One Sentence Research: 2014 Edition

I love this post. Why? I asked various department members who published essays and book chapters in 2014 to each send me a single evocative sentence from their publication. The results are alternately funny, insightful, and compelling. There are dogs, lies, cynical mothers, and greasy leachate–what’s not to love? In each instance they sold me: I need to read these!

Jay Dolmage
“The Pier 21 museum makes Canadian immigration processing at Pier 21 seem so much more consistent, organized and monolithic than it actually was. That one’s pathway through this museum becomes part of the vicarious historical experience speaks to the ways this particular museum actually limits diverse spaces or spatial diversity: the museum building is a kind of lie.” From “Grounds for Exclusion: Canada’s Pier 21 and its Shadow Archives.” Diverse Spaces: Examining Identity, Heritage and Community within Canadian Public Culture. Ed. Susan Ashley. Cambridge, UK: Cambridge Scholar’s Press, 2014. 100-121.

Kenneth Graham
“Just to have enough is not enough:  the satisfaction of need is cold comfort in an economy of excess, and leaves no possibility of the truly unfettered expenditure that Bataille sees as the essence of the alternative to the economy of thrift.” From “The Sidney Psalms and the Meaning of Abundance.”  From The Return of Theory in Early Modern English Studies, Volume II. Ed. Paul Cefalu, Gary Kuchar, and Bryan Reynolds. Houndmills, Basingstoke, UK: Palgrave Macmillan, 2014. 257-75.

Jennifer Harris
“Things that polite people are not supposed to find funny, including drowned animals, presumably bloated and decomposing, appear in the text as a source of amusement.” From “‘The True History of My Brother Tom’s Dog’: A Lost Autobiographical Tale by Catharine Parr 
Traill.” Studies in Canadian Literature 39.2 (Spring 2014): 230-47.

Ashley Kelly
“A thoughtful account of the rhetoric of digital environments begins not with the provocation that rhetoric is impoverished and requires fresh import from other disciplines to account for new media technologies but, instead, asks what is different about how new media technologies afford or constrain certain utterances, interactions, and actions.” From “Considering Chronos and Kairos in Digital Media Rhetorics” (with Megan Kittle Autry and Brad Mehlenbacher). In Gustav Verhulsdonck and Marohang Limbu, eds., Digital Rhetoric and Global Literacies: Communication Modes and Digital Practices in the Networked World. Hershey: IGI Global, 2014. 226–246.

Alysia Kolentsis
“As decades of scholarship have demonstrated, the idea of a Shakespeare as a lonely prodigy – divinely inspired and toiling away in a garret somewhere – runs counter to early modern English theater practices, which were heavily collaborative and commerce-driven.” From “Shakespeare’s Linguistic Creativity: A Reappraisal.” Literature Compass 11.4 (2014): 258-266. 

Kate Lawson
“In the opening chapter of the novel, six-year-old Francis Temple, on first having ‘the pebbly beach, bathing machines and fishing boats’ of the English seaside pointed out to him, judges it all to be ‘ugly and cold’; ‘I shall go home to Melbourne when I am a man,’ he declares.” From “Indian Mutiny/English Mutiny: National Governance in Charlotte Yonge’s The Clever Woman of the Family.” Victorian Literature and Culture 42.3 (2014): 439–455.

Andrew McMurray
“We would love to keep the beautiful objects apart from the rest of the shite, but the poem cracked and in oozed a greasy leachate from the chemical plant upriver.”  From “Media Moralia: Reflections on Damaged Environments and Digital Life.” Oxford Handbook of Ecocriticism. Ed. Greg Garrard. Oxford: Oxford University Press, 2014. 487-501.

Aimée Morrison
“Discussions of cartoons, usually ironic and provoked by enforced watching of these shows, crop up regularly and bloggers seem to enjoy the kind of conjecture that Beck indulges in here (‘I think [Max and Ruby’s] mother is actually home, passed out drunk upstairs,’ one commenter offers, with gleeful malice).”     “Compositional Strategies of Conflict Management in Personal Mommy Blogs.” Feminist Media Studies 14. 2 (2014): 286-300.

Win Siemerling
“Sarsfield’s text emphasizes the wealth of black geographies and traditions in Montreal, while relying at the same time on intertextualities that are at least ‘double-voiced’ (Gates xxiii), as demonstrated by repeated references to the black tradition and the Harlem Renaissance but also Lucy Maud Montgomery.” From “Jazz, Diaspora, and the History and Writing of Black Anglophone Montreal.” Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies. Ed. Smaro Kamboureli and Christl Verduyn. Wilfrid Laurier UP 2014. 199-214.

Heather Smyth
“Compton’s challenge to the unidirectionality of diasporic circuits is expressed through his evocation of musical remix and the sonic movement of culture through electronic circuits and the airwaves, making black Vancouver culture not a detour of the Black Atlantic but rather the generation of the Black Pacific.”  From  “The Black Atlantic meets the Black Pacific: Multimodality in Kamau Brathwaite and Wayde Compton.” Callaloo 37.2 (Spring 2014): 389-403.

Linda Warley
“More subtly there are elements that when placed beside one another speak to the thematic subtext of the book: the narrative of class mobility that was struggled for but is not celebrated in the text by the father, and the situation of middle-class comfort and privilege that the son enjoys but did not have to work to attain.” From “Remembering Poverty: Bannock, Beans, and Black Tea, a Tale of Two Lives.” Canadian Literature and Cultural Memory. Ed. Cynthia Sugars and Eleanor Ty. Toronto: Oxford UP, 2014.

For previous posts on faculty research, see “Read Our Faculty Research Without Leaving Your Sofa.” Image: Bathing Machine


2 responses to “One Sentence Research: 2014 Edition

  1. Gord Higginson

    I don’t know which paper sounds most compelling, but I’d go with Traill’s (shaggy?) dog story.

  2. Pingback: One Sentence Competition 2014: Game ON! |

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s