The very fact that Frye generated such an extraordinary attention is a powerful reminder of his far-reaching contribution to the mapping out of the initial stages of modern Canadian literary culture. What ultimately these works provide us with is a series of meditations on Canadian literature and its criticism, covering a variety of views each exhorting other writers and critics to work towards the creation of a de-colonized national cultural space. His initial interest in Canadian literary culture dates back to the late s, when as editor of the Canadian Forum he encouraged young emerging authors by publishing their works. But it was not until the s and s that Frye produced his first important work in which he directed his attention—both in reviews and essays—to the subject of national literature, a subject which had been on the minds of many Canadians for over a century and had eluded a consensual definition.
Atwoods Theory of Canadian Short Stories Margaret Atwood detects that in most Canadian stories there seems to be some sort of victim and their quest for survival.
First there are creative non-victims who are successful at not being victims, secondly, there are victims who acknowledge the fact that they are victims but who blame their situations on something they cannot control, like fate.
Last of all there are those who know that they are victims and who try to better their situations whether they are victorious or not. She is portrayed, by Atwoods theory, as a creative non-victim.
She cleverly uses her situations to her advantage. Barclays wedding gift for Mr. She uses the storm as reason to bundle up with Mr. Mears so as to stay warm.
Kezia never wants to marry Mr. Hathaway, so after the storm clears she proclaims to Mr. Mears] in a hut in the woods.
Therefore Kezia cannot declare her bundling with Mr. Hathaway for fear of being punished. Kezia then offers herself as wife to Mr. Mears, thus getting her out of an undesired marriage and no longer being a victim to that arrangement. She demonstrates an incredible amount of intelligence in her situation.
Yes, that is what it is. Alma, the protagonist, in Skald by W. D Valgardson, is considered a victim because of her lack of independence but she demontrates her willingness and capability to fight her situation.
She ignores him and goes off on her excursions despite his warnings and protests. Alma decides to make decisions for herself instead of always relying on others.
Atwoods theory, so far, holds true in those three short stories in proving that most Canadian literature involves some sort of victim and their willingness or unwillingness to solve their situations. These three stories show three of her four types of victims and their quests for survival.Atwood's Survival was a seminal book for me back in the 's.
Her theory that there are national themes in literature is very useful for studying cultures generally. Thus, while Wegener did not manage to persuade the scientific world of continental drift, the successor theory, plate tectonics, was readily embraced 40 years later, even though it remained open to much of the same criticism that .
~-Further, I will show how Atwood's Canadian heritage, her Puritan ancestry, and three key literary works have been influential on The Handmaid's Tale.
Powerful Essays [preview] Women in the Handmaid's Tale: Objectification and Value in Reproductive Qualities - Margaret Atwood's novel The Handmaid's Tale is a work of speculative fiction. The Practice and Theory of Canadian Thematic Criticism: A Reconsideration Russell Morton Brown University of Toronto Quarterly, Volume 70, Number 2, Spring , pp.
Atwoods Theory of Canadian Sho. Atwoods Theory of Canadian Short Stories Margaret Atwood detects that in most Canadian stories there Wedding Gift by Thomas Raddall, we encounter a young woman named Kezia Barnes.
She is portrayed, by Atwoods theory, as a creative non-victim. She cleverly uses her situations to her advantage.