|
Showing 1 - 9 of
9 matches in All Departments
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
Avant Canada presents a rich collection of original essays and
creative works on a representative array of avant-garde literary
movements in Canada from the past fifty years. From the work of
Leonard Cohen and bpNichol to that of Jordan Abel and Liz Howard,
Avant Canada features twenty-eight of the best writers and critics
in the field.The book proposes four dominant modes of avant-garde
production: ""Concrete Poetics,"" which accentuates the visual and
material aspects of language; ""Language Writing,"" which
challenges the interconnection between words and things; ""Identity
Writing,"" which interrogates the self and its sociopolitical
position; and ""Copyleft Poetics,"" which undermines our habitual
assumptions about the ownership of expression. A fifth section
commemorates the importance of the Centennial in the 1960s at a
time when avant-garde cultures in Canada began to emerge. Readers
of this book will become familiar with some of the most challenging
works of literature - and their creators - that this country has
ever produced. From Concrete Poetry in the 1960s through to
Indigenous Literature in the 2010s, Avant Canada offers the most
sweeping study of the literary avant-garde in Canada to date.
Published in 1929, and almost instantly censored by the Toronto
City Police, They Have Bodies has been completely overlooked by
generations of scholars and writers interested in the Canadian
avant-garde. It is not just the novel's extreme formal innovation
that is immediately startling about They Have Bodies. There is also
its close attention to the depraved, licentious behaviour of
Toronto's elite, its revelation of moral hypocrisy, and its
exposure of the means by which aristocratic and church power
provides succour to egregious duplicity. Its social criticism and
dark humour were too much for Canadian readers at the time. It is,
however, exactly the kind of book contemporary Canadian readers,
writers, and scholars hope lies buried in the archives waiting to
be recovered. A gem of insight, innovation, and novelty: finally,
here is a new edition of one of the rarest, wildest books of the
twentieth century. This book is published in English - Publie en
1929 et presque instantanement censure par les services de police
de la ville de Toronto, cet ouvrage, intitule They Have Bodies, a
ete completement neglige par des generations d'ecrivains et de
chercheurs, par ailleurs habituellement sensibles aux creations de
l'avant-garde canadienne. En fait, ce n'est pas seulement l'extreme
innovation formelle de ce roman qui surprend et saisit de prime
abord, mais aussi l'attention particuliere que l'auteur prete au
comportement deprave et licencieux de l'elite torontoise. Dans cet
ouvrage, Barney Allen revele l'hypocrisie morale de cette elite
aristocratique et religieuse ainsi que les moyens auxquels elle
recourt pour masquer sa monstrueuse duplicite. Cette violente
critique sociale, alliee a un humour noir des plus decapants, etait
sans doute trop corrosive pour les lecteurs canadiens de cette
epoque. Cependant, ce roman correspond exactement au type
d'ouvrages, profondement enfouis dans les archives, que des
lecteurs, des ecrivains et des chercheurs canadiens contemporains
esperent ardemment exhumer et redecouvrir. En fait, ce texte
avant-gardiste constitue un veritable joyau de perspicacite,
d'innovation et de hardiesse. Cette nouvelle edition vous permettra
de decouvrir un des romans les plus singuliers et les plus
audacieux du XXe siecle. Ce livre est publie en anglais.
In 1914, Wyndham Lewis and Ezra Pound-the founders of
vorticism-undertook an unprecedented analysis of the present, its
technologies, communication, politics, and architecture. The essays
in Counterblasting Canada trace the influence of vorticism on
Marshall McLuhan and Canadian Modernism. Building on the initial
accomplishment of the magazine Blast, McLuhan's subsequent
Counterblast, and the network of artistic and intellectual
relationships that flourished in Canadian vorticism, the
contributors offer groundbreaking examinations of postwar Canadian
literary culture, particularly the legacies of Sheila and Wilfred
Watson. Intended primarily for scholars of literature and
communications, Counterblasting Canada explores a crucial and
long-overlooked strand in Canadian cultural and literary history.
Contributors: Gregory Betts, Adam Hammond, Paul Hjartarson, Dean
Irvine, Elena Lamberti, Philip Monk, Linda M. Morra, Kristine
Smitka, Leon Surette, Paul Tiessen, Adam Welch, Darren Wershler.
