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The Channel Posts

When Gluing Cracks Together Is Not Enough: Trauma and Abjection in Kim Thúy’s Ru and Eden Robinson’s “Dogs in Winter”

By Liz Wagner Since it disturbs the natural flow of reading, the fragment form constitutes one of the most striking literary features of contemporary migration…

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‘Otherness’ Reinforced through Queer Temporality: A Queer Reading of “Drown” and “Quarantine:”

by Sanjna Navani Temporality is “a mode of implantation through which institutional forces come to seem like somatic facts”; in heteronormative society, these forces “are…

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Locating the Racial and Gendered Other in Denis’ and Breillat’s Cinema of the Body

by Camille Crichlow The recent rise of unsettling, often disturbing French arthouse films has formed the innovative Cinema du Corps movement, what Tim Palmer in…

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The Negative Other: A Third Presence in “Sunday Morning”

by James Ward  Wallace Stevens’ “Sunday Morning” is structured, ostensibly, around an interaction between a woman and a poet, with the woman serving as a…

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Apple of My Eye: Gaiman’s “Snow, Glass, Apples”

by Collin James The Brothers Grimms’ publication of “Snow White” spawned a lasting legacy that spans across multiple generations of narrative re-invention. This may be surprising,…

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Toni Collette: Character as Craft

by Rilla Kingston CREATING CHARACTER There are seemingly infinite methods for building character in a performance or dramatic role. The popularity of a given method changes…

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Visuality, Reflection and Love in “Little Expressionless Animals”

by Deanna Duxbury Julie and Faye’s relationship, in David Foster Wallace’s “Little Expressionless Animals,” is surrounded by images of glass, mirrors, and reflection. David Foster Wallace…

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Discursive and Formal Violence in Monique Mojica’s Princess Pocahontas and the Blue Spots

by Thomas Macdonald In “Stories from the Body: Blood Memory and Organic Texts,” Monique Mojica writes: “Our bodies are our libraries…Each injury, physical or emotional…

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