http://hdl.handle.net/10366/160138 2026-04-20T11:50:55Z 2026-04-20T11:50:55Z Wagner, Florian http://hdl.handle.net/10366/166065 2025-07-07T11:51:13Z 2022-10-21T00:00:00Z

This contribution focuses on the role of the literary and cultural imagination in constructing alternative imaginaries of the planet which exceed the purely economic dimension of the global and globalization and are open to different modes of knowing and doing. Expanding on Erin Wunker's suggestion of a planetary poetics as an aesthetic mode with which to think and write across multiple spatial and temporal scales and engage with the ethical implications of living in a globalized world, this article looks at Kaie Kellough's Magnetic Equator (2019) and its neo-cosmopolitan tidalectics as planetary poetics.

2022-10-21T00:00:00Z Perry Cox, Alexei http://hdl.handle.net/10366/166067 2025-07-07T11:34:57Z 2022-10-21T00:00:00Z

[EN] Against the reductive and the often universalizing poetics of much poetry and much theoretical discourse that abandons feelings from its rhetoric, the works of Dionne Brand's Theory and Canisia Lubrin's Voodoo Hypothesis promote layered, black and multivocal reflections on beauty. They act out self-interrogating dialectics rather than provide symbolic clarity of their subjects. There is no aesthetic consolation in these works and that's where the beauty lies. Their works ask readers to enter into irreducible complexity as a form of attention. I posit that these black creative politics – in this poetry – are tied up in reading-work that can newly anticipate our global condition through ethical collectivity.

2022-10-21T00:00:00Z Alegría-Hernández, José V. http://hdl.handle.net/10366/166066 2025-07-07T11:42:39Z 2022-10-21T00:00:00Z

[EN] This article seeks to analyse the commodification of women of colour in two dystopian Canadian novels: Brown Girl in the Ring (1998), by Nalo Hopkinson, and Oryx and Crake (2003), by Margaret Atwood. I argue that the women in these stories are subjected to similar patriarchal strategies of control. Namely, I suggest they are zombified through the male gaze, or in other words, they are regarded as ambulatory bodies by their societies. This draws attention to the Canadian government's neoliberal policies that often belie neocolonial undertones in their usage of the bodies of women of colour. In addition to this, I will focus on the characters' ability to resist this totalising and zombifying gaze through different means. Here I posit that Hopkinson presents a world that emphasises commonality among women and, therefore, her characters are more successful in dismantling patriarchal structures. In opposition to this, I argue that Atwood's novel isolates Oryx which makes her unable to achieve structural change, and therefore she chooses to become an elusive figure as a form of protest.

2022-10-21T00:00:00Z Patel, Sharifa http://hdl.handle.net/10366/166063 2025-07-07T12:02:31Z 2022-10-21T00:00:00Z

[EN] In this article I explore the Khadr family through shifting Canadian news media representations and the CBC's documentaries, "Al Qaeda's Family" and "Out of the Shadows." Omar Khadr and his parents, Maha Elsamnah and Ahmed Khadr, came to be framed as a "bad" Muslim family as a result of supposed failed (Muslim) parenting. I interrogate how media attach Omar Khadr's acts of violence to orientalist images of the violent (terrorist) Muslim family, and framed Elsamnah and Ahmed Khadr as foreign and un-Canadian parents, unable and unwilling to socialize their children within the Canadian state order. When Omar Khadr was released from prison, it was only under the guidance of his white lawyer, Dennis Edney, that he could be rehabilitated and brought back into Canadian society in Canadian news media framings. In order for Khadr to be portrayed as worthy of reentering Canada, images of him practicing his religion, wearing non-Western clothing, and even speaking Arabic were subdued. It is within the images of Khadr in the Edney home, severing his relationship with his family, that the Canadian public could be reassured that Khadr would be able to reinvent himself as a Canadian citizen, a child soldier, rather than a Muslim terrorist.

