Relevant bibliographies by topics / Canadian poetry (English) – 21st century

Academic literature on the topic 'Canadian poetry (English) – 21st century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Canadian poetry (English) – 21st century"

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Tagliamonte, Sali. "''So cool, right?'': Canadian English Entering the 21st Century." Canadian Journal of Linguistics / La revue canadienne de linguistique 51, no. 2 (2006): 309–31. http://dx.doi.org/10.1353/cjl.2008.0018.

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Tagliamonte, Sali A. "“So cool, right?”: Canadian English Entering the 21st Century." Canadian Journal of Linguistics/Revue canadienne de linguistique 51, no. 2-3 (November 2006): 309–31. http://dx.doi.org/10.1017/s0008413100004126.

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AbstractA socially stratified sample—the Toronto English Corpus—together with the construct of apparent time (with speakers aged 10–90 years) reveal that certain features are declining, including future will, deontic have got to, possessive have got, intensifier very, and the sentence tag you know. On the other hand, some features are on the rise, including future going to, deontic have to, possessive have, intensifiers really and so, and sentences tags such as whatever, so, and stuff like that. The younger generation is pushing these changes forward more rapidly. While some developments date back hundreds of years in the history of English, they are not particular to Canada, and are consistent with research on other English corpora. Other changes appear to be progressing in a unique way in Canada, including deontic and possessive have. I argue that the broader socio-historical context is a critical factor: geographic and economic mobility as well as changes in communication technology may explain the rapid acceleration of certain types of linguistic change.
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Gallagher, Tiffany L., and Jennifer Rowsell. "UNTANGLING BINARIES: WHERE CANADA SITS IN THE “21st CENTURY DEBATE”." Articles 52, no. 2 (April 10, 2018): 383–407. http://dx.doi.org/10.7202/1044472ar.

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This article examines the extent to which the competencies of the 21st century learner are reflected in the learning outcomes within the English language arts curriculum standards documents for the Canadian provinces. Manifest summative content analysis was used to code learning outcomes in accordance with themes derived from the competencies of 21st century learners. For all provinces, there were few learning outcomes that required students to use digital resources to access information or create knowledge / solutions; there were no learning outcomes related to competencies in the context of core subjects or using social media to communicate and learn. Espoused learning pedagogies need to be galvanized into English language arts curriculum standards that are consistent with 21st century and digital literacy learning competencies.
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Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.

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The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
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Martínez Serrano, Leonor María. "A fragment of the world, a piece of human consciousness: Tim Bowling’s "The Bone Sharps" (2007) and "The Tinsmith" (2012)." Journal of English Studies 15 (November 28, 2017): 135. http://dx.doi.org/10.18172/jes.3058.

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Canadian novelist, poet and essayist Tim Bowling is one of the most prestigious authors in 21st-century Canadian letters. A prolific and versatile author, he has published twelve poetry collections, four novels, a memoir and a work of creative non-fiction so far. This paper looks at two of his novels, "The Bone Sharps" (2007) and "The Tinsmith" (2012), tools of knowledge that explore not just human consciousness as the lens through which we make sense of reality, including our selves, but also history, memory and identity, epistemology and ethics. A fragment of the world and a piece of human consciousness: this is what both novels are.
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De Lira e Silva, Taciana. "Critical Cosmopolitan Citizenship Education and the Ontario Curriculum." Actes du Symposium JEAN-PAUL DIONNE Symposium Proceedings 2, no. 1 (March 7, 2019): 77–96. http://dx.doi.org/10.18192/jpds-sjpd.v2i1.2723.

