Editorial Board / Comité De Rédaction Advisory Board / Comité Consultatif

Total Page:16

File Type:pdf, Size:1020Kb

Editorial Board / Comité De Rédaction Advisory Board / Comité Consultatif Editorial Board / Comité de rédaction Editor-in-Chief Rédacteur en chef Robert S. Schwartzwald, University of Massachusetts Amherst, U.S.A. Associate Editors Rédacteurs adjoints Caroline Andrew, Université d’Ottawa/University of Ottawa, Canada Claude Couture, Centre d’études canadiennes, Université de l’Alberta, Canada Coral Ann Howells, University of Reading, United Kingdom Managing Editor Secrétaire de rédaction Guy Leclair, ICCS/CIEC, Ottawa, Canada Editorial Assistant Adjointe à la rédaction Laura Hale, Carleton University, Ottawa, Canada Advisory Board / Comité consultatif Maria Cristina Rosas, Universidad Nacional Autónoma de México, Mexico Giovanni Dotoli, Université de Bari, Italie Saturo Osanai, Chuo University, Japan Jacques Leclaire, Université de Rouen, France Bernd Dietz, Cordoba University, Spain Vadim Koleneko, Russian Academy of Sciences, Russia Michael Behiels, University of Ottawa, Canada Maria Bernadette Veloso Porto, Universidade Federal Fluminense, Brésil Wolfgang Kloos, Universität Trier, Germany Myungsoon Shin, Yonsei University, Korea Wilfredo Angulo Baudin, Universidad Pedagógica Experimental Liberator, Venezuela Coomi Vevaina, University of Bombay, India Helen O’Neill, University College Dublin, Ireland Jane Moss, Romance Languages, Colby College, U.S. Jiaheng Song, Université de Shantong, Chine Malcolm Alexander, Griffith University, Australia Ines Molinaro, University of Cambridge, U.K. Therese Malachy, The Hebrew University of Jerusalem, Israël Erling Lindström, Uppsala University, Sweden Leen d’Haenens, University of Nijmegen, Les Pays-Bas The International Journal of Canadian Paraissant deux fois l’an, la Revue Studies (IJCS) is published twice a year internationale d’études canadiennes by the International Council for (RIÉC) est publiée par le Conseil Canadian Studies. Multidisciplinary in international d’études canadiennes. scope, the IJCS is intended for people Revue multidisciplinaire, elle rejoint les around the world who are interested in the lecteurs de divers pays intéressés à l’étude study of Canada. The IJCS publishes du Canada. La RIÉC publie des numéros thematic issues containing articles (15-25 thématiques composés d’articles (15-25 pages double-spaced), research notes pages, double interligne), de notes de (10-15 pages double-spaced) and review recherche (10-15 pages, double interligne) et essays. It favours analyses that have a d’essais critiques, et privilégie les études broad perspective and essays that will aux perspectives larges et les essais de interestareadershipfromawidevarietyof synthèse aptes à intéresser un vaste éventail disciplines. Articles must deal with de lecteurs. Les textes doivent porter sur le Canada, not excluding comparisons Canada ou sur une comparaison entre le between Canada and other countries. The Canada et d’autres pays. La RIÉC est une IJCS is a bilingual journal. Authors may revue bilingue. Les auteurs peuvent submit articles in either English or French. rédiger leurs textes en français ou en Individuals interested in contributing to the anglais. Toute personne intéressée à IJCS should forward their papers to the collaborer à la RIÉC doit faire parvenir IJCSSecretariat,alongwithaone-hundred son texte accompagné d’un résumé de word abstract. Beyond papers dealing cent (100) mots maximum au secrétariat directly with the themes of forthcoming de la RIÉC. En plus d’examiner les textes issues, the IJCS will also examine papers les plus pertinents aux thèmes des numéros à not related to these themes for possible paraître, la RIÉC examinera également les inclusion in its regular Open Topic section. articles non thématiques pour sa rubrique All submissions are peer-reviewed; the Hors-thème. Tous les textes sont évalués par final decision regarding publication is des pairs. Le Comité de rédaction prendra la made by the Editorial Board. The content décision finale quant à la publication. Les of articles, research notes and review auteurs sont responsables du contenu de essays is the sole responsibility of the leurs articles, notes de recherche ou essais. author. Send articles to the International Veuillez adresser toute correspondance à la Journal of Canadian Studies, 75 Albert Revue internationale d’études canadiennes, Street, 908, Ottawa, CANADA K1P 5E7. 