bluuebunny/crossref_metadata_2025 huggingface dataset:
The Metaphorical Web in Zola's Nana
Authors: Conroy Jr. Peter
Published: March 2013

In the vast fresco of the Second Empire that he painted in his series of novels about the Rougon and Macquart families, Emile Zola turned his reporter's eye and his thirst for documentation to the principal areas of life in France, even to the Parisian demi-monde. Published in 1880, Nana, the story of Anna, daughter of Gervaise Macquart and Coupeau, depicts the nocturnal, shadowy life of the music hall and the glittering, extravagant existence of the rich 'stage-door-Johnnies' who courted its actresses. At all levels, from the aristocracy of the comte Muffat and the marquis de Chouart, through the tasteless nouveaux riches like the stock-market speculator Steiner or the husband-pimp Mignon, to the depths of Satin and her fellow lesbians and prostitutes, Zola reveals this society to be corrupt and totally immoral. His novel would probably remain a satire, an acerbic criticism of social mores, were it not for the presence of Nana herself. Against the background of social satire and documentary realism Nana stands out as a fantastic creation, less a 'real' woman based on actual and identifiable models than the Woman, the Temptress and Seducer, who lures men irresistibly to their ruin.' Recent critics have noted that an imaginative dimension, an epic breadth, a mythopoeic vein co-exists alongside Zola's more familiar realistic, naturalistic commitment. As examples of this other tendency we might cite Gueule d'or fashioning a rivet in L'Assommoir, the colours and the movements of crowds in Germinal, even the anthropomorphism of the Hailes in Le V entre de Paris, or the locomotive in La Bête humaine. Gustave Flaubert was among the first to recognize this mythopoeic inspiration in Nana when, writing to Zola, he called her 'un mythe.’
'What we see we feel': The Imaginative World of W.H. Hudson
Authors: Nicholson Mervin
Published: March 2013

Green Mansion comes to mind when W.H. Hudson is mentioned […]Green Mansion, in the words of Galsworthy's foreword, 'symbolises the yearning of the human soul for the attainment of perfect love and beauty in this life. ' The emphatic 'in this life' indicates that attainment is found here and now, if at all, so that there can be no contradiction between the precise observations of actual experience in the nature books and the larger-than-life saga of Rima and Mr Abel The different elements of a writer are not mutually exclusive: they interpenetrate one another. Taking Nature in Downland as representative of Hudson's nature books, we find in it the same imaginative power giving shape and Significance to ordinary experience that later produced the wider vistas of Green Mansion.
Translations
Authors: O'Conner John
Published: March 2013

Reviews of literary translations published in Canada in 1977.
Publications in Other Languages
Authors: Aponiuk Natalia
Published: March 2013

Reviews of works published in other languages (besides French and English) in Canada in 1977.
Les Estudes Sociales
Authors: Saint-Pierre CÈline
Published: March 2013

Reviews of books on French-Canadian social studies published in Canada in 1977.
The York Cycle: 1977
Authors: Johnston Alexandra
Published: March 2013

On 1 and 2 October 1977 the entire surviving text of the York Cycle of mystery plays was performed on the campus of the University of Toronto. The event was co-ordinated by a committee made up, on the whole, of graduate students associated with the Poculi Ludique Societas, the medieval play troupe of the Centre for Medieval Studies. I was chairman of that committee and, as such, undertook the co-ordinating function of the mayor of York while the committee fulfilled the role of the city council. Under the supervision of these officials, from at least 1376 until the suppression in 1569, the long series of forty-seven pageants dramatizing biblical history from Creation to the Last Judgment was performed by the craft guilds of the city. Our production, though marred by heavy rain on 1 October and generally cold weather, was an extraordinary event. Such was its impact in human and community terms that I had difficulty in assessing its academic value in the immediate postproduction period. It has taken the passage of a busy academic year, many discussions with my colleagues and students, and three long and thoughtful reviews to bring me to the point of writing this article. Time has given me perspective and the discussions and reviews have clarified in my mind what we intended to accomplish and what we learned from the enterprise.
Moral Geography in What Maisie Knew
Authors: Blackall Jean
Published: March 2013

The difficulties for the reader of What Maisie Knew are inherent in the remarkably complex technical problem James set himself, that of rendering the intellectual and moral evolution of a child. Because Maisie is represented as passing from very early childhood to the verge of adolescence, she does not have the more nearly fixed perspective of an adult protagonist. Only at the end is she old enough to be confronted with a major decision without the sacrifice of verisimilitude. Confronting her with such a trial, however, was the means by which James could achieve depth as well as ironic effect. Hence he begins with a heroine whose perceptions are oriented to the material world and ends with one who is more concerned with abstractions. Because Maisie is still very young at the end, there is also a discrepancy between the conclusion of the plot and the symbolic conclusion. She can now think independently, but, on the morning that she tries it, Mrs Wix helps with the back hooks. In other words, Maisie's independence of spirit cannot be corroborated by an independent action on her part, such as Isabel's returning to Gilbert Osmond or Milly Theale's leaving her fortune to Densher. Instead, Maisie goes off to England with Mrs Wix, to the consternation of most readers. And because Maisie remains a child, limited in knowledge and in the terms with which to frame concepts, the maturing of her conviction depends to an uncommon degree on schematic symbolization. Normally James can rely more heavily on conversation to bring out point of view and on more subtle imagery than is at Maisie's command. Maisie's rapidly changing perspective, the final discrepancy between action and symbolism, and the perhaps excessive dependence on symbolism in the Boulogne scenes all make particular demands upon the reader.
Reviews
Authors: Molinaro Julius , Hayne David , Brückmann Patricia , Wagner Kenneth , Merrett Robert
Published: March 2013