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Critical cosmopolitan citizenship education is a transformational approach to education that empowers students to become global citizens through active involvement in the local, national and global communities while seeking to build a better world. This study’s objective was to inquire about how Ontario’s official curriculum guides educators to prepare secondary students (Canadian born and those new to Canada) to become effective citizens of the 21st century. A critical discourse analysis was conducted to investigate the Ontario Ministry of Education’s (OME) approach to citizenship education within the frameworks of critical pedagogy and cosmopolitan citizenship education that encourage educators and students to respect human rights and become active citizens who strive towards peace and sustainability. The discourse analysis included two curriculum documents: (1) The Ontario curriculum grades 9 and 10: Canadian and World Studies (OME, 2018), which addresses civic education, and (2) The Ontario Curriculum Grades 9 to 12: English as a Second Language and English Literacy Development (OME, 2007), which prepares newcomers to improve their English proficiency. The findings confirm that the discourse produced by these documents aims to develop students’ understanding of the global world, but does not necessarily prepare them to act for the betterment of the planet. The findings further indicate that citizenship education in the 21st century should dissociate from a nation-centered approach and focus on preparing students for global citizenry.
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Liberti, Giuseppe Andrea. "Oltre Marechiare." Polisemie 3 (April 13, 2022): 1–22. http://dx.doi.org/10.31273/polisemie.v3.914.

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This paper describes some of the routes taken by Neapolitan poetry during the 21st century, paying particular attention to the most recognizable literary experiences and to authors whose works have been relevant for the evolution of the local poetic language. The paper traces a linguistic and formal path of the main tendencies of Neapolitan poetry: starting from the persistence of dialect, it continues by addressing experimentalism in Italian poetry written in Naples. Then, it focuses on the junction of performance and spoken strategies with long poems and narrative compositions, which I compare to the current directions of contemporary lyric poetry. The purpose of this paper is to offer a preliminary recognition of what happened in Neapolitan poetry from 2000 to 2020, overcoming the critical boycott of an area which has always expressed an outstanding literary and cultural vivacity. Pur senza pretendere di restituirne un quadro completo, il contributo intende descrivere alcuni percorsi della poesia del Duemila prodotta a Napoli. L’attenzione è rivolta alle scritture maggiormente riconoscibili e ad alcuni casi singoli di autrici e autori significativi per l’evoluzione della lingua poetica (non solo) locale. In particolare, l’articolo traccia un itinerario formale e linguistico delle tendenze più marcate della poesia partenopea: partendo dalla resistenza della linea dialettale, si passa allo sperimentalismo nella poesia in lingua italiana; la performatività e le possibilità esecutive del testo poetico si intrecciano poi con la forma-poemetto e le non poche narrazioni in versi, alle quali si contrappone un esame degli orientamenti della produzione lirica contemporanea. L’obiettivo è quello di offrire una prima ricognizione di quanto si è mosso nel primo XXI secolo in area napoletana, superando in questo modo un certo ostracismo critico nei confronti di una zona più che mai in fermento sul fronte poetico e letterario. English title Beyond Marechiare. First notes on Neapolitan poetry of the 21st century
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Burton, Jennifer. "“I’m Still Angry!” A Korean Student’s Self-Negotiation in her Canadian Classroom." in education 22, no. 2 (November 23, 2016): 3–19. http://dx.doi.org/10.37119/ojs2016.v22i2.306.

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Grounded in poststructuralist understandings of language and identity and Davies and Harré’s (1990) positioning theory, this paper explores one South Korean student’s educational experiences in her English as a Second Language (ESL) classroom, specifically related to subject positions and identity construction pertaining to language. Using a researcher diary, semi-structured interviews, and dialogue journals with one Korean university student, this paper reports findings from a qualitative study. The findings suggest a critical awareness of the effects of positioning on language learning experiences. The results indicate that although a student may exercise agency to take up or resist subject positions, this positioning is part of a greater discourse, generally outside the control of the student that constructs identity through particular social experiences. The results of this study will be of interest to researchers in the areas of language identity, second language learning, and higher education in the 21st century. Keywords: power; positioning; subject positions; identity; English language; discourse; international students
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Lane, Eric. "“My body is its image, here”: Diasporic Identity and the Deconstruction of Binary Division in 21st Century Asian American Poetry." Oregon Undergraduate Research Journal 20, no. 2 (November 16, 2022): 155–63. http://dx.doi.org/10.5399/uo/ourj/20.2.11.

