Canada and Its Provinces in Twenty-Two Volumes and Index
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Ii TABLE of CONTENTS INVENTORY ENTRY
ii TABLE OF CONTENTS INVENTORY ENTRY ......................................................... iii NOTE ON THE FINDING AID .................................................. iv POLITICAL CAREER ..........................................................4 Town of Westmount .......................................................4 Metropolitan Parks Commission ..............................................8 Miscellaneous Political Activities ..............................................8 ROYAL SOCIETY OF CANADA .................................................9 MANUSCRIPTS ..............................................................9 Archaeology and Anthropology ..............................................9 History and Biography ....................................................11 Novels ................................................................14 Philosophy .............................................................17 Poetry ................................................................19 Political Affairs ..........................................................20 Miscellaneous ..........................................................21 FINANCIAL PAPERS .........................................................22 SUBJECT FILES .............................................................22 PRINTED MATERIAL .........................................................23 MEMORABILIA .............................................................26 CLIPPINGS .................................................................28 APPENDIX -
Nepean Point
ON DESIGN COMPETITION NEPEAN POINT STAGE 01 - REQUEST FOR QUALIFICATIONS - AL1682 // 19.01.2017 Request for Qualifications - Stage 01 1 Cover: View of Nepean Point ON POINT ON POINT Design Competition for Nepean Point Stage 01 - Request for Qualifications - AL1682 19.01.2017 Nepean Point - Detail of existing fence TABLE OF CONTENTS A. Summary........................................................................................... p.06 01. Canada’s Capital ........................................................................... p.09 02. The Project .................................................................................... p.13 03. The Design Competition ................................................................ p.29 04. Stakeholders and Partners ........................................................... p.39 05. Additional Information ................................................................... p.46 Appendix 1 - Jury Biographies ............................................................ p.49 A SUMMARY The National Capital Commission (NCC) is pleased to launch the first COMPETITION PROCESS phase of a two-stage international design competition for Nepean Point, a promontory at the symbolic heart of Canada’s Capital, Ottawa. In the midst All interested design teams are invited to participate, but teams must be of numerous important public and private cultural institutions, the Nepean led by a landscape architect eligible to be licensed in Ontario, Canada. Point competition site, including two entranceways, is -
THE SPECIAL COUNCILS of LOWER CANADA, 1838-1841 By
“LE CONSEIL SPÉCIAL EST MORT, VIVE LE CONSEIL SPÉCIAL!” THE SPECIAL COUNCILS OF LOWER CANADA, 1838-1841 by Maxime Dagenais Dissertation submitted to the School of Graduate Studies and Research in partial fulfilment of the requirements for the PhD degree in History. Department of History Faculty of Arts Université d’Ottawa\ University of Ottawa © Maxime Dagenais, Ottawa, Canada, 2011 ii ABSTRACT “LE CONSEIL SPÉCIAL EST MORT, VIVE LE CONSEIL SPÉCIAL!” THE SPECIAL COUNCILS OF LOWER CANADA, 1838-1841 Maxime Dagenais Supervisor: University of Ottawa, 2011 Professor Peter Bischoff Although the 1837-38 Rebellions and the Union of the Canadas have received much attention from historians, the Special Council—a political body that bridged two constitutions—remains largely unexplored in comparison. This dissertation considers its time as the legislature of Lower Canada. More specifically, it examines its social, political and economic impact on the colony and its inhabitants. Based on the works of previous historians and on various primary sources, this dissertation first demonstrates that the Special Council proved to be very important to Lower Canada, but more specifically, to British merchants and Tories. After years of frustration for this group, the era of the Special Council represented what could be called a “catching up” period regarding their social, commercial and economic interests in the colony. This first section ends with an evaluation of the legacy of the Special Council, and posits the theory that the period was revolutionary as it produced several ordinances that changed the colony’s social, economic and political culture This first section will also set the stage for the most important matter considered in this dissertation as it emphasizes the Special Council’s authoritarianism. -