Richard Hodgens, trans., Orlando Furioso: The Ring of Angelica, volume I, reviewed by Julius A. Molinaro

Aldo Scaglione, ed., Ariosto 1974 in America: Atti del Congresso Ariostesco in America, Dicembre 1974, reviewed by Julius A. Molinaro

Peter DeSa Wiggins, The Satires of Ludovico Ariosto: A Renaissance Autobiography, reviewed by Julis A. Molinaro

Robert Halsband, ed., Court Eclogs Written in the Year, 1716. Alexander Pope's Autograhp manuscript of Poems by Lady Wortley Montagu, reviewed by Patricia Brückmann

Nora Crow Jaffe, The Poet Swift, reviewed by Kenneth J. Wagner

John Irwin Fischer, On Swift's Poetry, reviewed by Kenneth J. Wagner

Patricia Meyer Spacks, Imagining a Self: Autobiography and Novel in Eighteenth-Century England, reviewed by Robert James Merrett
Milton's Urania and Her Romantic Descendants
Authors: Woodman Ross
Published: March 2013

When Milton in Paradise Lost invokes Urania he calls upon the 'meaning' rather than the 'Name' (VII, 5).' While the 'Name' is pagan, grounded in the Greek mythology that includes Olympus, the nine Muses, and Pegasus, the 'meaning' is Christian, which is to say before the foundation of the world or, in the wording of Milton's text, 'before the Hills appeerd, or Fountain flow'd' (VII, 8). Milton's distinction between the pagan and Christian Urania calls attention to the fact not only that he is writing a Christian epic but, more important, that it is a work 'unattempted yet in Prose or Rhime' (I, 16). In the laborious working out of his own heretical Christian position, the cornerstone of which is the doctrine of Christian liberty, Milton believed he had gained direct access to the will of the Father through the agency of the mind of Christ present to him in the operations of his own regenerate reason. By virtue of that access he could write not merely as a poet but as a prophet. The 'Heav'nly Muse' (I, 6) who inspired his song was the Muse who inspired Moses to write the first five books of the Old Testament. Indeed, numbering himself among 'the Lord's people' whose God preferred 'before all Temples th' upright heart and pure' (I, 18), Milton, as a result of his long and arduous work of reformation, came to the composition of Paradise Lost a 'more considerate [builder], more wise in spiritual architecture' (Areopagitica, p 749). Though the outer work of 'great reformation' (p 749) had apparently failed, though he had 'fall'n on evil dayes' and 'evil tongues' and was 'with dangers compast round, I And solitude' (VII, 25-8), the inner work had gone forward. If the 'fit audience' of the Lord's people had been reduced to the 'few' (VII, 31) capable of receiving his radical work, both he and audience were nevertheless the fulfilment of Moses' 'memorable and glorious wish' that 'all the Lord's people ... become prophets' (p 749). Thus, if Moses joins with Milton in lamenting the Restoration, he yet 'may sit in heaven rejoicing to see' (p 749) Milton's 'Heav'nly Muse' dictating to him his 'unpremeditated Verse' (IX, 23). Paradise Lost is Milton's completed work of reformation; his invocation to the Muse celebrates the Christian liberty that confers prophethood upon the Lord's people. The inspired company of Christian poet and chosen readers is Milton's challenging answer to the Restoration.
Poet into Priest: A Reading of Coleridge's 'Conversation Poems'
Authors: Holstein Michael
Published: March 2013

In a letter to Francis Wrangham Coleridge describes his mountain view from Greta Hall and characterizes his relationship to nature in a revealing way: 'In truth, my Glass being opposite to the Window, I seldom shave without cutting myself. Some Mountain or Peak is rising out of the Mist, or some slanting Column of misty Sunlight is sailing cross me / so that I offer up soap and blood daily, as an Eye-servant of the Goddess Nature.' There is in this self-portrait a large measure of high spirits, but, like any good caricature, its value lies in the accuracy with which the exaggeration recalls the original. The casual reference to the consecration reminds us how freely in his poetry Coleridge appropriates religious language as he shifts the locus of the sacred from traditional religion to his religion of nature. Moreover, in this anecdote Coleridge playfully strikes a priestly pose that he assumes with much gravity in his poems. The persona of the poet-priest results from the transformation of the very identity of the poet as he discovers the divine face of nature. Nature is not merely an object of worship but an occasion of Coleridge's self-definition. And nowhere is the metamorphosis of the speaker from a private personality into a sacerdotal figure clearer than in the 'conversation poems.' In so far as he is able Coleridge becomes a poet-priest by fitting the activities of the orthodox priesthood to the context of his poems and by consecrating himself in order to exercise, in his capacity of a poet, a priestly office.
Waverley, Freud, and Topographical Metaphor
Authors: Meisel Martin
Published: March 2013

