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Prize possession: Literary awards, the GGs, and the CanLit Nation.

机译:奖项拥有:文学奖,GGs和CanLit Nation。

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摘要

To date, the discussion of Canadian literary prizes as culturally influential forces --- and indeed as cultural practice --- has remained largely journalistic. "Prize Possession" opens the academic dialogue on the influence of awards on conceptions of Canadian poetry and literary culture by examining Canada's oldest and, until recently, most prestigious literary prizes, the Governor General's Awards. Drawing on Pierre Bourdieu's theorization of the fields of cultural production, this dissertation argues that literary prizes can be read as sites of conflation between 'restricted' cultural endeavours like poetry and more 'large-scale' and popular cultural events by nature of the competitive model introduced by the prizing of the arts, and that this conflation affects the ways in which Canadian poetry is conceived of in both academic and popular communities. The case of the GGs is of particular interest in the era of globalization because of the cultural-nationalist implications invoked and enforced by their federal mandate and sponsorship.;"Prize Possession" begins by arguing that awards can be read as Derridean 'gifts' which initiate a symbolic (and economic) cycle of prestige designed, eventually, to return to the original giver. It then examines the official mandate of the GGs in relation to the major shifts in the history of critical thought about Canadian poetry since the Awards' inception in 1936 and contextualizes the prize's relationship to ongoing debates and conceptions of canonicity. This dissertation then examines shortlisted and winning works from representative years (books by F.R. Scott, Alfred Bailey, and Barry MacKinnon for 1981 [the first year the GGs designated Poetry an independent category], books by Don McKay, Judith Fitzgerald, Anne Michaels, Don Domanski, and Patrick Lane for 1991, and books by George Elliott Clarke, Anne Carson, Steve McCaffery, Robert Kroetsch, and Phil Hall for 200I), as well as selected work by relevant jurists, in order to argue that the Awards continue to uphold a state-sanctioned construction of 'CanLit' that is increasingly incongruent with contemporary critical purviews. The study concludes by speculating on the direction the GGs might take in order to remain viable and engaged in an increasingly globalizing cultural environment. In general this dissertation aims to emphasize how phenomena like prizes --- which are often thought to be extra-literary and market-driven --- are of significant import to literary culture and the way that poetry is portrayed, produced, and consumed in twenty-first century Canada.
机译:迄今为止,关于加拿大文学奖作为具有文化影响力的力量(乃至实际上是文化实践)的讨论仍主要是新闻性的。通过研究加拿大历史最悠久,直到最近最负盛名的文学奖总督奖,“奖项占有”开启了关于奖项对加拿大诗歌和文学文化观念影响的学术对话。本文基于皮埃尔·布迪厄(Pierre Bourdieu)对文化生产领域的理论,认为文学奖可以被理解为诗歌的“受限制”文化活动与更多“大规模”文化活动之间相互融合的场所,这取决于竞争模式的本质。这是由于艺术获得大奖而引起的,这种混合影响了学术界和大众社区对加拿大诗歌的理解方式。 GG的案例在全球化时代特别受关注,因为其联邦授权和赞助所援引和实施的文化民族主义含义。“ Prize Possession”首先争论的是,奖项可以被理解为Derridean的“礼物”,发起象征性的(和经济的)声誉循环,最终将其设计返回给原始给予者。然后,从奖项评选开始于1936年,考察了GGs的官方授权与加拿大诗歌批判思想史的重大转变,并将该奖项与正在进行的辩论和正直性概念的关系具体化。然后,本文研究了代表性年份的入围作品和获奖作品(FR Scott,Alfred Bailey和Barry MacKinnon于1981年(GGs将诗歌指定为独立类别的第一年),Don McKay,Judith Fitzgerald,Anne Michaels,Don的书籍) 1991年的多曼斯基(Domanski)和帕特里克·莱恩(Patrick Lane),以及乔治·埃利奥特·克拉克(George Elliott Clarke),安妮·卡森(Anne Carson),史蒂夫·麦卡菲(Steve McCaffery),罗伯特·克罗伊特(Robert Kroetsch)和菲尔·霍尔(Phil Hall)的书籍,以及相关法学家的精选著作,以争辩该奖项继续得到认可由国家批准的“ CanLit”结构与现代批评的观点越来越不一致。该研究的结论是推测GG可能采取的方向,以便保持生存并参与日益全球化的文化环境。总体而言,本论文旨在强调像奖品这样的现象(通常被认为是文学外的和市场驱动的现象)如何对文学文化具有重要意义,以及诗歌在诗歌中的描绘,产生和消费方式。二十一世纪的加拿大。

著录项

  • 作者

    Percy, Owen.;

  • 作者单位

    University of Calgary (Canada).;

  • 授予单位 University of Calgary (Canada).;
  • 学科 Anthropology Cultural.;Literature Canadian (English).
  • 学位 Ph.D.
  • 年度 2010
  • 页码 398 p.
  • 总页数 398
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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