Timothy Findley (1930-2002) is one of the most important contemporary Canadian writers. His novels have been classified as postmodern, exhibiting characteristic features such as parody, historiographic metafiction, and hybrid genres. This classification of Findley as a postmodern writer, however, largely neglects the fact that Findley is deeply committed to the exploration of certain ethical and political themes. Recurring topics in his work are, for instance, fascism, environmental concerns, and the problem of responsibility. Sparked off by the fascinating question of how postmodernism and ethics can be reconciled at all, and inspired by the so-called ethical turn in the literary theory of the 1990s, this study supplies a closer look at Findley's ethics with regard to its postmodern potential. A detailed analysis of five of his novels (The Wars, Famous Last Words, Not Wanted on the Voyage, The Telling of Lies and Headhunter) explores the ethical dimension of Findleys work and its consequences for his categorization as a postmodern writer.

"Postmodernism's critics often accuse the movement of being dangerously amoral because of its apparent wariness of concepts such as truth, ethics, and justice. Stories of the Middle Space explores the possibility of "postmodernism-with-a-conscience" and examines a variety of British and Canadian postmodern fiction to show how twentieth-century critical theory can be brought into fruitful dialogue with a faith-based perspective." "Highlighting the wide variety of ethical concerns considered by writers such as Timothy Findley, Thomas King, Carol Shields, Julian Barnes, A.S. Byatt, and Salman Rushdie, Deborah Bowen makes the case for a new category of "postmodern realism" and shows how contemporary stories about "the real" and "the good" are constructed. Applying theoretical insights from Emmanuel Levinas and Mikhail Bakhtin, Bowen investigates categories of postmodern realism such as magic realism, parody, and metafiction while laying the groundwork for Christian readings of a medium that is often perceived as largely irreligious." "An illuminating study of well-known contemporary writers, Stories of the Middle Space is a critically nuanced and methodologically innovative work that reads the postmodern from a faith-based perspectives to create new literary insights." "Deborah Bowen addresses the ethical concerns of a wide variety of postmodern fiction from a faith-based perspective that engages with the decentred discourses of post-structuralism. She suggests that a focus on the middle space between language and the world not only provides new insights into the construction of the real and the notion of a "good" story but also resituates the possibility of Christian reading in a largely post-Christian era"--BOOK JACKET.

Alongside the recent cultural turn in the humanities, there has been a noticeable return to ethical considerations. With regard to literature as well as other media, this has rekindled awareness of a tension, antagonism, or even disparity between ethics and aesthetics. This volume of articles takes a more systematic and cross-disciplinary approach to the widely mooted ethical turn in literature and other media than has been pursued so far. It brings together a wide range of critical perspectives from literary studies, media and cultural memory studies, and philosophy, tracing the complex and sometimes conflicting relationship between ethics and aesthetics in theoretical contexts and individual case studies as diverse as colonial architecture, nineteenth-century literary histories, and postmodern writing and art.

The contributors to the present volume, in espousing and extending the programme of such writers as Edward Said, Benedict Anderson, Homi Bhabha, and Gayatri Spivak, lay bare the genealogy of 'writing' empire (thereby, in a sense, 'un-writing' it). One focus is the Caribbean: the retrograde agenda of francophone créolité; the re-writing of empire in the postmodern disengagement of Edouard Glissant; resistance to post-colonial allegiances, and the dissolving of binary categories, in contemporary West Indian writing. Essays on India, Malaysia, and Indonesia explore various aspects of cultural self-understanding in Asia: un-writing high culture through hybrid 'shopping' among Western styles; the use of indigenous oral forms to counter Western hegemony; romantic and anti-romantic attitudes towards empire and the land. A shift to Africa brings a study of Nadine Gordimer's feminist un-writing of Hemingway's masculinist colonising narrative, a searching analysis of Soyinka's restoration of ancient syncretic elements in his West African re-visions of Greek tragedy, changing evaluations of the validity of European civilization in André Gide's representations of Africa, and tensions of linguistic allegiance in Maghreb literature. North America, finally, is brought back into the imperial fold through discussions of Melville's re-writing of travel and captivity narratives to critique the mission of American empire, Leslie Marmon Silko's re-territorialization of expropriated Native American oral traditions, and Timothy Findley's representation of Canada's troubled involvement with its three shaping empires (French, British, American).

This study of selected literary and cinematic works by Michael Ondaatje investigates the political potential of the Canadian author's aesthetics. Contributing to current debates about affect and representation, ideology critique and the artwork, trauma and testimony, this book uses the concept of the haptic to demonstrate how Ondaatje's multisensory, fluid and historically inflected writing can forge an enabling relationship between audience, author and text. This is where Ondaatje's micropolitics, often misconstrued as ideologically suspect aestheticism, emerges: a praxis that intimates how one can write and read politically with a difference.

Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-