bluuebunny/crossref_metadata_2025 huggingface dataset:
Petit Testament
Authors: LaLonde Michèle
Published: March 2013

J'écrivais autrefois dans un style plus pur. Des phrases sans lourdeur et magnifiquement détachées du réel. Soustraites à la loi de l'attraction terrestre, sans gravité en somme, les syllabes flottaient. J'aimais les voir s'élever, successivement belles et de forme bien ronde, au bout de la pipette en verre stérilise qu'on appelle esthétique et qu'on m'avait prêtée. Comme délestées de tout, libres de pesanteur, légères à l'infini, mes poésies montaient se perdre quelque part dans Ie tranquille azur de la Littérature. Bulles opalescentes merveilleusement vides. L'inspiration soufflant, j'étais trés prolifique.
'Ah, Poor Jenny's Case': Rossetti and the Fallen Woman/Flower
Authors: Bentley
Published: March 2013

Although the period of the Pre-Raphaelite Brotherhood (1848–53) was one of the most productive in Dante Gabriel Rossetti's creative career, painting pictures such as Ecce Ancilla Domini! and writing poems such as 'Dante at Verona' did not occupy all his time and energy in the late forties and early fifties. In the spring of 1850 he met Elizabeth Siddai, a milliner's assistant whose effect on him was apparently so immediate and pronounced that, as he told Ford Madox Brown later, 'when he first met her, he felt his destiny was defined.' Within a very short time Rossetti was deeply in love with this ingenuously beautiful girl, probably seeing in her his own personal version of the Beatrice whose flesh-and-blood reality he had always professed. In 1851 Miss Siddal sat for Beatrice in the watercolour illustration of Beatrice, Meeting Dante at a Marriage Feast, Denies him her Salutation,; but, as G.H. Fleming remarks, 'in real life she ... was somewhat less ethereal than Dante's Beatrice, and probably was denying her lover nothing.' There is, of course, an element of speculation in Fleming's remark. Nevertheless, if the lovers' relationship, particularly after Rossetti moved in 1852 from his parents' house on Charlotte Street to a studio in Chatham Place, near Blackfriars Bridge, was somewhat other than 'Dantesque: it is plaUSible to speculate that there was a biographical basis for the 'great concern for female purity' which, as David Sonstroem, among others, has pointed out, enters Rossetti's work in 1853 and does not leave it for many years thereafter.
Self-Consciousness and Mediation in Victorian Autobiography
Authors: Loesberg Jonathan
Published: March 2013

To talk about Victorian autobiography is to discuss that most Victorian of myths, the story of the self-made man. Autobiography is self-making because in writing of himself an author necessarily makes a story of himself. He transforms the structureless experience of his life into a patterned whole, a form that is of his own making. But to the extent that creating a pattern of one's own life falsifies it, the autobiographer would seem to invite the standard criticism of many great Victorian novelists and social critics: hypocrisy. The archetypal figure of hypocritical selfmaking in Victorian literature is perhaps Josiah Bounderby in Dickens's Hard Times. Bounderby constantly buttonholes anyone who will listen to the tale of his hapless childhood. He claims he was born in a ditch full of water and deserted by his mother, yet emerged, not only dry, but a rich md successful businessman. His moral is the moral of the Victorian middle-class capitalist: the good man creates his own advantages, and success is therefore a sign of goodness. But Bounderby is unmasked. From his mother — who had not deserted him — we learn that he was given an education and apprenticed to a good master by poor parents who sacrificed their comfort for his advancement. His self-making is fraudulent not only because he did not have to carve out his own opporunities in the world of business but also because the story of the carving, he retrospective self-making, has been a lie.
Radical Consistency: A Reading of Donne's 'Communitie'
Authors: Mann Lindsay
Published: March 2013

Despite accumulating evidence of continuity in Donne's career the common interpretation of Donne's treatment of love and marriage still depends on the drawing of a sharp contrast between the sceptical sensuality of 'Jack' Donne's 'early' poems and the asceticism associated with 'Dean' Donne's religious poetry and prose, with some of the more mature and suffering of the love poems (usually associated with Donne's marriage) providing an uneasy hyphen which serves to emphasize the dichotomy, This dichotomized reading of Donne's career issues in or is sustained by marked differences of opinion in the interpretation of the basic intention and essential implications of Donne's treatment of love. These conflicting opinions have led to illuminating attempts to discriminate and analyse in detail degrees and kinds of seriousness and wit, but fundamental contradictions remain. We have by now learned that Renaissance poets did not write autobiographies; but the critical problem is whether Donne's individual poems are subjective, lyric expressions of feelings and convictions, or objective and perhaps satiric representations of prevailing seventeenthcentury attitudes.
Ford Madox Ford and Modernism
Authors: Smith
Published: March 2013

As a student of English in New Zealand in the early 1950s I took the achievement of literary modernism for granted. One did not use the term, but Pound, Eliot, and Joyce spoke to me with power and immediacy, their technical devices seemed necessary and appropriate, and I overlooked the thirty years that had elapsed since the publication of Ulysses and The Waste Land (Ulysses was truly 'modern,' having only recently been allowed into the country). But modernism has come under increasing scrutiny of late, and scholars and critics are divided as to its nature, the length of its duration as a cultural movement, and its importance.
Reviews
Authors: Rajan Tilottama , Bilan  , Van Schendel Michael , Dodge Barbara
Published: March 2013