2022-10-21T00:00:00Z Cormier, Matthew http://hdl.handle.net/10366/166064 2025-07-07T11:59:08Z 2022-10-21T00:00:00Z

[EN] Focused on interrogating the ways in which twenty-first century writing in Canada is currently approached critically and theoretically, this article proposes new reading methods that expose the influence of nation-state powers over literary productions. In particular, this article takes up Larissa Lai's dynamic, post-apocalyptic novel, The Tiger Flu, as a case study to examine these ideas by using digital tools. It studies the novel's reflections on gender, sexuality, and technology within re-imagined

2022-10-21T00:00:00Z Canada & Beyond, Secretaría de Redacción http://hdl.handle.net/10366/166060 2025-07-07T10:38:09Z 2022-10-21T00:00:00Z 2022-10-21T00:00:00Z Darias-Beautell, Eva Fraile-Marcos, Ana M.ª http://hdl.handle.net/10366/166062 2025-07-07T10:30:26Z 2022-10-21T00:00:00Z 2022-10-21T00:00:00Z Canada & Beyond, Secretaría de Redacción http://hdl.handle.net/10366/166061 2025-07-07T10:27:31Z 2022-10-31T00:00:00Z 2022-10-31T00:00:00Z Weiher, Emma Charlotte http://hdl.handle.net/10366/166057 2025-07-07T11:20:19Z 2022-10-21T00:00:00Z

[EN] In 2012, the Mohawk saint Catherine Tekakwitha was finally canonized by the Catholic church. She has been the subject of many accounts and narratives —both historical and fictional—and figures as the main subject of Leonard Cohen's 1966 novel Beautiful Losers. While having been lauded for its post-modernist and presumably postcolonialism stance on Tekakwitha's figure, Cohen's novel remains controversial in its depiction and appropriation of Indigenous womanhood. Beautiful Losers relies heavily on missionaries' accounts of Tekakwitha and is entrenched in the male protagonist's sexual claim and fixation on her character. Given the significant status of women in Indigenous communities, I argue that Cohen's novel not only participates in an ongoing violation of the Indigenous female body but also denies the integrity of Indigenous family structures and their social as well as narrative authority. It hinders, rather than encourages, a shift in narrative authority pertaining to Canada's colonial heritage. While Cohen's text remains a necessary testament to the shortcomings and failures of history and its criticism, what is required in forthcoming scholarship and narratives dealing with Tekakwitha and figures similar to her is a narration originating in Indigenous communities. An emergence of such narratives requires a definite reckoning with Canada's violent history of mistreating Indigenous womanhood that continues to this day.

2022-10-21T00:00:00Z Díaz Cano, Coral Anaid http://hdl.handle.net/10366/166059 2025-07-07T10:46:48Z 2022-10-21T00:00:00Z

In the graphic narrative Dumb: Living Without a Voice (2018), Canadian cartoonist Georgia Webber explores her acquired physical disability after a severe vocal injury leaves her voiceless. As a talkative, social young woman working as a café server, Georgia's life is interrupted when she is forced to adapt herself to a different way of navigating the world. Previous scholarly work has analyzed Dumb to articulate a connection between comics theory and disability rhetoric (Dolmage and Jacobs 2016) and explored its fruitful linkage between voice/voicelessness and identity (Venkatesan and Dastidar 2020). Building on the path opened by these scholars, the aim of this paper is to critically examine the representation of disability and its engagement with the concept of crip time in Dumb by drawing on the interdisciplinary fields of disability studies, crip theory, and comics theory. The first section of this paper will build on Alison Kafer's formulation of the strange temporalities of disability (2013) to investigate the ways in which Webber constructs non-conventional layouts where she incorporates different formal elements to present Georgia's lived experience of disability as a disruption of conventional temporalities. Special attention will be paid to the endless, frustrating routine of paperwork to apply for disability welfare that the protagonist faces when her condition renders her unable to work. In the second section, I will draw on the work of Ellen Samuels (2017) to examine how Webber negotiates her shifting identity by graphically splitting her embodied self on the page, composing a parallel timeline where she visualizes her pre-disabled and disabled selves. The power of the pictorial is also extended to Webber's clever usage of color: while her cartoonish drawings appear in black and white, she employs red to draw Georgia's inner voice and her pain. Finally, my last section will employ the conception of crip time developed by Petra Kuppers (2014) to explore Georgia's reconnection with herself through her breathing exercises and her orientation towards artistic creativity. Overall, I will argue that Dumb does not present a narrative of recovery, as Georgia does not heal from her injury but engages instead with her disabled existence by turning inwards and depicting her voice (lessness).

