Danielle Schaub | Oranim academic college (original) (raw)
Papers by Danielle Schaub
BRILL eBooks, Sep 22, 2016
EMILY CARR WAS NO INTELLECTUAL. She turned her back on theosophy, even though it meant (or so she... more EMILY CARR WAS NO INTELLECTUAL. She turned her back on theosophy, even though it meant (or so she believed) the end of her close friendship with La wren Harris : This morning's mail brought an envelope full of theosophical literature. Once it interested me, now it sends me into a rage of revolt. I burnt the whole thing. I thought they had something,. .. something I wanted. I tried to see things in their light,. .. [but] all the time, in the back of my soul, I was sore at their attitude to Christ, their jeering at some parts of the Bible.. .. I hurled H. P. Blavatsky across the room.. .. I wrote to those in the East, told them I'd gone back to the beliefs of childhood.. .. Now there is a great yawn-unbridgeable. .. ; the gap is filled with silence. {Hundreds and Thousands 208-09) Carr's grasp of the culture and the feelings of aboriginal peoples was not analytical ; it rose from her own lived experience. In her painting she translated that understanding into a form appropriate to her own time, pursuing in her work what Jameson styles the "vocation of the perceptual" (237). Jameson's definition of modernism is worth quoting at some length, for it sheds light not only on Carr's painting, but on her extraordinary insights into the richness and the pathos of figures like Sophie and Mrs. Green : modernism can be seen. .. as a final and extremely specialized phase of that immense process of superstructural transformation whereby the inhabitants of older social formations are culturally and psychologically retrained for life in the market system. "language" which has its own rules, symbols, and "syntax," and which goes back to the deepest structures of the psyche, (in Silverman 507) With the exception of "Greenville," "Salt Water," and "Kitwancool," the sketches that follow "D'Sonoqua" are very short. Each one foregrounds a detail from the larger picture, showing the effect of cultural disintegration on individual lives. Their very brevity calls attention to what Levi-Strauss in his discussion of mythical thought calls a "limiting situation": When a mythical schema is transmitted from one population to another, and there exist differences of language, social organization, or way of life that make the myth difficult to communicate, it begins to become impoverished and confused. But one can find a limiting situation in which, instead of being finally obliterated by losing all of its outlines, the myth is inverted and regains part of its precision. Similar inversions occur in optics. An image can be seen in full detail when observed through any adequately large aperture. But as the aperture is narrowed, the image becomes blurred and difficult to see. When, however, the aperture is further reduced to a pinpoint, that is to say, when communication is about to vanish, the image is inverted and becomes clear again. (184) The "limiting situation" which informs the fragmented, non-linear snapshots of Klee Wyck is the historical conjuncture of two entirely different modes of life. In a few sharp images, Carr fixes the "transitional moment," showing "an organic social order in the process of penetration and subversion, reorganization and naturalization by nascent capitalism, yet still, for another long moment, coexisting with the latter" (Jameson 148). For the most part these scenes focus on individuals, picturing them as isolated figures imperfectly adapted to a commodified market economy, and even going so far as to single out particular senses in a complete negation of the organic and collective mode of aboriginal society. In "Juice," for example, the sensation of taste is highlighted; in "The Stare" it is sight, and in "The Blouse," touch. In "Chaatl," at first hearing is drowned out by the "awful boom, boom"-the drumlike sound-of the ocean (64), but in the end "the roar got fainter and fainter and the silence stronger.. .. the silence had swallowed up the roar" (66). "Sailing to Yan" highlights the old values, but "Nobody lived in Yan. Yan's people had moved to the newer village of Masset, where there was a store, an Indian agent and a church" (60), and as Klee Wyck works on her painting, the village is gradually blotted out by a creeping mist, "as if it were suddenly aware that you had been allowed to see too much" (61). "Sleep" describes an aboriginal family still whole and secure, entirely at home in the natural world. These are Salish people of the Songhees Reserve which in Carr's childhood housed 2,000 natives who lived side-by-side with the 3,000 non-native citizens of Victoria. In 1835 trie Salish numbered over 12,000; by 1915 that population was reduced by two-thirds, and the Songhees were "removed" from Victoria Harbour, as were the Kitsilano from the shores of Burrard Inlet (Tippett 114). The Haida were devastated, their numbers reduced from roughly 6,000 to 600, as were the Bella Coola people. The Kwakiutl fared little better. Tommy and Jenny Two-Bits are pathetic survivors of the population collapse that hastened the effects of cultural imperialism, stripping the natives of their possessions as well as their traditions. Mary in "The Blouse" covets Klee Wyck's blouse as an addition to "the few hoarded trifles of her strong days," for "Mary had not many things now but she had been important once" (42). In "Juice" an elderly Indian responds to an act of simple kindness-the gift of a partly eaten pear-in a way wholly incommensurate with the action, a pathetic indication of the rarity of such gestures. Klee Wyck comments ironically, "I. .. decided that honour for conspicuous bravery was something very easily won" (72). In all these short pieces the compressed form combines with the privileging of individual senses to emphasize the oppressive and impoverished reality of native people who must attempt to find a niche among the "broken data and reified fragments of a quantified world." In "Salt Water," "the senses become foregrounded as a theme in their own right, as content rather than as form" (Jameson 239). In the opening paragraphs of "Salt Water," sensations are subdued, distinctions nearly obliterated. The text repeatedly refers to the absence of sensation, the blurring of the boundaries between external and internal: "There was neither horizon, cloud, nor sound; of that pink, spread silence even I had become part, belonging as much to sky as to earth, as much to sleeping as to waking" (78). The "great round 'O' on the glassy water" contains a soundless echo of the "terrible OO-00-oo-oeo" of D'Sonoqua-an unspoken reminder of the sea's power to annul all human feeling. Within an hour, the boat is "dipping into green valleys, and tearing up erupting hills. ... It seemed as if my veins were filled with sea water rather than blood, and that my head was full of emptiness" (79). At Skedans