Border Crossings : : Thomas King's Cultural Inversions / / Jennifer Andrews, Priscilla Walton, Arnold E. Davidson.

• Superior document: Title is part of eBook package: De Gruyter UTP eBook-Package Backlist 2000-2015
• VerfasserIn: Andrews, Jennifer,; Davidson, Arnold E.,; Walton, Priscilla,
• TeilnehmendeR: Davidson, Arnold E.,; Walton, Priscilla,
• Place / Publishing House: Toronto : : University of Toronto Press, , [2016]; ©2003
• Year of Publication: 2016
• Language: English
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Acknowledgments --; Introduction: Whose Borders? --; CHAPTER ONE. Comic Contexts --; CHAPTER TWO. Comic Inversions --; CHAPTER THREE. Genre Crossings --; CHAPTER FOUR. Comedy, Politics, and Audio and Visual Media --; CHAPTER FIVE. Humouring Race and Nationality --; CHAPTER SIX. The Comic Dimensions of Gender, Race, and Nation: King's Contestatory Narratives --; CHAPTER SEVEN. Comic Intertextualities --; Notes --; Works Cited --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781442671539; 9783110667691; 9783110490954
• DOI: 10.3138/9781442671539
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Jennifer Andrews, Priscilla Walton, Arnold E. Davidson.

Thomas King is the first Native writer to generate widespread interest in both Canada and the United States. He has been nominated twice for Governor General's Awards, and his first novel, Medicine River, has been transformed into a CBC movie. His books have been reviewed in publications such as The New York Times Book Review, The Globe and Mail, and People magazine. King is also the author of the serialized radio series The Dead Dog Café and is an accomplished photographer. Border Crossings is the first full-length study to explore King's art.Davidson, Walton, and Andrews employ a framework of postcolonial and border studies theory to examine the concepts of nation, race, and sexuality in King's work. They examine how King's art routinely explores cross-cultural dynamics, including Native rights and race relations, American and Canadian cultural interaction, and the artistic traditions of Europe and North America. The authors argue that, by situating these concepts within a comic framework, King avoids the polemics that often surface in cultural critiques. His writing engages, entertains, and educates. This provocative analysis of King's art reads across cultures and between borders, and makes an important contribution to the study of Native writing, Canadian and American literature, border studies, and humour studies.