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JSalter PhD Final Thesis Submission.pdf - University of Guelph

JSalter PhD Final Thesis Submission.pdf - University of Guelph

JSalter PhD Final Thesis Submission.pdf - University of

Intergenerational Storytelling and Transhistorical Trauma: Old Women in Contemporary Canadian Fiction by Jodie Lynne Salter A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in Literary Studies/Theatre Studies in English Guelph, Ontario, Canada © Jodie Lynne Salter, August, 2012

  • Page 2 and 3: ABSTRACT Intergenerational Storytel
  • Page 4 and 5: ACKNOWLEDGEMENTS This dissertation
  • Page 6 and 7: Introduction THE TELLER AND LISTENE
  • Page 8 and 9: authors tell their ‘real’ stori
  • Page 10 and 11: - Shani Mootoo’s Cereus Blooms at
  • Page 12 and 13: this old woman. However, upon close
  • Page 14 and 15: violence. However, they also raise
  • Page 16 and 17: participatory aspect of intergenera
  • Page 18 and 19: listening/telling storytelling exch
  • Page 20 and 21: suffered” and she “often forget
  • Page 22 and 23: Additionally, in some of these nove
  • Page 24 and 25: “complement and challenge [the] e
  • Page 26 and 27: consequent disaffection towards the
  • Page 28 and 29: imaginings of home and community an
  • Page 30 and 31: dialogically in relation to one ano
  • Page 32 and 33: My questions, projections, provocat
  • Page 34 and 35: and cognitive deficiencies associat
  • Page 36 and 37: they are presented, and query their
  • Page 38 and 39: edefine gendered roles and expectat
  • Page 40 and 41: Chapter 5 also critiques the operat
  • Page 42 and 43: Chapter 1 NARRATIVES OF AGEING, TRA
  • Page 44 and 45: various critical responses from lit
  • Page 46 and 47: another time” (8). This chapter e
  • Page 48 and 49: diagnosis of dementia for old racia
  • Page 50 and 51: (Choy 165). Native scholar Paula Gu
  • Page 52 and 53:

    elements of subjectivity that confi

  • Page 54 and 55:

    universalizes the realities of agei

  • Page 56 and 57:

    gaps; and many, like Katya, the old

  • Page 58 and 59:

    characters simultaneously inhabit m

  • Page 60 and 61:

    women’s storytelling practices re

  • Page 62 and 63:

    Many old women protagonists comment

  • Page 64 and 65:

    exemplify a “basic Canadian mind-

  • Page 66 and 67:

    enacted by old age sometimes outwei

  • Page 68 and 69:

    storyteller character as a moderato

  • Page 70 and 71:

    However, in the 1990s, American fem

  • Page 72 and 73:

    CONTRIBUTIONS FROM STUDIES ON AGEIN

  • Page 74 and 75:

    negative exposé of old age, whereb

  • Page 76 and 77:

    naturalized and thereby considered

  • Page 78 and 79:

    majority of social theories on agei

  • Page 80 and 81:

    McMullin asserts ageing as “a bio

  • Page 82 and 83:

    shifts in subjectivity. This is par

  • Page 84 and 85:

    whereas the narrative aesthetics of

  • Page 86 and 87:

    inherently related to the act of fa

  • Page 88 and 89:

    transgresses the boundaries of lang

  • Page 90 and 91:

    efore they move forward” (17). Th

  • Page 92 and 93:

    history that imagines a future, mor

  • Page 94 and 95:

    enaming and redefinition, what Beau

  • Page 96 and 97:

    In Goto’s novel, within the Tonka

  • Page 98 and 99:

    now” (Goto 46). Here, we see Waxm

  • Page 100 and 101:

    this disparity is not viewed with r

  • Page 102 and 103:

    stability” as transforming into

  • Page 104 and 105:

    experiences. 39 Her teaching of a r

  • Page 106 and 107:

    Interweaving life review with myth,

  • Page 108 and 109:

    depicted are made up (fictum)” (6

  • Page 110 and 111:

    this moment where, under the influe

  • Page 112 and 113:

    property] that was unevenly divided

  • Page 114 and 115:

    understanding of the intimate relat

  • Page 116 and 117:

    that breaks the fourth wall between

  • Page 118 and 119:

    admit, “I can’t. I can’t. Ica

  • Page 120 and 121:

    not create stasis because “these

  • Page 122 and 123:

    Obachan, speaking from her multiple

  • Page 124 and 125:

    upon her grandmother’s stories be

  • Page 126 and 127:

    In “Generation Gaps and the Poten

  • Page 128 and 129:

    Often temporal shifts (through anal

  • Page 130 and 131:

    haunting memories that disrupt one

  • Page 132 and 133:

    memory when unintentionally disclos

  • Page 134 and 135:

    storytelling that moves beyond oral

  • Page 136 and 137:

    a singular understanding of silence

  • Page 138 and 139:

    These words attempt to encapsulate

  • Page 140 and 141:

    eturn?” (Kogawa 26), only elicits

  • Page 142 and 143:

    seen her cry” (Kogawa 12) and tha

  • Page 144 and 145:

    ead as they are remembered, as “[

  • Page 146 and 147:

    present, from the memories, from th

  • Page 148 and 149:

    [Mother] is here. She is not here.