Bay the land has been bitten and scarred as if by some terrible monster, and the silence is "pinched" out of the village by the "bedlam of waves pounding on the shores" (80). The contest between the sea and the boat that follows-a contest in which "The long dogged pull of the oars challenged death inch by inch, wave by wave" (81)-is punctuated by "screams," "shrieks," "screeches," and "sobs," as if language itself had lost its signifying power. After the rescue, when Klee Wyck has been "seized like a bale of goods and hurled into the boat," she lies on the deck "among the turmoil with everything rattling and smashing around and in my head no more sense than a jelly fish" (83-84). In the scenes which follow, the bedlam of the sea gives place to a different sort of bedlam: "It was nearly noon when I awoke. I could not place myself underneath the hat. The cabin was bedlam" (8 7). The roar of the storm has ceased. Now there is "No cloud, no sound, save only the deep thunderous snores coming from the cabin" (88). In this realm of fish boat and packer, human The uniformity of these views gives hope that perhaps the great authority of quantitative science may be insufficient to deny an ultimate unifying beauty. (19) In Bateson's definition, aesthetic means "responsive to the pattern which connects" (9) , a definition which was surely shared by Emily Garr. In her painting Carr strove to capture "not the accidentals of individual surface," but "the universals of basic form, the factor that governs the relationship of part to part, part to whole and of the whole subject to the universal environment of which it forms a part" {Hundreds and Thousands 2 5). It is the genius of Emily Carr that she was able to assimilate the aboriginal aesthetic of ecological awareness and to reclaim it in a form accessible to the modern consciousness. In this sense her painting can be properly described as Utopian-as a message of hope. Readers who look below the simple surface of the text will discover that "the pattern that connects all living things" is also to be found in Klee Wyck.
Revue Belge De Philologie Et D Histoire, 1985
Schaub D. Allen (Walter). The Short Story in English. In: Revue belge de philologie et d'hist... more Schaub D. Allen (Walter). The Short Story in English. In: Revue belge de philologie et d'histoire, tome 63, fasc. 3, 1985. Langues et littératures modernes — Moderne taal- en letterkunde. pp. 633-635
University of Ottawa Press eBooks, Sep 25, 2018
Les trois rubriques introduites dans ce recueil tentent de refléter les divers champs d'inves... more Les trois rubriques introduites dans ce recueil tentent de refléter les divers champs d'investigation qui s'entrelacent. Sans doute l'interaction entre "les mots et la peinture" (il y a bien discours sur le tableau et/ou tableau dans le discours) donne lieu à un ensemble de communications très homogène tout en faisant appel à un corpus d'œuvres très large. La section "l'image-récit" touche, en fait, à plusieurs types de discours : le discours photographique y est certainement privilégié, puis apparaissent le discours filmique et enfin le discours figuratif de la bande dessinée. Il a paru important de regrouper dans la dernière partie ce que nous avons appelé "l'image-métaphore". Peinture et écriture, image et parole (que la peinture soit enrichissement du langage ou que le texte soit illusion féconde) posent le problème de la représentation de l'indicible ou de l'invisible et visent à transcender le réel. Tous ces textes ...
Labrador
Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du ... more Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du Nord — du premier album de photographies publié, comme l’écrit en introduction Danielle Schaub, c’est ainsi que l’ont représenté les explorateurs européens et américains au cours des siècles. Dans ce livre, le premier album de photographies publié par un Inuit de Nunavik, Bob Mesher offre une vision « de l’intérieur » de ce fascinant territoire où il est né, suite au périple que sa famille avait entrepris du Nord du Québec à Paradise River. Revenu depuis à Kuujjuaq, diplômé universitaire et éditeur de Makivik Magazine, Bob Mesher s’est engagé à documenter par des centaines de milliers de photographies le Nord du Québec et le Labrador. Le lecteur découvrira ici son regard exceptionnel, à travers les choix de la photographe Danielle Schaub et les légendes — souvent étonnantes — de Bob Mesher. Labrador is one of the last mysterious and often inaccessible territories of the North — or rather so have European and American explorers claimed over the centuries, as Danielle Schaub writes in the introduction. In this book, the first book of photographs published by an Inuit of Nunavik, Bob Mesher offers an “insider’s” vision of this fascinating territory where he was born, following the journey his family from northern Quebec to Paradise River. Having returned to Kuujjuaq, as a university graduate and publisher of Makivik Magazine, Bob Mesher is committed to documenting northern Quebec and Labrador through some hundred thousands of photographs. The reader will discover his exceptional perspective, through the choices of photographer Danielle Schaub and the often-surprising captions given by Bob Mesher.
Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du ... more Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du Nord — du premier album de photographies publié, comme l’écrit en introduction Danielle Schaub, c’est ainsi que l’ont représenté les explorateurs européens et américains au cours des siècles. Dans ce livre, le premier album de photographies publié par un Inuit de Nunavik, Bob Mesher offre une vision « de l’intérieur » de ce fascinant territoire où il est né, suite au périple que sa famille avait entrepris du Nord du Québec à Paradise River. Revenu depuis à Kuujjuaq, diplômé universitaire et éditeur de Makivik Magazine, Bob Mesher s’est engagé à documenter par des centaines de milliers de photographies le Nord du Québec et le Labrador. Le lecteur découvrira ici son regard exceptionnel, à travers les choix de la photographe Danielle Schaub et les légendes — souvent étonnantes — de Bob Mesher. Labrador is one of the last mysterious and often inaccessible territories of the North — or rather so have European and American explorers claimed over the centuries, as Danielle Schaub writes in the introduction. In this book, the first book of photographs published by an Inuit of Nunavik, Bob Mesher offers an “insider’s” vision of this fascinating territory where he was born, following the journey his family from northern Quebec to Paradise River. Having returned to Kuujjuaq, as a university graduate and the publisher of Makivik Magazine, Bob Mesher is committed to documenting northern Quebec and Labrador through some hundred thousands of photographs. The reader will discover his exceptional perspective, through the choices of photographer Danielle Schaub and the often-surprising captions given by Bob Mesher.
