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Title Between the lines: interartistic modernism in Canada, 1930-1960
Publication Date
Degree PhD
Discipline/Department Department of English
Degree Level doctoral
University/Publisher McGill University

This dissertation offers the first comprehensive examination of the diverse inte-ractions and collaborations among Canadian modernist poets and artists, as well as the aesthetic, thematic, and idiomatic relationships between their poems and works of art. The project incorporates archival and historical research to demon-strate the interartistic nature of modernist poetry in Canada between 1930 and 1960. By establishing that paintings, sculptures, and book designs and illustrations by Canadian artists who knew and worked closely with Canadian modernist poets informed and affirmed the content and aesthetics of the poetry, the dissertation argues for a consideration of the social dimension of literary modernism in Cana-da. Chapter One investigates the personal relationship between the poet Dorothy Livesay and the artist Emily Carr and reveals the aesthetic and thematic conver-gences of their paintings and poems as they relate to landscape and affect. Chapter Two deals with the Montreal little magazines of the 1940s as interartistic sites of collaboration among artists and poets and argues that the artists' paintings provided models of human agency for the poets. Chapter Three considers the small press movement and gallery space of the 1950s as similar sites of interartistic collaboration and contact; it suggests that this contact inspired Canadian modernist poets to translate the aesthetic and thematic tensions of Canadian art into their poems. Chapter Four concerns both the poetry and visual art of P.K. Page-Irwin and argues that the poet addressed an ongoing aesthetic conflict in her poetry through the visual arts. Where the first chapter examines the relationship between a single poet and a single artist, the second and third chapters analyze the dynamics of groups of artists and poets working closely together on little magazines and on small press publications and encountering each others' work within the space of a gallery. The final chapter considers the work of a poet who is also a visual artist. This framework reveals the diversity of interartistic relationships that flourished throughout the rise of modernism in Canada.

Cette thèse de doctorat offre le premier examen approfondi des diverses interactions et collaborations parmi les poètes et les artistes modernes du Canada et les relations aesthétiques, thématiques, et idiomatiques entre leurs poèmes et leurs oeuvres d'art. Le projet prend en compte la recherche historique et archiviste pour démontrer la nature interartistique de la poésie moderniste au Canada entre 1930 et 1960. En démontrant que les peintures, sculptures, et conceptions et illustrations de livres par les artistes Canadiens qui connaissaient et travaillaient de près avec les poètes modernistes du Canada ont informé et affirmé les sujets et l'aesthetique de la poésie, cette thèse de doctorat soutient que la di-mension sociale de la litérature moderniste au Canada soit considérée. Chapître un enquête sur la relation personnelle entre la poète Dorothy Livesay et la peintre Emily Carr et révèle…

Subjects/Keywords Literature - Canadian (English)
Contributors Brian P Trehearne (Supervisor)
Language en
Rights All items in [email protected] are protected by copyright with all rights reserved unless otherwise indicated.
Country of Publication ca
Format application/pdf
Record ID oai:digitool.library.mcgill.ca:107764
Other Identifiers TC-QMM-107764
Repository mcgill
Date Retrieved
Date Indexed 2019-01-09
Grantor McGill University

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…a number of interdisciplinary studies of Canadian painting and literature from the early twentieth century to the present, with particular emphasis on the relationship between the paintings of the Group of Seven and the poetry of early modernists. In…

literature. Of the five authors he considers, only two might be classified as modernists: Alice Munro and Hugh Hood. Cook‘s author-centric study, however, considers only ―Ontario fiction after 1965‖ (iv). While numerous critics of Canadian

…now: A Canadian Quarterly Magazine of Literature and Art—pushed the boundaries of the little magazine‘s aesthetics and interartistic status in a number of ways. Northern Review, which I discuss in relation to its forebears, Preview and First Statement…

…will never be forgotten. This project benefited enormously from the broad and profound knowledge of Brian Trehearne. His inspiring enthusiasm for Canadian poetry and visual art, keen editorial eye, and candid advice were indispensible to the completion…

…Their passion for Canadian modernist poetry and literary history was inspirational and their encouragement will forever be appreciated. Jenn Macquarrie was also involved in these seminal conversations, and I am grateful for her knowledge and assistance…

…Assistant of Canadian Art, and his team for organizing the weekly instructional programming for docents and for sharing his knowledge and many resources on the Gallery‘s Canadian collection. Thanks to the many docents I have met while working at the gallery…

…enthusiasm for the work of Ozias Leduc and his student, Paul-mile Borduas, were wonderfully contagious. Thank you, also, to Charles Hill, Curator of Canadian Art at the NGC, who shared information about the work of Betty Sutherland, and to Ian Thom, Senior…

…Curator at the Van- Rackham viii couver Art Gallery, who generously offered provenance information related to paintings by Emily Carr. I am indebted to a number of Canadian archives and archivists for their collections and assistance navigating them…