Linda Hutcheon

Bio: Linda Hutcheon is an academic researcher from University of Toronto. The author has contributed to research in topics: Postmodernism & Opera. The author has an hindex of 27, co-authored 146 publications receiving 8146 citations. Previous affiliations of Linda Hutcheon include National Autonomous University of Mexico & McMaster University.

Editors’ Introduction: Hearing Riel

Abstract: The catalyst for this special issue on “Hearing Riel” was the 2017 revival of Harry Somers and Mavor Moore/Jacques Languirand’s Louis Riel, an opera commissioned for Canada’s centennial in 1967 and revived by the Canadian Opera Company as part of Canada’s sesquicentennial celebrations in 2017. That centennial–sesquicentennial link arguably made Louis Riel the obvious choice for highlighting the national occasion with an opera production – perhaps even the first option that a Canadian operagoer might think of. Yet it would barely take a second thought to realize that its subject matter would necessarily make it nearly as controversial as the event it was intended to acknowledge. Anniversaries are attractive; indeed, they can prove nearly irresistible. Perhaps most predictably, they appear as occasions for celebration, and the 150th marker of the federation originally known as the Dominion of Canada was a prime example of the type and scale of anniversary that was clearly not to be missed. The Canadian government prepared well in advance, creating tantalizing funding opportunities for commemorative and celebratory initiatives, but it was scarcely imaginable that any such occasion following hard on the heels of the conclusion of the Truth and Reconciliation Commission could be convincingly billed as merely a very big party. Yet even those who are more inclined to reflection than revelry are compelled to recognize such occasions. Academics in the humanities, for example, may typically cast a more critical than laudatory eye on commemorative dates, but scepticism is not a good reason for sitting one out. The truth is that we are inexorably drawn to anniversaries, which have the capacity to fuel the industry of scholarly production as well as, or perhaps even better than, a really good theory. This special journal issue, then, really emerges from a potent combination of recurrences – a fifty-year-old operatic revenant whose origin, observing the hundredth of the national entity now turning 150, warranted its revival as marker again – both of which were controversial enough to urge a response and a sesquicentennially funded response, no less. Several of these articles originated as presentations given at a sold-out symposium held at Innis College at the University of Toronto, which is located on un-ceded traditional Indigenous territory.1 The symposium took place on 21 April 2017, following utq University of Toronto Quarterly University of Toronto Quarterly 0042-0247 1712-5278 University of Toronto Press 10.3138/utq.87.4.01

Pompous pedants, medical monsters, humane healers: operatic physicians

Abstract: If you look to reality TV or the many television hospital dramas to gauge how our society views doctors today, you're following a time-worn tradition. In fact, the 400-year-old extravagant and excessive art form of opera predates TV when it comes to dramatizing our culture's perceptions of the

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

Abstract: 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

The Value of Narrativity in the Representation of Reality

Abstract: 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

The Post-Colonial Studies Reader

Abstract: 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.