Bertram Brooker won the country's first Governor General's Award
for literature in 1936 for his novel "Think of the Earth," and his
explosive, experimental paintings hang in every major gallery in
the country. He was Canada's first multidisciplinary avantgardist,
successfully experimenting in literature, visual arts, film, and
theatre. Brooker brought all of his experimental ambitions to his
short fiction and prose. "The Wrong World" presents a rich sampling
of his prose work, much of it previously unpublished, which adds
new insight into his aesthetic ambitions.
Working during an incredible period of transition in Canadian
society, Brooker's stories document Canada's evolution from a
provincial colony into a modern, urban country. His essays
participated in that evolution by advocating a passionate awakening
of the arts, the end of prudish sentiment and censorship, and a
radical rethinking of the nature of war. They capture the
limitations and hypocrisies of the Canadian social contract and
argue for a more just and spiritual society. His stories humanize
his social vision by dramatizing the psychological and emotional
cost of Canada's transition into a modern civilization. In turn
devastating, penetrating and poignant, Brooker's prose works offer
a sharply focussed window into the turbulent interwar years in
Canada.
A first-rate detective novel that explores media's manipulation of
a gullible public. A cult leader announces a miracle will take
place and she will rise to heaven. A medium prophesies the date,
publicity gets to work, and all of America hums with anticipation.
On the appointed day, she disappears and scientist Mortimer Hood,
there to verify the miracle, must investigate how-and whether-the
whole thing is a hoax, or if the priestess has been murdered.
Originally published in 1936, this edition features a new
introduction by poet and academic Gregory Betts (editor of The
Wrong World: Bertram Brooker's Stories and Essays).
Experimental literature accelerated dramatically in Vancouver in
the 1960s as the influence of New American poetics merged with the
ideas of Marshall McLuhan. Vancouver poets and artists began
thinking about their creative works with new clarity and set about
testing and redefining the boundaries of literature. As new gardes
in Vancouver explored the limits of text and language, some writers
began incorporating collage and concrete poetics into their work
while others delved deeper into unsettling, revolutionary, and
Surrealist imagery. There was a presumption across the avant-garde
communities that radical openness could provoke widespread
socio-political change. In other words, the intermedia
experimentation and the related destruction of the line between art
and society pushed art to the frontlines of a broad socio-political
battle of the collective imagination of Vancouver. Finding Nothing
traces the rise of the radical avant-garde in Vancouver, from the
initial salvos of the Tish group, through Blewointment's spatial
experiments, to radical Surrealisms and new feminisms.
Incorporating images, original texts, and interviews, Gregory Betts
shows how the VanGardes signalled a remarkable consciousness of the
globalized forces at play in the city, impacting communities,
orientations, races, and nations.
Space Between Her Lips presents the first selected works of one of
Canada's most important poets of the last few decades. Margaret
Christakos writes vibrant, exciting, and intellectually challenging
poetry. She plays language games that bring a probing and
disturbing humour to serious themes that range from childhood and
children to women in contemporary techno-capitalist society to
feminist literary theory, and so much more. Gregory Betts'
introduction to the collection highlights her formal diversity and
her unique combination of feminist and avant-garde affinities. He
connects the geographies of her life - including Northern Ontario
where she was raised, downtown Toronto where she studied with
cutting-edge authors and artists like bpNichol and Michael Snow,
and Montreal where she integrated with the country's leading
feminist authors and thinkers - with her polyphonic
experimentation. While traversing the problem of bifurcated
identities, Christakos is funny at a deeply semiotic level,
wickedly wry, exposing something about the way we think by
examining the way we speak of it. In her afterword, Christakos maps
out a philosophy of writing that highlights her self-consciousness
of the foibles of language but also deep concern for the themes she
writes about, including her career-length exploration of
self-discovery, hetero-, queer and bi-sexual sexualities,
motherhood, self-care, and linguistic alienation. Indeed, Margaret
Christakos is a whole-body poet, writing with the materiality of
language about the movement of interior thought to embodied
experience in the world.
|
You may like...
Unlimited Love
Red Hot Chili Peppers
CD
(1)
R226
R143
Discovery Miles 1 430
|