The platonic relation between Scott and Marx as historians of society has already been argued by one great critic; that between Scott and Freud as geographers of the self has been less definitively approached. I should like to contribute to the latter argument by establishing a congruence, both conceptual and metaphoric. I do not claim to be able to demonstrate a direct influence of Scott on Freud, though I do suggest an influence through the mainstream of European literature with which Freud was so familiar, and that he made such good use of. I do not offer psychoanalytic conclusions on either of the authors in question, nor do I offer a psychoanalytic account of the character who will suffer most from my attentions, Edward Waverley. Rather I pursue a connection between Scott and Freud through the structural metaphor that defines both Waverley and his fictive world, and joins his personal rites of passage to those of an age. In the telling congruence of this metaphor with some of Freud's imagery lies a clue to one part of Scott's imaginative achievement: as the creator of a historical fiction making inner sense for the nineteenth century of the ontogeny of the self in a changing world. To reconcile the gospels of Freud and Marx, or (to put it another way) to unite systematically the interiorities of character and its development with the externalities of social conflict and social evolution, would be to achieve something like a unified field theory for the history and structure of the self and that of society. It is arguable that with just such a synthesis Scott opened the century from which Marx and Freud emerged.
Margaret Atwood, Lucien Goldmann's Pascal, and the Meaning of 'Canada'
Authors: Colman
Published: March 2013

For Margaret Atwood in Survival, Canadian writers are, as well as being private people, 'transmitters of their culture.' It is possible to discern in a particular literature, presumably in any identifiable literature, 'a number of key patterns' (p 13) that distinguish it from all other literatures. Each of these patterns must occur often enough in the literature as a whole 'to make it significant: that is, to justify its inclusion in a collection of such patterns which, taken together, constitute the specific and definitive 'shape' of the literature concerned (p 13). In these assertions so far (that there are identifiable literatures that transmit cultures and that Canadian writers, in using a number of key patterns in their work, transmit the culture of which they are members) there is no assumption about the character of Canadian culture, although it is assumed that an identifiable Canadian culture exists.
Reviews
Authors: Patterson Lee
Published: March 2013

John Gardner, The Poetry of Chaucer, reviewed by Lee W. Patterson

Donald R. Howard, The Idea of the Canterbury Tales, reviewed by Lee W. Patterson

Robert B. Burlin, Chaucerian Fiction, reviewed by Lee W. Patterson

Alfred David, The Strumpet Muse; Art and Morals in Chaucer's Poetry, reviewed by Lee W. Patterson
The 'Desert Places' in Edward Thomas's Poetry
Authors: Kirkham Michael
Published: March 2013

This is a characteristic mood – some would say the characteristic mood of Edward Thomas's poetry. It varies in intensity of expression, ranging from a diffused brooding sadness to a sharp articulation of despair; the restless discontent of these lines comes somewhere between the two. Whether or not it is his principal poetic concern, it is certainly a major concern; any admirer of Thomas who thinks that his poetic work amounts to a more valuable achievement than a preoccupation with such a mood and subject-matter would normally permit must try to explain why. It will not do to say that the best poems are those that have no connection with this area of feeling, for this is not so. Nor will an invocation of Coleridge's name protect Thomas from the charge of expressing a limited range and an unfruitful kind of feeling. There is only one 'Dejection Ode.' It would be better to recall Coleridge's remark, founded on bitter experience, that 'When a Man is unhappy, he writes damned bad Poetry.' In this connection it is pertinent to note that in most instances Thomas's is a remembered or recreated depression.
Romans, Recits, Nouvelles, Contes
Authors: Gauvin Lise
Published: March 2013

Reviews of French-Canadian fiction published in Canada in 1978.
The Sacrificial Crisis in Titus Andronicus
Authors: Slights William
Published: March 2013

In the first scene of Titus Andronicus one of Titus's sons — only four of twenty-five remain alive after ten years of Gotho-Roman wars — piously proposes to sacrifice the eldest son of the captured Gothic queen: 'Let's hew his limbs till they be clean consum'd' (1.i.129). The Andronicus boys exit with their victim and return shortly with bloody swords, their hewing done. Such acts of violence spread like a blot through Shakespeare's first tragedy, and their dramatic function has been debated by generations of critics. Was Shakespeare competing for spectators in a bloody entertainment market that featured bear and dog dismemberment as well as public executions? Was he imitating classical models Seneca's reworkings of Greek cyclical revenge stories or Ovid's tales of sudden transformations precipitated by violent emotional attacks? And if these are all partial explanations, what resonant chord in the nature of civilized human beings is sounded by an art form that dwells so insistently on cruelty, physical pain, and consequent mental anguish?
Northrop Frye and Structuralism: Identity and Difference
Authors: Riccomini Donald
Published: March 2013

On the cover of Northrop Frye's recent book, The Secular Scripture, there appears a drawing of a series of concentric, expanding seashells. Despite the outward movement of each larger shell, each shell has the same stable centre of origin. Each expansion of the image is identifiable with every other image, yet every image is separate from all the others in its determinate individuality. The whole arrangement resembles a variation on Silenus's boxes, or even on Emerson's circles.
Reviews
Authors: Nadel Ira , MacCallum Hugh , Sidnell Michael , Trott David , Lehouck
Published: March 2013

Robert Hewison, John Ruskin: The Argument of the Eye, reviewed by Ira Bruce Nadel

Jay Fellows, The Failing Distance: The Autobiographical Impulse in John Ruskin, reviewed by Ira Bruce Nadel