Trauma and Meaning Making, 2016
Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events ... more Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events in the lives of individuals and communities. Meaning making consists both in a personal journey towards a new way to exist and live in a world shattered by trauma and in public politics locating and defining what has happened. In both perspectives, the collection evaluates the impact achieved by naming the victim/s and thus the right of the victim/s to suffer from its aftermath or by refusing to recognise the traumatic event and thus the right of the victim/s to respond to it. A range of paradigms and techniques invite readers to consider anew the specificities of context and relationship while negotiating post-traumatic survival. By delineating how one makes sense of traumatic events, this volume will enable readers to draw links between practices grounded in diverse disciplines encompassing creative arts, textual analysis, public and collective communication, psychology and psychotherapy, memory and memorial.
Canadian Literature Litterature Canadienne a Quarterly O Criticism and Review, 1993
The International Journal of Psychoanalysis, 2008
Who has ever heard of an avid reader placing an advertisement in the papers to offer the services... more Who has ever heard of an avid reader placing an advertisement in the papers to offer the services of her voice to the community? Imagination runs wild at the thought of potential responses to such an offer. The male agent from an advertising agency in Michel Deville’s film La lectrice (1988) certainly echoes societal doubts, if not disapproval, at such a request from a young assertive woman by the name of Marie. Based on Raymond Jean’s satirical and ironic book by the same title (1986) as well as on some of the stories he included in Un fantasme de Bella et autres r cits (1983), the film gives free rein to a weird assortment of customers who require Marie’s vocal expertise. Deville frames the novel’s narrative within another narrative, in which Constance reads the novel aloud to her partner Jean while in bed. Except for short returns to the frame narrative, the film thereafter follows the development of Marie’s clientele and her bibliotherapeutic approach during her house-calls. Her main clients chronologically include an adolescent in a wheelchair keen on erotically-charged texts, an ageing Hungarian countess fixated on her past love life, the countess’s pretty young companion troubled by spider-bites on her legs, a 6 year-old girl abandoned to her own devices by a self-absorbed mother, a businessman affected by sexual deprivation after separating from his wife and a retired judge obsessed with sadistic fantasies. The action focuses essentially on the reading sessions Marie conducts, in which she indirectly addresses the psychological trouble of her clients. Interspersed between the sessions, Marie’s brisk walk, visits to her partner or to her university professor, and other short scenes mark the passage of time. Through Miou-Miou, who plays the part of both Marie and Constance, the film playfully mingles narrative levels so as to throw light on Freud’s ideas about sexual repression as the source of all psychological problems (Freud, 2002, p. 5) and his psychoanalytic technique. Marie’s creation of a new profession, its therapeutic value and societal objection to it call to mind Freud’s creation of a new practice, elaboration of his theories and misgivings or cautionary advice about ‘‘wild psychoanalysis’’ (Freud, 2002, pp. 31–41), while reflecting on societal reception and resistance (Freud, 2002, pp. 81–92). The characters also embody personality and experiential types that illustrate Freud’s theories. As the story within a story allows for great flexibility of interpretation owing to the intertextual and symbolic allusiveness of the various narrative levels, the film encourages viewers to superimpose the levels as if they were only one. The many ramifications of the narrative layers and the healing impact of Marie’s reading to others conjure up yet another approach that may prove useful in the clinic of Freudian psychoanalysts, namely Int J Psychoanal (2008) 89:1237–125
Prose Studies, 2005
... In Identity, Community, Nation: Essays on Canadian Writing , Edited by: Schaub, Danielle and ... more ... In Identity, Community, Nation: Essays on Canadian Writing , Edited by: Schaub, Danielle and Verduyn, Christl. ... By virtue of their autonomy and interdependence,2 2. Forrest L. Ingram defines the story cycle as a set of stories linked to each other in such a way as to maintain a ...
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… Literature= Littérature canadienne: A quarterly o …, 1993
Critique: Studies in Contemporary Fiction, 1992
A Canadian by birth but an exile in Paris for forty years, Mavis Gallant continues to assert her ... more A Canadian by birth but an exile in Paris for forty years, Mavis Gallant continues to assert her Canadian identity. This she attributes to the indelible mark left by the first years of education, in her case received in Canada. She explains that “they provide our sense of gravity, our initial view of the world, the seed of our sense of culture,” and adds, “a deeper culture is contained in memory.”’ She sets out to prove this belief in her Home Truths, specifically in her Linnet Muir sequence. In its cumulative evocation of life in Montreal during the 1920s and 1940s, the sequence is the ideal series of stories through which to examine Canadian culture. Indeed, Linnet, the protagonist and narrator, returns to Montreal after years of “helpless migration” (219) in New York. She inevitably starts comparing her memories of her home country with its new reality. Although she acts as a filter, sometimes obliterating the unpleasant memories of her culture, the reader discovers the stable core of Canadian culture and its fluctuating boundaries.