  • Page 150 and 151:

    describe what has happened” (286)

  • Page 152 and 153:

    unable to laugh” (Kogawa 201). Wi

  • Page 154 and 155:

    listening, to personal and collecti

  • Page 156 and 157:

    Thus, the stages of acquisition of

  • Page 158 and 159:

    haunts through “persistent memori

  • Page 160 and 161:

    unspeakable events that require a t

  • Page 162 and 163:

    (Tamayose 15), at her insistence, M

  • Page 164 and 165:

    efore and after of the traumatic mo

  • Page 166 and 167:

    eliefs into her two granddaughters

  • Page 168 and 169:

    “reassured by her mother’s quie

  • Page 170 and 171:

    suggests, through writing, scriptot

  • Page 172 and 173:

    Chapter 4 SHANI MOOTOO’S FIGURING

  • Page 174 and 175:

    experiences a psychic break and ret

  • Page 176 and 177:

    311). This madwoman, configured as

  • Page 178 and 179:

    others” (231). Tyler becomes the

  • Page 180 and 181:

    evaluate cultural myths that serve

  • Page 182 and 183:

    madness in The Wretched of the Eart

  • Page 184 and 185:

    discourses assumed “as reliable a

  • Page 186 and 187:

    imperialist imageries towards trans

  • Page 188 and 189:

    languages “throw light on each ot

  • Page 190 and 191:

    within the “framework of a queer

  • Page 192 and 193:

    evealed as an unstable category who

  • Page 194 and 195:

    superior/inferior disrupted, neithe

  • Page 196 and 197:

    Binaries tend to privilege one posi

  • Page 198 and 199:

    Women become objects that serve onl

  • Page 200 and 201:

    have a flesh-and-blood, breathing,

  • Page 202 and 203:

    In Mala’s behaviours, Tyler “de

  • Page 204 and 205:

    elly of the colonial beast” (Gads

  • Page 206 and 207:

    his own stories within his narrativ

  • Page 208 and 209:

    story levels. This narrative act, i

  • Page 210 and 211:

    narrator of her own story, recounts

  • Page 212 and 213:

    has become, Mala frees her mind fro

  • Page 214 and 215:

    of past events. Thus, now emotional

  • Page 216 and 217:

    “my” and “her” nine times e

  • Page 218 and 219:

    and moral issues of writing (and re

  • Page 220 and 221:

    literature can simultaneously defy

  • Page 222 and 223:

    and reasserts the old woman’s ide

  • Page 224 and 225:

    traumatized, discriminated against,

  • Page 226 and 227:

    the impact of racialization and gen

  • Page 228 and 229:

    age and generational responses to t

  • Page 230 and 231:

    position of enunciation” (Schlict

  • Page 232 and 233:

    “crippling assumptions” (Mukher

  • Page 234 and 235:

    In Canada, Adele’s only contact w

  • Page 236 and 237:

    violence, rape, objectification, di

  • Page 238 and 239:

    ‘You arrived, Mother. You told me

  • Page 240 and 241:

    how Adele and her mother are percei

  • Page 242 and 243:

    ack, or […] if looking back means

  • Page 244 and 245:

    and complexes” as the consequence

  • Page 246 and 247:

    woman with dementia, but as someone

  • Page 248 and 249:

    his mother repeatedly recounts abou

  • Page 250 and 251:

    somehow we forget to forget” (ori

  • Page 252 and 253:

    esistance, and subsequently having

  • Page 254 and 255:

    legacies that ultimately stem from

  • Page 256 and 257:

    mother “still holding a pair of s

  • Page 258 and 259:

    members and through an individualis

  • Page 260 and 261:

    epressed, painful memories that oft

  • Page 262 and 263:

    These terms reveal a number of cont

  • Page 264 and 265:

    attention to ourselves, and without

  • Page 266 and 267:

    or he only understands experiential

  • Page 268 and 269:

    necessity of working together: “w

  • Page 270 and 271:

    Analyzing focalization as a narrati

  • Page 272 and 273:

    268). By situating Basan in her aft

  • Page 274 and 275:

    experience). This theory of interge

  • Page 276 and 277:

    articulated, they are always comple

  • Page 278 and 279:

    which to critique exclusionary disc

  • Page 280 and 281:

    strategies she uses and the stories

  • Page 282 and 283:

    ethical search for home” (23). I

  • Page 284 and 285:

    cultural witnesses insisting on mem

  • Page 286 and 287:

    Aristotle. Rhetoric. Ed. W. D. Ross

  • Page 288 and 289:

    Boyko, John. The Last Steps to Free

  • Page 290 and 291:

    Casid, Jill H. Sowing Empire: Lands

  • Page 292 and 293:

    Ohio State UP, 2010. DeMichele, Kim

  • Page 294 and 295:

    Conversation. Jackman Humanities In

  • Page 296 and 297:

    Hua, Anh. “Diaspora and Cultural

  • Page 298 and 299:

    Lanzmann, Claude. Dir. Shoah. Eurek

  • Page 300 and 301:

    May, Vivian M. “Dislocation and D

  • Page 302 and 303:

    Norrick, Neal R. “The Constructio

  • Page 304 and 305:

    Rutherford, Anna. From Commonwealth

  • Page 306 and 307:

    Critical Perspectives of Women of C

  • Page 308 and 309:

    Whitbourne, Susan Krauss, and Joel

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