Feminism and Its Discontents

Reviewing CTR’s Inaugural Issues

Abstract

Jessica Riley’s engagement with the first issue of Canadian Theatre Review (CTR) underscores the always-important task of revisiting our critical pasts. This is precisely the labour that Shannon Jackson proposed through a focus on the “’institutional genealogies’ of knowledge formation” (5)—a commitment to examining what “kinds of judgements are made and what kinds of enabling illuminations and disenabling blindspots they produce” (4). As the ur-production of a journal that the University of Toronto Press now describes as “[t]he major magazine of record for Canadian theatre” (“Canadian”), CTR 1 provides us with fundamental evidence of how, in 1974, knowledge formation came about.