John Unrau, Looking at Architecture with Ruskin, reviewed by Ira Bruce Nadel

U.C. Knoepflmacher and G.B. Tennyson, eds.,, Nature and the Victorian Imagination, reviewed by Ira Bruce Nadel

Roland Mushat Frye, Milton's Imagery and the Visual Arts: Iconographic Tradition in the Epic Poems, reviewed by Hugh MacCallum

William M. Murphy, Prodigal Father: THe Life of John Butler Yeats (1839–1922), reviewed by Michael Sidnell

Thomas G. Pavel, La Syntaxe narrative des tragédies de Corneille, reviewed by David A. Trott

Marie-Odile Sweetser, La Dramaturgie de Corneille, reviewed by David A. Trott

Pierre Aubéry, Anarchiste dt décadent, Mécislas Golberg, 1868–1907, biographie intellectuelle, suivie de fragments inédits de son Journal, reviewed by E. Lehouck
Across the River and Out of the Trees
Authors: Frye Northrop
Published: March 2013

The first issue of the University of Toronto Quarterly appeared in 1931. Its appearance was not exactly a breathtaking novelty: Queen's Quarterly and the Dalhousie Review were already in existence, and there had even been an earlier version of the Quarterly itself. But it was an important historical event none the less. The opening editorial statement attached the journal's traditions firmly to those of the 'gentleman's magazine' of the eighteenth and nineteenth centuries. It was not to be a specialized learned journal: there were already enough of those, the editor implied, perhaps meaning that there were too many. Nor was it to be an outlet for creative talent in poetry or fiction: it published a poem or two at the beginning, but apologized editorially for the digression. It tried to cover a broad spectrum of academic interest for a while, but soon restricted itself in effect to the humanities, though it did not acknowledge this by calling itself 'A Canadian Journal of the Humanities' until some years later. Within a very short time it had inaugurated 'Letters in Canada' as an encyclopaedic critique of everything published in Canada, so for all its exclusion of poetry and fiction it clearly had no intention of slighting the Canadian cultural scene, much less ignoring it.
Fiction in Canada -1930 to 1980
Authors: McLennan Hugh
Published: March 2013

I have been asked to write about Canadian fiction in English between 1930 and 1980, with particular emphasis on the opportunities open to our novelists today in comparison to the past. Canada was still an innocent country when I began to write. If she is not so any more, it is because she has at last become a full-fledged member of twentieth-century society.
Le Crédo professionnel d'un homme de théâtre
Authors: Gelina Gratien
Published: March 2013

Au tout début de cet article, je dois préciser que je n'ai pas la prétention l'être un théoricien de la chose dramatique. Je me définis simplement homme un auteur dramatique et un comédien, 'un homme de théâtre' en homme, qui, depuis plus de quarante ans, s'est impliqué dans son métier un point tel qu'il n'a pu consacrer que très peu de temps à évaluer le ravail de ses collègues, tant dramaturges qu'interprètes ou metteurs en cène.
Memoires d'Hadrien: A Manual for Princes
Authors: Whaley Janet
Published: March 2013

'Avoir vécu dans un monde qui se défait m'enseignait l'importance du Prince.' Thus Marguerite Yourcenar, in the Carnets which serve as epilogue to the Memoires d'Hadrien, identifies one of the central preoccupations of her best-known novel. The Prince mayor may not double as a 'sage.' In her use of this vocabulary, which can be found throughout her work, Yourcenar attaches herself to a line of inquiry as to the relationship oetween power and moral knowledge which stretches from Plato through Machiavelli, Shakespeare, Comeille, Racine, Fénelon, Diderot. By the nineteenth century these particular terms have largely disappeared; the post-revolutionary language of political analysis attributes less and less importance to the personality of the head of state and his counsellors. But even in a Western world of democratic political systems that seek to render the character of the individual leader as unimportant as possible Yourcenar still wants to know what a good prince is like. Among her great gifts is the capacity to renew that ancient vocabulary, and to restore to the map of the Empire some of the metaphorical power that it had for the chief writers of the Renaissance. The Mediterranean world has long been used as the testing-ground of the apprentice prince, whether he is called Telemachus, Octavius, or Nero; it is a map of possibilities and impossibilities, on which each prince must learn (or else catastrophically fails to learn) to draw the boundaries for himself.
Reviews
Authors: MacCallum Hugh , Keith  , Rosenberg Aubrey , Jennings Chantel , Keith  , Joliat Eugene , Shanker Stuart
Published: March 2013

Louis L. Martz, Poet of Exile: A Study of Milton's Poetry, reviewed by Hugh MacCallum

Joseph Anthony Wittreich, Jr., Visionary Poetcis: Milton's Tradition and His Legacy, reviewed by Hugh MacCallum

Edward W. Tayler, Milton's Poetry: Its Development in Time, reviewed by Hugh MacCallum

Stella Price Revard, The War in Heaven: Paradise Lost and the Tradition of Satan's Rebellion, reviewed by Hugh MacCallum

John G. Demaray, Milton's Theatrical Epic: The Invention and Design of Paradise Lost, reviewed by Hugh MacCallum

Emile Zola, Correspondance I: 1858–1867, reviewed by Chantal Bertrand Jennings

Lewis Kamm, The Object in Zola's Rougon-Macquart, reviewed by Chantal Bertrand Jennings

