Reference Sources for Canadian Literary Studies offers the first full-scale bibliography of writing on and in the field of Canadian literary studies. Approximately one thousand annotated entries are arranged by reference genre, with sub-groupings related to literary genre.

Canada's rich literary heritage, dominated by a multicultural and multilingual presence, reflects the country's unique history and experience. In addition, an emerging body of new writers is redefining both the geographic and metaphorical boundaries of Canadian literature. Coupled with the propagation of digital technologies, Canada's burgeoning publishing industry presents unique challenges for both the introductory and seasoned literary researcher. Literary Research and Canadian Literature: Strategies and Sources provides researchers with the tools to navigate Canada's multifaceted literary scene. This guide addresses the tools and best practices for selecting and evaluating print and electronic sources related to the extensive and varied literature of Canada. Beginning with an overview of the strategies needed to conduct online research, individual chapters examine general literary reference materials; relevant online library catalogs, including national and union library catalogs; scholarly journals; archival collections; microform and digital collections; periodicals, literary magazines, newspapers, and reviews; and Web and electronic resources. Special topics discussed include "little magazines," scholarly gateways, and cultural resources. The guide culminates in a chapter that illustrates the application of the strategies explored to solve a research problem. The strategies discussed within the guide are applicable to both canonical and lesser-known authors, therefore making this work relevant to anyone interested in researching Canadian literature.

This timely volume takes stock of the discipline of comparative literature and its theory and practice from a Canadian perspective. It engages with the most pressing critical issues at the intersection of comparative literature and other areas of inquiry in the context of scholarship, pedagogy and academic publishing: bilingualism and multilingualism, Indigeneity, multiple canons (literary and other), the relationship between print culture and other media, the development of information studies, concerted efforts in digitization, and the future of the production and dissemination of knowledge. The authors offer an analysis of the current state of Canadian comparative literature, with a dual focus on the issues of multilingualism in Canada’s sociopolitical and cultural context and Canada’s geographical location within the Americas. It also discusses ways in which contemporary technology is influencing the way that Canadian literature is taught, produced, and disseminated, and how this affects its readings.

To anyone who has crossed the Canadian prairies, the title of thisbook, Vertical Man/Horizontal World, will strike a responsive chord --man stands alone in seemingly limitless landscape "as empty asnightmare". The stark isolation of man against the prairie's landscape is"so obvious" the author says, "that except for passingcomments [in two studies of Canadian prairie fiction] no one has made asustained analysis of the use of the prairie in Canadian fiction, orargued at any length for what most immediately unifies the literatureof the prairie region." Author Ricou argues that man is intimidated by the vastness which sosurrounds him, and "he will almost certainly wish to meet thechallenge of this land, to say 'Look, look!' in whatever way hecan, by raising a crop or a monument, by interpreting his experience inpaint or words." Ricou traces this recurrent theme in prairie fiction from writerssuch as Frederick Philip Grove and Wallce Stegner, Edward McCourt andW.O. Mitchell, to Margaret Laurence and Robert Kroetsch. In tracing the relationship of man and land from the earliestwriters of prairie fiction to the most recent, Ricou shows how the calmand benign relationship of man and land as exemplified, for instance,in the fiction of Robert Stead and W.O. Mitchell has changed in recentnovels to a more dramatic confrontation. "[The novelists] find in[the landscape] an ideal mirror for the dilemma (and often thestrength) of existential man." Critic Henry Keisel once wrote: "To conquer a piece of thecontinent, to put one's imprint upon virgin land, to say 'HereI am, for that I came", is as much a way of proving one'sexistence, as is Descartes' "cogito, ergo sum."Vertical Man/Horizontal World is an affirmation ofKreisel's statement. Slowly and cumulatively Ricou traces the imageof man leaving his mark on the empty, sometimes nightmarish land of theCanadian prairie. "How do we fit our time and our place?" isa question posed by all the writers Ricou examines. "Theanswer," he says, "at this point in the evolution of Canadianprairie fiction, delivered with conviction . . . is: abruptly anduneasily, but brazenly and delightedly." This book is a sustained and penetrating look at theinterrelationship of man and landscape in Canadian prairie fiction.

Hailed as a landmark in Canadian literary scholarship when it was originally published in 1965, the Literary History of Canada is now being reissued, revised and enlarged, in three volumes. This major effort of a large group of scholars working in the field of English-language Canadian literature provides a comprehensive, up-to-date reference work. It has already proven itself invaluable as a source of information on authors, genres, and literary trends and influences. It represents a positive attempt to give a history of Canada in terms of writings which deserve attention because of significant thought, form, and use of language. Volume 3 has been newly written for this edition of the History, and covers the years from about 1960 to 1974. The contributors to this volume are Claude Bissell, Desmond Pacey, Lauriat Lane, jr, Michael S. Cross, Thomas A. Goudge, John Webster Grant, John H. Chapman, William E. Swinton, Henry B. Mayo, Malcolm Ross, Brandon Conron, Clara Thomas, Sheila A. Egoff, John Ripley, William H. New, George Woodcock, and Northrop Frye.

The format of this book is arbitrary and exact, the way paint is in a landscape by Alex Colville. It follows the program of the symposium that took place at the University of Ottawa, from April 25 to 27, 1986. As Bakhtin leaps from the sidelines to centre stage, as Derrida clambers out of orchestra pit into the prompter's box, and Lancan swings from the flies, as Foucault, Lévi-Strauss, Saussure, Barthes, and a throng of others rhubarb their way through the text, one recognizes just how connected all the disparate elements of this critical extravaganza really are.