Titlebook: Animal Fiction in Late Twentieth-Century Canada; Alice Higgs Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive li

AORTA

saphenous-vein

鍍金

ineptitude

Introduction: Nation, Identity, Species,’, Ernest Thompson Seton and Charles G. D. Roberts, whose sentimental style of writing invited a type of criticism that determined arguments about Canadian animal writing for much of the early contemporary era. The chapter also engages with contemporary understandings of Canada’s relationship with a

Creditee

,Reconfiguring Animal Narratives in Farley Mowat’s , (1963),monstrates that . is a culturally visible piece of writing that influenced public opinions concerning wolves and blazed a trail in the 1960s between writing about animals in Canada and a more literary strategic type of writing.

DEFT

,Trauma on Display: Women’s Wilderness Writing and Animal Ciphers in Margaret Atwood’s , (1972) and her in a particular representational strategy that temporarily appears to be pro-animal, but that ultimately uses animals symbolically to represent human concerns and abandons any attempt to handle animals seriously. It focuses on the representation of pseudo-wildernesses—a log cabin by a lake in .

積云

,Writing Bear(s): Thematising the Canadian Animal Story in Marian Engel’s , (1976), rejection of anthropocentric representations of animals, and that this is self-consciously engaged with in .. The novel responds to dominant conversations in Canada concerning the symbolic use of animals in literature by thematising animal writing to construct a story about a bear that refuses to c

蔑視

重畫只能放棄

CONE

Conclusion,played a self-conscious role in the changing nature of writing about animals in contemporary Canada. What emerged across the period is an evident construction of more critically engaged writing about animals that attempts to take animals seriously as agents in reciprocated interspecies relationships