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This paper examines the poems of Franny Choi and Victoria Chang within the context of Asian American poetry, poetics, and criticism. It demonstrates how Choi and Chang’s work engage in a destabilization of binaries in order to rewrite and re-construct Asian American identity. A close reading of Choi’s “Chatroulette” from her collection, Soft Science, and Chang’s “Home” from her collection, Obit, reveals disruptions of five binary divisions, broadly identified as “high” poetic form and “low” poetic form, Eastern and Western, English and non-English, embodiment and disembodiment, and past and present. This paper argues that the deconstructions of these five binaries represent a search for belonging in the context of Asian American identity, as it is an identity that itself transverses the boundaries of “Asian” and “American.” This is supported by scholars of Asian American literature such as Michael Leong, Brigitte Wallinger-Schorn, and Zhou Xiaojing, who investigate how Asian American poets navigate alterity and cultural hybridity through innovation. It concludes by examining questions of home and belonging, theorizing that, for Asian American poets, reinventing language in a way that transgresses binaries and dichotomies allows for the construction of a new “home” that accepts the indeterminacies of identity, life, and death rather than resisting them.
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Zhou, Sophie. "The T/Daos shall meet: The failure and success of English transliterations of Mandarin Chinese." English Today 35, no. 1 (March 12, 2018): 36–41. http://dx.doi.org/10.1017/s0266078417000578.

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When a Canadian exchange student returns home from a semester abroad in the capital city of China, she might tell her friends that she had Peking duck every day, but she would never, as a 21st-century liberal arts student, say that she stayed in Peking for a semester. Rather, she would say Beijing, as would most English speakers in the present day. But such discrepancies between English transliterations of Chinese words are far from uncommon. Is it the Nanking Massacre or the Nanjing Massacre? Who is the author ofTao Te Ching: Lao-Tzu or Laozi? What, then, is theDaodejing? This paper will focus on the English representation of Mandarin Chinese phonology, particularly the consonant sounds. The inconsistency of English transliteration of Mandarin is caused by historical exchanges and encounters between the British and the Chinese and a lack of a monolithic standardization of Mandarin. Paradoxically, while these transliterations attempt to unify and standardize themselves and the representation of Mandarin sounds, they simultaneously represent the concept of a diverse Mandarin.
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Dissertations / Theses on the topic "Canadian poetry (English) – 21st century"

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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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Maahlamela, David wa. "The hoof-printed rock." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013076.

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Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.
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Elfyn, Menna. "Barddoniaeth Menna Elfyn : pererindod bardd." Thesis, University of Wales Trinity Saint David, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683377.

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Woudstra, Ruth. "Touching Brýnstone." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015032.

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Touching Brýnstone is the story of Beth, a young journalist who is troubled by misfortunes in her family and work circumstances. In a Pretoria library she is seduced by a book that consoles her and progressively becomes a fetish object. It sparks a journey to Japan, where she arrives to teach English. She is intent on meeting the author, whom she confounds with protagonist and book. This Bildungsroman is an exploration of the complex relationship between inner and outer self, and the struggle towards wholeness. Beth must find a way out of the obsession so that she can return to South Africa with an enriched insight into her shadow self.
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Rawlins, Isabel Bethan. "Counting planes." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001816.

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This collection of prose-poems and flash fiction, together with a few short stories, shows how romantic relationships colour our perspectives on the world. The collection has echoes throughout of speakers' voices, theme, imagery and tone. There is a narrative logic too, but working on a subtle level of echo and resonance
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Ntabajyana, Sylvestre. "Planting season." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1002014.

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In this thesis I present a collection of semi-narrative poems about a rural Africa that is a place of folk-lore and tradition, but also a place of otherworldly, almost grotesque, incident. My characters are, similarly, range in type, from buskers, to guards, school-children, paupers and tycoons. Through the work a place that is both familiar and unknown, common-place and mysterious, emerge.
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Hogge, Quentin Edward Somerville. "Portfolio." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001813.