Monuments and Memories in Ontario, 1850-2001
FORGING ICONOGRAPHIES AND CASTING COLONIALISM: MONUMENTS AND MEMORIES IN ONTARIO, 1850-2001 By Brittney Anne Bos A thesis submitted to the Department of History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (September 2016) Copyright ©Brittney Anne Bos, 2016 ii Abstract Commemorations are a critical window for exploring the social, political, and cultural trends of a specific time period. Over the past two centuries, the commemorative landscape of Ontario reaffirmed the inclusion/exclusion of particular racial groups. Intended as static markers to the past, monuments in particular visually demonstrated the boundaries of a community and acted as ongoing memorials to existing social structures. Using a specific type of iconography and visual language, the creators of monuments imbued the physical markers of stone and bronze with racialized meanings. As builders were connected with their own time periods and social contexts, the ideas behind these commemorations shifted. Nonetheless, creators were intent on producing a memorial that educated present and future generations on the boundaries of their “imagined communities.” This dissertation considers the carefully chosen iconographies of Ontario’s monuments and how visual symbolism was attached to historical memory. Through the examination of five case studies, this dissertation examines the shifting commemorative landscape of Ontario and how memorials were used to mark the boundaries of communities. By integrating the visual analysis of monuments and related images, it bridges a methodological and theoretical gap between history and art history. This dissertation opens an important dialogue between these fields of study and demonstrates how monuments themselves are critical “documents” of the past. -
Fine Canadian Art
HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART FINE CANADIAN ART FINE CANADIAN ART FINE CANADIAN ART NOVEMBER 27, 2014 HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~1~927031~14~8 SALE THURSDAY, NOVEMBER 27, 2014, TORONTO FINE CANADIAN ART AUCTION THURSDAY, NOVEMBER 27, 2014 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART PARK HYATT HOTEL, QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, NOVEMBER 1 THROUGH TUESDAY, NOVEMBER 4, 11 AM TO 6 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 13 THROUGH SATURDAY, NOVEMBER 15, 11 AM TO 6 PM PREVIEW AT UNIVERSITY OF TORONTO ART CENTRE 15 KING’S COLLEGE CIRCLE ENTRANCE OFF HART HOUSE CIRCLE SATURDAY, NOVEMBER 22 THROUGH WEDNESDAY, NOVEMBER 26, 10 AM TO 6 PM THURSDAY, NOVEMBER 27, 10 AM TO 12 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE, TORONTO ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 TOLL FREE 1 800 528-9608 WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue. -
DAVEANDJENN Whenever It Hurts
DAVEANDJENN Whenever It Hurts January 19 - February 23, 2019 Opening: Saturday January 19, 3 - 6 pm artists in attendance detail: “Play Bow” In association with TrépanierBaer Gallery, photos by: M.N. Hutchinson GENERAL HARDWARE CONTEMPORARY 1520 Queen Street West, Toronto, M6R 1A4 www.generalhardware.ca Hours: Wed. - Sat., 12 - 6 pm email: [email protected] 416-821-3060 DaveandJenn (David Foy and Jennifer Saleik) have collaborated since 2004. Foy was born in Edmonton, Alberta in 1982; Saleik in Velbert, Germany, in 1983. They graduated with distinction from the Alberta College of Art + Design in 2006, making their first appearance as DaveandJenn in the graduating exhibition. Experimenting with form and materials is an important aspect of their work, which includes painting, sculpture, installation, animation and digital video. Over the years they have developed a method of painting dense, rich worlds in between multiple layers of resin, slowly building up their final image in a manner that is reminiscent of celluloid animation, collage and Victorian shadow boxes. DaveandJenn are two times RBC Canadian Painting Competition finalists (2006, 2009), awarded the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010) and longlisted for the Sobey Art Award (2011). DaveandJenn’s work was included in the acclaimed “Oh Canada” exhibition curated by Denise Markonish at MASS MoCA – the largest survey of contemporary Canadian art ever produced outside of Canada. Their work can be found in both private and public collections throughout North America, including the Royal Bank of Canada, the Alberta Foundation for the Arts, the Calgary Municipal Collection and the Art Gallery of Hamilton. -