Robert D. Denham, Northrop Frye and Critical Method, reviewed by Tilotttama Rajan,

Mario J. Valdes and Owen J. Miller, eds., Interpretation of Narrative, reviewed by Tilotttama Rajan

P. D. Juhl, Interpretation, reviewed by R. P. Bilan

Stanley Fish, Is There a Text in This class?, reviewed by R. P. Bilan

Roland Le Huenen et Paul Perron, Le Roman de Balzac, recherches critiques, méthodes, lectures, reviewed by Michel van Schendel

Roland Le Huenen et Paul Perron, Balzac—Sémiotique du pesonnage romanesque; l'exemple d'Eugénie Grandet, reviewed by Michel van Schendel

Paul Barolsky, Infinite Jest. Wit and Humor in Italian Renaissance Art, reviewed by Barbara Dodge
Embodied Truth: The Ring and the Book Reconsidered
Authors: Menahaghn John
Published: March 2013

Anyone reviewing the critical literature surrounding Robert Browning's The Ring and the Book is likely to be led at some point to ask why, given what critics assume to be Browning's goals for the poem, he seems to have taken such a peculiar, clotted, and roundabout path to their realization. If the poem is designed to convince us, say, of Pompilia's innocence, why has the poet built in so many elements that distract us not just from a conviction of such innocence but even from any steady concern with seeing it established? Why, if the poem's climax comes with the Pope's monologue, do the two books which follow do so much to complicate our sense of having arrived at the truth? When questions like these are raised at all, they are usually raised by critics who believe the answers must necessarily reflect negatively on Browning, that their needing to be raised at all calls into question not the critics' assumptions about what the poet was trying to do but the success of the work itself.
On the Choice between Secular Morality and Religious Morality
Authors: Nielsen Kai
Published: March 2013

In his Letter Concerning Toleration John Locke remarked: '... those are not all to be tolerated who deny the being of a God. Promises, covenants, and oaths, which are the bonds of human society, can have no hold upon an atheist. The taking away of God, though but even in thought, dissolves all.' When we read this now we feel the cultural distance between ourselves and the seventeenth century. Even such a progressive and reasonable thinker as Locke is, in this respect, at a very great distance from us. There are in North America Neanderthal undercurrents, indeed at present very vocal and powerful undercurrents, which still think in this way, but among the intelligentsia, both religious and non-religious, such thinking is totally alien.
Strangers in the Night: Sexual Encounters in Religious and Secular Texts
Authors: Jagendorf Zvi
Published: March 2013

Eros is too much with us. Sex and all its temptations display themselves in print and in image, in all the media of communication. It is an endless subject of discussion in every kind of journalism, a phenomenon to be analysed and measured in a number of real and pseudo sciences, while in contemporary works of the imagination lovemaking is a conventional topos which writers must struggle with rather in the manner of would-be epic poets describing a storm or a suit of armour.
Trompe l'Oeil: Gulliver and the Distortions of the Observing Eye
Authors: Oakleaf David
Published: March 2013

Lemuel Gulliver, the narrator of Travels into Several Remote Nations of the World, is obviously an observer. The very title of his narrative appeals to popular interest in observations brought back from voyages of exploration—voyages that represent a geographical conquest of space contemporary with Europe's mathematical conquest of space during the seventeenth-century scientific revolution. Peering through windows and eye glasses and perspective glasses, Gulliver observes both nature and manners. He observes natural curiosities, donating some giant wasp stings to Gresham College. He observes new lands, suggesting alterations to the world's maps. He observes courts and a public execution and a learned society, bringing back the plan of a machine to generate speculative knowledge mechanically. Finally, he publishes his observations, quarrelling with his critics as he does so. No fellow of the Royal Society could do more. Nevertheless, distortion is a more obvious feature of the Travels than the transparent record of experience recommended by that Society. Johnson'S dismissive comment that 'once you have thought of big men and little men, it is very easy to do all the rest' suggests that the book is based on systematic distortion; this implies that its exploration of science goes beyond its specific satire of the Royal Society and Cartesianism in book III. Surprisingly often, the Travels confronts the reader with the act of observation itself, emphasizing not only perspective glasses and empirical scepticism about the evidence of the senses but also, centrally, the dislocations of point of view inherent in observation.
The 'Postmodernist' Scribe: The Dynamic Stasis of Contemporary Canadian Writing
Authors: Hutcheon Linda
Published: March 2013

Definitions of 'modernism,' from whatever perspective, seem to find it impossible not to take into account the fact that there is a paradox at its very core: that revolution in form was in part, at least, the result of a renewed questioning—by each of the arts—of the past traditions that had engendered it. In literature, the work of Joyce and Eliot, to mention only the most obvious, focused attention on the creative process involved in the transformation of the old into the new. What, then, would be the difference between this kind of radicalized harking back to tradition and that of someone like, say, John Barth today, a writer who also looks into what he calls the 'treasure-house' of past literature, in order to discover the new, the novel? Barth has claimed that his infamous label the 'literature of exhaustion' should more accurately be renamed the 'literature of replenishment' or, even more succinctly, 'postmodernism.' Without entering into the current debate on the felicity (or infelicity) of that label, one can, however, profit from a look at the characteristics of the literature involved here.
Energie textuelle et production de sens: images de l'energie dans Les Fous de Bassan d'Anne Hébert
Authors: Bishop Neil
Published: March 2013

