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  • Format: PDF

Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as &quote;negative,&quote; as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's &quote;Enthusiasm,&quote; Charles G.D. Roberts's Ave, and Paulette Jiles's &quote;Song to the Rising Sun,&quote; and explores the poems in the…mehr

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Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "e;negative,"e; as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "e;Enthusiasm,"e; Charles G.D. Roberts's Ave, and Paulette Jiles's "e;Song to the Rising Sun,"e; and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country.

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