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A Theory of Footnotes in Mary Robinson’s A Letter To The Women of England 

The marginal symmetry between female authors and their footnotes authorizes the radical deployment of footnotes for women writers: footnotes can not only articulate women’s alienation and assert authorial agency, but in doing so, afford women the opportunity to permeate canonical male literary institutions. 

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“An Orgy in a Many-Mirrored Room”: Psychological and Poetic Doubling in Leonard Cohen’s “Death of a Lady’s Man”

In Cohen’s album Death of a Ladies’ Man, he croons from an uncharacteristic third-person perspective which provides a sense of distance between the singer and his highly autobiographical narrative. This vocal space establishes that despite Cohen’s metaphysical death as a lover, his existence as a storyteller continues. 

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“Living on the Hyphen”: The Role of Linear Narratives in Canadian Literature and Recipes

Fred Wah’s Diamond Grill, Eden Robinson’s Monkey Beach, and Madeleine Thien’s “Simple Recipes” use their respective forms to write against the colonial imposition of neatly constructed realist narratives and recipes, instead exploring hybrid forms that allow for the embrace of cultural openness and fluidity.

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Social Class and Control: Fanny Price as a Reflection of Colonial Affairs in Mansfield Park

Fanny’s class status leads her to be treated in a way that mirrors colonial affairs tied to the Bertram family. However, Fanny’s ability to display agency related to her romantic desires distances her from this analogy.

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Lucetta the Precursor: Shakespeare’s Ladies-In-Waiting in The Two Gentlemen of Verona and The Merchant of Venice

Shakespeare’s centralisation of Nerissa as a character in The Merchant of Venice, and the sudden, but inevitable, discarding of Lucetta in The Two Gentlemen of Verona, exemplifies the shift in Shakespeare’s late style as he turned to focus on characters’ interiority, especially that of minor characters, rather than their capacity to facilitate and advance a plot.

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