Kirjahaku

Paris remains one of the most fascinating cities in the world. It provides a measure of excellence in many areas of culture, and it is itself constantly being measured, both by its lovers and by its critics. This book presents a series of studies on the images of Paris presented by writers (mostly Canadian, from John Glassco to Mavis Gallant to Lola Lemire Tostevin), but also in such other areas as social history and personal memoir. The result is a wide-ranging discussion of the city's history in 20th century literature and thought, which will appeal to all those who love Paris, or who have ever walked on its streets.

"I wanted this to be a narrative. So finally Jean-Luc went all the way: every line in the script a quotation from somewhere else. Every blessed line. Love doesn't die. It's people who die. Love just goes away." -from "NOUVELLE VAGUE / New Wave (1990)" Stephen Scobie celebrates "the greatest film director of his age" with poetry exploring 44 of Godard's films. Subtle yet profound unities play from poem to poem. Characters, locations, images, and the generous use of quotation jump-cut and recur to send the imagination reeling through the larger works of both artists. Readers will be seduced to linger within the writing and encouraged to seek beyond, to Godard's own oeuvre. The book is sharply envisioned and carefully cadenced so as to delight readers who may not be familiar with Godard's films. Those already acquainted with Godard's work will find At the limit of breath a most rewarding experience.

Scobie illuminates bpNichol's relationship to Dadaism, contemporary French literary theory and the writing of Gertrude Stein, and argues strongly for Nichol's importance as a writer of fiction. Other titles in The New Canadian Criticism Series: ABC of Reading the TRG Timothy Findley and the Aesthetics of Fascism Michael Ondaatje: Word, Image, Imagination Margaret Atwood: A Feminist Poetics George Bowering: Bright Circles of Colour

Poet Stephen Scobie writes in character, assuming the identity of another to look through their eyes for awhile. He takes on his most controversial character yet in Gospel, a long poem that considers the world through the eyes of Jesus Christ. Resonant and meditative, his rendition of the life and philosophy of Christ is indeed food for thought.

Re-Discover the most influential voice of our lifetimeBob Dylan is still singing the songs which for decades have made him the most preeminent voices of our time. In this revised and much expanded edition of Stephen Scobie's landmark study of Dylan's work, the author covers all the stages of a remarkable career: from his incandescent impact on the mid-1960s, when Dylan revolutionized folk and popular music, to his later reinvention of himself as a traveling performer. Dylan work is intensely relevant and rewarding. Rediscover Dylan with Stephen Scobie's outstanding portrait of this Noble Laureate.The 1991 edition of Alias Bob Dylan was hailed as a definitive study. The present volume is greatly revised, expanded and updated.

Like the earthquakes and explorations depicted on the covers of Gertrude Stein's notebooks, this study responds to artistic and linguistic fault lines and charts new territories. The author's concern is both with a general theoretical question – the relationship between painting and poetry, between the visual and the verbal – and with a specific period of artistic history – the early years of the twentieth century, when Cubism flourished. Rather than seeing any conflict or irreconcilable division between painting and poetry, Scobie proposes, as a model for their relation, the Derridean notion of 'the supplement.' This relation is grounded in the pervasiveness of language, in the ways in which language surrounds, imbues, structures, and supplements both verbal and non-verbal images. Working from the double focus of theory and history, this book does not attempt to develop a consecutive argument, but rather navigates around its topics, adopting a slightly different approach in each chapter. It begins with a general theoretical discussion of the role of language in painting and in art history, then moves to a series of specific discussions of aspects of Cubism, considering the paintings of Georges Braque, and the writings of Gertrude Stein and Guillaume Apollinaire. It concludes with an examination of the experimental form of concrete poetry, including sound and visual poetry, especially the Cubist-influenced work of Ian Hamilton Finlay. Earthquakes and Explorations will interest those studying art history, literary criticism, and critical theory.