Neide de Faria, Structures et unité dans les Rougon-Macquart, reviewed by Chantal Bertrand Jennings

Jacques Allard, Zola, le chiffre du texte, reviewed by Chantal Bertrand Jennings

Naomi Schor, Zola's Crowds, reviewed by Chantal Bertrand Jennings

John Matthias, ed., Introducing David Jones, reviewed by W.J. Keith

Kathleen Raine, David Jones and the Actually Loved and Known, reviewed by W.J. Keith

Jeremy Hooker, John Cowper Powys and David Jones: A Comparative Study, reviewed by W.J. Keith

David Jones, The Dying Gaul and Other Writings, reviewed by W.J. Keith

David Jones, Letters to William Hayward, reviewed by W.J. Keith

René Hague, ed., Dai Greatcoat: A Self-Portrait of David Jones in His Letters, reviewed by W.J. Keith

Raymond Trousson, Voyages aux pays de nulle part: Histoire littéraire de la pensése utopique, reviewed by Aubrey Rosenberg

Frédéric Deloffre and Melâhat Menemencioglu, eds., Journal d'un Voyage aux Indes, par Robert Challe, écrivain du Roi, reviewed by Eugéne Joliat

Jean-Jacques Rousseau, Emile or On Education, reviewed by Aubrey Rosenberg

Gordon Baker and Peter Hacker, Wittgenstein: Understanding and Meaning, reviewed by Stuart Shanker
The Incarnations of Comedy
Authors: Slights William
Published: March 2013

By an informal but influential critical consensus we are made to take our tragedy systematically—Aristotle's structure of an action leading circuitously but inevitably to Frye's conception of a hero—and our comedy piecemeal, wherever we can find it. No coherent theory of comedy has yet gained wide critical acceptance. Often there seems little hope of reconciling the conflicting claims of the psychologists, ritualists, and mechanists, who study the sources of comedy in human behaviour and reader response, with those of the literary structuralists whose chief concern is the form of imaginative literature. This basic problem with comic theory appeared very early, in classical times, and was transmitted to modern English theory by the medieval schoolmen and the revivalist literary critics of the Renaissance. Typical humanist definitions describe comedy in terms of its subject (the follies of ordinary men and women) and its structure (the movement from adversity to prosperity).
The Rhetoric of Argument in Berkeley's Siris
Authors: Carr Stephen
Published: March 2013

Bishop Berkeley's Siris is a strange, anomalous text, an apparent lapse from his sceptical, strong-minded, and rigorous philosophy. His other works are uncluttered masterpieces of analysis and exposition, which develop their own terminology and appeal to personal introspection for verification. Siris, however, is littered with borrowings from eighteenth-century systems of chemistry and physics and from esoteric, hermetic philosophies, which underlie and shape its argument. Whereas elsewhere Berkeley sharply limits the grounds of knowledge, Siris enthusiastically advances the marvelous, mythopoeic idea of an animistic universe and treats the world as though it were the body of an animal whose every motion is directed by God. In its methods and conclusions, then, this text may strike modern readers as foreign or even bizarre, not worthy of consideration as serious philosophical discourse. Especially since the scientific theories it invokes have been disproven or superseded, its proposals may seem useless, of interest only to historians of science or philosophy. Yet I believe that in Siris Berkeley writes a self-conscious, philosophically informed discourse that is grounded in his sense of the rhetorical and ultimately supra-philosophical purposes of abstract inquiry. He uses the persuasive power that scientific argument had within his culture to develop insights that surpass the ideology and philosophy supporting eighteenth-century science. This practice is specifically informed by Berkeley's novel theories of language and of science, but its significance extends beyond his philosophy to larger issues concerning the often unacknowledged influence of rhetorical motives and strategies in scientific and philosophic texts.
Scotophilia and Humphry Clinker: The Politics of Beggary, Bugs, and Buttocks
Authors: Rothstein Eric
Published: March 2013

Many scholars have commented on Horace Walpole's words about Humphry Clinker: 'a party novel, written by the profligate hireling Smollett, to vindicate the Scots and cry down juries.' Behind Walpole's hyperbole lies fact: Smollett's attempt to wean the English from their inveterate animus against his native land. Habitual scorn had turned into active hatred, fanned by party writers opposed to the court, during the years of Lord Bute's influence, the earlier 1760s. This concentrated attack, I propose, established an agenda for the irenic Humphry Clinker (1771) by setting forth a number of topics, charges against the Scots, which Smollett tried to annul or, if possible, to turn to his own persuasive advantage. I am led to this general hypothesis by joining two facts. The first, from the novel itself, sticks in the memory of every reader. When the titular hero comes upon the scene, he is so ragged that his buttocks show through his clothes, thus amusing Jery, entrancing Winifred, and outraging Tabby. He has also been ill and hungry, 'his looks denote famine,' and Tabby sums him up as 'a filthy tatterdemalion ... [who will] fill the room full of vermin: a 'mangy hound' (Jery, 24 May). The second fact does not stick in the memories of present-day readers but, I suggest, stuck at least in the unconscious memories of readers in Smollett's day. It is that, although Humphry is of English birth, the anti-Scots propaganda ofthe 1760s made bare buttocks, beggarliness, mange, and filth standard accusations against 'North Britons.'
The Aesthetic Dimension in the Liturgy: A Theological Perspective for Literary Historians
Authors: Bourgeault Cynthia
Published: March 2013