75, rue Albert, 908, Ottawa, CANADA For subscription information, please see K1P 5E7. the last page of this issue. Des renseignements sur l’abonnement se The IJCS is indexed and/or abstracted in trouvent à la fin du présent numéro. America: History and Life; Canadian Les articles de la RIÉC sont répertoriés Periodical Index; Historical Abstracts; et/ou résumés dans America: History and International Political Science Abstracts; Life;CanadianPeriodicalIndex;Historical and Point de repère. Abstracts; International Political Science ISSN 1180-3991 ISBN 1-896450-24-5 Abstracts et Point de repère. © All rights reserved. No part of this ISSN 1180-3991 ISBN 1-896450-24-5 publication may be reproduced without © Tous droits réservés. Aucune repro- the permission of the IJCS. duction n’est permise sans l’autorisation The IJCS gratefully acknowledges a grant de la RIÉC. from the Social Sciences and Humanities La RIÉC est redevable au Conseil de Research Council of Canada. recherches en sciences humaines du Canada qui lui accorde une subvention. Cover photo: . Photo de la couverture : . International Journal of Canadian Studies Revue internationale d’études canadiennes 26, Fall / Automne 2002 Performing Canada Le Canada mis en scène Table of Contents / Table des matières Coral Ann Howells Introduction ...............................................5 Tamara Vukov Performing the Immigrant Nation at Pier 21: Politics and Counterpolitics in the Memorialization of Canadian Immigration .............................................17 Johanne Devlin Trew Conflicting Visions: Don Messer, Liberal Nationalism and the Canadian Unity Debate .....................................41 Ryan Edwardson Narrating a Canadian Identity: Arthur R.M. Lower’s Colony to Nation and the Nationalization of History.......................59 Andrea Kunard Relationships of Photography and Text in the Colonization of the Canadian West: The 1858 Assiniboine and Saskatchewan Exploring Expedition......................................77 Robert Cupido The Medium, the Message and the Modern: The Jubilee Broadcast of 1927 .......................................101 Forum / Discussion en forum Richard J.F. Day Can There Be a Postcolonial Multiculturalism? A Response to Ian Angus ..............................................127 International Journal of Canadian Studies Revue internationale d’études canadiennes Ian Angus Abyss, or a Located Ethics? Reply to Day....................133 Review Essays / Essais critiques Daniel Salée Enjeux et défis de l’affirmation identitaire et politique des peuples autochtones au Canada : autour de quelques ouvrages récents .................................................139 Katalin Kürtösi Books on Québec Theatre, Playwrights, and Michel Tremblay...163 Authors / Auteurs..........................169 Canadian Studies Journals Around the World Revues d’études canadiennes dans le monde ...........171 4 Introduction Présentation “Performing Canada “evokes « Le Canada mis en scène » images of theatricality and drama, évoque des images de théâtralité et of addressing an audience from de drame, d’acteurs s’adressant au onstage, “where it’s so bright and public de la scène, « là où c’est si so dark at the same time,” to quote brillant et si sombre en même the novelist Ann-Marie temps », pour citer un mot de la MacDonald who is also an actress romancière Ann-Marie and a playwright. All these MacDonald, qui est également performative elements are present comédienne et dramaturge. Tous in our thematic dossier in this ces éléments de la mise en scène volume, where Canada is shown to sont représentés dans le dossier be inseparable from its various thématique du présent numéro, où cultural and historical le Canada apparaît comme representations. These essays offer inséparable de ses diverses a series of shifting scenarios on the représentations culturelles et spectacle of nation-building since historiques. Ces articles offrent the mid-nineteenth century, or toute une série de scénarios alternatively the essays might be changeants sur le spectacle de la read as a dialogue onstage, construction d’un pays qui se “performing Canada” in different poursuit depuis le milieu du voices through various frames of dix-neuvième siècle, ou encore on inquiry and analysis. But whose peut les lire comme un tout, une voices do we hear, and what kind sorte de dialogue qui se of performances are we watching? poursuivrait sur une scène, « le What is illuminated and what is Canada mis en scène », dans des left in the dark? What surprised the voix différentes et à travers des Editors most in the submissions for cadres d’analyse et d’enquête this volume was the emphasis on différents. Mais de qui entend-on history rather than on the present les voix et à quelle sorte de time or on the performing arts. représentation assiste-t-on? Indeed, there is only one thematic Qu’est-ce qui est illuminé et essay which addresses qu’est-ce qui demeure dans contemporary performances of a l’ombre? Ce qui a surpris les national narrative, and that too rédacteurs de la Revue dans la deals with a historical plupart des textes qu’ils ont reçus phenomenon. There are no pour ce numéro a été l’accent mis thematic contributions from a sur l’histoire plutôt que sur francophone perspective,
