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Canadian Women in Print, 1750--1918 is the first historical examination of women's engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women's published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons.
This book clearly and succinctly introduces the ways in which feminist ideas have transformed the form and content of women's fiction and non-fiction writing. The Introduction sets out the critical background and the main feminist critical approaches to literature. Part I, Debates, contains chapters which outline feminist engagements with the canon, gender, the body, sexual difference and ethnicity to demonstrate the ways in which feminist ideas have affected the content of women's literature. In Part II, Genres, five chapters examine types of fiction writing, romance, crime, science fiction, life-writing and historical fiction, to show the effect of feminist ideas on the form of women's literature.
Drawing on narratological and feminist theory, Susan Sniader Lanser explores patterns of narration in a wide range of novels by women of England, France, and the United States from the 1740s to the present. She sheds light on the history of "voice" as a narrative strategy and as a means of attaining social power. She considers the dynamics in personal voice in authors such as Mary Shelley, Charlotte Brontë, Zora Neale Hurston, and Jamaica Kincaid.
Jane Urquhart has published three books of poetry, a collection of short stories and five best-selling novels. Her fiction has won many honours including Canada's 1997 Governor General's Award, and France's prestigious Prix du Meilleur Livre Etranger. She lives in Ontario, Canada. The essays in this book investigate Urquhart's interweaving of historical events, myth, folk tales, journeys and landscape with her acute perceptions of memory and transformation. The many critical voices in this collection invite readers to consider Urquhart's very special vision of the world, one made up of migrations, dreams, spiritual quests and prophecy.
This book offers a comprehensive reassessment of the work of Carol Shields. Arguing against enduring conceptions of Shields's fiction as celebratory domestic miniaturism, the study presents her work as more expansive and equivocal than has sometimes been recognised, reading her texts as liminal spaces situated on a series of formal and thematic borders.
Margaret Atwood enjoys a unique prominence in Canadian letters. With over thirty books to her credit, in genres ranging from children's writing to dystopic novels, she is as creatively diverse as she is internationally acclaimed. Her success, however, has been double-edged: the very popularity that makes her such a prominent figure in the literary world also renders her vulnerable to claims of being a "sell-out," as she relates in her Empson lectures.
Contributes to Canadian social history by comparing how three female novelists depicted nationalism and gender from 1965-1980. This book discusses how national identity is depicted among Female Canadian authors in the mid to late twentieth century.
Elizabeth Thompson develops the idea of the pioneer woman as an archetypal character firmly entrenched in Canadian fiction and the Canadian consciousness. Thompson's broad definition of the concept of pioneer can be seen to reflect the history of Canadian women, starting with the pioneers of settlement and continuing through the pioneers of spiritual perfection and psychological liberation.
The modern literary searchlight has flushed out Canada's long neglected nineteenth century female writers. New critical approaches are advocated and others are encouraged to take on the difficulties - and rewards - of research into the lives of our foremothers.