Though the term Canadian Literature typically refers to a canon of works selected to represent what has become Canadian culture over the course of the country’s young history, the Canadian story has existed long before there existed a canon. Thus the Canadian myth is of equal importance to the Canadian literary identity as the literature chosen to be a part of the Canadian literary canon. But how does Canadian mythology contribute to the literary landscape when so little of is has been written down? The Oxford English dictionary defines mythopoeia as the creation of myths. Mythopoeia allows for the creation of myths, while always knowing that the myths being created are fictional, and allows for the formation of a history. The character of …show more content…
He is first shown in an epic battle where he defeats a grizzly bear. In this encounter, Tay John almost killed by the bear, such that the witness to this battle believes him to be defeated, only to rise from the ground victorious. “Then the mass quivered. It heaved. A man’s head appeared beside it, bloody, muddied, as though he were just being born, as though he were climbing out of the ground” (64). This descent into the earth and subsequent rise from it, is a direct reflection of the story of Tay John’s birth in the first section, where he would return to and from the grave. However, in this version, a man of European descent witnesses Tay John’s birth. It is fitting that this section of the novel is entitled ‘hearsay’ as this section reflects a time in history where Canadian Literature was just beginning to surface ‘from the ground,’ or from Canadian-born individuals, many of whom were of European descent. Thus literature began to take on multiple cultures. “What is important about legends now is the effect they have on other men. And, as with all stories told, it is crucial for us to trust and believe in the character of the story-teller.” …show more content…
Canadian landscapes have inspired authors and poets for generations. This is reflected in the final section of the novel, titled ‘Evidence—without a finding.’ With the fact that the Yellowhead Pass was named for the character of Tay John, we see how the mythologies can literally become synonymous for the land. Additionally, just as Tay John is shown returning to the earth in the first two parts, he is also shown returning to the earth in the final part. “Tay John hadn’t gone over the pass at all. He had just walked down, the toboggan behind him, under the snow and into the ground” (200). In this final scene, Tay John returns to the earth for the last time, and his story, which has become synonymous for the land, literally becomes a part of it. In an essay by Michael Ondaatje, We get some insight into why the author chose to end the novel in this way: “Tay John is little more than seasonal grass. He has to disappear. From the very beginning he is part of the mechanics of nature and the fateful metaphor will also assure his rebirth” (Ondaatje). In order for people to become myths, legends, or stories, they must first die, become the grass, the earth, and the land. Only then can they be reborn as part of the Canadian literary
... glories in the beauty of nature and expressed how infinite man's possibilities are. In contrast, Maclean provides a valuable and realistic lesson, as his brother's premature death and his family's sorrow are the final details of his story. Despite, the depressing ending, Maclean expresses his belief in the permanence of one's legacy as he hears the words of his family echoed in the river. Thoreau states, "Yes, we have done great deeds, and song divine songs, which shall never die"(349). Thus, both works display compelling themes of nature and men's lives while differing substantially in their plot progression and mood.
Much has been written about the ways in which Canada's state as a nation is, as Peter Harcourt writes, "described" and hence, "imagined" (Harcourt, "The Canadian Nation -- An Unfinished Text", 6) through the cultural products that it produces. Harcourt's terms are justifiably elusive. The familiar concept of "Canadian culture", and hence Canadian cinema, within critical terminology is essentially based on the principle that the ideology of a national identity, supposedly limited by such tangible parameters as lines on a map, emerges from a common geographical and mythological experience among its people. The concept that cultural products produced in Canada will be somehow innately "Canadian" in form and content first presupposes the existence of such things as inherently Canadian qualities that can be observed. Second, it presupposes a certain commonality to all Canadian artists and posits them as vessels through which these said "inherently Canadian qualities" can naturally flow. Third, it also assumes the loosely Lacanian principle that Canadian consumers of culture are predisposed to identify and enjoy the semiotic and mythological systems of their nation, and further connotes that Canadians have fair access to their own cultural products. Since these assumptions are indeed flawed but not altogether false, this paper will deal with the general relationship between the concept of Canada, its cultural texts, and its mythological and critical discourse as an unresolved problematic that should be left "open" in order to maximize the "meaning potential" of films as cultural texts within the context of "national identity," an ideological construct that remains constantly in flux.
