Kanadische Gegenwartsliteratur

2020 ◽  

Kanadische Literatur der Gegenwart ist Weltliteratur – Literatur von globalem Format und Wirkung, prestigeträchtig ausgezeichnet (Nobelpreis für Alice Munro, Booker­Prize und Friedenspreis für Margaret Atwood), hochaktuell und kontrovers. In der Tat liegt der Erfolg der kanadischen Literatur im 21. Jahrhundert nicht zuletzt in ihrer transnationalen und multikulturellen Ausrichtung. Die kanadischen Autor*innen, deren Werke in diesem Band vorgestellt werden, zeichnen sich immer wieder durch das Überschreiten von Grenzen aus. Das können geografische Grenzen sein, wie im Fall der von ghanaischen Einwanderern abstammenden Esi Edugayan oder des singhalesisch­holländisch­stämmigen Michael Ondaatje, deren Figuren zwischen Kanada, den Vereinigten Staaten, Deutschland und Afrika angesiedelt sind. Es handelt sich aber auch um Gattungsgrenzen, etwa die noch immer misstrauisch beargwöhnte Frontlinie zwischen Autobiografie und Fiktion, auf der Sheila Heti zum Grenzgänger wird, oder sogar die zwischen Literatur und Popmusik, wie sich in der erstaunlichen Karriere von Leonard Cohen zeigt. Der vorliegende Band gibt einen Einblick in die Vielfalt der Literatur Kanadas, vom modernen Klassiker bis zur spannenden Neuentdeckung.

1997 ◽  
Vol 92 (1) ◽  
pp. 149
Author(s):  
Danielle Fuller ◽  
Winfried Siemerling ◽  
Leonard Cohen ◽  
Hubert Aquin ◽  
Michael Ondaatje ◽  
...  

2020 ◽  
Vol 31 (61) ◽  
pp. 408-428
Author(s):  
Carolina De Pinho Santoro Lopes

The objective of this paper is to analyze the interplay of narrative, memory, and identity in short stories by Canadian authors Margaret Laurence, Alice Munro and Margaret Atwood. The three works explored in the article are narratives told from the perspective of characters who delve into their own past to make sense of their present, thereby revealing the strong bond between the act of remembering and the construction of one’s self.


Author(s):  
Coral Ann Howells

This chapter discusses the works of three Canadian novelists best known internationally: Robertson Davies, Margaret Atwood, and Michael Ondaatje. The careers of Davies, Atwood, and Ondaatje, although overlapping chronologically, represent distinctive stages in Canada's evolving cultural traditions and publishing practices since the 1950s. Davies's novels signal the first stage in a transition from colonial to postcolonial identity in post-war Canada. Atwood in the 1970s provided the script for a Canadian cultural and literary identity separate from British and American in what Carol Shields called ‘a period of explosive patriotism’. Ondaatje's novels and family memoir epitomize the ‘refocusing and defocusing’ of Canadian literature since the 1980s, coinciding with the nation's shifts into multiculturalism and transnationalism. The chapter first provides a background on Davies, Atwood, and Ondaatje's careers before considering some of their works, including the Deptford trilogy (Davies), The Handmaid's Tale (Atwood), and The English Patient (Ondaatje).


2016 ◽  
Vol 1 (3) ◽  
pp. 141
Author(s):  
Rana Sağıroğlu

Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.


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