Language Attitudes Towards Canadian French and English, 1691-1902: the Emergence of the Canadian Voices
Language Attitudes towards Canadian French and English, 1691-1902: The Emergence of the Canadian Voices by Beau Brock A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy in French Linguistics Department of French Studies University of Toronto © Copyright by Beau Brock 2014 Language Attitudes towards Canadian French and English, 1691- 1902: The Emergence of the Canadian Voices Beau Brock Doctor of Philosophy in French Linguistics Department of French Studies University of Toronto 2014 Abstract This dissertation examines the origins and development of attitudes (in the guise of beliefs and stereotypes) towards Canadian French and Canadian English during the 18th and 19th centuries, as expressed primarily by foreign travellers to North America. By conducting a comparative study of these two languages, I aim to build a bridge between French Canadian studies on Canadian French, and Anglophone Canadian studies on Canadian English, two fields which have historically been distinct and separate. The time period studies (1691-1902) is marked by major political and social change, including the English Conquest, the creation of Upper and Lower Canada (and later the United Province of Canada), and the Dominion, all of which had major, lasting effects on the development and status of both languages. In order to study the evolution of language attitudes during this period, I employed content analysis on the metalinguistic and cultural commentary in a wide variety of texts, including travel journals, scholarly and newspaper articles, monographs, and prescriptive texts, written in French and English. My analysis has shown that British commentators were the most critical of both languages (and peoples), and relied almost entirely on beliefs and stereotypes rather than empirical evidence to ii support their claims. -
Painting and Sculpture in Canada
PAINTING AND SCULPTURE IN CANADA M. 0. HAMMOND HEN Louis Jobin, the wood carver of Ste. Anne de Beaupre, W passed away in 1928, at the age of 86, he severed a link which united primitive and modern art in Canada. Through his long life he had created figures in wood, the last of a noted line of artists in their own field. Ancient calvaires beside Quebec highways, fading wooden Indians in front of cigar stores, surviving figure heads on sailing ships, religious figures on the fa~ades of French Canadian churches, as at Ste Famille on Isle d 'Orleans, dating from 1749---these are relics of the wood-carving age in Canadian art, that may be found by diligent search. Jobin's own life spanned the developing years of the newer art in Canada, the art of painting. We may pass over the efforts of the Indians, visible in the decorative totem poles, carvings in bone, shell and ivory, and the painted ceremonial faces of the red men, and ignore the efforts of educated Frenchmen in the days of New France. If art in Canada lacked adequate support almost down to the relatively fat times of to-day, how much less could it thrive in the era of the explorer and the coureur-de-bois? There has been virtually a century of painting in Canada, from the days of Paul Kane, Cornelius Krieghoff and George T. Berthon, to the present, and half way down that century occurred in 1880 the organization of the Royal Canadian Academy, the jubilee of whose launching is being observed in this year 1930. -
MUSICAL COMPOSITION Through the Art of BERTRAM BROOKER Click the Right Corner to MUSICAL COMPOSITION BERTRAM BROOKER Through the Art of Return to Table of Contents
TEACHER RESOURCE GUIDE FOR GRADES 2–12 LEARN ABOUT MUSICAL COMPOSITION through the art of BERTRAM BROOKER Click the right corner to MUSICAL COMPOSITION BERTRAM BROOKER through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS TIMELINE OF OVERVIEW BERTRAM BROOKER? HISTORICAL EVENTS AND ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 10 LEARNING CULMINATING HOW BERTRAM ACTIVITIES TASK BROOKER MADE ART: STYLE & TECHNIQUE PAGE 11 READ ONLINE DOWNLOAD ADDITIONAL BERTRAM BROOKER: BERTRAM BROOKER RESOURCES LIFE & WORK BY IMAGE FILE JAMES KING EDUCATIONAL RESOURCE MUSICAL COMPOSITION through the art of BERTRAM BROOKER RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Bertram Brooker: Life & Work by James King. The artworks within this guide and the images required for the learning activities and culminating task can be found in the Bertram Brooker Image File provided. Throughout his career Bertram Brooker (1888–1955) looked to capture the ephemeral and magical qualities of music in his paintings. Several of his works explore specific pieces of music or attempt to convey an experience of sound on the canvas. In this guide the art of Brooker is used to explore musical forms, terminology, and structure, and it guides students in activities that allow them to find connections between visual art and music and to build an understanding and appreciation of both disciplines. Curriculum Connections Grades 2–12 Music Grades 2–12 Visual Arts Grades 11–12 Composition and Production Themes Composition The elements of music Sound paintings Soundscapes Visual interpretations Teaching Exercises The exercises in this guide invite students to explore connections between visual art and music. -
