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The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information
Cambridge University Press 978-1-107-15962-4 — The Cambridge Companion to Canadian Literature Edited by Eva-Marie Kröller Frontmatter More Information The Cambridge Companion to Canadian Literature This fully revised second edition of The Cambridge Companion to Canadian Literature offers a comprehensive introduction to major writers, genres, and topics. For this edition several chapters have been completely re-written to relect major developments in Canadian literature since 2004. Surveys of ic- tion, drama, and poetry are complemented by chapters on Aboriginal writ- ing, autobiography, literary criticism, writing by women, and the emergence of urban writing. Areas of research that have expanded since the irst edition include environmental concerns and questions of sexuality which are freshly explored across several different chapters. A substantial chapter on franco- phone writing is included. Authors such as Margaret Atwood, noted for her experiments in multiple literary genres, are given full consideration, as is the work of authors who have achieved major recognition, such as Alice Munro, recipient of the Nobel Prize for literature. Eva-Marie Kröller edited the Cambridge Companion to Canadian Literature (irst edn., 2004) and, with Coral Ann Howells, the Cambridge History of Canadian Literature (2009). She has published widely on travel writing and cultural semiotics, and won a Killam Research Prize as well as the Distin- guished Editor Award of the Council of Editors of Learned Journals for her work as editor of the journal Canadian -
Finding Artwork
Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada. -
Bruno Bobak the Full Palette
BRUNO BOBAK THE FULL PALETTE Edited by Bernard Riordon Goose Lane Editions and The Beaverbrook Art Gallery Bobak-V2.indd 3 9/7/06 11:03:46 AM Copyright © 2006 by The Beaverbrook Art Gallery. All rights reserved. No part of this work may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording, or any retrieval system, without the prior written permission of the publisher or a licence from the Canadian Copyright Licensing Agency (Access Copyright). To contact Access Copyright, visit www.accesscopyright.ca or call 1-800-893-5777. On the cover: The Tired Wrestler, 1964, oil canvas, 120.0 x 100.0 cm. Gift of Mel and Stephen Ross in memory of Reuben Ross. NAC: 965.29. Leonard and Bina Ellen Art Gallery, Concordia University, Montreal QC Book jacket and page design by Julie Scriver. Typeset by Troy Cole – Envision Graphic Design. Printed in Canada. 10 9 8 7 6 5 4 3 2 1 Library and Archives Canada Cataloguing in Publication Bruno Bobak: the full palette / Bernard Riordon, editor. Co-published by Beaverbrook Art Gallery. Includes bibliographical references and index. ISBN 0-86492-481-X 1. Bobak, Bruno. 2. Artists — Canada — Biography. I. Riordon, Bernard II. Beaverbrook Art Gallery. III. Title: Full palette. N6549.B6252F84 2006 709'.2 C2006-904661-1 Goose Lane Editions acknowledges the financial support of the Canada Council for the Arts, the Government of Canada through the Book Publishing Industry Development Program (BPIDP), and the New Brunswick Department of Wellness, Culture and Sport for its publishing activities. -
Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders
Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders By Justin F. Smith Thesis Submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements of the MA degree in History University of Ottawa © Justin F. Smith, Ottawa, Canada, 2017 ABSTRACT Twentieth-Century Canadian Law, Psychiatry, and Social Activism in Relation to Pedophiles and Child Sex Offenders Justin Smith Supervisor: University of Ottawa Heather Murray The contemporary conflation of pedophiles and child sex offenders is a prevalent aspect of reporting in news and social media, as well as in government- sponsored efforts to prevent child sexual victimization. Throughout twentieth century Canada, however, legal experts, psychologists and psychiatrists, and social activists were recognizing the harmfulness of grouping individuals who may have a propensity to commit crime with those who have committed the most heinous of criminal acts. As early as 1938, Canadian legal experts suggested that criminal insanity was a myth, advocating for a divergence between legal punishment and psychiatric healthcare, but after World War 2 had enacted serious efforts targeting criminal sexual psychopathy. Successive Royal Commissions investigating sexual victimization and child abuse revealed that Canadian courts, jails, prisons, and remand services were unable to solely deal with the realities of child sexual victimization. Psychologists and psychiatrists of the American Psychological Association increasingly researched sex and sexuality, classifying pedophilia as a paraphilia using child sexual victimization as a diagnostic indicator and criterion. Gay liberation activists discussed inequalities posed between hetero- and homosexual ages of consent and, more rarely, thought about the total abolition of age of consent. -
Aboriginal Arts Research Initiative