Poétique, l'oeuvre d'Anne Hébert l'est jusque dans ses romans. Dans Les Fous de Bassan, comme ailleurs chez Anne Hebért, cette poéticité se manifeste par une opulence d'images: comparaisons, métaphores et 'images' au sens large, tout ce qu'un texte littéraire donne à voir, entendre, goûter, toucher, sentir. Ces infinitifs soulignent ce qu'a de dynamique le rapport entre le processus d'écriture que matérialise le texte et le processus de lecture. Ce rapport implique un dialogue d'énergies, car celle qu'a investie le scripteur en la production du texte trouve son pendant dans celle qu'investit le lecteur qui, en décodant le texte, dépiste le processus d'écriture qui l'engendra. Le lecteur est récompensé par son contact avec l'énergie incorporée dans le texte lors de sa production. L'énergie lisante découvre ainsi l'énergie scripturale qui se met à la nourrir et à l'accroître. Bref:l'énergie scripturale inscrit en texte un déploiement d'énergie en s'investissant dans les différentes composantes d'une oeuvre littéraire dont surtout, dans le cas du roman, les mondes humain et physique fictifs.
Fiction
Authors: Dixon Michael , Levene Mark
Published: March 2013

Reviews of fiction published in Canada in 1984.
Romans
Authors: Hebert Pierre
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1984.
Religion
Authors: Rumscheidt H.-Martin
Published: March 2013

Reviews of books on religion published in Canada in 1984.
Parody and the Realist Novel
Authors: Baguley David
Published: March 2013

Whether we equate literary realism, in the conventional way, with the aesthetic aims of its practitioners, or define it, in a more recent fashion, by reference to mimetic strategies, the question of parody seems at first to be totally irrelevant. There can apparently be no use for intertextual exchanges in a theory which asserts an integral relationship between the text and the reality it purports to depict and which would confine the role of the writer to the unmediated observation and recording of empirical phenomena. The mid-nineteenth-century French realists, for example, advocated a total sincerity and spontaneity of vision, a view which seemed to leave no room for the play of parodic effects, for it sought to expunge systematically all traces of textuality from the process of literary composition. The realist aesthetic is presumably more than usually suppositious since its ultimate aim is an impossible assimilation of art and life. How can parody, one might ask, be at all apposite to so grave an enterprise?
Crafty Dylan and the Altarwise Sonnets: 'I build a flying tower and I pull it down'
Authors: McKay Don
Published: March 2013

One interesting entrance to the question of Dylan Thomas's craftsmanship is offered by the place he tends to assume, or be assigned, among modern poets. Donald Davie, in Thomas Hardy and British Poetry, finds 'tragic significance to the fact that Hardy is said to have been Dylan Thomas' favourite poet, whereas Yeats was his chosen master.' This tragedy evidently lies in what Davie perceives to be the abandonment of temporality by poets like Thomas and his friend Vernon Watkins for the eternal, atemporal, and mythic. Davie is referring to Vernon Watkins's comment, in his introduction to Thomas's letters to him, that Dylan 'understood ... why I could never write a poem dominated by time, as Hardy could.' This, Watkins goes on, 'was also true of Dylan, though some critics have mistakenly thought to find such poems in his work. It illustrates our affinity on a deeper level: his poems spoke to me with the voice of metaphysical truth...'
Reviews
Authors: Rowan  , Reibetanz John , Hanley William , Fantham Elaine
Published: March 2013

John Orrell, The Quest for Shakespeare's Globe, reviewed by D. F. Rowan

Joseph Wittreich, 'Image of That Horror': History, Prophecy and Apocalypse in 'King Lear', reviewed by John Reibetanz

Allan Dainard, Jean Orsoni, David Smith, and Peter Allan, eds., Correspondance générale d'Helvétius, reviewed by William Hanley

R. J. Tarrant, ed., Seneca's Thyestes, reviewed by Elaine Fantham
Les Etudes Sociales
Authors: Leonard Jean-Francois
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1985.
Poesie
Authors: Yergeau Robert
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1985.
Authority and Vision: William Blake's Use of the Gospels
Authors: Kaufman Andrew
Published: March 2013

The purpose of this paper will be to clarify the treatment of authority and figures of authority throughout Blake's work by examining it within the context of his reading of the New Testament, and, in particular, of the Gospels. Depending on their attitude towards his work, critics celebrate or lament its imposing originality, but often lose sight of the fact that nothing of genius is ever concocted by an individual out of a vacuum, and that Blake not only insists that the Bible is 'The Great Code of Art,' but echoes, comments upon, alludes to, parodies, or quotes Scripture in practically every passage he ever wrote. It has now been over forty years since Northrop Frye, relying heavily upon Blake's use of the Bible, magisterially demonstrated the consistency of the logic underlying Blake's treatment of metaphor and narrative, along with the essential coherence of Blake's poetic thought. In doing so Frye made clear the connection between the radical messianism that Blake derived from his reading of the Bible, and his faith in the redemptive capacities of art and vision. Given the extent to which virtually all of Blake's subsequent critics acknowledge their debt to Fearful Symmetry, it is difficult to explain why the explosion of Blake criticism that has continued since this book includes relatively few important works devoted to Blake's use of the Bible. One area that remains largely unexplored, and which becomes substantially clarified when examined within the context of Blake's reading of the New Testament, and, in particular, of the Gospels, involves the treatment of authority and authority figures throughout his work. Included here is the pervasive conflict between spiritual and temporal forms of authority upon which so much of his poetry is structured, together with the relationship, in turn, of these antithetical forms of authority to different modes of perception.
The Love Poetry of Robert Graves
Authors: Hoffpauir Richard
Published: March 2013

