Bøker utgitt av Wilfrid Laurier University Press

Deportment is a selection of poems surreal, cerebral, and defiant by Alice Burdick. Burdick examines the dangers of dogma, women's rights, and environmental degradation in biting satires, moving elegies, and anti-sentimental lyrics filled with mischievous wordplay. The selection includes some of Burdick's most iconic poems as well as rare work from the beginning of her career in 1990s Toronto and previously unpublished material. Burdick's later poetry, more expansive in form and subject matter, addresses motherhood, the rural landscape, and sex and desire at middle age. Deportment makes the case for Alice Burdick as one of Canada's best poets, alongside figures such as Lisa Robertson, Karen Solie, and Sina Queyras. Alessandro Porco's introduction situates Burdick's early work within the Toronto small press scene, focusing on her fugitive chapbooks, broadsides, and literary ephemera while highlighting her formative relationships with Victor Coleman and Stuart Ross. He traces her move from Toronto to Nova Scotia in the early 2000s and the impact of publishing from the social and spatial margins of Canadian literature. In her afterword, Burdick reflects on everyday life as a poet and citizen, daughter and mother in both the zombieland of downtown Toronto and the alien geography of Eastern Canada. She explores how the comparative speed, sound, and density of urban and rural spaces have shaped her literary imagination.

Recovers a new regional archive of "black prairie" literature, and includes writing that ranges from work by nineteenth-century black fur traders and pioneers, all of it published here for the first time, to contemporary writing of the twenty-first century.

Weaves together compelling stories and potent lessons learned from the calamitous Halifax explosion - the worst non-natural disaster in North America before 9/11. Written in a journalistic style, this book explores how the explosion influenced later emergency planning and disaster theory.

During the Second World War, hundreds of children were sent from the UK to stay with family and friends in Canada as "war guests". This book collects the letters of one such war guest, young Alec Douglas, who wrote from his wartime home in Toronto to his mother back home in London.

An original look at hoaxes in Canadian culture, this book shows how the work of some contemporary artists and writers disrupts the curatorial and authorial practices of Canada's most respected cultural institutions - art galleries, museums, and publishers - in order to celebrate discomfort, imagination, empathy, and change.

The year 1930 can be seen as the dawn of a period of darkness, the beginning of a decade that Auden would style "e;low, dishonest."e; That year was one of the most reflective moments in modernity. After the optimism of the nineteenth century, the West had stumbled into war in 1914. It managed to survive a conflagration, but it failed in the aftermath to create something valued. In 1930, Europe was questioning itself and its own viability. Where are we heading? a number of public intellectuals asked. Who are we and how do we build moral social and political structures? Can we continue to believe in the insights and healing quality of our culture? Major thinkersMann, Woolf, Ortega, Freud, Brecht, Nardal, and Huxley as well as a number of artists, including Picasso and Magritte, and musicians, such as Weill, sought to grapple with issues that remain central to our lives today: the viability of a secular Europe with Enlightenment values coming to terms with a darker view of human nature mass culture and its dangers; the rise of the politics of irrationality identity and the "e;other"e; in Western civilization new ways to represent the postwar world the epistemological dilemma in a world of uncertainty; and the new Fascismwas it a new norm or an aberration? Arthur Haberman sees 1930 as a watershed year in the intellectual life of Europe and with this book, the first to see the contributions of the public intellectuals of 1930 as a single entity, he forces a reconsideration and reinterpretation of the period.

One of the first transnational, feminist studies of Canada's black beauty culture and the role that media, retail, and consumers have played in its development, Beauty in a Box widens our understanding of the politics of black hair. The book analyzes advertisements and articles from medianewspapers, advertisements, television, and other sourcesthat focus on black communities in Halifax, Montreal, Toronto, and Calgary. The author explains the role local black community media has played in the promotion of African Americanowned beauty products; how the segmentation of beauty culture (i.e., the sale of black beauty products on store shelves labelled "e;ethnic hair care"e;) occurred in Canada; and how black beauty culture, which was generally seen as a small niche market before the 1970s, entered Canada's mainstream by way of department stores, drugstores, and big-box retailers. Beauty in a Box uses an interdisciplinary framework, engaging with African American history, critical race and cultural theory, consumer culture theory, media studies, diasporic art history, black feminism, visual culture, film studies, and political economy to explore the history of black beauty culture in both Canada and the United States.

More than a quarter of a century has passed since Canada promised to recognize and respect the rights of children under the United Nations Convention on the Rights of the Child. Ratification of the Convention cannot, however, guarantee that everyone will abandon proprietary notions about children, or that all children will be free to enjoy the substance of their rights in every social and institutional context in which they find themselves, includingand perhaps especiallywithin families. This disconnect remains one of the most important challenges to the recognition of children's rights in Canada. The authors argue that social toxins are as harmful to children's independent welfare and developmental interests as environmental toxins, and that both must be eradicated if Canada is to fulfill its commitments under the Convention. They also argue that if Canada wishes to ensure the substance of the rights outlined in the Convention are socially guaranteed, an attitudinal or cultural shift is required concerning the moral and legal status of children. This revised, expanded, and updated edition of the bestselling Challenge of Children's Rights for Canada will be of interest to academics, policymakers, parents, teachers, social workers, and human service professionalsindeed to anyone who cares about and for children.