The history of Canada was flooded with many influential and incredible events, particularly during World War 1 and World War 2. During the 20th century, Canada got more involved in worldwide events. It was a very important period for Canada; it was where they gained their independence and progressed as a country. After this century, Canada was considered an important and powerful country. The three main 20th century events in Canadian history are the battle of Vimy Ridge, the change of woman’s rights and the battle of Juno Beach.
The novel Through Black Spruce is an incredible book that shows the real truth and real life scenario of the First Nation community across Canada, it shows the real hardship and struggles the community faces every day and how they overcome it. The presence of the symbolism does give the novel a whole new meaning to it, the symbolism of beaver representing family and how they stick together, this shows Will bird a bush pilot in the novel, his struggles. The symbol of a bear portrays protection and love, proving once again the hardships the characters face throughout the novel and seeking for protection. While the symbol of Gosse represents seeking freedom, taking on a long journey, and seeking someone is what both of the main characters in the novel try to do. In the novel Through Black Spruce by Joseph Boyden, reveals to the reader that symbolism is a self-reflection of the character’s struggles’ and culture which helps the reader understand their own way of living.
Is Canada a nation or has its control just switched empirical hands? As Professor Hutcheson asked, did Canada go from "Colony to Nation or Empire to Empire?" This question has greatly influenced Canada's changing identity since her birth as a British colony with Confederation in 1867 to the present day. The purpose of this essay is to critically analyse the shifting Canadian identities between the years 1890 to 1960. The objective is to illustrate Canada's transforming identity by using the novels The Imperialist by Sara Jeanette Duncan, Barometer Rising by Hugh MacLennan, and Fifth Business by Robertson Davies and to connect the stories of each of these works of fiction to the varying political, economic, and social issues of their times. Each book is written by a prominent author, and portrays an accurate reflection of the demanding political, economic, and social concerns throughout the late nineteen and first half of the twentieth century of Canadian history. All of the novels reflect Canada's peripheral view of the world, as opposed to a central point of view, because throughout its history Canada has always been perceived as a secondary player. As George Grant says in his literary piece Lament for a Nation, Canada is "a branch plant society" , meaning Canada is controlled by another power. The essential question is where has Canada's loyalties traditionally lay and how has this shaped the Canadian identity. The Imperialist by Sara Jeanette Duncan, written in 1904 reflects a very British influenced Canada. At this time, Canada is still a British colony under British rule, and the people of Canada are very content to consider themselves British. The novel predominately ill...
Filewood, Alan. “National Battles: Canadian Monumental Drama and the Investiture of History.” In Modern Drama. 38. (Spring 1995) 71-86
Before a person is well recognized in society, they need to go though a lot of trouble, discrimination, and change to get there. No one judges them by their individual merit. This also applies to countries. The government of a country is always trying to get themselves in a higher position around the globe. This is done so they are well established for their good qualities. Canada is also a name in the list of such nations. Recognition was really hard for Canada to get because of the fact that it is one of the younger countries. Over the years, Canada has really shaped as a nation politically, economically, and socially. These three factors have affected the nations past, affecting the present, and will definitely affect the future. For instance, three examples of such events from each section of the course are: The Person’s Case, the Baby Boom, and lastly, The Montreal Massacre.