In this century, which 'is stingy with love poems or poems about love,' Robert Graves has emerged as the pre-eminent love poet. It was in large part his cantankerous independence, his refusal to be moved by literary movements, his defiance of easy classification within the modern terms of acceptance, that made it possible for him to leave us such a large body of first-rate love poems. He avoided, or, more accurately, worked his way through and beyond the disillusionments and cynicisms so common in the poets of the decades between the wars. The vogue of Bohemianism, which he and Alan Hodges in The Long Weekend so nicely characterized as 'a gay disorderliness of life, cheerful bad manners, and no fixed hours or sexual standards,' urged its poets into an emphasis on the failures, discouragements, and isolations of 'modern' desire. lf the Great War intensified the questioning of the virtue of courage and the aims of honour, the years that followed broadened the assault, bringing further into doubt the absoluteness and reasonableness of many more moral categories and distinctions, including love and lust. Graves was one of the few who stood against that spirit of the age, reinvesting his faith in creative possibility, in claims of fullness and fulfilment in human love, in the very capacity for that highest form of human sympathy and most complex form of self-sacrifice.
Reviews
Authors: Lindheim Nancy , Ross Michael , Rollins Douglas
Published: March 2013

Arthur F. Kenney, ed., Essential Articles for the Study of Sir Philip Sidney, reviewed by Nancy Lindheim

Paul Delany, The Neo-Pagans: Rupert Brooke and the Ordeal of Youth, reviewed by Michael L. Ross

J. R. (Tim) Struthers, ed., The Montreal Story Tellers: Memoirs, Photographs, Critical Essays, reviewed by Douglas Rollins
The Rhetoric of Romanticism
Authors: Esch Deobrah
Published: March 2013

What do 'The Triumph of Life' and Paul de Man's programmatic reading of Shelley's unfinished poem have to tell us about theory? Writing in his preface to The Rhetoric of Romanticism, which reprints 'Shelley Disfigured' in a theoretical context distinct from that of its prior publication in the collective volume Deconstruction and Criticism, de Man singles out this essay as 'the only place where I come close to facing some of these questions' about the fragmentary and interrupted character not only of so many pivotal romantic texts, but of his own critical corpus as well. In his account of 'The Triumph of Life,' de Man asks, however, whether the structure of this enigmatic poem is properly one of question and answer (a structure he elsewhere terms hermeneutic), or rather one of 'a question whose meaning, as question, is effaced from the moment it is asked. The answer to the question is another question, asking what and why one asked.' (RR, 98) If we can acknowledge what and why we ask when we ask the question of theory, in light of our position (historical, institutional, ideological) as readers and theorists, we might rewrite the initial question in a way that inscribes our self-interest in plainer terms, to ask: what do these texts tell us about the theorist? One answer (though not necessarily a privileged or paradigmatic one) suggests itself towards the end of Shelley's poem, where the theorist makes a brief appearance, under doubtful circumstances.
Hectic Stasis: The War Poetry of Keith Douglas
Authors: Sherry Vincent
Published: March 2013

Since his death in 1944, Keith Douglas's reputation as a poet has grown considerably, but fitfully. Largely disregarded for his imaginative daring by the Movement writers, he appealed to poets a half-generation younger than himself, who found in him a stark vitality, a counterforce to what was, for them, the drably mechanical verse being written in the 1950s. Ted Hughes hailed Douglas's 'burning exploratory freshness of mind'; Geoffrey Hill praised a 'fearlessness of the imagination.' Yet Hill's assessment in 1964 of Douglas's ambivalent stature—'at once "established" and overlooked'—remains relevant today. 'Established,' one might say, and 'avoided,' for it is the particular ability of Douglas's art to disconcert. The best of the war poems exhibit a coolness, a bracing diffidence and restraint. The sort of stoic verve that Yeats captures in his 'Irish Airman' Douglas can match in the icy bravura of 'How to Kill.'
Reviews
Authors: Millgate Michael , Ponomareff Constantin , Rampton David
Published: March 2013

Edgar Marquess Branch, Michael B. Frank, and Kenneth M. Sanderson, eds., Mark Twain's Letters, Vol. 1: 1853–1866, reviewed by Michael Millgate

Joseph Frank, Dostoevsky. The Stir of Liberation, 1860–1865, Vol. 3, reviewed by Constantin V. Ponomareff

Andrew Field, vN: The Life and Art of Vladimir Nabokov, reviewed by David Rampton
'Adjust Your Ear Trumpets': Intellectuals and Their Public in Canada
Authors: Morton Desmond
Published: March 2013

