the poets in The Daughter’s Way seek to redefine daughterly duty in a contemporary context by challenging elegiac tradition through questions of genre and gender.
Beginning with psychoanalytical theories of filiation, inheritance, and mourning as they are complicated by feminist challenges to theories of kinship and citizenship, The Daughter’s Way debates the efficacy of the literary “work of mourning” in twentieth-century Canadian poetry. By investigating the way a daughter’s filial piety performs and sometimes reconfigures such work, and situating melancholia as a creative force in women’s elegies, the book considers how elegies inquire into the rhetoric of mourning as it is complicated by father-daughter kinship.

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.

Social policy shapes the daily lives of every Canadian citizen and should reflect the beliefs of a majority of Canadians on just approaches to the promotion of health, safety, and well-being. Too often, those on the front lines—social workers, nurses, and teachers—observe that policies do not work well for the most vulnerable groups in society. In the first part of this new edition of Canadian Social Policy, Westhues and Wharf argue that service deliverers have discretion in how policies are implemented, and the exercise of this discretion is how citizens experience policy—whether or not it is fair and reasonable. They show the reader how social policy is made and they encourage active citizenship to produce policies that are more socially just. New material includes an examination of the reproduction of systemic racism through the implementation of human rights policy and a comparative analysis of the policy-making process in Quebec and English Canada.
The second part of the book discusses policy issues currently under debate in Canada. Included are new chapters that explore parental leave policies and housing as a determinant of health. All chapters contain newly updated statistical data and research and policy analysis.
A reworked section on the process of policy-making and the addition of questions for critical reflection enhance the suitability of the book as a core resource in social policy courses. The final chapter explores how front-line workers in the human services can advocate for change in organizational policies that will benefit the people supported.

The World of Niagara Wine is a transdisciplinary exploration of the Niagara wine industry that celebrates and critiques the local wine industry and situates it in a complex web of Old World traditions and New World reliance on technology, science, and taste as well as global processes and local sociocultural reactions.
In the first section, contributors explore the history and regulation of wine production as well as its contemporary economic significance. The second section focuses on the entrepreneurship behind and the promotion and marketing of Niagara wines. The third introduces readers to the science of grape growing, wine tasting, and wine production, and the final section examines the social and cultural ramifications of Niagara’s increasing reliance on grapes and wine as an economic motor for the region. Preface by Konrad Ejbich.

Cultural Grammars of Nation, Diaspora, and Indigeneity in Canada considers how the terms of critical debate in literary and cultural studies in Canada have shifted with respect to race, nation, and difference. In asking how Indigenous and diasporic interventions have remapped these debates, the contributors argue that a new “cultural grammar” is at work and attempt to sketch out some of the ways it operates.
The essays reference pivotal moments in Canadian literary and cultural history and speak to ongoing debates about Canadian nationalism, postcolonalism, migrancy, and transnationalism. Topics covered include the Asian race riots in Vancouver in 1907, the cultural memory of internment and dispersal of Japanese Canadians in the 1940s, the politics of migrant labour and the “domestic labour scheme” in the 1960s, and the trial of Robert Pickton in Vancouver in 2007. The contributors are particularly interested in how diaspora and indigeneity continue to contribute to this critical reconfiguration and in how conversations about diaspora and indigeneity in the Canadian context have themselves been transformed. Cultural Grammars is an attempt to address both the interconnections and the schisms between these multiply fractured critical terms as well as the larger conceptual shifts that have occurred in response to national and postnational arguments.

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.

Drawing on themes from John MacKenzie’s Empires of Nature and the Nature of Empires (1997), this book explores, from Indigenous or Indigenous-influenced perspectives, the power of nature and the attempts by empires (United States, Canada, and Britain) to control it. It also examines contemporary threats to First Nations communities from ongoing political, environmental, and social issues, and the efforts to confront and eliminate these threats to peoples and the environment. It becomes apparent that empire, despite its manifestations of power, cannot control or discipline humans and nature. Essays suggest new ways of looking at the Great Lakes watershed and the peoples and empires contained within it.

From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity.
The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway.

What are the fictions that shape Canadian engagements with the global? What frictions emerge from these encounters? In negotiating aesthetic and political approaches to Canadian cultural production within contexts of global circulation, this collection argues for the value of attending to narratorial, lyric, and theatrical conventions in dialogue with questions of epistemological and social justice. Using the twinned framing devices of crosstalk and cross-sighting, the contributing authors attend to how the interplay of the verbal and the visual maps public spheres of creative engagement today.
Individual chapters present a range of methodological approaches to understanding national culture and creative labour in global contexts. Through their collective enactment of methodological crosstalk, they demonstrate the productivity of scholarly debate across differences of outlook, culture, and training. In highlighting convergences and disagreements, the book sharpens our understanding of how literary and critical conventions and theories operate within and across cultures.

The influx of Protestant missionaries from Britain to Japan, Korea and Taiwan was an integral part of the British presence in East Asia from 1865 to 1945. Ion draws on both British and Japanese sources to examine the life, work and attitudes of the British missionaries, women and men, who ventured far from their homeland to preach the gospel. He explores the role played by British Protestants as both Christian missionaries and informal ambassadors of their own country and civilization. Through their educational, social and medical work the missionaries helped introduce Western ideas and social pursuits which in turn affected different facets of society and culture in Japan, Korea and Taiwan. The study illustrates how the British missionaries’ intent to introduce Christianity was affected by the response of the East Asians to Western ideas.

In describing the high drama of the British missionary movement’s pioneering days in the late nineteenth century to its persecution during the late 1930s, Ion casts light on a particular, yet important, aspect of the changing tides of Anglo-Japanese relations. This book will ably complement his previous study of Canadian missionaries in East Asia during the same period.

