rss_2.0American, British and Canadian Studies FeedSciendo RSS Feed for American, British and Canadian Studies, British and Canadian Studies Feed Beyer. . Newcastle upon Tyne, Cambridge Scholars Publishing, 2021. Hardback, 61.99 GBP. Memoriam Professor Mihaela Irimia: “Solemnest of industries” Memoriam Professor Mihaela Irimia: In Loving Memory of Mickey“That’s Purely Greek”: Ethnicity and Gender in Ariadne Thompson’s<abstract> <title style='display:none'>Abstract</title> <p><italic>The Octagonal Heart</italic> (1956) depicts Ariadne Thompson’s memories of the happy summers she spent as a child with her extended family in the octagonal house, Parnassus, a private residence near St. Louis, USA. A strong sense of Greekness permeates the intertwining layers of the memoir, the physical one (the house with its Greek-style decorated rooms arranged in an octagonal shape and its surroundings) and the emotional one (which captures the relationships among the family members and their reactions to significant moments in their lives). This essay proposes a close reading of the memoir with a view to examining how gender, ethnic expectations, and attitudes towards assimilation have impacted the hyphenated identities of three generations of women in Thompson’s family.</p> </abstract>ARTICLEtrue“Mocking Eternities”: Writing Beyond the Ending of , or A.S. Byatt’s Intersections between Academia, Literary Criticism, and Fiction<abstract> <title style='display:none'>Abstract</title> <p>In 1995, a two-page-long letter signed by Professor Maud Michell-Bailey – which furthermore enclosed two original poems by Christabel LaMotte – prefaced a special edition on women poets in the academic journal <italic>Victorian Poetry</italic>. The letter and poems invite a critical return to <italic>Possession</italic>, since they are a complex game in which made-up characters come to life and actual people are fictionalized. They also raise significant theoretical issues while appearing to break free from the limitations imposed by what Victorian Poetry editor Linda Hughes has correctly described as “overdetermined readings, simplification, distortion” (6). In doing so, they masterfully create a parodic and intertextual dialogue in an inverted mirror game that blurs the lines between the real and the imagined and invites the reader to engage in an active participation. When combined, Maud’s letter and LaMotte’s poems offer an intriguing look at the fruitful fusion of A.S. Byatt's critical and literary imagination. Therefore, this article explores Byatt’s intersections between academia, literary criticism, and fiction by analysing her metafictional discourse on fictional Victorian poems vis-à-vis the real contemporary academic journal in which they were published.</p> </abstract>ARTICLEtrue from Page to Stage and Back: A Hands-On Perspective on Functionalism in Drama Translation<abstract> <title style='display:none'>Abstract</title> <p>A decade ago I translated <italic>Romeo and Juliet</italic> into Romanian for a student performance, which premiered on February 14, 2013 and has since participated in four international theatre festivals. Three years later, having joined the team of the <italic>Shakespeare for the New Millennium</italic> project – devoted to the retranslation of Shakespeare’s complete works – I embarked on what I thought would be merely a revision of my previous translation for the stage, but soon turned into a very different <italic>translatorial</italic> experience, which resulted in an entirely new Romanian version, mainly due to the twofold, yet more clearly defined purpose of the translation project. This new version, published in vol. 13 (2018) of the latest scholarly edition of Shakespeare’s complete works (2010-2019), has recently passed the performability test as well, in a compelling stage production which premiered, to great acclaim, on December 17, 2022 at the “Mihai Eminescu” National Theatre in Chișinău (Moldova). Thus, my article sets out to explore – self-reflectively, retrospectively and through the lens of <italic>Skopos</italic> theory – how in each case my approach to the task in hand, my decisions and my solutions to various translation problems were guided by what I knew or assumed about the aims, requirements and prospective audience of each translation. Thus, a translator’s practical experience is brought to bear on what has been both hailed and criticised as “a new paradigm” in translation studies, in an attempt to test its hypotheses against the actual practice (as well as the outcomes) of translating the same text for different purposes.</p> </abstract>ARTICLEtrue Ciuraru, . New York: HarperCollins, 2023. 336 pages. Paperback. $21.99. ISBN: 9780062356925, ISBN 10: 0062356925. The Aestheticisation of Death in Sylvia Plath’s “Edge” and in the Illustrations of Adriaan van de Spiegel’s<abstract> <title style='display:none'>Abstract</title> <p>This article investigates the aestheticisation of death in Sylvia Plath’s poem “Edge” in relation to other poems by her and marginally by Seamus Heaney and Charles Baudelaire, and to the short story “The Oval Portrait” by Edgar Allan Poe. Such aestheticisation, I contend, partakes of the spirit of the anatomical illustration of early modern tracts such as the joint volume by Giulio Casserio and Adriaan van de Spiegel, and of western culture’s necrophilia.