Introduction

By McCance, Dawne | Mosaic (Winnipeg), March 2010 | Go to article overview

Introduction


McCance, Dawne, Mosaic (Winnipeg)


Just hours before midnight this past December 31, I celebrated the receipt of an email from a dear friend of mine in Europe. How good it was to see his "Happy New Year 2010" on the screen! He went on to write, however, that it is a sad state of affairs when, rather than a human voice, or even a human script, it is an electronic mail that conveys such well wishes. Perhaps I would once have considered his comment nostalgic, something akin to Heidegger's lament of the overtaking of manuscripture, in its essential bond to speech, by the typewriting machine. Yet, after reading my friend's message, I took from the shelf a book he recently published and sent me--inscribed in his-only script. And I recalled my find earlier that same New Year's Eve of a precious scrap of paper signed in my now-dead father's hand.

In lieu of a telephone call, an email, a scrap of paper, or--as is the case in the Brokeback Mountain texts, Annie Proulx's 1997 short story and Ang Lee's 2005 film--a postcard. "Postcards are phenomenological objects par excellence," Andrea Fitzpartick writes in the first essay in this issue, "because condensed within their small, flat, paper borders are the legacies of geographic distances travelled by the postcards and the hands through which they have been passed. Postcards capture the touch of the lover's hand in the penmanship and the dried saliva under the stamp," and in Brokeback Mountain, they establish an "erotic, haptic contact" between the separated lovers, Ennis del Mar and Jack Twist. Fascinated with postcards herself, Annie Proulx (whose 1997 novel is titled Postcards), uses the postcard in Brokeback Mountain as what Fitzpatrick, following Roland Barthes, calls a "figure of affect. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

Introduction
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.