Cinderella writes back : Sara Jeannette Duncan's Mary Trent as Canada personified

Title: Cinderella writes back : Sara Jeannette Duncan's Mary Trent as Canada personified
Variant title:
  • Cendrillon répond : Mary Trent de Sara Jeannette Duncan, le Canada personnifié
Author: Klepač, Tihana
Source document: The Central European journal of Canadian studies. 2018, vol. 12-13, iss. [1], pp. 103-118
  • ISSN
    1213-7715 (print)
    2336-4556 (online)
Type: Article
License: Not specified license

Notice: These citations are automatically created and might not follow citation rules properly.

Sara Jeannette Duncan concerned herself overtly with the debates about the status of Canada within the British Empire by critiquing Canada's place within that empire. Her Mary Trent of Cousin Cinderella arrives in London at the height of the preferential trade debate, thus enabling Duncan to illuminate the issue of Anglo-colonial relations. Formulating Mary as ignorant of her wealth and potential (and thus personifying Canada), and positioning her against Evelyn, an American social climber, gives Duncan the opportunity to depict what it means to be Canadian. While Mary comes to London with the idea that England is home, we observe as her pride in her Canadian origins increases. Additionally, through Mary's unique female Canadian vantage point, as we watch her develop from a raw product commodified by the London market into a writer through the creation of her autobiographical narrative, one with increased confidence in herself as a Canadian and a woman, we learn how economic and political workings of imperialism affected women. At the nexus of imperialism, nationalism and feminism emerges a narrative of Canadian modernity.
Sara Jeannette Duncan s'intéressait ouvertement aux débats sur le statut du Canada dans l'Empire en critiquant la position du Canada dans l'empire. Sa Mary Trent de Cousin Cinderella arrive à Londres à l'apogée du débat sur échanges préférentiels permettant ainsi à Duncan d'éclairer la question des relations anglo-coloniales. Elaborer Mary comme ignorante de sa richesse et de son potentiel (et ainsi personnifier le Canada), et la positionner contre Evelyn, un grimpeur social américain, donne à Duncan l'occasion de décrire ce que signifie être Canadien. Pendant que Mary vient à Londres pour interpréter l'Angleterre comme son chez-soi, nous voyons s'accroître sa fierté de ses origines canadiennes. De plus, grâce à l'unique point de vue féminin canadien de Mary, tandis que nous la voyons se développer à partir d'un produit brut transformé par le marché de Londres en écrivaine à travers la création de son récit autobiographique, celle dont une confiance en elle-même en tant que Canadienne et femme s'accroît, nous apprenons comment les fonctionnements économiques et politiques de l'impérialisme ont affecté les femmes. À la croisée de l'impérialisme, du nationalisme et du féminisme ressort un récit de la modernité canadienne.
[1] Atwood, Margaret. Survival A Thematic Guide to Canadian Literature. Toronto: McClelland & Stuart, 1969. Print.

[2] Ballstadt, Carl. The Search for English-Canadian Literature. University of Toronto Press, 1975. Print.

[3] Chamberlain, Joseph. "I Believe in a British Empire," Great Books Online, Web. 14 Oct 2017.

[4] Chamberlain, Joseph. "The True Conception of the Empire," Great Books Online, Web. 14 Oct 2017.

[5] Dean, Misao. A Different Point of View: Sara Jeannette Duncan. McGill-Queen's University Press, 1991. Print.

[6] Duncan, Sara Jeannette. Cousin Cinderella, New York: The Macmillan Company, 1908, Print.

[7] Fiamengo, Janice. "Our Dear Cousins the Americans: Sara Jeannette Duncan in Washington", American Review of Canadian Studies, 40, 4 (2010): 464–477. Print. | DOI 10.1080/02722011.2010.519397

[8] Friedman, Susan Stanford (2010). "Planetarity: Musing Modernist Studies", Modernism/modernity, 17, 3 (2010): 471–499. Print. | DOI 10.1353/mod.2010.0003

[9] Hammill, Faye. Literary Culture and Female Authorship in Canada 1760–2000. New York: Rodopi, 2003, Print.

[10] MacMillan, Carrie. "The Figure of the Artist in Late Nineteenth Century Canadian Fiction." Studies in Canadian Literature / Études en littérature canadienne, 5, 1 (1980) Web. 14 Oct. 2017.

[11] Mao, Douglas and Rebecca L. Walkowitz. "The New Modernist Studies", PMLA 123, 3 (2008): 737–748. | DOI 10.1632/pmla.2008.123.3.737

[12] Phillips, A. A. "The Cultural Cringe", Meanjin, 9, 4 (1950): 299–302. Print.

[13] Saul, John Ralston. Reflections of a Siamese Twin/Canada at the End of the Twentieth Century, London: Viking, 1997, Print.

[14] Shortt, Adam. Canada and Chamberlainism. London: Liberal Publication Department, 1905. Print.

[15] Snaith, Anna. Modernist Voyages Colonial Women Writers in London 1890–1945. Cambridge University Press, 2014, Print.

[16] Tausky, Thomas E. Sara Jeanette Duncan: Novelist of Empire, Colin Smythe Ltd., 1980.

[17] Thomas, Clara. "Cousin Cinderella and the Empire Game," Studies in Canadian Literature / Études en littérature canadienne, 1, 2 (1976) Web. 14 Oct 2017