Are Canadian intellectuals too busy writing scholarly papers for tenure and promotion to spare a thought for Jane Q. Public, BA? Have the great free-ranging 'public intellectuals' of our youth been supplanted by mere 'policy experts,' translatable only by the mass media? Does the lack of a Canadian Forum cripple our intellectual life? Are all these things managed better in France—or French Canada?
The Professionalization of 'Intellectuals'
Authors: Watson Garry
Published: March 2013

I will focus my remarks on the professionalization of literary criticism and I'll start off by making use of the analogy that Frank Lentricchia has drawn between the practice of the latter and the practice of medicine. Noting Michel Foucault's observation to the effect that 'medical statements cannot come from anybody' and his question concerning rights and qualifications ('Who, among the totality of speaking individuals, is accorded the right to use this sort of language? Who is qualified to do so?'), Lentricchia asks the question 'who is qualified, for that matter, to make poetic statements, or statements that will fulfil the conditions of literary criticism?' But surely I hope someone will object—there can be no question of anyone's being accorded the right to do literary criticism? And as far as qualifications are concerned, it is surely a mistake to think that they are in any way guaranteed by academic degrees. It may be necessary to use a terminology of rights and qualifications in order to regulate the practice of medicine, but it is perverse to try to apply it to literary criticism. Over and above the limitations and opportunities provided by the number of words available and the kind of audience being addressed, what will determine whether or not it is good literary criticism will be the presence or absence of such qualities as intelligence, knowledge, and sensitivity to language.
Reviews
Authors: Corman Brian , Bruckmann Patricia , Cavell Richard Anthony , Adamowski  , Keith  , McCallum Pamela , Marinelli Peter , Adamson Joseph , Henderson Greig , Shatzmiller Joseph
Published: March 2013

Michael McKeon, The Origins of the English Novel, 1600–1740, reviewed by Brian Corman

Maynard Mack, Alexander Pope: A Life, reviewed by Patricia Bruckmann

James Anderson Winn, John Dryden and His World, reviewed by Patricia Bruckmann

Jacques Derrida, The Truth in Painting, reviewed by Richard Anthony Cavell

Michael Fried, Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane, reviewed by Richard Anthony Cavell

Françoise Meltzer, Salome and the Dance of Writing: Portraits of Mimesis in Literature, reviewed by Richard Anthony Cavell

Vincent B. Leitch, American Literary Criticism from the Thirties to the Eighties, reviewed by T. H. Adamowski

Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe, reviewed by T. H. Adamowski

Thomas Dilworth, The Shape of Meaning in the Poetry of David Jones, reviewed by W. J. Keith

Hayden White, The Content of the Form: Narrative Discourse and Historical Representation, reviewed by Pamela Mccallum

Annabel Patterson, Pastoral and Ideology: Virgil to Valéry , reviewed by Peter V. Marinelli

Frank Lentricchia, Ariel and the Police: Michel Foucault, William James, Wallace Stevens, reviewed by Joseph Adamson

Jan Gorak, Critic of Crisis: A Study of Frank Kermode, reviewed by Greig Henderson

James A. Brundage, Law, Sex, and Society in Medieval Europe, reviewed by Joseph Shatzmiller
Reviews
Authors: Rosenberg Aubrey , Shaw W. David , Meyers Jeffrey , Keith
Published: March 2013

Raymond Trousson, Jean-Jacques Rousseau. I. La marche à la gloire, reviewed by Aubrey Rosenberg

Kenneth M. McKay, Many Glancing Colours: An Essay in Reading Tennyson 1809–1850, reviewed by W. David Shaw

Frederick Karl and Laurence Davies, eds., The Collected Letters of Joseph Conrad: Volume 3, 1903–1907, reviewed by Jeffrey Meyers

Valerie Eliot, ed., The Letters of T. S. Eliot: Volume 1, 1898–1922, reviewed by Jeffrey Meyers

Rudy Wiebe, Playing Dead: A Contemplation Concerning the Arctic, reviewed by W. J. Keith
'Measured Forms' and Orphic Eloquence: The Style of Herman Melville's Billy Budd, Sailor
Authors: Bartley William
Published: March 2013

Herman Melville's Billy Budd, Sailor is notorious for the disagreement over what Melville's intentions are in this story, and a corresponding disagreement over what the basis of critical judgment should be. The disagreement is so utterly polarized that, in fact, it is difficult to believe that the opposing sides have read the same work. And yet the very fact that the disagreement is polarized, and consequently, intense, serves as a kind of provocation for us to seek a way of adjusting such radically opposed positions with each other, on the hunch that each view is a response to something there in the story, and that the adjustment is made by Melville himself. We will discover that there is something to this hunch when we examine the style, inasmuch as style is both an instrument of perception and judgment, and the embodiment of an active intelligence.
William James and American Ideals
Authors: Brett
Published: March 2013