New Connections
N EW CONNECTIONS A Resource Guide to the Arts in Toronto for Newcomer Artists Ballet Folklorico Mexico by Brendan Albert TABLE OF CONTENTS About Us Neighbourhood Arts Network, Toronto Arts Foundation………………..………….3 About This Document: What to Expect………………..………………………....…..3 Local Art Service Organizations (LASO’s)……………………………………………...….5 Additional Arts Organizations………………………………………………………….....…6 Festivals………………………………………………………………………....………….….11 Dance……………………………………………………………………..…..…………….….13 Film……………………………………………………………………...……..……….………15 Literary……………………………………………………..………….…...…..…………..….16 Music…….…………………………………………………..………….…...…..……….……17 Theatre…….……………………….………………………..………….…...…..………….....19 Visual Arts…….……………………….………………………..…….…...……………….… 20 Ontario Arts Organizations…………….………….…………..…….…...…..………..…...23 Funding for Artists…………….………….…………..…….…...……………..……..……..25 Community Spaces…………….………….…………..…….…...…………....………...… 28 Art Supplies…………….………….…………..…….…...…………....………..…………...29 Event Listings…………….…….….…………..…….…...…………....…………….……... 31 Mentorship Opportunities….….…………..…….…...…………....………………...….... 32 Legal Resources….….…………..…….…...…………....…………………………….…... 33 New Connections 2 About Us Neighbourhood Arts Network is a free membership network that connects people with arts opportunities and events happening across Toronto. We support and celebrate artists that contribute to making our neighbourhoods more creative and exciting. Our membership consists of different types of artists, arts organizations -
National Historic Sites of Canada System Plan Will Provide Even Greater Opportunities for Canadians to Understand and Celebrate Our National Heritage
PROUDLY BRINGING YOU CANADA AT ITS BEST National Historic Sites of Canada S YSTEM P LAN Parks Parcs Canada Canada 2 6 5 Identification of images on the front cover photo montage: 1 1. Lower Fort Garry 4 2. Inuksuk 3. Portia White 3 4. John McCrae 5. Jeanne Mance 6. Old Town Lunenburg © Her Majesty the Queen in Right of Canada, (2000) ISBN: 0-662-29189-1 Cat: R64-234/2000E Cette publication est aussi disponible en français www.parkscanada.pch.gc.ca National Historic Sites of Canada S YSTEM P LAN Foreword Canadians take great pride in the people, places and events that shape our history and identify our country. We are inspired by the bravery of our soldiers at Normandy and moved by the words of John McCrae’s "In Flanders Fields." We are amazed at the vision of Louis-Joseph Papineau and Sir Wilfrid Laurier. We are enchanted by the paintings of Emily Carr and the writings of Lucy Maud Montgomery. We look back in awe at the wisdom of Sir John A. Macdonald and Sir George-Étienne Cartier. We are moved to tears of joy by the humour of Stephen Leacock and tears of gratitude for the courage of Tecumseh. We hold in high regard the determination of Emily Murphy and Rev. Josiah Henson to overcome obstacles which stood in the way of their dreams. We give thanks for the work of the Victorian Order of Nurses and those who organ- ized the Underground Railroad. We think of those who suffered and died at Grosse Île in the dream of reaching a new home. -
Tonya Katherine Davidson
University of Alberta Stone Bodies in the City: Unmapping Monuments, Memory and Belonging in Ottawa by Tonya Katherine Davidson A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Sociology ©Tonya Katherine Davidson Fall 2012 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. This dissertation is dedicated to my parents Tom and Katherine Davidson. Abstract In this ethnographic study of the dynamic lives of a population of monuments in Ottawa, I argue that long after they have been unveiled, monuments are imbued with many capacities to act. Monuments inspire loathing or affection, and settle or disturb dominant understandings of place, nation, race, and gender. I suggest that monuments have these affective capabilities because they operate like ‘stone bodies’ in their urban environments. Additionally, spirited with a certain life-force, monuments have the ability to haunt, unsettling relationships between place, memory, and belonging. These affective charges of monuments are felt and expressed through articulations of imperial and colonial nostalgia, feminist and other activist mobilities and various articulations of patriotism.