By Mavis Reimer
The essays in domestic phrases discover the complexity of the assumption of domestic via a variety of theoretical lenses and groupings of texts. One concentration of this assortment is the relation among the discourses of kingdom, which frequently characterize the state as domestic, and the discourses of domestic in children’s literature, which variously photo domestic as a living, family members, city or sector, mental convenience, and a spot to begin from and go back to. those essays think about the myriad ways that discourses of domestic underwrite either children’s and nationwide literatures. domestic phrases reconfigures the sector of Canadian children’s literature because it is generally represented by way of surroundings the learn of English- and French-language texts facet by means of aspect, and via paying sustained cognizance to the range of labor through Canadian writers for kids, together with either Aboriginal peoples and racialized Canadians. It builds at the literary histories, bibliographical essays, and biographical feedback that experience ruled the scholarship up to now and units out to figure out and identify new instructions for the learn of Canadian children’s literature.
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Additional info for Home Words: Discourses of Children’s Literature in Canada (Studies in Childhood and Family in Canada)
Street kids in public, media discourses are typically portrayed either as victims or as victimizers, either, as law professor Dianne Martin notes, disenfranchised and estranged or “demonized and criminalized” (98), and the enactments of laws such as Alberta’s Protection of Children Involved in Prostitution Act (1998) and Ontario’s Safe Streets Act (1999) both assume and reify such identities. By contrast, more progressive legal and sociological discourse seeks to find ways to attend to what Lucie White calls “the moral agency, the political saavy [sic]—the human particularity—of the living communities of people who find themselves poor,” often by listening to “what those who live in poverty say about what it means” (307).
Et, si le célèbre adage « les voyages forment la jeunesse » dit vrai, il faut alors accepter l’idée que le « home » ne désigne jamais un univers aux frontières fixées une fois pour toutes, mais que ces frontières sont sans cesse en mouvement et que le « home » s’élargit au rythme des découvertes et des évolutions du moi. Et c’est certainement là que tout se joue, à la limite du connu et de l’inconnu. Jean Starobinski expliquait que le dedans et le dehors sont inconcevables l’un sans l’autre – on peut en dire sans doute autant de « home » et de « away », de l’ici et de l’ailleurs, du moi et de l’autre – et que l’essentiel se passait à la frontière entre les deux univers, à la surface de contact, « lieu des échanges, des ajustements, des signaux sensibles, mais aussi celui des conflits et des blessures » (15).
The emblematic scenes in which characters come to this knowledge often feature extreme weather, either literally or metaphorically, linking these scenes with the warnings about the fate of unrooted exiles in the homemaking story of Shadow in Hawthorn Bay. In Jasmin, Redwork, Of Things Not Seen, and The Maestro, the child faces the threat of physical death; in these four nov- Homing and Unhoming els, the child character also recognizes the imminence of spiritual or psychological death, as does Sara in Adam and Eve.
Home Words: Discourses of Children’s Literature in Canada (Studies in Childhood and Family in Canada) by Mavis Reimer