Introduction 1. Woman's Place in Man's Life Cycle 2. Images of Relationship 3. Concepts of Self and Morality 4. Crisis and Transition 5. Women's Rights and Women's Judgment 6. Visions of Maturity References Index of Study Participants General Index

In a Different Voice. Psychological Theory and Women’s Development. Cambridge, MA (Harvard University Press) 1982.

On death and dying

Culture and Imperialism

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

The essential introduction to the most important texts in post-colonial theory and criticism, this second edition has been thoroughly revised and updated to include 121 extracts from key works in the field. Leading, as well as lesser known figures in the fields of writing, theory and criticism contribute to this inspiring body of work that includes sections on nationalism, hybridity, diaspora and globalization. The Reader's wide-ranging approach reflects the remarkable diversity of work in the discipline along with the vibrancy of anti-imperialist writing both within and without the metropolitan centres. Covering more debates, topics and critics than any comparable book in its field, The Post-Colonial Studies Reader is the ideal starting point for students and issues a potent challenge to the ways in which we think and write about literature and culture.

The Post-Colonial Studies Reader

La participation du lecteur a la creation litteraire. L'A. analyse chez Page, Ondaatje, Avison et Atwood, la maniere dont la structure du texte et la metaphore se pretent a cet echange entre l'acte visuel et l'ecriture.

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"Snow Storm of Paper": The Act of Reading in Self-Reflexive Canadian Verse

The “Phenomenal Image” in Opera

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Colonialism and the Postcolonial Condition

Definitions of 'modernism,' from whatever perspective, seem to find it impossible not to take into account the fact that there is a paradox at its very core: that revolution in form was in part, at least, the result of a renewed questioning—by each of the arts—of the past traditions that had engendered it. In literature, the work of Joyce and Eliot, to mention only the most obvious, focused attention on the creative process involved in the transformation of the old into the new. What, then, would be the difference between this kind of radicalized harking back to tradition and that of someone like, say, John Barth today, a writer who also looks into what he calls the 'treasure-house' of past literature, in order to discover the new, the novel? Barth has claimed that his infamous label the 'literature of exhaustion' should more accurately be renamed the 'literature of replenishment' or, even more succinctly, 'postmodernism.' Without entering into the current debate on the felicity (or infelicity) of that la...

The 'Postmodernist' Scribe: The Dynamic Stasis of Contemporary Canadian Writing

The relationship between words and music in opera has been a contested one right from the very start Over the history of this form of musical drama, the relative importance of each component has shifted radically, often provoking operatic ‘reforms’ aimed at righting what was intended, at opera's birth, to be a balance of the two But to complicate matters further, opera does not consist only of words and music; unlike the lied or lyric poem, opera aims to tell, or rather to show, a more extensive story It does this not only through the words, but also, in complex ways, through the music itself (which ‘speaks’ directly to and is heard by the audience, not the characters on stage) But one further complication: the interaction of words with music is not alone in communicating the narrative of opera: through its dramatic performance, opera deploys multiple semiotic systems – visual (lighting, costumes, sets), gestural, auditory, etc – to enact its story Using examples from the past and present o

Linda Hutcheon

Papers

"Snow Storm of Paper": The Act of Reading in Self-Reflexive Canadian Verse

The “Phenomenal Image” in Opera

Colonialism and the Postcolonial Condition

The 'Postmodernist' Scribe: The Dynamic Stasis of Contemporary Canadian Writing

Prima la musica, poi le parole? Operatic Challenges to Word–Music Relations