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31.More information
Brenner argues against the stasis of ideological signification when discussing poetry, asserting that despite Klein's overt humanist ideology in this volume of poetry, the book is a production rather than a product; the complex voice of art often refutes ideological simplifications. For one thing, the poems become progressively more satirical towards the end of the book, the speaker increasingly alienated. Klein parodies Milton and Joyce: their shared belief in the primacy of art is belied by Klein's assertion of "the deposition of the poet" in the twentieth century by economic and scientific powers. Some of the poems examine and compare the Jewish and the French experience in Canada.
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Morley Callaghan's Strange Fugitive (1928), Canada's first urban novel, is a refiguration of the discourses that defined Toronto as an urban space. Narrative tension results in an ambiguous model of the city as Callaghan interlaces realist literary modes of crime and corruption with the domestic and secure place of "Toronto the good." The inevitably ambiguous depictions of Toronto that arise out of this coupling call attention to the representational strategies that modernist writers used to construct visions of the modern city and bring it under conceptual control.
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Keywords: Labor-Progressive Party, Canadian Communism, 1956, Joseph Stalin, Nikita Khrushchev, 20th Congress of the Communist Party of the Soviet Union, Tim Buck, J.B. Salsberg, Norman Penner, Gui Caron, Anti-Semitism, Stanley B. Ryerson, Parti ouvrier-progressiste, communisme canadien, 1956, Joseph Staline, Nikita Khrouchtchev, 20e congrès du Parti communiste de l’Union soviétique, Tim Buck, J.B. Salsberg, Norman Penner, Gui Caron, antisémitisme, Stanley B. Ryerson
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This research note examines the authors' graphic history Showdown! Making Modern Unions to build on recent scholarship about the pedagogical use of comics by considering the tools and possibilities this medium opens up to professional historians regarding the treatment of primary sources. We suggest that graphic histories enable strategies for using primary sources that actually enhance and popularize the ways historians can effectively use evidence, particularly in terms of building the critical consciousness of an expanded base of readers. Employing the comics theory concept of closure, we show graphic history to be uniquely situated to allow historians and readers to become actively engaged with and derive meaning from primary sources in a way not possible in other forms of historical writing. Examples from Showdown! are used to show the depth and breadth of these methodological possibilities.
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Canadian extended prose fiction, written by or about immigrants, discloses a lack of self-identity for the subject when the bearings of conventional social identity are removed within the context of a different culture. The breakdown of signification, as reflected in the immigrant experience, shows the insufficiency of language acquisition within a symbolic system that is experienced to be semiotically lacking. The literature discloses lives dependent upon an undependable language; it attempts to get to the other side of language. The subject is not conventionally identifiable; instead of being figured, it is disfigured or transfigured. The "foreign" subject, in endeavouring to voice what cannot be accommodated in society's terms, is separated out from society and voiced as the negative of its terms. The gap in modes of communication underpins the cultural gap of the "foreigner." Canada, with all of its "alien" connotations, accentuates the problematic of identity for the "foreign" subject who finds in the liminal position between cultures a repetition of the formative split engendered by the semiotic lack in the symbolic: the subject cannot speak itself on the terms of an order which makes it Other, just as its experience of the other site of knowledge cannot be spoken in the established terms.