Where are the Voices Coming From?: Canadian Culture and the Legacies of HistoryCoral Ann Howells Rodopi, 2004 - 266 pages This collection of essays focuses on Canadian history and its legacies as represented in novels and films in English and French, produced in Canada mainly in the 1980s and 1990s. The approach is both cross-cultural and interdisciplinary, aiming at articulating Canadian differences through a comparison of anglophone and francophone cultures, illustrated by works treating some of the different groups which make up Canadian society - English-Canadian, Québecois, Acadian, Native, and ethnic minorities. The emphasis is on the problematic representation of Canadianness, which is closely bound up with constructions of history and its legacies - dispossession, criminality, nomadism, Gothicism, the Maritime. The English/French language difference is emblematic of Canadian difference; the two-part arrangement, with one section on Literature and the other on Film, sets up the pattern of relationships between the two forms of cultural representation that these essays explore. Essays in the Literature section are on single texts by such writers as: Margaret Atwood, Tomson Highway, Ann-Marie MacDonald, Anne Michaels, and Alice Munro; Gabrielle Roy, Anne Hébert, Antonine Maillet, Bernard Assiniwi, and Régine Robin. The Film section with its mirror structure both supplements and amplifies this dialogue, extending notions of Canadianness with its emphasis on voices from Quebec and Acadia traditionally 'othered' in Canadian history. Filmmakers treated include: Phillip Borsos, Atom Egoyan, Ted Kotcheff, Mort Ransen, and Vincent Ward; Denys Arcand, Gilles Carle, Alanis Obomsawin, Léa Pool, and Jacques Savoie. |
Contents
5 | |
La Petite Poule dEau | 19 |
Alias Grace | 29 |
Kamouraska and Les Fous de Bassan | 39 |
Fall On Your Knees | 53 |
Crache à pic and Mariaagélas | 61 |
Le BrasCoupé | 73 |
Kiss of the Fur Queen | 83 |
The Grey | 167 |
Margarets Museum | 179 |
Massabielle | 191 |
83 | 201 |
Kanehsatake | 205 |
Map of the Human Heart | 217 |
Anne Trister | 231 |
28 | 236 |
La Québécoite | 95 |
Fugitive Pieces | 107 |
Maria Chapdelaine | 123 |
The Sweet Hereafter | 137 |
Jésus de Montréal | 151 |
The Apprenticeship of Duddy Kravitz | 247 |
Conclusion | 259 |
Notes on Contributors | 265 |
Other editions - View all
Where Are the Voices Coming From?: Canadian Culture and the Legacies of History Limited preview - 2021 |
Where are the Voices Coming From?: Canadian Culture and the Legacies of History Coral Ann Howells No preview available - 2004 |
Common terms and phrases
Acadian Algonquin Alias Grace Alice Munro Alix anglophone Anne Anne Michaels Antoine Arcand Assiniwi Atom Egoyan Atwood Avik Avik's Canada Canadian Film Cape Breton cinema cinematography colour context Crache à Pic Cree culture death Denys Arcand dispossessed documentary Duddy Elisabeth father fiction film's Fous de Bassan François francophone French Fur Queen Gabrielle Roy genre Gilles Carle Gothic Hébert Highway's identity images immigrants Indians interview Inuit Jakob Jésus de Montréal Jewish Kamouraska Kanehsatake landscape language Léa Pool lives Louis Hémon Luzina Maillet Margaret Margaret's Museum Maria Chapdelaine Mariaagélas Massabielle memory Métis Michaels Miner Minji-mendam Mohawk Montreal mother murder narrative narrator nationality of production Native nomadic novel Obomsawin Ontario opening Pacifique play political priest production companies Quebec runtime scene seen sequence settlement shot story symbolic takes tells theme tion Toronto traditions village violence voice wilderness woman women writing credits
Popular passages
Page xiii - The past no longer belongs only to those who lived in it; the past belongs to those who claim it, and are willing to explore it, and to infuse it with meaning for those alive today. The past belongs to us because we are the ones who need it.