For Canadians, the First World War was a dynamic period of literary activity. Almost every poet wrote about the war, critics made bold predictions about the legacy of the period's poetry, and booksellers were told it was their duty to stock shelves with war poetry. Readers bought thousands of volumes of poetry. Twenty years later, by the time Canada went to war again, no one remembered any of it. Battle Lines traces the rise and disappearance of Canadian First World War poetry, and offers a striking and comprehensive account of its varied and vexing poetic gestures. As eagerly as Canadians took to the streets to express their support for the war, poets turned to their notebooks, and shared their interpretations of the global conflict, repeating and reshaping popular notions of, among others, national obligation, gendered responsibility, aesthetic power, and deathly presence. The book focuses on the poetic interpretations of the Canadian soldier. He emerges as a contentious poetic subject, a figure of battle romance, and an emblem of modernist fragmentation and fractiousness. Centring the work of five exemplary Canadian war poets (Helena Coleman, John McCrae, Robert Service, Frank Prewett, and W.W.E. Ross), the book reveals their latent faith in collective action as well as conflicting recognition of modernist subjectivities. Battle Lines identifies the Great War as a long-overlooked period of poetic ferment, experimentation, reluctance, and challenge.

Presents a paradox in politics, law, and social practice. Dominique Clement argues that whereas framing grievances as human rights violations has become an effective strategy, the increasing appropriation of rights-talk to frame any and all grievances undermines attempts to address systemic social problems.

Appel: A Canadian in the French Foreign Legion is the first-hand account of the author's six years as a professional soldier during the 1990s, and his experience in the Legion's elite Groupe des?Commandos Parachutistes (GCP). Joel Struthers recounts the dangers and demands of military life, from the rigours of recruitment and operational training in the rugged mountains of France, to face-to-face combat in the grasslands of some of Africa's most troubled nations. Told through the eyes of a soldier, and interspersed with humorous anecdotes, Appel is a fascinating story that debunks myths about the French Foreign Legion and shows it more accurately as a professional arm of the French military. Struthers provides insight into the rigorous discipline that the Legion instills in its young recruits, - who trade their identities as individuals for a life of adventure and a role in a unified fighting force whose motto is "Honour and Loyalty." Foreword by Col. Benoit Desmeulles, former commanding officer of the Legions 2e R?giment ?tranger Parachutistes.

The essays in Home Words explore the complexity of the idea of home through various theoretical lenses and groupings of texts. They consider the myriad ways in which discourses of home underwrite both children's and national literatures.

Investigates negotiations of female subjectivity in twentieth-century Canadian women's elegies with a special emphasis on the father's death as a literary and political watershed. The book examines the work of Dorothy Livesay, P.K. Page, Jay Macpherson, Margaret Atwood, Kristjana Gunnars, Lola Lemire Tostevin, Anne Carson, and Erin Moure.

Hutter's study explores the origins of classical conceptions of politics in the theory and practice of friendship in ancient Greece. It analyzes ancient Greek society as one in which political space was organized in terms of the metaphor of friendship. Tracing the importance of male friendship groupings in Greek society, and comparing them to similar formations in primitive societies known to us through anthropological data, it shows how political processes were conceived as friendship processes, and demonstrates how important friendship groupings were for these processes. Greek political philosophies are seen as universalizations of the principles of friendship. Hutter shows to what extent Platonism and Aristotlelianism as well as Stoicism received their inspiration from the practice of friendship. In particular, the theory and practice of Greek democracy are seen to be derived from the principles of friendship. Finally, the book shows the application of Greek theories of friendship to Roman society by Cicero. Noting the differences and similarities between Greece and Rome, it explores the redefinition that the theory of friendship underwent when applied to the Roman context. The concluding chapter briefly discusses the role of friendship in mass society and its politics.

Explores, from Indigenous or Indigenous-influenced perspectives, the power of nature and the attempts by empires (United States, Canada, and Britain) to control it. The book also examines contemporary threats to First Nations communities from ongoing political, environmental, and social issues.

An interdisciplinary collection that gathers the work of scholars and performance practitioners who together explore questions about the oral, written, and visual. The book includes the voices of oral performance practitioners, while the scholarship of many of the academic contributors is informed by their participation in oral storytelling.

In negotiating aesthetic and political approaches to Canadian cultural production within contexts of global circulation, this collection argues for the value of attending to narratorial, lyric, and theatrical conventions in dialogue with questions of epistemological and social justice.

This multi-disciplinary anthology is about hermeneutical issues pertaining to gender ideology in university scholarship. The authors provide, from their own discipline, an extensive examination of the issues raised in the Social Sciences and Humanities Research Council of Canada pamphlet, "On the Treatment of the Sexes in Research".

The author provides a deeper understanding of popularized illustrations of human origins and encourages readers to gain a sensitivity to the ways in which Western culture constructs scientific findings that are compatible with its deeply held beliefs and values.

Franz Werfel was born in Prague in 1890 and died in Beverly Hills in 1945, a popular and artistic success in Europe and America. Despite his Jewish birth and upbringing, he was attracted to Christianity at any early age, and although he never formally converted, he celebrated his own vision of it in his entire life's work. The origina sof that peculiar faith and the response it engendered in Werfel's work as he lived thorough the horrific end of Jewish life in Europe are treated here. Werfel was not a systematic thinker, and, while his writing contains much that is philosophical and theological, his eclecticism and idiosyncracy render any attempt to trace the specific origins of his thought or its relation to the work of contemporary philosophers and theologians highly problematic. Thus, this work is neither biography nor intellectual history in the strict sense it goes beyond, melding the concerns of both genres into a thoughtful, comprehensive portrait of faith at work. Of interest to historians of the twentieth century as well as to students of that intriguing zone that lies between faith and art but is neither or both.