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Across more than twenty chapters, Future Horizons explores the
past, present, and future of digital humanities research, teaching,
and experimentation in Canada. Bringing together work by
established and emerging scholars, this collection presents
contemporary initiatives in digital humanities alongside a
reassessment of the field’s legacy to date and conversations
about its future potential. It also offers a historical view of the
important, yet largely unknown, digital projects in Canada. Future
Horizons offers deep dives into projects that enlist a diverse
range of approaches—from digital games to makerspaces, sound
archives to born-digital poetry, visual arts to digital textual
analysis—and that work with both historical and contemporary
Canadian materials. The essays demonstrate how these diverse
approaches challenge disciplinary knowledge by enabling humanities
researchers to ask new questions. The collection challenges the
idea that there is either a single definition of digital humanities
or a collective national identity. By looking to digital
engagements with race, Indigeneity, gender, and sexuality—not to
mention history, poetry, and nationhood—this volume expands what
it means to work at the intersection of digital humanities and
humanities in Canada today. Available formats: trade paperback,
accessible PDF, and accessible ePub
Beginning in 1963 and continuing through the late 1980s, a loose
coterie of like-minded Canadian poets challenged the conventions of
writing and poetic meaning by fusing their practice with strategies
from visual art, sound art, sculpture, instillation, and
performance. They called it "borderblur"Borderblur Poetics traces
the emergence and proliferation of this node of poetic activity, an
avant-garde movement comprising concrete poetry, sound poetry, and
kinetic poetry, practiced by poets and artists like bpNichol, bill
bissett, Judith Copithorne, Steve McCaffery, Penn Kemp, Ann
Rosenberg, Gerry Shikatani, Shaunt Basmajian, among others. Author
Eric Schmaltz demonstrates how these poets formed an alternative
tradition, one that embraced intermediality to challenge the
hegemony of Canadian literature established during the heydays of
cultural nationalism. He shows the importance of intermediality as
a driving cultural force and how its proliferation significantly
altered Canadian cultural expression. Drawing on a combination of
archival research, historical analysis, and literary criticism,
Borderblur Poetics adds significant nuance to theories and
criticisms of Canadian literature.
Beginning in 1963 and continuing through the late 1980s, a loose
coterie of like-minded Canadian poets challenged the conventions of
writing and poetic meaning by fusing their practice with strategies
from visual art, sound art, sculpture, instillation, and
performance. They called it “borderblur”Borderblur Poetics
traces the emergence and proliferation of this node of poetic
activity, an avant-garde movement comprising concrete poetry, sound
poetry, and kinetic poetry, practiced by poets and artists like
bpNichol, bill bissett, Judith Copithorne, Steve McCaffery, Penn
Kemp, Ann Rosenberg, Gerry Shikatani, Shaunt Basmajian, among
others. Author Eric Schmaltz demonstrates how these poets formed an
alternative tradition, one that embraced intermediality to
challenge the hegemony of Canadian literature established during
the heydays of cultural nationalism. He shows the importance of
intermediality as a driving cultural force and how its
proliferation significantly altered Canadian cultural expression.
Drawing on a combination of archival research, historical analysis,
and literary criticism, Borderblur Poetics adds significant nuance
to theories and criticisms of Canadian literature.
Bill bissett and Milton Acorn are two of Canada's most significant,
and most controversial, literary figures. In the 1960s, bissett's
renown as an experimental poet was growing as his social and
political concerns were stirred by the voice of the counterculture.
Acorn, inspired by socialist theory and imagism, was building his
reputation as a poet on the margin who ran against the grain of the
literary establishment. Both were rising towards cultural
prominence-one, a true beatnik and the other, a certifiably rugged
lyric poet. In 1965 they came together in a remarkable
collaboration, a challenge to the established literary tradition
and a call for a better world.Published for the very first time, I
Want to Tell You Love is the combination of bissett and Acorn's
seemingly incongruous poetics to confront the turbulent and swiftly
changing world of the 1960s. A collection of poems and
illustrations, it is a window into the lives and motivations of two
soon-to-be-canonized cultural figures. I Want to Tell You Love is a
work of friendship, a shared vision of resistance, and a mutual
longing for a better world. This critical edition offers the
manuscript in its intended form alongside contextualizing
scholarship in a significant contribution to literary history. I
Want to Tell You Love offers an opportunity to reevaluate the
nature and scope of Canadian poetry during a critical time of
national cultural awakening.
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