The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction
This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this init...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Cormier Matthew [verfasserIn] |
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| Format: |
E-Artikel |
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| Sprache: |
Englisch ; Französisch |
| Erschienen: |
2020 |
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| Schlagwörter: |
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| Übergeordnetes Werk: |
In: American, British and Canadian Studies Journal - Sciendo, 2015, 35(2020), 1, Seite 5-22 |
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| Übergeordnetes Werk: |
volume:35 ; year:2020 ; number:1 ; pages:5-22 |
| Links: |
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| DOI / URN: |
10.2478/abcsj-2020-0014 |
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| Katalog-ID: |
DOAJ019567014 |
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| 520 | |a This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures. | ||
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10.2478/abcsj-2020-0014 doi (DE-627)DOAJ019567014 (DE-599)DOAJ89881a5db85c4822aba1cad6c83c5c85 DE-627 ger DE-627 rakwb eng fre PR1-9680 Cormier Matthew verfasserin aut The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction 2020 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures. apocalyptic genre english-canadian fiction québécois fiction indigenous fiction nationalism globalization emily st. john mandel thomas king nicolas dickner History (General) and history of Europe D English literature In American, British and Canadian Studies Journal Sciendo, 2015 35(2020), 1, Seite 5-22 (DE-627)769219470 (DE-600)2734494-0 1841964X nnns volume:35 year:2020 number:1 pages:5-22 https://doi.org/10.2478/abcsj-2020-0014 kostenfrei https://doaj.org/article/89881a5db85c4822aba1cad6c83c5c85 kostenfrei https://doi.org/10.2478/abcsj-2020-0014 kostenfrei https://doaj.org/toc/1841-964X Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_31 GBV_ILN_32 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_74 GBV_ILN_90 GBV_ILN_95 GBV_ILN_100 GBV_ILN_105 GBV_ILN_110 GBV_ILN_120 GBV_ILN_121 GBV_ILN_150 GBV_ILN_151 GBV_ILN_161 GBV_ILN_165 GBV_ILN_206 GBV_ILN_213 GBV_ILN_224 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_370 GBV_ILN_374 GBV_ILN_602 GBV_ILN_636 GBV_ILN_647 GBV_ILN_702 GBV_ILN_2001 GBV_ILN_2003 GBV_ILN_2005 GBV_ILN_2006 GBV_ILN_2007 GBV_ILN_2008 GBV_ILN_2009 GBV_ILN_2010 GBV_ILN_2011 GBV_ILN_2014 GBV_ILN_2015 GBV_ILN_2018 GBV_ILN_2020 GBV_ILN_2021 GBV_ILN_2025 GBV_ILN_2026 GBV_ILN_2036 GBV_ILN_2037 GBV_ILN_2039 GBV_ILN_2043 GBV_ILN_2050 GBV_ILN_2055 GBV_ILN_2056 GBV_ILN_2057 GBV_ILN_2059 GBV_ILN_2061 GBV_ILN_2065 GBV_ILN_2093 GBV_ILN_2113 GBV_ILN_2129 GBV_ILN_2153 GBV_ILN_2190 GBV_ILN_2446 GBV_ILN_2470 GBV_ILN_2507 GBV_ILN_2863 GBV_ILN_4012 GBV_ILN_4035 GBV_ILN_4037 GBV_ILN_4046 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4242 GBV_ILN_4246 GBV_ILN_4249 GBV_ILN_4251 GBV_ILN_4277 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4307 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4338 GBV_ILN_4346 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4393 GBV_ILN_4700 AR 35 2020 1 5-22 |
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destruction of nationalism in twenty-first century canadian apocalyptic fiction |
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The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction |
| abstract |
This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures. |
| abstractGer |
This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures. |
| abstract_unstemmed |
This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures. |
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