2022-10-21T00:00:00Z Krásná, Denisa http://hdl.handle.net/10366/166058 2025-07-07T10:54:23Z 2022-10-21T00:00:00Z

[EN] This paper introduces anarcha-Indigenism and a decolonial animal ethic as emerging decolonial frameworks. Anarcha-Indigenism represents an intersection between Indigeneity, anarchism, environmentalism, Indigenous feminism, and other liberation movements as a promising decolonial framework that could initiate transcultural cooperation of diverse justice groups that are committed to change that would ensure the peaceful co-existence of diverse species and ecosystems on Earth. The article introduces anarcha-Indigenism and its primary principles and roots, discusses its potential and analyses some major challenges that anarcha-Indigenism faces. It expands the discussion by introducing Billy-Ray Belcourt?s decolonial animal ethic that connects (de)colonization of Indigenous peoples with (de)colonization of non-human animals. Special attention is paid to perspectives of some prominent Indigenous vegans. Finally, the role of artivism and imagination in decolonization is discussed. The article posits that anarcha-Indigenism needs to include human treatment of non-human animals in the discussion if it strives to establish non-hierarchical interrelations, and that decolonization has to always be at the movement?s core.

2022-10-21T00:00:00Z Vis-Gitzel, Janice http://hdl.handle.net/10366/166055 2025-07-07T11:30:35Z 2022-10-21T00:00:00Z

[EN] This article attends to non-human agency and plant communities in Martha Ostenso's 1925 novel Wild Geese. As non-humans shape the novel's setting and plot, they are entwined with human action but not subordinated to human agency or political systems; on the contrary, plant communities are political forces who ally, resist, and clash during the implementation of European agricultural practises in the early twentieth century. Thus, the setting details of this CanLit novel can be repurposed to think about the possibilities of community beyond colonial control./nThis article begins by drawing on Vanessa Watts' articulation of ecosystems-as-societies as a framework for plant agency. It then follows Margret Boyce's eco-critical engagement with Wild Geese to examine how the farm's monocrops are connected to, but not determined by, the heteropatriarchal family and the colonial state. Further, by considering how homoeroticism emerges against colonial heteropatriarchy in non-agricultural settings, queerness is shown to pre-exist and resist the organizing tendencies of settler colonialism. Finally, this article turns to non-human alliances in the novel's finale to demonstrate the ongoing struggle between political powers. To grapple with colonialism and its legacies, non-human agency and political power must also be recognized.

2022-10-21T00:00:00Z Miller, Claudia http://hdl.handle.net/10366/166056 2025-07-07T11:27:33Z 2022-10-21T00:00:00Z

[EN] The impact of climate change on Inuit communities in the Canadian Arctic has been widely documented in a myriad of scientific publications. However, the cultural and identity shifts attached to these changes have often been overlooked in mainstream portrayals that center on ice melt and animal species extinction to the detriment of the human factor. As many scholars have stated (Patrizia Isabella Duda, 2017 and Andrew Stuhl, 2016), the risks embedded in Arctic climate change must be considered as directly related to a demise of culture, education, and the social conditions of Inuit communities. This paper examines Inuit experience as a human-centered approach to climate change in Sheila Watt-Cloutier's The Right to Be Cold (2015). The text explores how Inuit ways of being are inseparable from the Arctic environment, demonstrating the vulnerability, adaptability and ingenuity of Inuit communities in the face of environmental crisis. Informed by Inuit epistemology and impregnated with feeling, I will argue how the autobiographical subject positions interlaced with affectivity in The Right exemplify Inuit life writing as essential contributions to climate change discourse.

2022-10-21T00:00:00Z Canada & Beyond, Secretaría de Redacción http://hdl.handle.net/10366/166054 2025-07-07T10:22:55Z 2022-10-21T00:00:00Z 2022-10-21T00:00:00Z