William James was born in 1842 and lived till 1910. In those sixty-eight years American thought and literature, as the expression and symbol of changing ideas, passed through more than one significant crisis. The history of such a period of time can be pieced together by the diligent student, the facts and the dates can be arranged faultlessly, the writers can be successively named, appraised, and interred; but the history as an experience and the life of those days as it was actually lived, will escape any but the rarest genius. For that reason biography has some distinct advantages over general history: it can exhibit events as experience and achieve a special kind of unity by looking at things continually from one centre. To do this with success the biographer must be content to ignore whatever falls outside the actual experience of his chosen subject, and above all else he must choose a life sufficiently radiant and complex to make the whole picture significant. All thinkers, and especially those who cultivate what James called the specially obstinate way of thinking, namely philosophy, are notoriously bad subjects for the biographer: as a rule a few remarks about birth, death, and marriage (if any) precede the inevitable confession that the rest of the life must be identified with the published works.
Social Insurance and Politics
Authors: Richter
Published: March 2013

Social Insurance and similar devices for social security have become of increasing importance in Canadian politics. During the last Federal election when the depression was still more seriously felt than at present, unemployment insurance was one of the planks of the Conservative platform. If it did not prove successful it was for the simple (but paradoxical) reason that nobody liked to oppose or even to criticize the proposal, though the Employment and Social Insurance Bill was certainly open to some criticism. So strong was the popular feeling for that form of social insurance that the bill of the Bennett government was unanimously passed in parliament. There could, therefore, be no doubt that after the Supreme Court by a majority decision had declared the Act unconstitutional, the government of Mr. Mackenzie King would have to appeal the decision, whatever the opinion of the government's legal advisers on the possible outcome.
Introduction
Authors: Brown
Published: March 2013

Introduction in Letters in Canada, Part I: English-Canadian Letters.
List of Publications
Authors: Ewart Alison
Published: March 2013

List of publications in Canada in 1936.
From Canon to Curriculum
Authors: Murray Heather
Published: March 2013

The death of George Grant is mourned by many, and for many reasons. His demand that ethical issues be kept in the foreground of national life, his sustained attention to the most difficult moral and political questions, and his refusal to relinquish a distinctly Canadian social vision even as the hope of its realization dims—all these are aspects of George Grant's life and work which are inspirational even to those in disagreement with him. The loss of an indigenous educational theorist is particularly critical if it will cause us to rely more than we already do on issues and theories formulated in a United States context.
Elizabethan Civic Pageantry in Henry VI
Authors: Martin Randall
Published: March 2013

At the point in Henry VI Part One where the private quarrel between Somerset and York is about to turn into open conflict marking the start of the Wars of the Roses, their respective supporters Vernon and Basset ask the king to arbitrate between wearing either red or white roses as badges of dynastic superiority. Henry spurns their dispute as frivolous, however, and demonstrates his point by casually plucking the closest rose to hand. He calls upon the rival factions instead to unite against the French and then departs with his counsellors, leaving Warwick to soothe York by explaining that Henry was trying to be conciliatory and really intended no show of partiality by his choice. York cuts short an angry outburst and exits with everybody except Exeter, who remains on stage to interpret as any 'simple man' would the dangers implied by Henry's performance and York's reaction. The interplay among characters at this crucial moment in Shakespeare's historical trilogy—Vernon and Basset presenting rival political claims under apparently trivial guises, Henry replying unwittingly in a symbolic act, Warwick and York watching and judging both performances, and Exeter commenting on all—recalls the typical dramatic relationship among stage-performers, actor-watchers, and general spectators of Elizabethan civic pageantry.
A Report from the English Department at Charles University, Prague, Czechoslovakia
Authors: Machann Clinton
Published: March 2013

In the spring of 1989, I delivered a series of lectures on American literature at Charles University in Prague, Czechoslovakia. After one of the lectures, a student asked me what Americans thought about the Czech dissident playwright Václav Havel, who at that time was under arrest and facing the possibility of a long prison sentence. My honest answer was that aside from a few intellectuals and experts on Central Europe, Americans did not know of Havel's existence. When I returned to lecture at Charles in the spring of 1990, no one bothered to ask the question. The gala Washington reception given the new Czechoslovak president had been seen on television by nearly everyone.
Sad Stories: The Ethics of Epiphany in Munrovian Elegy
Authors: Smythe Karen
Published: March 2013

What Eileen Dombrowski calls Alice Munro's 'vision of ephemerality' leads to the production of fictions wherein death 'emerges as a narrative device; it evokes conflicting responses in characters; and it challenges them to define its significance.' Munro's texts also encourage such responses in the reader, challenging us to define both the significance and the signification of death. Her narrative style constitutes an elegiac rhetorical ceremony, which, as Frederick Hoffman says of such rhetoric, 'prevent[s] the corporeality of fact from communicating with too intense directness'—it mediates, in elegiac fashion, the fact of death.
Humanities
Authors: Denham Robert , Duffy Dennis , Hume Kathryn
Published: March 2013

Reviews of books on the humanities published in Canada in 1990.
Poesie
Authors: Marquis André
Published: March 2013

Reviews of French-Canadian poetry published in Canada in 1990.
Northrop Frye as a Canadian Critic
Authors: Hamilton
Published: March 2013

Northrop Frye was born in Sherbrooke, Quebec in 1912, raised in Moncton, New Brunswick, and educated at the University of Toronto, where he lectured from 1939 until his death in 1991. Except for several years as an undergraduate at Oxford, and extended lecturing appointments in other countries, chiefly the United States, he resisted living elsewhere because, he said, 'I found, as I grew older, that my roots were going deeper and deeper into the Canadian society and that I couldn't really pull out of that' (WGS, 273). Although Canadian literature occupies a comparatively minor place in his twenty-seven books, he opens The Bush Garden, a collection of his writings on the Canadian imagination, with the remark that they are 'episodes in a writing career which has been mainly concerned with world literature and has addressed an international reading public, and yet has always been rooted in Canada and has drawn its essential characteristics from there.'
Othello's Suicide
Authors: Cohen Derek
Published: March 2013