Doctorat en philosophie et lettresinfo:eu-repo/semantics/nonPublishe
This collection of essays by feminist scholars from Canada and Israel explores the various aspect... more This collection of essays by feminist scholars from Canada and Israel explores the various aspects of Canadian identities and ethnic realities. A major source of tension and political conflict today, ethnicity and the problematics of identities inspire Canadian writers of all origins; to give a true picture of their society, they feel the urge to express their difference. The essays examine the voices of minority writers and of established writers from the two solitudes, whose views with regard to their identities and place in society highlight the specificity of the Canadian context. The book throws light on the paramount need to define one's position and identity in contrast to others, a need that may deny others the right to their own space. Foregrounding the diversity of perspectives characterising Canada's society, this volume will prove useful to students and researchers of Canadian Literature, Comparative Literature and the Social Sciences.
BRILL eBooks, Sep 22, 2016
EMILY CARR WAS NO INTELLECTUAL. She turned her back on theosophy, even though it meant (or so she... more EMILY CARR WAS NO INTELLECTUAL. She turned her back on theosophy, even though it meant (or so she believed) the end of her close friendship with La wren Harris : This morning's mail brought an envelope full of theosophical literature. Once it interested me, now it sends me into a rage of revolt. I burnt the whole thing. I thought they had something,. .. something I wanted. I tried to see things in their light,. .. [but] all the time, in the back of my soul, I was sore at their attitude to Christ, their jeering at some parts of the Bible.. .. I hurled H. P. Blavatsky across the room.. .. I wrote to those in the East, told them I'd gone back to the beliefs of childhood.. .. Now there is a great yawn-unbridgeable. .. ; the gap is filled with silence. {Hundreds and Thousands 208-09) Carr's grasp of the culture and the feelings of aboriginal peoples was not analytical ; it rose from her own lived experience. In her painting she translated that understanding into a form appropriate to her own time, pursuing in her work what Jameson styles the "vocation of the perceptual" (237). Jameson's definition of modernism is worth quoting at some length, for it sheds light not only on Carr's painting, but on her extraordinary insights into the richness and the pathos of figures like Sophie and Mrs. Green : modernism can be seen. .. as a final and extremely specialized phase of that immense process of superstructural transformation whereby the inhabitants of older social formations are culturally and psychologically retrained for life in the market system. "language" which has its own rules, symbols, and "syntax," and which goes back to the deepest structures of the psyche, (in Silverman 507) With the exception of "Greenville," "Salt Water," and "Kitwancool," the sketches that follow "D'Sonoqua" are very short. Each one foregrounds a detail from the larger picture, showing the effect of cultural disintegration on individual lives. Their very brevity calls attention to what Levi-Strauss in his discussion of mythical thought calls a "limiting situation": When a mythical schema is transmitted from one population to another, and there exist differences of language, social organization, or way of life that make the myth difficult to communicate, it begins to become impoverished and confused. But one can find a limiting situation in which, instead of being finally obliterated by losing all of its outlines, the myth is inverted and regains part of its precision. Similar inversions occur in optics. An image can be seen in full detail when observed through any adequately large aperture. But as the aperture is narrowed, the image becomes blurred and difficult to see. When, however, the aperture is further reduced to a pinpoint, that is to say, when communication is about to vanish, the image is inverted and becomes clear again. (184) The "limiting situation" which informs the fragmented, non-linear snapshots of Klee Wyck is the historical conjuncture of two entirely different modes of life. In a few sharp images, Carr fixes the "transitional moment," showing "an organic social order in the process of penetration and subversion, reorganization and naturalization by nascent capitalism, yet still, for another long moment, coexisting with the latter" (Jameson 148). For the most part these scenes focus on individuals, picturing them as isolated figures imperfectly adapted to a commodified market economy, and even going so far as to single out particular senses in a complete negation of the organic and collective mode of aboriginal society. In "Juice," for example, the sensation of taste is highlighted; in "The Stare" it is sight, and in "The Blouse," touch. In "Chaatl," at first hearing is drowned out by the "awful boom, boom"-the drumlike sound-of the ocean (64), but in the end "the roar got fainter and fainter and the silence stronger.. .. the silence had swallowed up the roar" (66). "Sailing to Yan" highlights the old values, but "Nobody lived in Yan. Yan's people had moved to the newer village of Masset, where there was a store, an Indian agent and a church" (60), and as Klee Wyck works on her painting, the village is gradually blotted out by a creeping mist, "as if it were suddenly aware that you had been allowed to see too much" (61). "Sleep" describes an aboriginal family still whole and secure, entirely at home in the natural world. These are Salish people of the Songhees Reserve which in Carr's childhood housed 2,000 natives who lived side-by-side with the 3,000 non-native citizens of Victoria. In 1835 trie Salish numbered over 12,000; by 1915 that population was reduced by two-thirds, and the Songhees were "removed" from Victoria Harbour, as were the Kitsilano from the shores of Burrard Inlet (Tippett 114). The Haida were devastated, their numbers reduced from roughly 6,000 to 600, as were the Bella Coola people. The Kwakiutl fared little better. Tommy and Jenny Two-Bits are pathetic survivors of the population collapse that hastened the effects of cultural imperialism, stripping the natives of their possessions as well as their traditions. Mary in "The Blouse" covets Klee Wyck's blouse as an addition to "the few hoarded trifles of her strong days," for "Mary had not many things now but she had been important once" (42). In "Juice" an elderly Indian responds to an act of simple kindness-the gift of a partly eaten pear-in a way