ABORIGINAL ARTS RESEARCH INITIATIVE REPORT ON CONSULTATIONS Presented to Claire McCaughey, Research Manager, Strategic Initiatives Division Canada Council for the Arts Prepared by France Trépanier June 2008 For more information or additional copies of this document, please contact: Research Office 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566-4414 / (800) 263-5588 ext. 4526 [email protected] Fax (613) 566-4428 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Publication aussi offerte en français TABLE OF CONTENTS 1. Introduction ................................................................................... 3 2. Methodology.................................................................................. 5 3. Objectives...................................................................................... 6 4. Context........................................................................................... 8 4.1 History..................................................................................... 8 4.2 Current Context....................................................................... 9 5. Values .......................................................................................... 12 6. Themes......................................................................................... 14 6.1 Definition of Aboriginal Art and Artist..................................... 14 6.2 Traditional and Contemporary Art ........................................ 17 6.3 -
A Canadian Child's Year by Fran Newman
Volume 8, Number 1 January. 1979 The Ghost Calls You Poor. by PBATURES Andrew Suknaski; lkons of the ILLUSTRATIONS Hunt. by There Kishkan: Once Balanehtg the Book% The results of e When I War Drowning. by Al Cover end drawing on pe8e 5 survey rating CanLit reputations Pittman 14 by Kim la Few bigger some editoriel rdleztions on Some of the Cat Poems. by Anie Drawings by Geor8e Unger 7.8.9 Cumde’s CUltural meturity 3 Gold; The Assumption of Private Othw drawings throughout the issue Rttglii, Our English. An essay by Lives. by Roben Allen; Prisoner. by by loan Acosta George Bowering examines how the Linda Pyke: A Burning Patience language is being tortured by the and Dancing in the House of Card% grammetieal berbariisms and by Pier Giorgio Di Cicco 14 onblocked meuphon that abound in The Trial of Adolf Hitler. by Phillipe daily, weekly. and monthly we Rjndl IS joumalism 7 Canadien Poetry I and 2. edited by Bigger Bmthexhood. Wayne Grady Michael Gnemwski and 0. M. R. reviews 1985 by Anthony Burgess. e Bentley; Book Forum: Canada revised and updated version of Emergent. edited by James Cerley lb George Orwell’s not-so-prophetic Making Arrangements. by Roben nightmare IO Herlow 16 A Dream of Riches: The Japanese Canadians 1877-3977. by the Japanese Centennial Reject 17 Go Do Some Great Thing. by CONTRIBUTORS Crawford Kilian I8 Lost Toronto. by William Dendy: Yesterday’s Toronto. lg70-1910. Tometo frecleecer Msrk Abley rpcn, the part edited by Linda Shapim I9 three years al O&ford es a Rhodes Scholar from Seskatchewm. -
Cakes in Perspective
Cakes in Perspective © Monique Martin www.moniqueart.com Georges Vanier School, Saskatoon Shannon Grade 5 Objectives • to be able to draw a piece of cake or a entire cake in perspective • To be able to self evaluate whether something is in perspective or not • explore colour relationships in the environment and in own surroundings • become more aware of real texture through tactile experiences • understand that space can be positive or negative in art works • begin to understand the effects of using formal and informal patterns, and create patterns through techniques such as repetition • demonstrate the ability to perceive visual details, and include details to enhance depictions of plants, animals, people, and objects • understand that proportion is a matter of size comparison • understand they can create the illusion of three dimensions through drawing • understand that closer objects appear to be larger than those farther away • expand skills and abilities in using various visual art tools and materials • view art works with a willingness to try to understand the artist’s intentions • explore various ways that people can respond to a work of art (e.g., thoughts, feelings, associations) • realize that knowing more about an artist and his/her society can help them understand an art work • engage willingly in a process for viewing and responding to art works Caitlyn Grade 5 Materials Drawing paper 3d versions of pieces of cake (pattern at the end of the lesson) Scrap paper Chart paper Coloured markers Paint Oil pastels Image of work by Mary Pratt Background Information This is really a lesson on perspective and line. -
Summaries of the Articles
Document généré le 25 sept. 2021 09:53 Vie des arts Summaries of the Articles Numéro 44, automne 1966 URI : https://id.erudit.org/iderudit/58373ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article (1966). Summaries of the Articles. Vie des arts, (44), 97–103. Tous droits réservés © La Société La Vie des Arts, 1966 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SUMMARIES OF THE ARTICLES Translation by BILL TRENT tbe Canadian carrefour BY GILLES HÉNAULT Apart from artist-architect collaboration, it is of interest that once In the world of art, Canada is a carrefour, a sort of meeting place a building is completed, the owners automatically search out the of the great aesthetic currents of Europe and America, a part of the art vendors. An interesting example is the C.I.L. collection. But Paris-New York-San Francisco axis. Long the disciples of a pictur company officials also call on the artists when it comes time to esque provincialism, Canadian painters have for the past 20 years decorate their offices. -