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My initial intention is to try to show how, as a poet in South Africa, I suffer from a creative identity crisis. I am a white English-speaking male. I live surrounded by isiXhosa-speaking people. Is my poetry, or will my poetry be, relevant in the ‘New’ South Africa? Is English, the language of the colonial oppressors, the appropriate medium in the post-apartheid milieu? Will my subject matter be relevant? These questions and my attempts at answering them, form the basis of the poetry and the portfolio that accompanies the poems. My absorption with finding a creative ‘voice’, my concerns with the environment and a questioning of what post-apartheid poetry should write about all seem a bit Quixotic, especially to me! But at another level, they are deeply serious. (p. 5.)
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Van, der Nest Megan. "Silence, like breathing." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1015246.

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In this collection of free verse lyric poems I have drawn inspiration from childhood memories, as well as from the natural world and encounters with the people around me. Each poem focuses on a small moment, presenting an emotive portrait of a memory or an experience. These small moments lead, cumulatively, to deeper insights into myself and the world around me. The collection is divided into four seasons, in part because the work is strongly influenced by the natural world, but also because the progression of the seasons mirrors something of the personal journey reflected in the poems.
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Gaunt, Hailey Kathryn. "Who knew." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001812.

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This book of poems ranges in style from narrative to condensed lyric moment, and shifts in perspective from observation to introspection. Thematically, these poems explore everyday life through its many manifestations – memory, nature, marriage, faith and death – with an emphasis on finding meaning in absolutely ordinary things. Though their tone is often vulnerable and tender, even when it is more distant the poems are always searching.
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Nolutshungu, Simphiwe. "Sunrays in a chilly winter." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017777.

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In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others.
Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa!
This thesis is presented in two parts: English and isiXhosa.
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Books on the topic "Canadian poetry (English) – 21st century"

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Why poetry sucks: An anthology of humorous experimental Canadian poetry in English written by Canadians for Canadians (or American bodysnatchers) in the early years of the 21st century with an overly long and not that clever subtitle the publisher rightly refused to put on the cover. London, Ontario, Canada: Insomniac Press, 2014.

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1966-, Swift Todd, and Camlot Jason 1967-, eds. Language acts: Anglo-Québec poetry, 1976 to the 21st century. Montreal: Véhicule Press, 2007.

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Geddes, Gary. 20th-century poetry & poetics. 3rd ed. Toronto: Oxford University Press, 1985.

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Voice recognition: 21 poets for the 21st century. Tarset, Northumberland [England]: Bloodaxe Books, 2009.

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The book of Ystwyth: Six poets on the art of Clive Hicks-Jenkins. Durham, NC: Carolina Wren Press, 2011.

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Contemporary poetry. Edinburgh: Edinburgh University Press, 2011.

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Contemporary poetry. Edinburgh: Edinburgh University Press, 2011.

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1940-, Geddes Gary, ed. 20th-century poetry & poetics. 3rd ed. Toronto, Ont: Oxford University Press, 1985.

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Kizuk, R. Alexander. A reassessment of early twentieth century Canadian poetry in English. Lewiston, N.Y: Edwin Mellen Press, 2000.

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1947-, Mehrotra Arvind Krishna, ed. Arun Kolatkar: Collected poems in English. Tarset: Bloodaxe, 2010.

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Book chapters on the topic "Canadian poetry (English) – 21st century"

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Carlsen, J. "Canadianness in English Canadian Literature." In Canada on the Threshold of the 21st Century, 339. Amsterdam: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/z.52.48car.

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Pet, Sue Ringler, J. Gregory McVerry, and W. Ian O’Byrne. "Multimodal Response and Writing as Poetry Experience." In Exploring Multimodal Composition and Digital Writing, 201–25. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4345-1.ch013.