In 1965 O.B. Hardison broke important new ground in the study of the origins of the drama with his Christian Rite and Christian Drama in the Middle Ages. Rejecting Karl Young's traditional distinction between Mass and drama, he urged that the Mass itself be considered a form of sacred drama, and that the rise of 'genuine' or representational, drama be seen as the natural outgrowth of tendencies already present in Christian ritual. In advancing this thesis Hardison made persuasive use of a number of important new resources in the study of liturgy, particularly those to be found in comparative religion and depth psychology, and his work has, understandably, had an enormous impact upon the profession. It has sparked a greatly renewed scholarly interest in the liturgical origins of the drama and has given rise to a whole new brand of interdisciplinary liturgiological scholarship, perhaps best represented in the work of C. Clifford Flanigan.
Encoding and the Reader's Text
Authors: Jeffrey David
Published: March 2013

It would be easy to mistake the nature of The Great Code. In his introduction to this volume of a continuing excursus Professor Frye tells us that the work attempts a study of the Bible from the point of view of a literary critic. He then goes on to say that the result is not a work either of biblical scholarship or of theology, that at 'no point does it speak with the authority of a scholarly consensus.' Rather, 'it expresses only my own personal encounter with the Bible' (p xi). The caveat is, of course, pre-emptive. It is difficult to take formal issue with a protestation of personal encounter: one cannot very effectively reason or examine evidence for subjectively acquired passions or belief; being outside the experience of the encounter, one is immediately disqualified. And this pre-empting continues to instruct Frye's reader throughout the book, which is neither a work ofliterary criticism (although it is a work of literary theory) nor a study of the Bible and literature. In fact, if it were not for the subtitle, one might take The Great Code to be a treatise in hermeneutical theology compatible with the work of theorists such as Hegel, Derrida, and Kenneth Burke. As it is, Frye asks us to read his book as a species of philosophical reflection, and even if the result is not exactly the 'rewritten version of the Anatomy' (p xiv) he says he feared it might be, it does represent a reworking of that structure and body of ideas as the credo of a man who at some time has been keenly sensitive to theology, and who now happens to express those interests—with acuity and erudition—as a literary theorist. The Great Code asks to be read as a témoignage, a personal testament of vision, and read in this way it will be a significant addition to the Frygian corpus.
Contemporary Canadian Verse: The View from Here
Authors: Lane M. Travis
Published: March 2013

Many of us are now aware that most people who write about Canadian poetry have tended to write about it in terms of its themes, or in terms of its geographical, political, or philosophical origins. Critics following the leads of Northrop Frye, Margaret Atwood, and D.G. Jones discuss Canadian poetry in terms of its pervading themes and the national character such themes reveal, a method which fails to cope satisfactorily with atypical themes, foreign influences, the 'spirit of the times' or international weltgeist, and disparities of poetic skill. Moreover, that the pervading themes are indeed garrison/survival/victim or butterfly-on-rockishness has been questioned. A case could be made that the pervading tenor of Canadian poetry is 'loyalist'—loyal to the past, or to an imagined past, its tone nostalgic for the wilderness few Canadians nowadays must cope with. This would account for the rhythmic mildness and elegiac tones of much Canadian verse, and for the comparative rarity in Canada of future-projecting, revolutionary, or visionary verse. Douglas LePan has noted that the Canadian mythos (as contrasted to that of the United States) is founded on mid-nineteenth-century sentiment, post-rationalist, post-romantic. But this sort of writing is cultural history more than literary criticism.
Our Place on the Map: The Canadian Tradition in Fiction
Authors: MacLulich
Published: March 2013

Northrop Frye's magisterial 'Conclusion' to the first edition of Literary History of Canada remains the best overview we possess of the principal features of Canadian literary culture. Yet in the course of his masterful synthesis Frye remarks: 'of the general principles of cultural history we still know relatively little.' Like most of Frye's pronouncements, this one has an imposing air of finality. It is with considerable trepidation, therefore, that I venture upon a discussion that combines elements of social and literary history. I wish to ask whether there is a 'tradition' of Canadian fiction. In other words, is there a body of novels that exhibit family resemblances—similar characters, similar settings, similar conflicts, and perhaps similar stylistic features? If there is such a Canadian tradition, when and why did it begin to take shape? What is the relationship of the Canadian tradition to the older tradition of Europe and to the new tradition of the United States? These questions demand an analysis that goes beyond the evaluation and explication of individual books and takes into account not only Canada's debt to European culture but also its participation in North American Society.
Elegy and Epithalamium in In Memoriam
Authors: Hinchcliffe Peter
Published: March 2013

If literature is a map, then scholars and critics are surveyors and cartographers. Our task is to take new bearings and to draw new contours, not just to complete the work of our predecessors, but to determine where we have moved from those predecessors in relation to the landmarks that we study. As literary works recede into the past, some perspectives—immediacy of response and personal recollection, for example—become closed to us, but new perspectives open out. Critical studies of In Memoriam written during the last twenty-five years show us a poem more complex and serious than readers of the two previous generations would have been willing to accept, and a different kind of poem from the one that Tennyson's Victorian readers acclaimed. Yet despite the increasing sophistication of our map-making skills In Memoriam remains stubbornly puzzling, and the questions that puzzle its readers can be reduced to two: 'Is it possible to apprehend the In Memoriam sequence as a whole poem?' and 'What kind of poem is it?' In other words, the central issues are structural and generic, and if we could give assured answers to those two questions, we would know better how to read In Memoriam.
Whitman's Canadian Diary
Authors: Doyle James
Published: March 2013