</p> </abstract>ARTICLEtrue Memoriam Professor Mihaela Irimia: Some Personal Recollections on the Passing of One of the Most Erudite and Highly Reputed Specialists in British Studies Marucci. . Oxford, New York: Peter Lang, 2020. Pp. 220. ISBN 978-1-78997-598-7 (hardback); ISBN 978-1-78997-599-4 (ePDF). Labour?: Assessing the Body under Capitalism in William Gibson’s<abstract> <title style='display:none'>Abstract</title> <p>Science fiction writer William Gibson is widely recognised for revolutionising the field as he is often considered to be the father of the sub-genre called cyberpunk. He had a significant cultural impact and his seminal novel <italic>Neuromancer</italic> has been lauded for the use of ‘cyberspace.’ The concept of ‘cyberspace’ posits the notion of disembodiment, which postulates the probable dissolution of the duality between the mind and the body and the subsequent transgression of this binary. It promises a space beyond the mortal flesh, but it also reinstates the power relations that we get to experience in the real world. The novel offers an insight into transgressions of the limitations of the flesh; however, in Gibson’s narrative there seems to be no overcoming the relentless assault of capitalism onto the bodies. In other words, the power relations of the real world are also implicated in the virtual space of <italic>Neuromancer</italic>’s characters. This article will look into disembodied labour and how the body of the worker becomes the site that the capitalists manipulate and control for their own profit, and almost always at the expense of the well-being of the worker.</p> </abstract>ARTICLEtrue and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (II)<abstract> <title style='display:none'>Abstract</title> <p>This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by <italic>American, British and Canadian Studies</italic>. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the <italic>Oxford Reference Dictionary</italic>, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.</p> </abstract>ARTICLEtrue Art of Retelling: Text/ile in Margaret Atwood’s<abstract> <title style='display:none'>Abstract</title> <p>This article proposes to examine the interplay between rewriting and the text/ile metaphor in Margaret Atwood’s <italic>The Testaments</italic>. The author’s predilection for intertextuality is inextricably linked to her conception of the text as a fabric and the writer as an embroiderer. Weaving, interweaving and reweaving are seamlessly tied to her acts of (re)writing. Drawing on André Lefevere’s theorization of rewriting and Gérard Genette’s conceptualization of metatextuality, the article examines the aesthetic and thematic relationship between rewriting and sartorial poetics. The novel is a textual patchwork of interlaced references gleaned from a large array of generic materials. The essay, which is divided into two parts, mainly argues that Atwood’s (re)writing strategies, or what Adrienne Rich calls “re-vision,” based on decoupage, collage, stitching, and sewing, are tools of resistance. The first section provides a theoretical framework for understanding the act of rewriting and the different ways in which it can be conceptualized. The second part applies this theoretical framework to Atwood’s novel, examining how she uses the text/textile metaphor to explore the power of storytelling and the importance of resistance. Creating a tapestry-like novel with interwoven textual strands not only resists aesthetic and cultural closure, but also mobilizes attention against all forms of oppression.</p> </abstract>ARTICLEtrue Andrei Vlad. . Bucharest: Editura Universitară, 2021. Pp 166. ISBN: 978-606-28-1385-7. of Non-Being in David Lynch’s , Edmund Elias Merhige’s , and Darren Aronofsky’s : A Comparative Analysis from Indian Philosophy Perspectives<abstract> <title style='display:none'>Abstract</title> <p>Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: <italic>Eraserhead</italic>, <italic>Begotten</italic>, and <italic>Pi</italic>, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.</p> </abstract>ARTICLEtrue Paolo Piciucco, editor. . Torino: Nuova Trauben, 2023. 350 pp. Hardback. 50 Euros. ISBN 9788899312909.“To Be, or Not to Be” in Translation:<abstract> <title style='display:none'>Abstract</title> <p>In this contribution, the sentence type (declarative or interrogative), the disjunctor <italic>or</italic>, the infinitive mode of the verb <italic>to be</italic> as well as the lexical meaning encoded in it are addressed with regard to some translations of the move that opens Hamlet’s soliloquy, in the Third Act of the tragedy named after him. In the description, the translated passage is quoted and a retranslation into English is proposed, so that the choice made by the translator is better understood. As is evident, this choice is partly related to the architecture of the language into which the text is translated, and partly motivated by the translator’s own interpretation. Moreover, certain features of the language structure deserve to be considered in order to ask whether and how a language system influences the interpretation itself. The legacy of Coseriu’s insights invites us to rethink the activity of translation as a form of knowledge that can access a truly interlinguistic level (<italic>übereinzelsprachliche Ebene</italic>).</p> </abstract>ARTICLEtrue to Science Poetry: Three Poems by Ernesto Cardenal<abstract> <title style='display:none'>Abstract</title> <p>Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his “exteriorist” poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound’s canto technique on his work is clear, as well. Cardenal’s epic poem <italic>Cántico cósmico</italic> (<italic>Cosmic Canticle</italic>), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal’s commitment as a Christian-Marxist revolutionary. My translations of three fragments of his <italic>Cosmic Canticle</italic> selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth.</p> </abstract>ARTICLEtrue // Non-being as Vectors of Thought and Expression