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We are living in a digital world, a world that is produced by writing. We derive our identity from writing – from personal profiles, data entered into databases, lines of code. Every one of our actions is in some way based upon writing, from clicking to buying a book or planning a trip. The objects surrounding us are the results of processes of writing. The Canada Research Chair on Digital Textualities offers new interpretation and insight on the writing that has become part of our world. This website provides further information about the Chair's projects, member publications, and theoretical concepts used in research.



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Michael E. Sinatra, « The Flying Mariner? Richard Wagner’s « The Flying Dutchman » as the Concluding Part to Coleridge’s “The Rime of the Ancient Mariner” », The Coleridge Bulletin, 2000, p. 102‑108.

Michael E. Sinatra, « Tom Paulin and David Chandler, eds. William Hazlitt’s The Fight and Other Writings. London: Penguin, 2000. ISBN: 1-357910-864-2. Price: £9.99. », Romanticism on the Net, 2000, p. 0‑0.

Michael E. Sinatra, « Gender, Authorship and Male Domination : Mary Shelley’s Limited Freedom in « Frankenstein » and « The Last Man » », in Michael E. Sinatra, (éd.). Mary Shelley’s Fictions: From Frankenstein to Falkner, éd. Michael E. Sinatra, New York, Palgrave Macmillan, 2000, p. 95‑108.

Ever since Ellen Moer's « Literary Women » (1976), « Frankenstein » has been recognized as a novel in which issues about authorship are intimately bound up with those of gender. The work has frequently been related to the circumstance of Shelley's combining the biological role of mother with the social role of author. [...]

Mary Shelley’s fictions : from Frankenstein to Falkner, éd. Michael E. Sinatra, Basingstoke, Macmillan Press ; New York, 2000, 250 p.

Michael E. Sinatra, « « I will live beyond this life » : Shelley and his Reviewers », The Keats-Shelley Review, vol. 13 / 1, 1999, p. 88‑104.

Throughout his life, Percy Shelley remained constantly under attacks from reviewers. The criticisms were directed at the content of his works, his (supposed) imitative style, or his personal life. [...]

Michael E. Sinatra, « Science, gender and otherness in Shelley’s Frankenstein and Kenneth Branagh's film adaptation », European Romantic Review, vol. 9 / 2, mars 1998, p. 253‑270.

Questions of gender and genre in Frankenstein remain complex issues for contemporary critics, in the novel itself as well as in its cinematographic adaptations, from John Whale's classic 1931 version to Kenneth Branagh's 1994 "Mary Shelley's Frankenstein." Though science seems to be the unifying principle behind the main story of the novel and the films, I will argue that Shelley incorporates science and sexual orientation within her novel in a way that differs significantly from the films, and especially from Branagh's version.

Jean-Marc Larrue, « Le théâtre au Québec entre 1930 et 1950 : les années charnières », L’Annuaire théâtral, 1998, p. 19‑37.

Le premier quart duXXe siècle aura été l'ère des grandes premières au Québec comme ailleurs, au Québec plus qu'ailleurs. Car si la scène québécoise d'alors n'est pas restée étrangère et insensible aux innovations techniques, à la révolution de la mise en scène, au renouveau du répertoire ou à la redéfinition du jeu théâtral qui caractérisent la modernité, elle a aussi été marquée à l'échelle locale par le développement fulgurant du théâtre professionnel francophone. [...]

Michael E. Sinatra, « The Matrix : The Way of the Future? Replacing Neuromancer within the Postmodern Condition », in Allan Barry Weiss, (éd.). Perspectives on the Canadian Fantastic: Proceedings of the 1997 Academic Conference on Canadian Science Fiction and Fantasy, éd. Allan Barry Weiss, Toronto, ACCSFF, 1998, p. 111‑119.

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