wholly incommensurate with the action, a pathetic indication of the rarity of such gestures. Klee Wyck comments ironically, "I. .. decided that honour for conspicuous bravery was something very easily won" (72). In all these short pieces the compressed form combines with the privileging of individual senses to emphasize the oppressive and impoverished reality of native people who must attempt to find a niche among the "broken data and reified fragments of a quantified world." In "Salt Water," "the senses become foregrounded as a theme in their own right, as content rather than as form" (Jameson 239). In the opening paragraphs of "Salt Water," sensations are subdued, distinctions nearly obliterated. The text repeatedly refers to the absence of sensation, the blurring of the boundaries between external and internal: "There was neither horizon, cloud, nor sound; of that pink, spread silence even I had become part, belonging as much to sky as to earth, as much to sleeping as to waking" (78). The "great round 'O' on the glassy water" contains a soundless echo of the "terrible OO-00-oo-oeo" of D'Sonoqua-an unspoken reminder of the sea's power to annul all human feeling. Within an hour, the boat is "dipping into green valleys, and tearing up erupting hills. ... It seemed as if my veins were filled with sea water rather than blood, and that my head was full of emptiness" (79). At Skedans Bay the land has been bitten and scarred as if by some terrible monster, and the silence is "pinched" out of the village by the "bedlam of waves pounding on the shores" (80). The contest between the sea and the boat that follows-a contest in which "The long dogged pull of the oars challenged death inch by inch, wave by wave" (81)-is punctuated by "screams," "shrieks," "screeches," and "sobs," as if language itself had lost its signifying power. After the rescue, when Klee Wyck has been "seized like a bale of goods and hurled into the boat," she lies on the deck "among the turmoil with everything rattling and smashing around and in my head no more sense than a jelly fish" (83-84). In the scenes which follow, the bedlam of the sea gives place to a different sort of bedlam: "It was nearly noon when I awoke. I could not place myself underneath the hat. The cabin was bedlam" (8 7). The roar of the storm has ceased. Now there is "No cloud, no sound, save only the deep thunderous snores coming from the cabin" (88). In this realm of fish boat and packer, human The uniformity of these views gives hope that perhaps the great authority of quantitative science may be insufficient to deny an ultimate unifying beauty. (19) In Bateson's definition, aesthetic means "responsive to the pattern which connects" (9) , a definition which was surely shared by Emily Garr. In her painting Carr strove to capture "not the accidentals of individual surface," but "the universals of basic form, the factor that governs the relationship of part to part, part to whole and of the whole subject to the universal environment of which it forms a part" {Hundreds and Thousands 2 5). It is the genius of Emily Carr that she was able to assimilate the aboriginal aesthetic of ecological awareness and to reclaim it in a form accessible to the modern consciousness. In this sense her painting can be properly described as Utopian-as a message of hope. Readers who look below the simple surface of the text will discover that "the pattern that connects all living things" is also to be found in Klee Wyck.
Revue Belge De Philologie Et D Histoire, 1985
Schaub D. Allen (Walter). The Short Story in English. In: Revue belge de philologie et d'hist... more Schaub D. Allen (Walter). The Short Story in English. In: Revue belge de philologie et d'histoire, tome 63, fasc. 3, 1985. Langues et littératures modernes — Moderne taal- en letterkunde. pp. 633-635
University of Ottawa Press eBooks, Sep 25, 2018
Les trois rubriques introduites dans ce recueil tentent de refléter les divers champs d'inves... more Les trois rubriques introduites dans ce recueil tentent de refléter les divers champs d'investigation qui s'entrelacent. Sans doute l'interaction entre "les mots et la peinture" (il y a bien discours sur le tableau et/ou tableau dans le discours) donne lieu à un ensemble de communications très homogène tout en faisant appel à un corpus d'œuvres très large. La section "l'image-récit" touche, en fait, à plusieurs types de discours : le discours photographique y est certainement privilégié, puis apparaissent le discours filmique et enfin le discours figuratif de la bande dessinée. Il a paru important de regrouper dans la dernière partie ce que nous avons appelé "l'image-métaphore". Peinture et écriture, image et parole (que la peinture soit enrichissement du langage ou que le texte soit illusion féconde) posent le problème de la représentation de l'indicible ou de l'invisible et visent à transcender le réel. Tous ces textes ...
Labrador
Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du ... more Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du Nord — du premier album de photographies publié, comme l’écrit en introduction Danielle Schaub, c’est ainsi que l’ont représenté les explorateurs européens et américains au cours des siècles. Dans ce livre, le premier album de photographies publié par un Inuit de Nunavik, Bob Mesher offre une vision « de l’intérieur » de ce fascinant territoire où il est né, suite au périple que sa famille avait entrepris du Nord du Québec à Paradise River. Revenu depuis à Kuujjuaq, diplômé universitaire et éditeur de Makivik Magazine, Bob Mesher s’est engagé à documenter par des centaines de milliers de photographies le Nord du Québec et le Labrador. Le lecteur découvrira ici son regard exceptionnel, à travers les choix de la photographe Danielle Schaub et les légendes — souvent étonnantes — de Bob Mesher. Labrador is one of the last mysterious and often inaccessible territories of the North — or rather so have European and American explorers claimed over the centuries, as Danielle Schaub writes in the introduction. In this book, the first book of photographs published by an Inuit of Nunavik, Bob Mesher offers an “insider’s” vision of this fascinating territory where he was born, following the journey his family from northern Quebec to Paradise River. Having returned to Kuujjuaq, as a university graduate and publisher of Makivik Magazine, Bob Mesher is committed to documenting northern Quebec and Labrador through some hundred thousands of photographs. The reader will discover his exceptional perspective, through the choices of photographer Danielle Schaub and the often-surprising captions given by Bob Mesher.
Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du ... more Le Labrador est l'une des dernières terres mystérieuses et pratiquement inaccessibles du Nord — du premier album de photographies publié, comme l’écrit en introduction Danielle Schaub, c’est ainsi que l’ont représenté les explorateurs européens et américains au cours des siècles. Dans ce livre, le premier album de photographies publié par un Inuit de Nunavik, Bob Mesher offre une vision « de l’intérieur » de ce fascinant territoire où il est né, suite au périple que sa famille avait entrepris du Nord du Québec à Paradise River. Revenu depuis à Kuujjuaq, diplômé universitaire et éditeur de Makivik Magazine, Bob Mesher s’est engagé à documenter par des centaines de milliers de photographies le Nord du Québec et le Labrador. Le lecteur découvrira ici son regard exceptionnel, à travers les choix de la photographe Danielle Schaub et les légendes — souvent étonnantes — de Bob Mesher. Labrador is one of the last mysterious and often inaccessible territories of the North — or rather so have European and American explorers claimed over the centuries, as Danielle Schaub writes in the introduction. In this book, the first book of photographs published by an Inuit of Nunavik, Bob Mesher offers an “insider’s” vision of this fascinating territory where he was born, following the journey his family from northern Quebec to Paradise River. Having returned to Kuujjuaq, as a university graduate and the publisher of Makivik Magazine, Bob Mesher is committed to documenting northern Quebec and Labrador through some hundred thousands of photographs. The reader will discover his exceptional perspective, through the choices of photographer Danielle Schaub and the often-surprising captions given by Bob Mesher.
Trauma and Meaning Making, 2016
Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events ... more Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events in the lives of individuals and communities. Meaning making consists both in a personal journey towards a new way to exist and live in a world shattered by trauma and in public politics locating and defining what has happened. In both perspectives, the collection evaluates the impact achieved by naming the victim/s and thus the right of the victim/s to suffer from its aftermath or by refusing to recognise the traumatic event and thus the right of the victim/s to respond to it. A range of paradigms and techniques invite readers to consider anew the specificities of context and relationship while negotiating post-traumatic survival. By delineating how one makes sense of traumatic events, this volume will enable readers to draw links between practices grounded in diverse disciplines encompassing creative arts, textual analysis, public and collective communication, psychology and psychotherapy, memory and memorial.
Canadian Literature Litterature Canadienne a Quarterly O Criticism and Review, 1993
The International Journal of Psychoanalysis, 2008
Who has ever heard of an avid reader placing an advertisement in the papers to offer the services... more Who has ever heard of an avid reader placing an advertisement in the papers to offer the services of her voice to the community? Imagination runs wild at the thought of potential responses to such an offer. The male agent from an advertising agency in Michel Deville’s film La lectrice (1988) certainly echoes societal doubts, if not disapproval, at such a request from a young assertive woman by the name of Marie. Based on Raymond Jean’s satirical and ironic book by the same title (1986) as well as on some of the stories he included in Un fantasme de Bella et autres r cits (1983), the film gives free rein to a weird assortment of customers who require Marie’s vocal expertise. Deville frames the novel’s narrative within another narrative, in which Constance reads the novel aloud to her partner Jean while in bed. Except for short returns to the frame narrative, the film thereafter follows the development of Marie’s clientele and her bibliotherapeutic approach during her house-calls. Her main clients chronologically include an adolescent in a wheelchair keen on erotically-charged texts, an ageing Hungarian countess fixated on her past love life, the countess’s pretty young companion troubled by spider-bites on her legs, a 6 year-old girl abandoned to her own devices by a self-absorbed mother, a businessman affected by sexual deprivation after separating from his wife and a retired judge obsessed with sadistic fantasies. The action focuses essentially on the reading sessions Marie conducts, in which she indirectly addresses the psychological trouble of her clients. Interspersed between the sessions, Marie’s brisk walk, visits to her partner or to her university professor, and other short scenes mark the passage of time. Through Miou-Miou, who plays the part of both Marie and Constance, the film playfully mingles narrative levels so as to throw light on Freud’s ideas about sexual repression as the source of all psychological problems (Freud, 2002, p. 5) and his psychoanalytic technique. Marie’s creation of a new profession, its therapeutic value and societal objection to it call to mind Freud’s creation of a new practice, elaboration of his theories and misgivings or cautionary advice about ‘‘wild psychoanalysis’’ (Freud, 2002, pp. 31–41), while reflecting on societal reception and resistance (Freud, 2002, pp. 81–92). The characters also embody personality and experiential types that illustrate Freud’s theories. As the story within a story allows for great flexibility of interpretation owing to the intertextual and symbolic allusiveness of the various narrative levels, the film encourages viewers to superimpose the levels as if they were only one. The many ramifications of the narrative layers and the healing impact of Marie’s reading to others conjure up yet another approach that may prove useful in the clinic of Freudian psychoanalysts, namely Int J Psychoanal (2008) 89:1237–125
Prose Studies, 2005
... In Identity, Community, Nation: Essays on Canadian Writing , Edited by: Schaub, Danielle and ... more ... In Identity, Community, Nation: Essays on Canadian Writing , Edited by: Schaub, Danielle and Verduyn, Christl. ... By virtue of their autonomy and interdependence,2 2. Forrest L. Ingram defines the story cycle as a set of stories linked to each other in such a way as to maintain a ...
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… Literature= Littérature canadienne: A quarterly o …, 1993
Critique: Studies in Contemporary Fiction, 1992
A Canadian by birth but an exile in Paris for forty years, Mavis Gallant continues to assert her ... more A Canadian by birth but an exile in Paris for forty years, Mavis Gallant continues to assert her Canadian identity. This she attributes to the indelible mark left by the first years of education, in her case received in Canada. She explains that “they provide our sense of gravity, our initial view of the world, the seed of our sense of culture,” and adds, “a deeper culture is contained in memory.”’ She sets out to prove this belief in her Home Truths, specifically in her Linnet Muir sequence. In its cumulative evocation of life in Montreal during the 1920s and 1940s, the sequence is the ideal series of stories through which to examine Canadian culture. Indeed, Linnet, the protagonist and narrator, returns to Montreal after years of “helpless migration” (219) in New York. She inevitably starts comparing her memories of her home country with its new reality. Although she acts as a filter, sometimes obliterating the unpleasant memories of her culture, the reader discovers the stable core of Canadian culture and its fluctuating boundaries.