Othello's suicide engages a knotty complex of social, political and cultural issues. Far from resolving the political and cultural dilemmas of the drama, it exacerbates them and raises more questions than it answers. In that extended moment, his dagger poised to strike himself, Othello drags into the play a memory buried deep in his pre-play past that is of such brutality and hate-filled violence as to link this so-called 'restored' Othello with the crude, tortured brute who struck his wife in act IV, scene i rather than with the noble Roman he exhorts his audience to remember.
Urban Planning in Twentieth-Century North America: From Success to Irrelevancy?
Authors: Lemon James
Published: March 2013

The Liveable Metropolis, a colourful brochure from the Metropolitan Toronto Planning Department, slid last fall through my mail slot, announcing yet another proposed plan. It follows on the heels of the City of Toronto's Cityplan '91. Again, Metro has produced a mountain of paper after hours and hours of talk, though probably no more than yet another planning exercise such as resulted in the recent Regeneration on Toronto's waterfront. Like Vancouverites, or at least those active in the urban political scene in what have been rapidly growing cities, Torontonians love to dream about rearranging the environment. The planning 'industry' just keeps going endlessly, operating more smoothly, if less conspicuously, than that other great intellectual enterprise of recent times, the redrawing of the Constitution
Sex and the Single Amazon in Twelfth-Century Latin Epic
Authors: Townsend David
Published: March 2013

>'I even made poor Louis take me on Crusade. How's that for blasphemy? I dressed my maids as Amazons and rode bare-breasted halfway to Damascus. Louis had a seizure and I damn near died of windburn, but the troops were dazzled.' This is Eleanor of Aquitaine speaking, not perhaps as she was, but as she is imagined in The Lion in Winter. As a teenager going to summer stock in southern Indiana, I was shocked and delighted by Eleanor's reminiscences of the Second Crusade, as by the other Plantagenet perversities acted out that muggy July night. At sixteen, this became the twelfth century for me, soon to be reinforced by the film version of the play, and supplemented by Kenneth Clark's Civilisation episode on the age of the cathedrals. But Clark, alas, offered neither Amazons nor homosexual heirs to the throne of Henry II.
Whitman's Leaves of Grass: Poetry and the Founding of a 'New World' Culture
Authors: Olsen Robert
Published: March 2013

If it can be generally stated that nineteenth-century European 'high' culture valued poetic discourse over the less codified practices of everyday language, then Walt Whitman's Leaves of Grass is an attempt to give everyday American linguistic usage poetic value. Whitman's poem includes discourse that does not comply with the traditions of European poetics but that is proclaimed nevertheless to be poetry in order to suggest that the liberal-democratic American state has a natural beauty equivalent to the most refined poem. Leaves demonstrates this national beauty by including a wide variety of utterances and observations in its epic project, even though this inclusiveness also implies a critique of the project that the work undertakes. The ambitious extent of this collection threatens the identity and distinctiveness of the literary text itself. Like a state with poorly defined borders and institutions, a work that intends to articulate such an inclusive democratic poetic voice challenges the necessary formal distinctiveness that would recognizably make it a form of literary discourse. The result is that Leaves must solicit the willing participation of its readers in order to realize the project that it undertakes. Whitman's poetry requires that the reader constantly renew its discourse by reinvesting it with new poetic meaning and, as a result, reaffirming it as the poetry of a flourishing, liberal American state.
The Outside of Queer Cultural Studies
Authors: Probyn Elspeth
Published: March 2013

Summer in Montréal, hot and very humid. And as with every year, it seems that the heated pavement brings forth a new Montréal subject, a different social and civic subject wrought of the peculiarities of climate and sensibility. Indeed, it is a local cliché that for a brief moment of time Montrealers and Montréalais alike put off their penchant for politics large and small, cast off with the salt-stained boots and tired winter coats. Instead of political platforms we have bandstands, festivals compete and overlap into a weave of carnival, a moving warp of bodies against bodies: the International Festival of Fireworks, the Festival International de Jazz de Montréal, Divers-cité (our gay pride march), le festival du homard, le festival de la bière en fû, le Tour de l'île, Portuguese and Italian saints' days, the Construction Workers' holiday, les fétes du trottoir—all transform the streets into chaotic bursting capillaries of people celebrating something or other, or merely living fully in the forgetfulness that winter ever existed. Under banners that instruct `Montréal sourit aux touristes,' fair-weather subjects proliferate. If summer exuberance is common in places where winter is long and hard, Montréal may be uncommon for the ways in which its citizens are placed within a government-funded web of fun, the exhortations resembling school-teacherly dictates to get out there and play.
Introduction Cultural Studies: Disciplinarity and Divergence
Authors: Pickem Faye , Hutcheon Linda
Published: March 2013