Chosen as one of the 15 outstanding books of 1993 for mission studies by the International Bulletin of Missionary Research

During the last decade, contemporary German and Austrian cinema has grappled with new social and economic realities. The “cinema of consensus,” a term coined to describe the popular and commercially oriented filmmaking of the 1990s, has given way to a more heterogeneous and critical cinema culture. Making the greatest artistic impact since the 1970s, contemporary cinema is responding to questions of globalization and the effects of societal and economic change on the individual.
This book explores this trend by investigating different thematic and aesthetic strategies and alternative methods of film production and distribution. Functioning both as a product and as an agent of globalizing processes, this new cinema mediates and influences important political and social debates. The contributors illuminate these processes through their analyses of cinema’s intervention in discourses on such concepts as “national cinema,” the effects of globalization on social mobility, and the emergence of a “global culture.” The essays illustrate the variety and inventiveness of contemporary Austrian and German filmmaking and highlight the complicated interdependencies between global developments and local specificities. They confirm a broader trend toward a more complex, critical, and formally diverse cinematic scene.
This book offers insights into the strategies employed by German and Austrian filmmakers to position themselves between the commercial pressures of the film industry and the desire to mediate or even attempt to affect social change. It will be of interest to scholars in film studies, cultural studies, and European studies.

Qualitative methods are increasingly useful as psychiatry shifts from a focus on symptom reduction to enabling people to live satisfying and meaningful lives. It becomes important to achieve a deeper understanding of the ways in which mental illness interferes with everyday life and the ways in which people can learn to manage and minimize illness in order to pursue their lives as fully as possible. Although qualitative methods in psychiatry have seen a dramatic upsurge, relatively few published studies use such methods specifically to explore the lives, socio-culturally and experientially, of those with first-episode psychosis.
This book highlights qualitative research in early psychosis. The first half of the book centres on the individual lived experience of psychosis—from the perspective of the individual, the family, and the practitioner. The second half moves from the micro level to the macro, focusing on broader system issues, including medical trainees’ encounters with first-episode psychosis in the emergency room and the implementation of first-episode clinics in the UK and Australia. This text is timely, as the proliferation of early-psychosis clinics worldwide demands that we inquire into the subjective experience of those impacted by psychosis and the social contexts within which it occurs and is lived out.
Hearing Voices is the first in a series of titles from The Community Health Systems Resource Group at The Hospital for Sick Children. This series will educate researchers, policy-makers, students, practitioners, and interested stakeholders on such topics as early intervention in psychosis, aggressive-behaviour problems, eating-related disorders, and marginalized youth in educational contexts.

What are the fictions that shape Canadian engagements with the global? What frictions emerge from these encounters? In negotiating aesthetic and political approaches to Canadian cultural production within contexts of global circulation, this collection argues for the value of attending to narratorial, lyric, and theatrical conventions in dialogue with questions of epistemological and social justice. Using the twinned framing devices of crosstalk and cross-sighting, the contributing authors attend to how the interplay of the verbal and the visual maps public spheres of creative engagement today.
Individual chapters present a range of methodological approaches to understanding national culture and creative labour in global contexts. Through their collective enactment of methodological crosstalk, they demonstrate the productivity of scholarly debate across differences of outlook, culture, and training. In highlighting convergences and disagreements, the book sharpens our understanding of how literary and critical conventions and theories operate within and across cultures.

Lexi, a young Mennonite woman from Saskatchewan, comes to work as housekeeper and nanny for a doctor’s family in Waterloo, Ontario, during the Great Depression.

Dr. Gerald Oliver is a handsome philanderer who lives with his neurotic and alcoholic wife, Cammy, and their two children. Lexi soon adapts to modern conveniences, happily wears Cammy’s expensive cast off clothes, and is transformed from an innocent into a chic urban beauty. When Lexi is called home to Saskatchewan to care for her dying mother, she returns a changed person.

At home, Lexi finds a journal written by her older brother during the family’s journey from Russia to Canada. In it she reads of a tragedy kept secret for years, one hat reconciles her early memories of her mother as joyful and loving with the burdened woman she became in Canada. Lexi returns to Waterloo, where a crisis of her own, coupled with the knowledge of this secret, serves as the catalyst for her realization that, unlike her mother, she must create her own destiny.

Watermelon Syrup is a classic bildungsroman: the tale of a naive young woman at the crossroads of a traditional, restrictive world and a modern one with its freedom, risks, and responsibilities.

In the spring and summer of 1938, a third-generation German Canadian took an unforgettable road trip in Europe. Franklin Wellington Wegenast drove through Austria, Italy, France, Luxembourg, and Germany. He stopped to talk to people along the way and offered rides to those requesting them. He listened to what his passengers had to say about their lives, the conditions they lived under, and their views on what was happening in Europe. Wegenast heard Hitler speak in Innsbruck, and so witnessed first-hand Nazi power as Austria’s independence crumbled. In his journal he noted “the sheer animal force in the cries of the crowd,” and foresaw the “collision course” that was shaping up between the Germans who supported Hitler’s ideology and the rest of the world.
Wegenast was unable to publish the journal he kept on his journey, and at the time of his death in 1942 it was in an unorganized state. It is published here for the first time alongside commentary that puts the entries in the contexts of Wegenast’s life experiences, the prevailing attitudes of the day, both in North America and Europe, and modern scholarship on Germany in the 1930s. The book includes correspondence Wegenast had with a young German for a few months after his return to Canada, correspondence that reveals even more clearly the intensity of his feelings and his fear for the future.
Newly released government documents and diaries kept by Germans during the interwar period have meant a considerable outpouring in recent years of material on German sentiment in the 1930s. Wegenast’s diaries and letters corroborate modern assessments of German thinking and add insightful commentary, providing an outsider/insider view on the brewing conflict.