Over the recent centuries, the definition of myth has decayed into a word synonymous with falsehoods and lies. This idea of myths being completely false and therefore useless is a fairly modern one. To combat the rise of empirical science in the 1900s, theologians brought the idea of wholly literal, fundamental religion into being to combat ideas that did not perfectly align with the tenants of the religion (May 24). This was the final death blow to the idea of the metaphysical myth that was already wounded from thousands of years of being denounced as pagan or barbaric. The rise of empirical science also lent to the decay of the meaning of myth. Science was able to explain the natural world far better than a myth ever could; however, it lacked the metaphysical aspect. Due to these rising ideologies, myths hav...
In her poem "Myth," Natasha Trethewey uses mythology, a unique structure, rhyme pattern, and punctuation to make form and content inseparable. Each of these elements serves to share the stages of grief one goes through one feels at the death of a loved one as well as the feelings of deep loss and longing.
Myths relate to events, conditions, and deeds of gods or superhuman beings that are outside ordinary human life and yet basics to it” ("Myth," 2012). Mythology is said to have two particular meanings, “the corpus of myths, and the study of the myths, of a particular area: Amerindian mythology, Egyptian mythology, and so on as well as the study of myth itself” ("Mythology," 1993). In contrast, while the term myth can be used in a variety of academic settings, its main purpose is to analyze different cultures and their ways of thinking. Within the academic setting, a myth is known as a fact and over time has been changed through the many different views within a society as an effort to answer the questions of human existence. The word myth in an academic context is used as “ancient narratives that attempt to answer the enduring and fundamental human questions: How did the universe and the world come to be? How did we come to be here? Who are we? What are our proper, necessary, or inescapable roles as we relate to one another and to the world at large? What should our values be? How should we behave? How should we not behave? What are the consequences of behaving and not behaving in such ways” (Leonard, 2004 p.1)? My definition of a myth is a collection of false ideas put together to create
“She thought of the space, back home in Canada. The vast and glorious emptiness of the North. So much land, so few people. She hadn't appreciated, hadn’t realized how beautiful it was, until now” (Road Ends, 113)
Organizing a topic as diverse as Canadian history into periods is challenging. Canadian history spans hundreds of years, covers events from varying points of views, and contains dimensions of culture, theme, and politics. To understand how to organize history logically into periods, it is helpful to refer to Canadian history sources.
Most people are trapped into believing that Canada is a very diverse place to live as it welcomes many cultures, but do not realize what happens to their culture when they have lived in Canada after time. Throughout the stories Simple Recipes by Madeleine Thien and A Short History of Indians in Canada by Thomas King, the authors tell the actions of what is happening in the characters lives to show the stripping of other cultures when they come to Canada. These two stories reveal how difficult it can be to be a person with a different culture existing in Canadian society.
One of the differences between the movie and the book lies in the settings or rather the surrounding in both the movie and the book. The book depicts an exemplary factual tale, one of mountain myths, situated in 1930's Northern parts of Canada. The book portrays an account of C...
"Stopping by Woods" The visible sign of the poet's preoccupation is the recurrent image of dark woods and trees. The world of the woods, a world offering perfect quiet and solitude, exists side by side with the realization that there is also another world, a world of people and social obligations. Both worlds have claims on the poet. He stops by woods on this "darkest evening of the year" to watch them "fill up with snow," and lingers so long that his "little horse" shakes his harness bells "to ask if there is some mistake." The poet is put in mind of the "promises" he has to keep, of the miles he still must travel. We are not told, however, that the call of social responsibility proves stronger than the attraction of the woods, which are "lovely" as well as "dark and deep"; the poet and his horse have not moved on at the poem's end. The dichotomy of the poet's obligations both to the woods and to a world of "promises"--the latter filtering like a barely heard echo through the almost hypnotic state induced by the woods and falling snow-is what gives this poem its singular interest.... The artfulness of "Stopping by Woods" consists in the way the two worlds are established and balanced. The poet is aware that the woods by which he is stopping belong to someone in the village; they are owned by the world of men. But at the same time they are his, the poet's woods, too, by virtue of what they mean to him in terms of emotion and private signification.