Crafting a Canadian Imagination:
A Juxtaposition of Baseland and Hinterland Experiences
Establishing a uniquely Canadian imagination has traditionally been regarded as a difficult task, as it hopes to craft a form of literature that places Canadian authors outside of the realm of influence of its early colonial European establishment, and more recent American convergence. However, it is possible to extrapolate an idiosyncratic identity that is not formed as a product of the difference between Canadian authors and their European or American powers, but rather through examining the ways in which these impacts have helped inform authors in creating literature which adheres to prevailing forms, and how they have guided authors in responding to topical ideals and pressures. The contrasting ideas of Europeans and Americans conform to two major facets of Canadian literature, the baseland and hinterland methodologies. Baseland literature conforms to the European desires for tradition and respect of form, which was an important focus of the British government in early colonial and confederation periods. Conversely, hinterland literary form allows expression through an American desire for freedom from rule and tradition, a form widely used in the modern and postmodern periods of a growing society. Differences in baseland and hinterland compliment the diverse struggles and desires of writers at different times throughout history. Canadian writers have established a unique imagination through the forms and functions of baseland and hinterland ideologies, facilitating a distinctly Canadian interpretation of society and self from colonial to contemporary times.
One of the two primary functions of baseland and hinterland literary instruction ...
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... and integrated communities in a vast new country, and allowed poets to instill traditional values through prophetical insights. The less structured hinterland literature arose from a desire to seek the same open freedom that was prevalent in American culture, and allowed poets to experiment with new forms and experience Canadian frontiers without conforming to traditional rules. A successfully growing citizenship and culture prompted the hinterland content of individualism and regard for nature, and poets were able to discover new frontiers and leave order behind to seek out chaos and freedom. The history of Canadian literature, from a traditional British baseland order to a free American hinterland chaos subsequently produced a distinctly Canadian imagination, which has morphed and grown in response to the important issues and ideas of the citizens it represents.
Canada as a nation has been striving to characterize itself as more ?Canadian? for decades. This has included numerous struggles and events such as protests, bans, and the creation of the Massey Commission, to encourage national development in the arts, and support major companies like the Canadian Broadcasting Corporation (CBC) and National Film Board (NFB). However, this has not been an easy task for the Canadian government, as major influences from below the border (the United States) have been captivating the Canadian audiences by large. American media has had a momentous revolutionizing effect on Canada, even through efforts made to define Canada with its own cultural identity.
The characterization of nature is detrimental in shift of 20th century modernist writing to impressionist truths of Canadian landscapes. Al Purdy and Archibald Lampman were two significant Canadian writers who both possessed similar impressionist ideals on Canada’s nature. Both Purdy’s “Trees of the Arctic Circle” and Lampman’s “Heat” display not only negative judgments on Canadian landscape but demonstrate a shift from a frustrated outlook to an appreciative perception on nature.
Is Canada a nation or has its control just switched empirical hands? As Professor Hutcheson asked, did Canada go from "Colony to Nation or Empire to Empire?" This question has greatly influenced Canada's changing identity since her birth as a British colony with Confederation in 1867 to the present day. The purpose of this essay is to critically analyse the shifting Canadian identities between the years 1890 to 1960. The objective is to illustrate Canada's transforming identity by using the novels The Imperialist by Sara Jeanette Duncan, Barometer Rising by Hugh MacLennan, and Fifth Business by Robertson Davies and to connect the stories of each of these works of fiction to the varying political, economic, and social issues of their times. Each book is written by a prominent author, and portrays an accurate reflection of the demanding political, economic, and social concerns throughout the late nineteen and first half of the twentieth century of Canadian history. All of the novels reflect Canada's peripheral view of the world, as opposed to a central point of view, because throughout its history Canada has always been perceived as a secondary player. As George Grant says in his literary piece Lament for a Nation, Canada is "a branch plant society" , meaning Canada is controlled by another power. The essential question is where has Canada's loyalties traditionally lay and how has this shaped the Canadian identity. The Imperialist by Sara Jeanette Duncan, written in 1904 reflects a very British influenced Canada. At this time, Canada is still a British colony under British rule, and the people of Canada are very content to consider themselves British. The novel predominately ill...
Lister Sinclair’s pamphlet Change Comes to Canada was distributed at the Canadian Government Pavilion during Expo 67. Sinclair looks at the meaning of the name Canada. She analyses common points in people’s daily lives such as the meaning of ‘our home and native land,’ Canadian history, Canadian resources, transportation, climate and culture that tie each Canadian together. She claims that “every Canadian who thinks about Canada has his own idea about the meaning of that dream.” She argues that there is no actual national identity but individual identities that made up our national identity. She challenges the questions related to a national identity. It is interesting that something that questions the national identity would be distributed at Expo 67; but, it provides in...
Today Canada and the United States are major trading partners, allies, and two neighboring countries with a long history of cooperation with each other. But is it possible for Canada to protect its independence and culture living next door to the country so powerful and rich as the United States. Since the Canadian confederation, Canada started developing relations with the U.S. As the years passed by, Canada began to relay on the United States in the national defense. Many Canadians think that the military, political and economical dependence would not make a difference to their daily life. But today more then even Canadian culture is affected by the American influence. Media, American artists, economic dependence, American propaganda and political pressure from the United States is making Canada too Americanized. All of these factors reflect on the social life of ordinary Canadians threatening the heritage and the traditions that define Canada as independent country.
