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Communicating consanguinity : mediated identities in Alistair MacLeod's No Great Mischief and Margaret Laurence's The Diviners

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dc.contributor.author Garbutt, Joan Leslie en_US
dc.date.accessioned 2012-06-12T20:13:14Z
dc.date.available 2012-06-12T20:13:14Z
dc.date.issued 2007 en_US
dc.identifier (Sirsi) a1691992 en_US
dc.identifier.uri http://hdl.handle.net/1993/8006
dc.description.abstract This thesis maintains that different forms of media influence the social epistemologies of the two main protagonists of Alistair Macleod's No Great Mischief and Margaret Laurence's The Diviners. Macleod's Alexander MacDonald and Laurence's Morag Gunn seek an historical context in which to locate themselves, and their ancestral stories help to form the underpinnings of their individual identities, but also challenge each protagonist to re-mediate these experiences through the lens of the more advanced modes of communication that are available in the late twentieth century. The transition from orality to literacy and beyond also has a profound effect on the protagonists' conceptualization of home and nation. The work of a number of media theorists, including Benedict Anderson, Roland Barthes, Walter Benjamin, Stanley Cavell, Ronald Deibert, and Walter Ong, provide the basis for an analytical framework in which to locate these works. David Williams' criticism of media influences in a number of Canadian works opens a space for the discussion of how these theorists address the ontological complexities of the interweaving of media and narrative. This reading of the two novels contends that, although Diviners (1974) is earlier than Mischief (1999) in terms of publication, it is actually Laurence's novel that takes the more postmodern approach in its hybridity of form, as well as its social content. while Alexander, wittingly or not, is implicated in "museumizing" his oral Gaelic culture by committing it to print, Morag moves through oral tales to photography and into a far more fluid "past-present" that is well served by her innovative "Memorybank Movies." Moreover, the multimedia techniques that characterize Morag's narrative anticipate hypertext and create an epistemology of a plural, hybrid nation that leaves a living legacy for Morag's Metis daughter Pique and affirms a plural, overlapping collage of identities that is truly representative of Canada's multicultural nature. en_US
dc.format.extent 4147212 bytes en_US
dc.language en_US
dc.rights en_US
dc.title Communicating consanguinity : mediated identities in Alistair MacLeod's No Great Mischief and Margaret Laurence's The Diviners en_US
dc.degree.discipline English en_US


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