Doctorat en philosophie et lettresinfo:eu-repo/semantics/nonPublishe
This collection of essays by feminist scholars from Canada and Israel explores the various aspect... more This collection of essays by feminist scholars from Canada and Israel explores the various aspects of Canadian identities and ethnic realities. A major source of tension and political conflict today, ethnicity and the problematics of identities inspire Canadian writers of all origins; to give a true picture of their society, they feel the urge to express their difference. The essays examine the voices of minority writers and of established writers from the two solitudes, whose views with regard to their identities and place in society highlight the specificity of the Canadian context. The book throws light on the paramount need to define one's position and identity in contrast to others, a need that may deny others the right to their own space. Foregrounding the diversity of perspectives characterising Canada's society, this volume will prove useful to students and researchers of Canadian Literature, Comparative Literature and the Social Sciences.
Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events ... more Trauma and Meaning Making highlights multiple practices of meaning making after traumatic events in the lives of individuals and communities. Meaning making consists both in a personal journey towards a new way to exist and live in a world shattered by trauma and in public politics locating and defining what has happened. In both perspectives, the collection evaluates the impact achieved by naming the victim/s and thus the right of the victim/s to suffer from its aftermath or by refusing to recognise the traumatic event and thus the right of the victim/s to respond to it. A range of paradigms and techniques invite readers to consider anew the specificities of context and relationship while negotiating post-traumatic survival. By delineating how one makes sense of traumatic events, this volume will enable readers to draw links between practices grounded in diverse disciplines encompassing creative arts, textual analysis, public and collective communication, psychology and psychotherapy, memory and memorial.
Reading Writers Reading: Canadian Authors’ Reflections emerged as a response to the feedback rece... more Reading Writers Reading: Canadian Authors’ Reflections emerged as a response to the feedback received throughout the years when exhibiting my photographs of writers (not only in Canada — Eden Mills’ Writers’ festival; National Library of Canada, Toronto photography festival, Winnipeg Writers’ festival — but also in the Czech Republic, France, India, Israel, Poland, Slovakia and Spain). The reaction to the photographs alerted me to the wish of the general public at home and abroad to see photos of writers in spontaneous interaction with other people; readers enjoy non-posed photographs of writers for their display of the human character behind a book they have read or wish to read. Whereas previous books consisted of posed portraits and/or offered regional focus, this book offers a more generous range of updated, candid photographs of mainstream and emerging authors. The volume provides not only a vision of Canadian writers in full e/motion, but also insights into an area of their lives rarely discussed. For the novel inclusion of writers’ reflections on reading, both in private and in public, reveals the primordial place of reading in the writers’ lives, highlighting experiences of importance. Emphasising often inaccessible aspects of the writerly life, the texts by the authors range from the first steps in reading, either as a self-taught subject or under the coaching of a sibling, a parent, or a teacher, through reflections on the first visit to a library, on the first and/or most memorable public reading, on ways to prepare oneself for a public reading, on reading and interpretation, on unusual experiences in the field, to reading as a political act. Touching upon literacy and its various facets, the texts by each writer complement the photographic pursuit in an original and penetrating manner. Owing to the candid quality of the photographs and the revelatory content of the authors’ texts, a book like this will both increase the accessibility of writers to the public and encourage readership. With its clear pan-Canadian dimension, such photographic/textual project will contribute to preserving one of the burgeoning sectors of cultural heritage.
Photographs by Danielle Schaub — Texts by 164 Photographed Writers
350 pages
This collection of essays by feminist scholars from Canada and Israel explores the various aspect... more This collection of essays by feminist scholars from Canada and Israel explores the various aspects of Canadian identities and ethnic realities. A major source of tension and political conflict today, ethnicity and the problematics of identities inspire Canadian writers of all origins; to give a true picture of their society, they feel the urge to express their difference. The essays examine the voices of minority writers and of established writers from the two solitudes, whose views with regard to their identities and place in society highlight the specificity of the Canadian context. The book throws light on the paramount need to define one's position and identity in contrast to others, a need that may deny others the right to their own space. Foregrounding the diversity of perspectives characterising Canada's society, this volume will prove useful to students and researchers of Canadian Literature, Comparative Literature and the Social Sciences.
This collection of essays by scholars from Canada, Croatia, India, Italy and Israel maps an impo... more This collection of essays by scholars from Canada, Croatia, India, Italy and Israel maps an important aspect of Canadian culture by exploring the inherent relation between space and questions of subjectivity. Location at first stood out in Canadian literature because survival depended on control of the land; today owing to the technological advances that have eased human exploitation of the ground and its resources, and to some extent enhanced protection against adverse climatic conditions, the preoccupation with space has shifted to incorporate other realities. As manifest in contemporary writing throughout Canada, humans interact with place in order to stengthen their sense of belonging and selfhood.
The essays in Mapping Canadian Cultural Space examine a variety of literary texts by writers from different origins — whether old-timers or newcomers — all aiming at contextualising subjecthood. The critics exploit feminist, philosophical, or postcolonial approaches to investigate the subject. While throwing light on the existence of new, ephemeral, fragmented, fluid space/s alongside old, close-textured, solid space/s, the book seeks to encourage further inquiries into groundings of identity. Highlighting the multiplicity of perspectives characterising Canadian society, this volume will prove useful to students and researchers of Canadian Literature, Comparative Literature, Human Geography, the Social Sciences and Women Studies.