He has been called a prophet, a traitor, a martyr, a visionary and a madman, but whatever one thinks of him, Louis Riel, remains one of the most controversial figures in Canadian history. Does this man who has continued to haunt Canadian history for more than a century after his execution, deserve all of those descriptions? After reading three different interpretations of the rebellions, it is still difficult to decide which is closer to the truth. All three authors retold the Metis history and although they differ on crucial issues, there was agreement on the basic facts. The primary difference amongst the three authors was whether the Canadian and Manitoban governments acted in good faith in carrying out the terms of the Manitoba Act, whether John A. MacDonald purposely deceived the Metis as to what Canada’s intentions were with respect to the Canada-Metis Agreement and to what extent were there deceptions in the administration of the Metis land grants. How these three historians attempt to encapsulate Riel’s life, accomplishments, and mistakes is very different. How they attempt to separate fact from fiction and decide whether Riel was justified in his actions against the government is written from three very different perspectives. Where their sympathies lie, how subjective they are and how they interpret the facts is quite evident, but there are many sides to history and every side must be examined if a fair judgment is to be made.
This exposition will demonstrate that graduating students in Ontario ought to just study Canadian literature in a Grade 12 English course. While great writers exist in all societies, Ontario students ought to just study Canadian authors. Since we have to get more acquainted with our writing. Three explanations behind this are; the need to concentrate on our own Canadian society regardless of being encompassed by different societies, the need to advertise and create our scholars, and the need to empower more youthful Canadian authors.
Lampman, A. "The City of the End of Things." Canadian Poetry: From the Beginnings Through the First World War. Ed. Gerson, C and Davies, G. Toronto: McClelland & Stewart, 1994. 259-262.
In order to understand the complexity of the Anti-Americanism, it is important to understand the history and relationship between Canada and the United States. The sentiment was first conceived by the Europeans and the issues it had with the upcoming “rebellious” American culture. Europeans at the time had the tendency to see Americans as, “overconfident and self-important… it was this egocentricity that most aggravated Europeans” (O’Connor, 2004). In its earliest form, the American ideology seemed to be an opponent to the popular European ideology. Which soon became a campaign between “high culture” (the European ideology) and “low culture” (the American culture) and through that rivalry many European citizens held the belief that,
Many people across the globe argue that nationalism within Canada is simply not feasible. It is said that we as a people, differ so greatly with our diverse cultures, religions, and backgrounds that we cannot come together and exist together as a strong, united nation. In his book, Lament for a Nation, George Grant tells the reader that “…as Canadians we attempted a ridiculous task in trying to build a conservative nation in the age of progress, on a continent we share with the most dynamic nation on earth. The current history is against us.” (1965) Originally directed towards the Bomarc Missile Crisis, the book argues that whatever nationalism Canada had was destroyed by globalization as well as the powerful American sphere of influence. Although it is true that the book was initially written as a response to the events that took place in the late 1950s, many of the points are still valid today.
Most people are trapped into believing that Canada is a very diverse place to live as it welcomes many cultures, but do not realize what happens to their culture when they have lived in Canada after time. Throughout the stories Simple Recipes by Madeleine Thien and A Short History of Indians in Canada by Thomas King, the authors tell the actions of what is happening in the characters lives to show the stripping of other cultures when they come to Canada. These two stories reveal how difficult it can be to be a person with a different culture existing in Canadian society.
Riegel, Christian A Sense of Place: Re-evaluating Regionalism in Canadian and American Writing Calgary : University of Alberta, 1997
Thompson, John Herd, and Mark Paul Richard. "Canadian History in North American Context." In Canadian studies in the new millennium. Toronto: University of Toronto Press, 2008. 37-64.
Much has been written about the ways in which Canada's state as a nation is, as Peter Harcourt writes, "described" and hence, "imagined" (Harcourt, "The Canadian Nation -- An Unfinished Text", 6) through the cultural products that it produces. Harcourt's terms are justifiably elusive. The familiar concept of "Canadian culture", and hence Canadian cinema, within critical terminology is essentially based on the principle that the ideology of a national identity, supposedly limited by such tangible parameters as lines on a map, emerges from a common geographical and mythological experience among its people. The concept that cultural products produced in Canada will be somehow innately "Canadian" in form and content first presupposes the existence of such things as inherently Canadian qualities that can be observed. Second, it presupposes a certain commonality to all Canadian artists and posits them as vessels through which these said "inherently Canadian qualities" can naturally flow. Third, it also assumes the loosely Lacanian principle that Canadian consumers of culture are predisposed to identify and enjoy the semiotic and mythological systems of their nation, and further connotes that Canadians have fair access to their own cultural products. Since these assumptions are indeed flawed but not altogether false, this paper will deal with the general relationship between the concept of Canada, its cultural texts, and its mythological and critical discourse as an unresolved problematic that should be left "open" in order to maximize the "meaning potential" of films as cultural texts within the context of "national identity," an ideological construct that remains constantly in flux.
Moodie, Susanna. Roughing it in the Bush; Or, Life in Canada. London, England: Richard Bentley, 1852) and 3rd. ed. (1854). Print