Among its many visions of continental and world unity Walt Whitman's Leaves of Grass contains several passing references to 'Kanada.' These references, always thus eccentrically spelled with a 'K' and usually elaborated by allusions to trappers, snow-shoes, and 'Kanucks,' can be tolerated by sympathetic Whitman readers as a kind of poetic shorthand based on an ideal conception of the northern country rather than on observation or experience. Whitman did, however, actually visit Canada late in his life, and wrote about his experiences of what was his only excursion outside the borders of the United States. These experiences did not, it is true, find their way in any substantial form into his poetry. His only literary record of the excursion was a brief account written for the London (Ontario) Advertiser, an account ultimately incorporated into Specimen Days (1893), and a series of rough notes edited after his death by William Sloane Kennedy and published in Walt Whitman's Diary in Canada, with Extracts from Other of His Diaries and Literary Note-Books (1904). These Canadian writings have received a modicum of textual and biographical attention, but no one has seriously considered them in terms of their possible significance for Whitman's art. Neither the diary nor the newspaper article is, of course, a polished literary creation; yet as the editors of the New York University Press standard edition of Whitman's work have suggested by their exhaustively inclusive policies, Whitman is a writer whose every scrap of literary output repays careful scrutiny. His Canadian writings, unpolished as they are, provide many insights into his imaginative conception of the North American landscape and society.
Reading Description in Sidney's New Arcadia: A Differential Analysis
Authors: McCanles Michael
Published: March 2013

Comment on Sidney's descriptive practice in the Arcadia has been sparse, and what little there is readily indicates why this is the case. Virginia Woolf's comment in her essay on the Arcadia about prose that 'must be careful to turn away from what is actually before it' is echoed in Ian Watt's more judicious remarks. Operative for both readers is a modern, 'realistic' decorum of novelistic description, according to which verbal text should be a transparent medium through which the reader passes easily into contact with a nonverbal, physical reality that lies beyond it. And within this perspective Arcadian description can only appear as an almost obsessive mass of rhetorical encrustation layered heavily over a physical reality of action and landscape it purports to mediate. Reading Arcadian description, it seems to me, involves something more than doing away as quickly as possible with the text of the description itself. In a sense I am seeking here to answer the question 'What information is necessary to make the Arcadia readable?' although my immediate purpose limits my concern to passages that deal with description of objects and human action, and excludes the larger, ultimately more important matter of the Arcadia's presentation of human ethical reality.
Workable Fictions in the Henry IV Plays
Authors: Toliver Harold
Published: March 2013

History plays are so taken up with public performance that they may seem to sacrifice complexities of character to mere speech-making, some of it propaganda's stuffing of ears with false reports. A noteworthy test of the dominance of public role-playing in them has often been Prince Hal's progress toward Henry V, which carries him from calculating tavern days to a kingship devoid of Falstaff. Whereas in the tavern scenes, play-acting is recognizable as such, with the king one never knows. Certainly historical pageantry is not always compatible with the development of character and plot, and the Henriad gives us proportionately more and more of the former. But not all performances even of kings and their counsellors are inspired solely by policy-making. Henry V's coronation is at once pageantry and drama. It harvests a number of ironies and puts the finishing touches on a remarkable series of exchanges between the prince's truancy and a growing acknowledgment of duty. His route to this declaration of majesty has taken him round about through a frequent doubling of scenes in rehearsals, revisions, and stagey demonstrations. Throughout the Henry IV plays one improvised performance reflects another by analogy and thereby compounds it and calls attention to the style of enactment itself.
The Revival of Narrative: Thoughts on a Current Historiographical Debate
Authors: Phillips Mark
Published: March 2013

That history is both art and science is a commonly accepted dictum. Unfortunately it does not follow that historians have given equal critical attention to both sides of their discipline. As J.H. Hexter has written, 'the casualness with which historians have investigated the structure of historiography compared with the care and exacting scrutiny to which they subject the nature of data, evidence, and inference in works of history indicates that in their role as critics they regard the latter as the historian's legitimate central preoccupation and the former as a secondary and indepedent matter ... without effect on the validity of the finished work.'
The Space of Criticism
Authors: Harris Wendell
Published: March 2013

'The mind is its own place, and in itself / Can make a Heav'n of Hell, a Hell of Heav'n,' boasts Milton's fallen Archangel; readers of contemporary criticism can hardly avoid noticing that critical theory seems increasingly to occupy its own place, or space. Less figuratively stated, criticism draws more and more upon a spatial vocabulary. The following bits are taken from a recent anthology of essays on 'Post-Structuralist' criticism: 'the locus and foundation of all theory are in the space between text and the criticism serving as discourse on that text'; 'the perception by which the literary object (which is clearly no longer an "object") moves from that of a formal, complete, organic whole to that of a "methodological field"; 'cultural languages ... that traverse the text from one end to the other in a vast stereophony'; 'Speech ... becomes for Olson ... the act which gives the poem "solidity" by breaking up the prescribed grammars, decentering the narrative "line" into the field of "elements," thereby restoring to the textual space "the play of their separate energies"'; 'The central problematic of the essay as a form is its place, by which I mean a series of three different but connected ways the essay has of being the form the critic takes, and locates himself in ...'
Narration in Film and Prose Fiction: A Mise au point
Authors: Tolton
Published: March 2013