Canada's National Ballet School
Canada’s National Ballet: 50 Years of Evolution by Paula Citron It was clear with the founding of the National Ballet of Canada in 1951 that a future national ballet school was a necessity. Betty Oliphant and Celia Franca are the two remarkable women who co-founded Canada’s National Ballet School in 1959. As Oliphant wrote in her autobiography Miss O: My Life in Dance: “Celia Franca and I knew that a good company needs a good school to feed it.” James Neufeld says in his book Power to Rise: The Story of the National Ballet of Canada: “(Franca) was a teacher of professionals and saw with a teacher’s eye that the raw material before her had to be shaped and trained. Teaching would be the key to the company’s success.” The NBS is commemorating its 50th anniversary this year, and there is much to celebrate. The school is considered among the top professional ballet academies in the world. Just as the Herculean efforts of Oliphant and Franca helped found the school, so have the innovative policies of Oliphant and her chosen successor, Mavis Staines (class of 1972), help raise the school to its lofty perch in the world of dance education. On the recommendation of Dame Ninette de Valois of the Sadler’s Wells Ballet, Franca came from England to Toronto in 1951 to found the National Ballet of Canada. Betty Oliphant, who had arrived from England in 1947 as a war bride, ran a successful ballet school in the city. Oliphant was asked by Franca to become the company’s ballet mistress. -
Gp 3.Qxt 7/11/16 9:01 AM Page 1
07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S -
Doug Wright Final Interior:Layout 1 11/11/08 12:44 PM Page 1
doug_wright_final_interior:Layout 1 11/11/08 12:44 PM Page 1 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 2 doug_wright_final_interior:Layout 1 11/11/08 12:45 PM Page 3 doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 12 FLYING OFFICER DOUGLAS AUSTIN WRIGHT (above) circa 1942 to 1945. SELF–PORTRAIT (opposite) circa late 1930s. doug_wright_final_interior:Layout 1 11/11/08 12:48 PM Page 13 doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 16 THE VIEW FROM WRIGHT’S WINDOW 2005 MansTeld street, Apartment #10, Montreal, circa 1938–40. doug_wright_final_interior:Layout 1 11/11/08 12:49 PM Page 17 doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 20 Qis large and very polished full page strip is quite likely part of a package of sample comics which Wright sent down to the U.S. syndicates in the early 1950s. doug_wright_final_interior:Layout 1 11/11/08 12:51 PM Page 21 Creator of the internationally syndicated comic strip { FOR BETTER OR FOR WORSE } hen the paper came, my dad was the ^rst to read the comics. He didn’t just read them, he studied them and encouraged me to do the same. He was particularly fond of comic art that had structure and substance and the kind of subtle wit that brought the reader into the gag the way a storyteller tells a tale. Len Norris of the Vancouver Sun was one of his favorites, Doug Wright was another. When the Star Weekly came, he would turn to Doug Wright’s Family and smile. -
Annual Report
Annual Report Canada Council for the Arts 2008/09 Kevin Lockau, work in progress, sand cast glass, forged steel, granite. Photo: Martin Lipman in progress, sand cast glass, forged work Lockau, Kevin Annual Report Canada Council for the Arts 2008/09 350 Albert Street 350, rue Albert Post Offi ce Box 1047 Case postale 1047 Ottawa, Ontario K1P 5V8 Ottawa (Ontario) K1P 5V8 1-800-263-5588 or 1-800 263-5588 ou 613-566-4414 613-566-4414 Fax: 613-566-4390 Téléc. : 613-566-4390 [email protected] [email protected] www.canadacouncil.ca www.conseildesarts.ca Design: Alejandro Contreras Printed in Canada ISBN: 0-88837-200-0 The 52nd Annual Report of the Canada Council for the Arts and supplementary information on grants, services and awards are available on the Council’s website. The Canada Council for the Arts is a federal Crown corporation created by an Act of Parliament in 1957 “to foster and promote the study and enjoyment of, and the production of works in, the arts.” The Council offers a broad range of grants (6,168 in 2008-09) and services to professional Canadian artists and arts organizations in music, theatre, writing and publishing, visual arts, dance, media arts and integrated arts. It further seeks to raise public awareness of the arts through its communications, research and arts promo- tion activities. The Council also awards prizes and fellowships every year to ap- proximately 200 artists and scholars. The Canadian Commission for UNESCO and the Public Lending Right Commission operate within the Council. The Canada Council Art Bank, which has some 17,300 works of contemporary Canadian art in its collection, rents to the public and private sectors.