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Additional resources for Critical Approaches to the Fiction of Margaret Laurence
Anne Wilson writing about such events in fairy stories claims that, The important point . . here is that the heroine's task is to break the spell which she has brought about. Only she can break it, freeing herself, essentially from it. . The heroine transforms her image as a result of having undergone a profound recognition of reality, where she herself and others in her experience are concerned. 12 Laurence goes another stage further than Wilson's analysis, for Doree' s response- 'I never said he was beautiful' -casts perception back into the flux before it is fixed by another spell of unreality: what we see may be perpetually changing its nature, how we see it certainly is.
21. Laurence, Long Drums and Cannons, p. 13. 22. Arthur Ravenscroft, 'Africa in the Canadian Imagination of Margaret Laurence', inS. ), Re-visions of Canadian Literature (Leeds: University of Leeds ffiTC, 1985) p. 39. 23. Laurence, Long Drums and Cannons, p. 40. 24. Laurence, 'The Mask of Beaten Gold', p. 34. 25. Wole Soyinka, Alee (London: Rex Collings, 1981) p. 17. 26. ', p. 23. 27. , p. 22. 34 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52.
Pierre Bourdieu, Outline of a Theory of Practice, trans. Richard Nice (Cambridge: Cambridge University Press, 1977) p. 1. , p. 3. Laurence, The Prophet's Camel Bell, pp. 190-202. B. W. Andrzejewski and G. Innes, 'Reflections on African Oral Literature', African Languages, vol. 1 (1975) pp. 5-58; B. W. Andrzejewski, 'Poetry in Somali Society', in Pride and Holmes (eds}, Sociolinguistics (Harmondsworth, Middx: Penguin, 1972); J. W. Johnson, Heellooy, Heellellooy: The Development of the Genre Heello in Modern Somali Poetry (Indiana University: unpublished PhD Thesis, 1974).