Originally published in 1987, this book contains the Love Sgons of the Carmina Burana, alongisde a select bibliography and textual notes. The collection of poems now known as the Carmina was given its name by Schmeller in 1847, and the Carmina Burana comprises the best and most representative products of goliardism and remains the definitive manifestation of the goliardic movement.

Originally published in 1987, this book contains the Love Sgons of the Carmina Burana, alongisde a select bibliography and textual notes. The collection of poems now known as the Carmina was given its name by Schmeller in 1847, and the Carmina Burana comprises the best and most representative products of goliardism and remains the definitive manifestation of the goliardic movement.

Variously described as a comedy of manners, a psychological romance, and a type of fabliau, the 13th-century narrative "Flamenca" is the best medieval romance written in Occitan. Its uniqueness springs from qualities that anticipate the preoccupations of modern-day narrative. Not content with being a love story fraught with risk and intrigue, the poem is layered with responses to the troubadour tradition of love and poetry, as well as the Bible and the classics. Though among the most bookish of romances, its tone is invariably ironic, comic, and satirical. This playfulness may be measured by the variety and vehemence of critical response to the poem. Is it a vindication of the troubadour ideal, a mockery of the Church, a satire on jealous husbands, or an undermining of the ideals that romance is said to inscribe? Or is it all of these elements held in suspense? The introduction confronts these questions.
The most recent edition and translation of "Flamenca," by Hubert and Porter, is now out of print; their translation was into octosyllabic couplets that match the original. Blodgett's translation is unrhymed and line-for-line, on pages facing the edition; it adhers as closely as possible to the literal meaning of the original. The edition follows the recent text prepared by Gschwind.

Apostrophe 1. Rhet. A figure of speech, by which a speaker or writer suddenly stops in his discourse, and turns to address pointedly some person or thing, either present or absent; an exclamatory address. (OED) Renowned poet E.D. Blodgett extends his lyrical meditations to the limits of human knowing in Apostrophes VII: Sleep, You, a Tree. By remaining true to the ancient trope of direct address, he is able to sustain the merest suggestion of the infinite complexity of the natural world beyond "You," and thereby impress his breathtaking vision. Via sumptuous imagery commanded by musical lines and understated language, readers are invited to partake in the greatest marvels that happen to be all around us, and accessible to us, every day.

E.D. Blodgett, winner of the Governor General's Award for Poetry, returns to Apostrophes with a music passing through his eyes. His latest collection, open the grass, brings glimpses into eternity, visions of a translucent muse trickling through fingers, and places of silence, and darkness, and epiphany. Blodgett's poetry has the ability to penetrate the mundane with a profound aesthetic sense. His spare, strong words kick up pleasure in the eye and unforeseen recognition. These sixty-six poems open the natural world to embrace human passage.

A lament in light. A breath-taking memorial. Poetry and photography that compose the landscapes of remembrance. Once I saw your breath suspended in the air then I understood how fire could be white when I exhaled my breath followed yours into the sky that holds us both "Rich, profound, engaging, and written with an emotional depth rarely seen in much of contemporary poetry. There's a meditative virtuosity throughout this work, original and perceptive, alive with intelligence and compassion." Don Domanski

Here, in the second volume of a series, E.D. Blodgett extends the meditations of Apostrophes: woman at a piano, which won the Governor General's award for poetry in 1996. An astonishing hybrid of Symboliste vision and Elizabethan form, through you I is a lovely offering from one of Canada's leading writers.

as if there could be no other memory a tree invisible remembering itself In as if, E.D. Blodgett takes readers on journeys of contemplation in which he re-imagines the lyric form. Each line leaves the reader breathless as it runs into the next to form a continuous cycle, a continued breath. The delicate syntax of each piece pushes one forward, ever forward. The poems are Dantesque, leading the traveller through a deeper, darker world. As a collection, as if constitutes an ars poetica of Blodgett's Apostrophes series. The poems explore the elements that make up the series-strict metrical patterns, the possibilities of breath, the endlessness and seamlessness of the spoken word, the incantation.

An Ark of Koans is a meditation on the mystery of what happens at the moment it happens. Although it takes animals as its threshold, animals only serve as innocent guides toward fathoming, if not understanding, events as small, inconceivable miracles.

Governor-General's award-winning poet E.D. Blodgett continues his series of meditations on love, living, and loss. This intelligent collection offers more of Blodgett's lush imagery and deep questioning within the apostrophe form. A lovely offering from one of Canada's leading writers.

Translation is tricky business. The translator has to transform the foreign to the familiar while moving and pleasing his or her audience. Louise Ladouceur knows theatre from a multi-dimensional perspective that gives her research a particular authority as she moves between two of the dominant cultures of Canada: French and English. Through the analysis of six plays from each linguistic repertoire, written and translated between 1961 and 2000, her award-winning book compares the complexities of a translation process shaped by the power struggle between Canada's two official languages. The winner of the Prix Gabrielle-Roy and the Ann Saddlemyer Book Award, Dramatic Licence addresses issues important to scholars and students of Translation Studies, Canadian Literature and Theatre Studies, as well as theatre practitioners and translators. The University of Alberta Press acknowledges the financial support of the Government of Canada, through the National Translation Program for Book Publishing, for our translation activities.