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What affordances do multimodal and digital information provide to the student and teacher with regard to responding to and writing poetry? This question juxtaposes one of the oldest literary genres in human history (i.e., poetry), with some of the newest technologies available. To enrich the content and effect as students experience poetry, technology may seem like an unwelcome stranger. Research has found, however, that “multimedia texts and multimodal composing may actually shift classroom culture toward a more learner-centered paradigm” (Chandler-Olcott & Mahar, 2003, pp. 381-382). This chapter explores the integration of technology with both response to poetry and authorship of poetic works as a means to enrich English classroom experiences. In the authors’ view, important work in this arena must not use technological tools for the sake of using technology in the classroom, but, rather, for the sake of enriching literary experiences. Ultimately, by connecting response, authorship, and multimodal technologies, the teaching of poetry may be enhanced by the teaching of 21st century literacy skills. Toward these ends, the authors share opportunities for intertwining multimodal text with the teaching of poetry to enrich literacy and literary experience in middle and high school classrooms.
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Zaidi, Syed Ali Nasir. "Pedagogizing International Students' Technical Knowledge Consumption." In Handbook of Research on Teaching Strategies for Culturally and Linguistically Diverse International Students, 147–66. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-8921-2.ch008.

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Although most Canadian university and college professors assume that international testing credentials such as IELTS, TOEFL, and CELPIP are suitable yardsticks to measure international students' language skills, the study presented in this chapter that adopted critical discourse analysis of international students' technical assignments suggests otherwise. Technical communication is different from cultural English, whereby the former measures students' technical skills in communicating highly scientific materials and cultural English may be used for interpersonal skills. The study used secondary data for data analysis and employed Bernstein's theoretical lens of elaborated code and restricted code. Findings revealed that 21st-century knowledge production, distribution, and its adequate reproduction are in the hands of well-rounded knowledge consumers in knowledge societies, and if the knowledge consumers are not well cognizant of their instrumental role in the knowledge economy owing to weak English language constructions, social inequalities will increase exponentially.
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Dasgupta, Ranita Chakraborty. "Bangla Translations of Latin American Poetry: A Critical Study." In Contemporary Translation Studies, 47–108. CSMFL Publications, 2021. http://dx.doi.org/10.46679/978819484830103.

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The aim of this study is to map the reception of Latin American Poetry within the corpus of the Bangla world of letters for three decades, from 1980 to 2010. In the 1970s and the 1980s, the influence and reception of Latin American Literatures in Bangla was reflected primarily in the introductions to translations, preludes, and conclusions of translations. During the late 1960s and the early 1970s Latin American poets like Pablo Neruda, Victoria Ocampo, Octavio Paz, and Jorge Luis Borges had caught the attention of eminent Bangla poets like Bishnu Dey, Shakti Chattopadhyay, and Shankha Ghosh who started taking interest in their works. This interest soon got reflected in the form of translations being produced in Bangla from the English versions available. The next two decades saw the corpus of Latin American Literatures make a widespread entry into the world of academic essays, journals, and articles published in little magazines along with translations of novels, short stories and poetry collections by leading Bangla publication houses like Dey’s Publishing, Radical Impressions, etc. This period was marked by a proliferation of scholarship in Bangla on Latin American Literatures. By the 21st century, critical thinking in Latin American Literatures had established itself in the Bangla world of letters. This chapter in particular studies the translations of Latin American poetry by Bengali poets like Shakti Chattopadhyay, Subhas Mukhopadhyay, Bishnu Dey, Buddhadeb Bhattacharya, Shankha Ghosh, Biplab Majhi among many others. The analysis relates to issues they focus on including themes like self, modernity, extension of time and space, political and poetic resonances, and untranslatability. Through a step by step research of the various stages of translation activities in Bengal and Bangla, it traces how translations of Latin American Literatures begin to take place on literary grounds that had already become sites of engagement with these issues. The chapter further explores the ways in which all these poet-translators situate their translations in relation to the issues of concern. In addition, it also addresses the question of what they hence contribute to Bangla literature at large. I first chose to explore the ways in which these issues are framed in the reflections and debates on translation in India and Bengal in the 20th century. Thereon I have tried to show how these translations of Latin American poetry developed their own thrust in relation to these issues and concerns.
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