Inevitably, similarities between film and literature have been a frequent subject of theoretical and analytical discussion. Some of the earliest substantial studies were written by French scholars. Book-length studies in English have, though, probably been more numerous. Many, in both languages, have with varying degrees of success dealt with the problems of the filmic adaptations of either dramatic or narrative texts. Generally speaking, until the mid-1960s, most cinema/literature studies were what would be termed, in the broadest sense, humanistic. Since then, however, some of the most interesting work in both filmic and literary textual criticism has been carried out within the framework of French structuralism and semiotics. Furthermore, the parallels between, on the one hand, film as a dramatic art and, on the other, film as a narrative art seem to have been at last identified and differentiated, with the result that many scholars now subscribe to the notion that it is in the field of narratology that the most complex and rewarding discoveries can be made while 'reading' a film. It would seem appropriate and indeed useful at this time to attempt to summarize systematically the comparable narrative systems found in both filmic and literary narration. At the same time, against a background of traditional methodology, a clarification of the uses of semiotics in such discussions should emerge.
Reviews
Authors: Adamowski  , Keith
Published: March 2013

Diana Trilling, The Beginning of the Journey: The Marriage of Diana and Lionel Trilling, reviewed by T. H. Adamowski

Judith Skelton Grant, Robertson Davies: Man of Myth, W. J. Keith
Poetry and/or Truth: An Essay on the Confessional Imagination
Authors: Stelzig Eugene
Published: March 2013

The German critic Friedrich Schlegel signalled towards the close of the eighteenth century the subjective character of much Romantic literature with the observation that 'the modern poet must create all things from within himself ... each poet separately and each work from its very beginning, like a creation out of nothing.' Yet the Romantic work is not necessarily a production ,ex nihilo; unlike 'ancient poetry' it is 'based entirely on a historical foundation,' for it has 'a true story at its source, even if variously reshaped.' Much Romantic and post-Romantic literature aims for a definition of the self in historical terms, as a process of becoming. This process has been enacted in literary form since the Romantics through autobiography as well as fiction, with confessional fiction forming a prominent and problematic middle term. Modern autobiography first found its self-referential voice in the self-serving Confessions of Rousseau (1782–9), and the self-advertising adventures of the letter 'I' have held a centre-stage position in much writing since 1800. Indeed, what Schlegel observed about the relationship between writers of fiction and their works seems to hold substantially true nearly two hundred years later: 'What is best in the best novels is nothing but a more or less veiled confession of the author.'
The Gigantomachy of E.J. Pratt
Authors: Watt
Published: March 2013

The Greeks had a word for it. Or rather, two words—gigas (giant) and mache (battle)—which became one big word: gigantomachia, the struggle between the giants and the gods. In time, reaching from the world of myth into the world of nature, the definition broadened to encompass metaphorically any war between giant powers. When I close my eyes and try to summon up a general impression of the poetry of E.]. Pratt, its Gestalt, as it were, and put a single label on that impression, the monstrous word Gigantomachy is as close as I can come. The purpose of the discussion to follow is to show ho appropriate the term is for the prominent surfaces of Pratts' verse, but also to suggest how fully it takes us into the inner life of this poet's imaginative universe.
Crossing Boundaries: Hubert Aquin's L'Antiphonaire and Robert Kroetsch's Gone Indian as Fictions of the Avant-Garde
Authors: Davidson Arnold , Davidson Cathy
Published: March 2013

Stan Fogel has recently argued that the Canadian novel is out of tune with the avant-garde tenor of the times and needs to be more experimental. Only 'a few works,' he claims, embody the 'metafictive tradition defined by William Gass, Ihab Hassan, and a number of other contemporary critical theorists. These few texts presumably provide the models that other Canadian authors should emulate, and they do so by emulating themselves still other models. Thus Martin Myers's The Assignment is particularly praised for its Barth-like 'interplay of traditional narrative and unsettling authorial intervention,' its 'Joycean play with form,' its catalogue 'reminiscent of Barthelme's experiments,' its 'Nabokovian word play,' and its 'Borgesian awareness that reality is a construct.' Clearly, for Fogel, to be avant-garde is to be avant-garde in the accepted mode. Indeed, this critic finds only two contemporary Canadian texts worthy of extended comment—Myers's The Assignment and Ray Smith's Cape Breton is the Thought Control Centre of Canada, distinguished because it is 'closest in construction to Barthelme's collage.'
Poetry
Authors: Hatch Ronald
Published: March 2013

Reviews of topic published in Canada in 1984.
Reviews
Authors: Wihl Gary , Meyers Jeffrey , Keith
Published: March 2013

Elizabeth K. Helsinger, Ruskin and the Art of the Beholder, reviewed by Gary Wihl

George Orwell, Nineteen Eighty-Four, reviewed by Jeffrey Meyers

George Orwell, 'Nineteen Eighty-Four': The Facsimile, reviewed by Jeffrey Meyers

Denys Thompson, ed., The Leavises: Recollections and Impressions, reviewed by W. J. Keith