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English-Canadian Perspectives of LandscapeGustafson, Ralph ed. The Penguin Book of Canadian Verse. Fourth revised edition,Harmondsworth: Penguin, 1984.Howe, Joseph. “Acadia.” Sinclair ed., 18-41.Knister, Raymond. “The Lake Harvest.” Gustafson ed., 137.McKinnon, Barry. “Bushed.” Atwood ed., 424.McLachlan, Alexander. “The Emigrant.” Sinclair ed., 116-156.Mandel, Eli ed. Poets of Contemporary Canada 1960-1970. Toronto: McClelland and Stewart,1972.Marriott, Anne. “Prairie Graveyard.” Atwood ed., 164f.Ross, W.W.E. “The Walk.” Gustafson ed., 132.Sinclair, David ed. Nineteenth-Century Narrative Poems. Toronto: McClelland and Stewart,1972.II. Secondary SourcesAddison, Joseph. 1712 [1949]. “No. 412”. The Spectator. 3 vols. London: Dent/New York:Dutton, III, 397-400.Appleton, Jay. 1975. The Experience of Landscape. Chichester: John Wiley.Bal, Mieke. 1983. “The Narrating and the Focalizing: A Theory of Agents in Narrative.” Style, 17,235-269.———. 1985. Narratology: Introduction to the Theory of Narrative. Toronto: University ofToronto Press.Bryson, Norman. 1981. Word and Image: French Painting of the Ancien Régime. Cambridge:CUP.Edgerton, Samuel Y. Jr. 1975. The Renaissance Rediscovery of Linear Perspective. New York:Basic Books.Fletcher, Pauline. 1983. Gardens and Grim Ravines: The Language of Landscape in VictorianPoetry. Princeton: Princeton UP.Gebser, Jean. 1949. Ursprung und Gegenwart. Band I: Die Fundamente der aperspektivischenWelt. Stuttgart: Deutsche Verlagsanstalt [Ever-present origin: The Foundations andManifestations of the Aperspectival World, trans. N. Barstadt, Ohio UP, 1984].Grace, Sherill E. 1980. Violent Duality: A Study of Margaret Atwood. Montreal: Véhicule Press.Guillén, Claudio. 1971. “On the Concept and Metaphor of Perspective.” Literature as System:Essays Toward the Theory of Literary History. Princeton, N.J.: Princeton UP, 1971, 283-371.Harper, J. Russell. 1977. Painting in Canada: A History. 2nd ed., Toronto: University of TorontoPress.Heffernan, James A. W. 1984. “Wordsworth, Coleridge, and Turner: The Geometry of theInfinite”. Bucknell Review, 29, 49-72.Keith, W. J. 1980. The Poetry of Nature: Rural Perspectives in Poetry from Wordsworth to thePresent. Toronto: University of Toronto Press.Kemp, Martin. 1990. The Science of Art: Optical Themes in Western Art from Brunelleschi toSeurat. New Haven/London: Yale UP.Lobsien, Eckhard. 1981. Landschaft in Texten: Zu Geschichte und Phänomenologie derliterarischen Beschreibung. Stuttgart: Metzler.Marshall, Tom. 1979. Harsh and Lovely Land: The Major Canadian Poets and the Making of aCanadian Tradition. Vancouver: UBC Press.McGregor, Gaile. 1985. The Wacousta Syndrome: Explorations in the Canadian Landscape.Toronto: University of Toronto Press.McLuhan, Marshall/Harley Parker. 1968. Through the Vanishing Point: Space in Poetry andPainting. New York: Harper & Row.Nicolson, Marjorie. 1959. Mountain Gloom and Mountain Glory: The Development of theAesthetics of the Infinite. Ithaca, New York: Cornell UP.Redekop, Ernest. 1970. Margaret Avison. Toronto: Copp Clark Publ. Co.Reid, Dennis. 1988. A Concise History of Canadian Painting. 2nd ed., Toronto: OUP.Shadbolt, Doris. 1979. The Art of Emily Carr. Vancouver/London: Douglas & McIntyre.Stanzel, Franz K. 1984. A Theory of Narrative. Cambridge: CUP.Tanner, Tony. 1987. Scenes of Nature, Signs of Men. Cambridge: CUP.Tuan, Yi-Fu. 1974. Topophilia: A Study of Environmental Perception, Attitudes, and Values.Englewood Cliffs: Prentice-Hall.———. 1979. Landscapes of Fear. New York: Pantheon.White, John. 1957. The Birth and Rebirth of Pictorial Space. London: Faber.23
Ethel S. GoodsteinRedeeming Modernism in the Context ofPostmodernity: A Revisionist Analysis of theArchitecture of Arthur EricksonAbstractThe works that brought Arthur Erickson international acclaim in the late1960s and 1970s were conceived in the spirit of the Modern Movement inarchitecture. Although he was for many years a vocal critic of postmodernism,his recent buildings share postmodernism's concerns for context and history.This essay will reassess Erickson's works by revealing in them transcendentprinciples of design that overarch the singular authority of modernism and thepluralistic eclecticism of postmodernism. Through the juxtaposition of his“modern” and “postmodern” works, a natural evolution of the architect'stheoretical bias—the development of an architecture informed by a broadlyconstructed definition of natural, human made and cultural contexts, andvested in the uniqueness of place—will be traced, demonstrating thatErickson's buildings have always embodied the double-coding ofpostmodernism which addresses both high cultural concerns and daily lifethrough the production of legible built forms. A revisionist analysis ofErickson's work suggests how postmodern architecture can be understood asa richly coded expression which not only recaptures historical aesthetictraditions and collective memories of place, but also intensifies and subsumesmodern architectural forms, space, and technics.RésuméLes réalisations qui ont assuré la renommée internationale d'Arthur Ericksonvers la fin des années soixante et au cours de la décennie suivante étaientmarquées par le mouvement moderniste en architecture. Bien qu'il ait étépendant longtemps un critique éloquent du postmodernisme, ses récentsédifices témoignent des mêmes préoccupations que le postmodernisme euégard au contexte et à l'histoire. Le présent essai procède à un réexamen desoeuvres d'Erickson en en faisant ressortir les principes conceptuels supérieursqui forment une sorte de clef de voûte entre l'autorité singulière dumodernisme et l'éclectisme pluraliste du postmodernisme. Il suffit d'ailleurs dejuxtaposer ses réalisations « modernes » et « postmodernes » pour voirs'affirmer l'évolution naturelle de ses choix théoriques — l'élaboration d'unearchitecture qu'informe une définition largement articulée des contextesfaçonnés par la nature, l'homme et la culture, et qui s'accomplit dans l'unicitédu lieu. On voit clairement alors que les édifices créés par Erickson épousentla double préoccupation du postmodernisme de répondre à des exigencesculturelles élevées en même temps qu'aux besoins de la vie quotidienne grâce àdes formes bâties déchiffrables. Une analyse révisionniste de l'oeuvreInternational Journal of Canadian Studies / Revue internationale d'études canadiennes6, Fall/Automne 1992
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Roshan G. ShahaniIn Quest of a Habi
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