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Article academia, the Dene and Métis poet Tenille K. Campbell uses Dene in the main title, and the translation in the subtitle: nedi nezu (Good Medicine). Campbell encourages the listener to "mix in the words / from your nation". Louise Bernice Halfe, also known as Sky Dancer, released awâsis: kinky and dishevelled with the main title in Cree-though I am not certain about a translation in the subtitle in this case. Francine Merasty's debut, however, gives non-Cree speakers the translation after the slash: Iskotew Iskwew/Fire Woman: Poetry of a Northern Rez Girl. The book reflects on the traumas elicited by the National Inquiry into Missing and Murdered Indigenous Women and Girls in 2017. A more publicly established multimodal artist, John McDonald released Kitotam: He Speaks to It, a title (also in Cree with an English translation) that highlights his work as a performance poet and beat poet (all in Poetry).In Indigenous memoirs, we see the trend in Darrel J. McLeod's Peyakow: Reclaiming Cree Dignity; Eli Baxter's Aki-wayn-zih: A Person as Worthy as the Earth, with a title in Anishinaabaymowin; and Nicola I. Campbell's Spílexm: A Weaving of Recovery, Resilience, and Resurgence, with a title in NłeɁkepmxcín (all in Letters and Auto/ Biography). These Indigenous words speak to a confidence in the assertion of Indigenous languages in English contexts, to the co-existence of these languages even when English is known to be destructive as a weapon of colonialism, and more generally to the act of translation in any communication.Of course, other languages get the same treatment in a country as vast and diverse as Canada, all in poetry here. I have already mentioned Lillian Necatov's Italian-titled il virus. An example appears in Arabic too, Rayya Liebich's Min Hayati, which might be loosely translated as "from my life" or "from my dear," a book that meditates upon the author's mother's death. The loss of a maternal figure, but this time a grandmother, is also deeply felt in Adrian De Leon's Barangay: An Offshore Poem, which uses the Tagalog word for boat and for neighbourhood to grieve not only a person but also the lost ability to move linguistically between communities. Possibly drawing on Old Norse but more explicitly writing about human-nature relationships and bodily contaminations, Rebecca Salazar offers a kenning in sulphurtongue. (See also the kenning of Therese Estacion's Phantompains). Closer to English and its loan languages is a French title: Aaron Tucker's Catalogue d'oiseaux. Catherine Graham's AEther: An Out-of-Body Lyric invokes the Latin diphthong in a lyric essay in response to a cancer diagnosis (on schizophrenia as illness, see also ky perraun's Miraculous Sickness). In another Latinate title, George Murray offers us Problematica: New and Selected Poems 1995-2020. And of course there is "simply" English-but a lesser-known example-from Megan Gail Coles, Satched, a word that means "soaked through" or "weighed down" in Newfoundland English and that, in this case, alludes to a sense of ecological despai...
Article academia, the Dene and Métis poet Tenille K. Campbell uses Dene in the main title, and the translation in the subtitle: nedi nezu (Good Medicine). Campbell encourages the listener to "mix in the words / from your nation". Louise Bernice Halfe, also known as Sky Dancer, released awâsis: kinky and dishevelled with the main title in Cree-though I am not certain about a translation in the subtitle in this case. Francine Merasty's debut, however, gives non-Cree speakers the translation after the slash: Iskotew Iskwew/Fire Woman: Poetry of a Northern Rez Girl. The book reflects on the traumas elicited by the National Inquiry into Missing and Murdered Indigenous Women and Girls in 2017. A more publicly established multimodal artist, John McDonald released Kitotam: He Speaks to It, a title (also in Cree with an English translation) that highlights his work as a performance poet and beat poet (all in Poetry).In Indigenous memoirs, we see the trend in Darrel J. McLeod's Peyakow: Reclaiming Cree Dignity; Eli Baxter's Aki-wayn-zih: A Person as Worthy as the Earth, with a title in Anishinaabaymowin; and Nicola I. Campbell's Spílexm: A Weaving of Recovery, Resilience, and Resurgence, with a title in NłeɁkepmxcín (all in Letters and Auto/ Biography). These Indigenous words speak to a confidence in the assertion of Indigenous languages in English contexts, to the co-existence of these languages even when English is known to be destructive as a weapon of colonialism, and more generally to the act of translation in any communication.Of course, other languages get the same treatment in a country as vast and diverse as Canada, all in poetry here. I have already mentioned Lillian Necatov's Italian-titled il virus. An example appears in Arabic too, Rayya Liebich's Min Hayati, which might be loosely translated as "from my life" or "from my dear," a book that meditates upon the author's mother's death. The loss of a maternal figure, but this time a grandmother, is also deeply felt in Adrian De Leon's Barangay: An Offshore Poem, which uses the Tagalog word for boat and for neighbourhood to grieve not only a person but also the lost ability to move linguistically between communities. Possibly drawing on Old Norse but more explicitly writing about human-nature relationships and bodily contaminations, Rebecca Salazar offers a kenning in sulphurtongue. (See also the kenning of Therese Estacion's Phantompains). Closer to English and its loan languages is a French title: Aaron Tucker's Catalogue d'oiseaux. Catherine Graham's AEther: An Out-of-Body Lyric invokes the Latin diphthong in a lyric essay in response to a cancer diagnosis (on schizophrenia as illness, see also ky perraun's Miraculous Sickness). In another Latinate title, George Murray offers us Problematica: New and Selected Poems 1995-2020. And of course there is "simply" English-but a lesser-known example-from Megan Gail Coles, Satched, a word that means "soaked through" or "weighed down" in Newfoundland English and that, in this case, alludes to a sense of ecological despai...
This article is a case study of photographs as extra-illustrations using as an example the third volume in the series of Maple Leaves books by Sir James MacPherson LeMoine (1825‐1912), published in 1865 under the subtitle Canadian History and Quebec Scenery, which was the first literary work in Canada to be commercially illustrated with photographs. Original albumen photographs made by photographer Jules-Isaïe Benoît dit Livernois (1830‐65) depicted many of the country villas described by the author in the section referred to as ‘Our Country Seats’. The readers of Maple Leaves turned this work into a complex and intimate record of a community by liberally augmenting the official photographs with individual prints selected independently for their copies. The surviving books collectively serve as a kind of regional album, preserving the tastes and aspirations of some of the 500 subscribers living in and around Quebec City in the mid-nineteenth century.
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