1,720,959 research outputs found
Mary Wollstonecraft, Letters Written during a Short Residence in Sweden, Norway, and Denmark (1796)
No full textImaginative Recreations of a Historical Event in Contemporary Canadian Literature
No full textThe early 21st century has proved to be a time of crises in the fields of the economy, ecology and politics, the events of September 11, 2001 being a harrowing starting point of the new millennium. These crises have left their mark on the way we write and read about our world in fiction as well as nonfiction. Narratives of Crisis – Crisis of Narrative brings together views by European and Canadian literary and media scholars on the crisis of narrative in a transatlantic context. This volume has arisen from the cooperation of the Marburg Centre for Canadian Studies with corresponding institutions at the Universities of Strasbourg and Nantes
Imaginative Recreations of a Historical Event in Contemporary Canadian Literature
No full textThe early 21st century has proved to be a time of crises in the fields of the economy, ecology and politics, the events of September 11, 2001 being a harrowing starting point of the new millennium. These crises have left their mark on the way we write and read about our world in fiction as well as nonfiction. Narratives of Crisis – Crisis of Narrative brings together views by European and Canadian literary and media scholars on the crisis of narrative in a transatlantic context. This volume has arisen from the cooperation of the Marburg Centre for Canadian Studies with corresponding institutions at the Universities of Strasbourg and Nantes
Dynamics of Gender and Genre in Poetry by Four British Asian Women
Full text linkThis study examines the works of four British women poets of South Asian descent—Imtiaz Dharker, Moniza Alvi, Raman Mundair, and Shamshad Khan—within the socio-historical context of early 21st-century Britain. It investigates the challenges faced by poets from diaspora communities in the UK, with particular focus on structural barriers to publication and the limited visibility of their work. The study highlights how Asian poets, in particular, have been consistently overlooked in academic discourse. In addition to examining the situation of female Asian poets in the early 21st century, the dissertation traces the broader history of Asian poets in Britain, providing crucial context for understanding the continued marginalisation of these voices. The thesis further explores whether female poets, specifically, encounter additional disadvantages in terms of reception, potentially due to their gender—a theme that recurs in their writing.
This issue is examined through a review of scholarly criticism, literary supplements, and archival material produced by community-based groups outside mainstream publishing and institutional structures, combined with close readings of the poets' works. The study introduces the concept of ‘space’ as a dual tool for both contextual and literary analysis. Viewed as both a literal and metaphorical dimension within the cultural geography of diaspora communities, and as a formal element in the poets' works, this concept bridges these two areas, generating meaningful insights in both.
This framework offers a fresh perspective on the poets' contributions to British and British-Asian poetic traditions. By focusing on spatialised language, structure, and imagery—and their intersection with gendered themes—the analysis explores how these poets engage with diasporic and gendered experiences, subverting stereotypes and articulating a self-determined British identity, while also offering a more inclusive vision of British poetry.
In doing so, the study addresses overlooked areas in cultural and literary studies, particularly the contribution of South Asian women poets to literary discourse. It also highlights the value of traditional literary genres and analytical techniques in cultural studies approaches to literature, areas that have often been neglected within this field.2025-02-0
Fathers and Other Clowns: Representations of Masculinity in Alice Munro’s Dance of the Happy Shades
Full text linkThis essay is an analysis of selected stories from Alice Munro’s first volume of fiction, Dance of the Happy Shades (1968) focusing on her representation of masculinity. It investigates the way in which the men in Munro’s stories participate in and relate to the discourse of “hegemonic masculinity” and how the stories outline moments of male crisis resulting from this. The essay pays heed to Munro’s careful location of her stories in a historical and geographical context, catering to masculinity studies’ insistence on the necessity of such contextualization. The present analysis understands itself as complementary to the already existing body of gender-based critical literature which focuses mainly on Munro’s rendition of women, suggesting that Munro understands gender as a process and a continual negotiation, and that she de-essentializes received definitions of masculinity and femininity. While concentrating on the depiction of the father figure in “Walker Brothers Cowboy” and “Boys and Girls” and on the parody of the “manly modern” in “The Office,” the analysis also includes references to the re-appearance of certain kinds of male characters in Munro’s later stories, suggesting that the various embodiments of masculinity in Dance can be seen as part of what Robert Thacker calls “Munro’s reoccurrences.”Cet article analyse le thème de la représentation de la masculinité dans plusieurs nouvelles du volume Dance of the Happy Shades publié par Alice Munro en 1968. Nous nous intéressons à la manière dont les hommes représentés dans ces nouvelles, participent et sont liés au discours « hégémonique de la masculinité » tel que décrit par Connell. Ce faisant nous prendrons en compte la manière dont Munro place précisément ces histoires dans un contexte géographique et historique qui semble définitivement lié à l’inscription de ces discours de la masculinité, dans ce type d’environnement. Cette recherche est le pendant d’une série d’articles sur le sujet des figures féminines et de l’écriture de la féminité dans les nouvelles de Munro, sur lesquelles les chercheurs ont beaucoup glosé
Fathers and Other Clowns: Representations of Masculinity in Alice Munro’s Dance of the Happy Shades
Full text linkThis essay is an analysis of selected stories from Alice Munro’s first volume of fiction, Dance of the Happy Shades (1968) focusing on her representation of masculinity. It investigates the way in which the men in Munro’s stories participate in and relate to the discourse of “hegemonic masculinity” and how the stories outline moments of male crisis resulting from this. The essay pays heed to Munro’s careful location of her stories in a historical and geographical context, catering to masculinity studies’ insistence on the necessity of such contextualization. The present analysis understands itself as complementary to the already existing body of gender-based critical literature which focuses mainly on Munro’s rendition of women, suggesting that Munro understands gender as a process and a continual negotiation, and that she de-essentializes received definitions of masculinity and femininity. While concentrating on the depiction of the father figure in “Walker Brothers Cowboy” and “Boys and Girls” and on the parody of the “manly modern” in “The Office,” the analysis also includes references to the re-appearance of certain kinds of male characters in Munro’s later stories, suggesting that the various embodiments of masculinity in Dance can be seen as part of what Robert Thacker calls “Munro’s reoccurrences.”Cet article analyse le thème de la représentation de la masculinité dans plusieurs nouvelles du volume Dance of the Happy Shades publié par Alice Munro en 1968. Nous nous intéressons à la manière dont les hommes représentés dans ces nouvelles, participent et sont liés au discours « hégémonique de la masculinité » tel que décrit par Connell. Ce faisant nous prendrons en compte la manière dont Munro place précisément ces histoires dans un contexte géographique et historique qui semble définitivement lié à l’inscription de ces discours de la masculinité, dans ce type d’environnement. Cette recherche est le pendant d’une série d’articles sur le sujet des figures féminines et de l’écriture de la féminité dans les nouvelles de Munro, sur lesquelles les chercheurs ont beaucoup glosé
Old and New Spaces: Imagining Exclusion and Inclusion in Austin Clarke’s “Four Stations in His Circle” and Shani Mootoo’s “Out on Main Street”
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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