By Manijeh Mannani, Veronica Thompson
Lengthy a subject of elaborate political and social debate,
Canadian identification has emerge as understood as
fragmented, amorphous, and risky, a multifaceted
and contested house in basic terms tenuously associated with traditional
concepts of the state. As Canadians, we're endlessly
defining ourselves, trying to find our experience of self in
relation to a few different. by way of reading how writers and
performers have conceptualized and negotiated issues
of own id of their paintings, the essays amassed in
Selves and Subjectivities examine rising representations of self and different in modern Canadian arts and tradition. integrated are essays on iconic poet and musician Leonard Cohen, Governor common award–winning playwright Colleen Wagner, feminist poet and novelist Daphne Marlatt, movie director David Cronenberg, poet and author Hédi Bouraoui, writer and media pupil Marusya Bociurkiw, puppeteer Ronnie Burkett, and the Aboriginal rap team battle Party.
As critic Diana Brydon has argued, modern Canadian writers are “not transcending country yet resituating it.” Drawing jointly topics of gender and sexuality,
trauma and displacement, performativity, and linguistic range, Selves and Subjectivities deals a thrilling new
contribution to the multivocal discussion surrounding the
Canadian experience of identification.
Read or Download Selves and Subjectivities: Reflections on Canadian Arts and Culture PDF
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Additional resources for Selves and Subjectivities: Reflections on Canadian Arts and Culture
Thus, chanteuse Cleo Payne represents the stage of denial; opera singer Maureen Massey-Ferguson leads us through the bargaining phase; cellist Jacqueline Dupressed explores the darkness of depression; and lounge singer Perry Homo croons toward acceptance of a harsh reality. For an audience familiar with the celebrities upon whom each character is based,2 such parody accentuates the comic aspect of what could otherwise be a painful exploration of bereavement and loss. The ironic representations of the cabaret performers and their satirical musical numbers function to keep the audience at a safe emotional distance from such trauma while still drawing our attention to its effects.
38) We have exchanged our bodies. Mine transexed in her. Hers transexed in me. Permutation of sex and love . . Furthermore, if traditionally the writer is a male figure, the fact that Lisa mutates from reader to writer towards the end of the narrative after getting rid of her own creation, Virebaroud, means that the gender crossing has carried over once more in a manner consistent with the abovementioned foreshadowing, and that Lisa has also acquired malehood by dédoublement. The neologism migramourir, with its family of variants (amourir, livramour, migramouriant, amourliser) encountered throughout the novel, speaks precisely of the flux that is the essence of love, of creation; of the migrating nature of love; of the necessity to die (mourir) in order to be reborn to a new order of love (much as Lisa dies to the narrator-lover to be reborn in Lisa-Palimpsest), and of the creative process entailed in reading and writing alike, away from the stifling and petrifying effects of habituation, “la routine d’une quotidienneté maritale des plus banales” (“the most banal routine of marital daily living”; 88).
4 In his essay “Two Classes of Instincts,” Freud clarifies his usage of the term ambivalence: “Clinical observation shows not only that love is with unexpected regularity accompanied by hate (ambivalence), and not only that in human relationships hate is frequently a forerunner of love, but also that in a number of circumstances hate changes into love and love into hate” (383). Mourning Lost “Others” in Ronnie Burkett’s Happy Similarly, Raymond’s memories of Lucille reveal a level of ambivalence that produces the tensions of a highly conflicted relationship.