AORTA
发表于 2025-3-23 11:42:57
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saphenous-vein
发表于 2025-3-23 17:12:06
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镀金
发表于 2025-3-23 21:15:30
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ineptitude
发表于 2025-3-23 23:12:33
Introduction: Nation, Identity, Species,’, Ernest Thompson Seton and Charles G. D. Roberts, whose sentimental style of writing invited a type of criticism that determined arguments about Canadian animal writing for much of the early contemporary era. The chapter also engages with contemporary understandings of Canada’s relationship with a
Creditee
发表于 2025-3-24 02:22:59
,Reconfiguring Animal Narratives in Farley Mowat’s , (1963),monstrates that . is a culturally visible piece of writing that influenced public opinions concerning wolves and blazed a trail in the 1960s between writing about animals in Canada and a more literary strategic type of writing.
DEFT
发表于 2025-3-24 07:02:05
,Trauma on Display: Women’s Wilderness Writing and Animal Ciphers in Margaret Atwood’s , (1972) and her in a particular representational strategy that temporarily appears to be pro-animal, but that ultimately uses animals symbolically to represent human concerns and abandons any attempt to handle animals seriously. It focuses on the representation of pseudo-wildernesses—a log cabin by a lake in .
积云
发表于 2025-3-24 13:50:21
,Writing Bear(s): Thematising the Canadian Animal Story in Marian Engel’s , (1976), rejection of anthropocentric representations of animals, and that this is self-consciously engaged with in .. The novel responds to dominant conversations in Canada concerning the symbolic use of animals in literature by thematising animal writing to construct a story about a bear that refuses to c
蔑视
发表于 2025-3-24 16:16:45
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重画只能放弃
发表于 2025-3-24 21:10:10
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CONE
发表于 2025-3-24 23:54:09
Conclusion,played a self-conscious role in the changing nature of writing about animals in contemporary Canada. What emerged across the period is an evident construction of more critically engaged writing about animals that attempts to take animals seriously as agents in reciprocated interspecies relationships