This book combines two media — photography and poetry — one enhancing the other, though each stan... more This book combines two media — photography and poetry — one enhancing the other, though each stands on its own too (the photographic work has been exhibited internationally on its own and some readings have consisted of the poetic material only). The poems accompany my close-ups of nature whose printing procedure involves an inversion in the photographic process that brings inner worlds to the surface. Just as the photography project encourages multiple readings of worlds below the surface in a manner recalling Rorschach inkblots, the poems address repressed aspects of the psyche and bodily experience suppressed under the guise of taboo. By doing so the poems attempt to lead the readers on a quest of meaning and understanding not only of the poet’s but also of their own inner worlds. The poems direct the readers to my inner world with guiding force while leaving enough space for them to enter their own world and vision through forking paths leading out of, and intimately connected to, my central route. Framing the tension between desire and the limitations of decency, the poems evoke psychic and bodily experiences as well as engage conversations that never took place for their potential explosiveness. Just as tree roots that unrelentingly weave, rift, suck from and feed the ground, the words invite the imagination to explore hidden interwoven layers of consciousness laying bare previously unconscious shapes, figures and constellations of the psyche. Denying clear borders of perception, the poems emerge from the interaction with organic living elements and emotional/physical states involved in writing on one another and writing themselves. By unveiling physical and emotional states normally not disclosed, let alone expanded on, the poems respond to ways in which nature with its power and insatiable voluptuousness unabashedly exposes its interiors on its peripheries. In this way the poems and photographs can alert the readers/viewers to the impact of patriarchal cultures that have taught human beings to turn away from these visions and imagine them as opaque surfaces so as to obliterate emotions (traditionally configured as irrational and inaccessible) and improper shapes of the flesh.
This collection of essays by scholars from Canada, England, France, India and Israel explores the... more This collection of essays by scholars from Canada, England, France, India and Israel explores the intersections of identity, community and nation within Canadian culture. Multiple waves of immigration and the intermingling of histories, memories and cultures have engaged Canadians in cross-cultural exchanges that have rendered definitions of identity increasingly complex. Modern-day mobility fosters cultural diversity and transnational identities, calling for a redefinition of subjectivity and belonging as well as challenging nationalist discourses. The essays in Identity, Community, Nation discuss a variety of literary texts by writers from a wide variety of origins — Canadian born and not. These texts grapple with the problematics of identity, investigate community attachments and articulate desires of belonging. By examining the diversified axes at which these notions intersect, the essays foreground hybridity and diversity while suggesting new negotiations of community and nationhood. The critics draw on feminist, philosophical, postmodernist or postcolonial approaches to study the subject. A photographic essay at the end of the collection offers a visual counterpart to the textual analyses. With its emphasis on the possibilities for identity formation, belonging and nationhood, this volume will encourage further enquiries into these contemporary concerns and will thereby prove useful to students and researchers alike in the fields of Canadian Literature, Comparative Literature, Human Geography, the Social Sciences and Women Studies.
In unsentimental prose and with sharp wit, Canadian-born Mavis Gallant portrays the isolation, fe... more In unsentimental prose and with sharp wit, Canadian-born Mavis Gallant portrays the isolation, fear, and detachment that afflict rootless North American and European expatriates. Gallant’s challenging stories require her readers’ active participation; unless they add their own building blocks, the stories will not stand. Danielle Schaub discusses Gallant’s disconcerting use of techniques and their impact on her work’s thematics, reconciling the inherent tension governing the lives of Gallant’s characters and the way she strains language and exploits narrative devices to translate it. Schaub contends that irony, the multiple perspectives of her stories, narrative voices, stylistic devices, interaction between text and image, atmosphere, and structural frame build up a tension that mirrors the characters’ displacement and disconnectedness. Metafictional allusions highlighting the author’s need to convey how her writing functions are also analysed, allowing the readers to share the ironic perspective from which the stories are written. Social, political, and historical issues treated in Gallant’s work are discussed in relation to the techniques used, making it easier for readers to understand the largely European context of the stories.
Each chapter of Mavis Gallant discusses one technique in depth, giving readers adequate tools to study the same technique in other volumes by Gallant. The variety of techniques both highlights Gallant’s skilfulness and clarifies her work, both on thematic and technical level. Schaub’s clear and immensely helpful introduction makes a difficult writer accessible to all. Included in the volume are a Preface, Acknowledgements, Chronology, Notes and References, Selected Bibliography, and Index.
Comment mieux honorer la mémoire d’un écrivain controversé qu’en lui dédiant un recueil critique ... more Comment mieux honorer la mémoire d’un écrivain controversé qu’en lui dédiant un recueil critique sur son œuvre? Tel est le projet dans lequel se sont lancés dix chercheuses et chercheurs d’origines variées dans le but d’éclairer les formes d’écriture guidées par l’engagement du poète, romancier, dramaturge et essayiste Gérard Étienne. Marqué par les tensions sociales, religieuses et politiques généralisées en Haïti et ayant souffert de la violence tant psychique que physique d’une famille brisée et d’un régime tyrannique, il n’a eu de cesse de dénoncer l’iniquité où qu’elle se trouve et de la mettre au pilori dans ses écrits poétiques, fictionnels, théâtraux et philosophiques. Aussi les chercheuses et chercheurs réunis par leur souci commun de le commémorer se sont penchés sur le conflit — entre deux races, deux identités, deux pays, deux religions, entre l’avant et l’après — qui a inspiré toute son œuvre. Ce faisant ils ont souligné la subversion qu’adopte la voix de la révolte pour s’opposer à l’agression et à l’injustice tout en cernant l’insoutenable et persistante déstabilisation de la douleur qu’elles engendrent.
Ce numéro a été dirigé par Simone Grossman et Danielle Schaub
Ont collaboré à ce numéro:
Aimé Avolonto, Corinne Beauquis, Yves Chemla, Simone Grossman, Maya Hauptman, Schalum Pierre, Amy J. Ransom, Danielle Schaub, Judith Sinanga-Ohlmann et Lélia Young.