In the Fall 1995 issue of the University of Toronto Quarterly, we explored some of the multiple facets of 'Cultural Studies in Canada.' The papers collected in that issue address concerns ranging from the perceived constituencies of cultural studies to aspects that mark specifically Canadian inflections, and on to clarion calls on priorities and projects as we near the end of the millennium. In the current issue, the spirit of debate continues, inasmuch as this collection may be seen as part of an ongoing debate about the conceptual field(s) of cultural studies and the premises upon which the term itself is constituted or invoked. Our project here is not to attempt to offer a definitive pronouncement; rather, this issue has been organized under the rubric of inquiry and reflection, in which we also include disruption and intervention. As a result, you will hear not only voices of approbation with respect to the formations of cultural studies but voices of dissent and contestation as well.
Horizons of Significance: Nature and Culture in the Current Environmental Debate
Authors: Rogers Raymond
Published: March 2013

Throughout the modern period in the West, the word 'social' has been used to describe a form of understanding which was in contrast to the increasingly dominant economic categories. Theorists such as Karl Marx, Max Weber, and Karl Polanyi, and more recently feminist and Third World critics, have engaged in 'social analysis' in order to get at a form of critique that does not automatically replicate the assumptions of patriarchy, science, and capital, especially when those assumptions play a central role in causing environmental problems. As Wood implies, in the above quotation, social analysis attempts to guard against assuming the very things that need to be explained when addressing the historically specific forces which inform the way issues are discussed. This historicization is an important contribution that cultural studies can make to how environmental issues are perceived. As Polanyi states, the market cannot be superseded unless there is a 'frame of reference to which the market itself is referable.'
Stanley Cavell's Redemptive Reading: A Philosophical Labour in Progress
Authors: Duffy Edward
Published: March 2013

Although Stanley Cavell opens The Senses of Walden with the self-deprecating shrug, 'what hope is there in a book about a book,' it soon becomes clear that, far from undervaluing the pages he has readied for the hands of his reader, he is claiming their worthiness to do spiritual battle with our all too-average and depressed estimate of what reading counts for in the economy of what we do and in the substance of things we let ourselves hope for. Finding himself in receipt of the burden of Thoreau's song that those he addresses are dead to the world, Cavell labours towards an account of the writing of Walden, which would resubmit that book's claim that the reading of the 'bulk of these pages' is gathering towards the advent of a Scripture, now (if anytime) at hand, and big with either (as Walden puts it) the dumps or a budding ecstasy. Like William Blake, Cavell says to his reader, 'Mark well my words! they are of your eternal salvation.'
'Consumed with that which it was nourished by': Will Gorlitz's Literary Landscapes
Authors: O'Brien Peter
Published: March 2013

A watery, vertiginous landscape. No horizon line, other than the edge of the canvas, to delineate an upper boundary or localize the purview of the gaze. Our feet all but capable of walking upon and through this constructed sea-edge. Transient intellectual lichens—twenty-five sheets of paper coloured by word and image—languishing for a time on the rocks and on the skin of the water, yet even now being absorbed back into nature. An insistent colouring by nature of these human pages already underway; and a tentative colouring of nature by the papery tools of hand and mind. Yellow flowers—long-stemmed freesias—perch like little feet on the surface of the pages. Each rectangular leaf a raft of fleeting information. And enveloping all this, seeping through the scene before us, is the materiality of paint that has ushered these things into existence. Small hatch marks that fashion and open up a site of distance and definition. The gallery's lighting reflected in narrow shards off the individual bristle strokes of the brush.
Storytelling, History, and Identity in William Pars's Portrait of Three Friends
Authors: Stanworth Karen
Published: March 2013

Three young men, friends, are depicted in repose. The seated one seems to hold forth to his companions on some point of interest. The two standing men listen, not terribly attentively, to their friend. The grove in which they are standing contains a sarcophagus, against which one of them leans in seeming disregard of whoever lies there. What might strike today's viewer as curious and worthy of further investigation is their apparent location. One may well wonder who are they and why are they there?
What Was the Matter with the `Fair Correspondent'?
Authors: Shorter Edward
Published: March 2013

What was the matter with the `Fair Correspondent'? This languid young woman, asleep on her invalid's couch in Auguste Toulmouche's 1864 painting, seems to have a problem. She's taken the trouble to dress. As a bourgeoise, an upper-middle-class housewife, she would not normally lounge in her nightgown in front of the servants. Yet as she huddles by the fire, she has adopted all the paraphernalia of chronic illness in the nineteenth century, such as the thick throw rug and the little silk house-slippers. These are the totems of invalidism. What could possibly be going on?
The Beggar's Opera and British Opera
Authors: Gilman Todd
Published: March 2013

For well over 250 years, The Beggar's Opera's explicit and implicit commentary on operatic forms and conventions has generated a steady stream of criticism detailing the work's purportedly censorious treatment of contemporary Italian opera. In fact, Italian opera has become a critical hobby-horse, eclipsing other musico-dramatic inquiry into Gay's work. Only two critics—the most recent fully 60 years ago—have attempted to situate this work in the equally immediate context of its contemporary British operatic history, theory, and practice, and even they have not recognized the most important implications of such inquiry: that one of The Beggar's Opera's central preoccupations is the championing of traditionally British musico-dramatic conventions against foreign forms, and that this preoccupation already had a long history in British literature and culture when The Beggar's Opera premiered.