Recommended publications
  • The Folk Music of Anglophone New Brunswick: Old-Time and Country Music in the Twentieth Century
    JOURNAL OF NEW BRUNSWICK STUDIES Issue 3 (2012) The Folk Music of Anglophone New Brunswick: Old-Time and Country Music in the Twentieth Century Greg Marquis Abstract This article, which calls for a flexible and broad understanding of folk music, examines the role of old-time and country music in twentieth-century New Brunswick. Old-time music was primarily for dancing and its chief instrument was the fiddle. In the 1920s and 1930s hillbilly and cowboy music, with an emphasis on songs, began to dovetail with old-time music. Old-time and country music became closely embedded in rural and small-town New Brunswick. This paper argues that these musical forms, despite their commercial origins and dissemination via technology such as recordings, radio, and motion pictures, constituted a de facto folk music for the anglophone populations of the province. Résumé Cet article, qui nécessite une connaissance souple et élargie de la musique folklorique, passe en revue la musique d’antan et country dans le Nouveau-Brunswick du 20 e siècle. La musique d’antan en était une principalement pour la danse, et son principal instrument était le violon. Dans les années 1920 et 1930, la musique genre western, centrée sur les chansons, a commencé à s’imbriquer avec la musique d’antan. Ces deux musiques sont devenues étroitement liées dans la campagne et les petites villes du Nouveau-Brunswick. Cet article souligne que ces formes musicales, malgré leur origine commerciale et leur diffusion par la technologie, au moyen d’enregistrements, de la radio et du cinéma, constituent une musique folklorique de fait pour la population anglophone de la province.
    [Show full text]
  • Beyond a Bina- Opposition: the Changing Constructions of Woman on Early Halifax Television
    Beyond a Bina- Opposition: The Changing Constructions of Woman on Early Halifax Television BY Gina Stack Submitted in paxtial fulfilment of the requirements for the degree of Masters of History Dalhousie University Halifax, Nova Scotia, Canada August, 1998 @ Copyright by Gina Stack, 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Weilington Street 395, rue Wellington OtEawaON KlAûN4 OttawaON K1AON4 Canada Canada The author has granted a non- L'auteur a accordé une kence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distniuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la proprikté du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, Table of Contents Table of Contents Acknowledgements Introduction Chapter One : Exploring Gender and the Maritimes 22 Chapter Two: CBHT Halifax: 42 Reconstructing the Station Chaptex mec: Don Messerrs Jubilee : 64 Gender Constructions in Progrdng Chapter Four : Hot Persuasion: 97 Advertising and Gendet Ideals Conclusion Bibliography Acknowledgements I would like to thank everyone who has helped make this thesis a reality.
    [Show full text]
  • Fiddling with Technology:: the Effect of Media on Newfoundland Traditional Musicians
    Document généré le 26 sept. 2021 17:05 Newfoundland Studies Fiddling with Technology: The Effect of Media on Newfoundland Traditional Musicians Evelyn Osborne Volume 22, numéro 1, spring 2007 URI : https://id.erudit.org/iderudit/nflds22_1art08 Aller au sommaire du numéro Éditeur(s) Faculty of Arts, Memorial University ISSN 0823-1737 (imprimé) 1715-1430 (numérique) Découvrir la revue Citer cet article Osborne, E. (2007). Fiddling with Technology:: The Effect of Media on Newfoundland Traditional Musicians. Newfoundland Studies, 22(1), 188–204. All rights reserved © Memorial University, 2007 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/ Fiddling with Technology: The Effect of Media on Newfoundland Traditional Musicians1 EVELYN OSBORNE THE DEVELOPMENT OF SOUND technologies since the late nineteenth century has been as revolutionary for musicians as the printing press was for verbal communi- cation in the fifteenth century. By the late twentieth century, the remotest of vil- lages had access to new sounds and information from across the globe. Not unexpectedly, these processes have had a major impact on folk music traditions around the world, including those in Newfoundland and Labrador.
    [Show full text]
  • Fiddlers, Dancing, Art and Utility: What Isn't Traditional? Neil V
    studying culture in context Fiddlers, dancing, art and utility: what isn't traditional? Neil V. Rosenberg Excerpted from: Ón gCos go Cluas From Dancing to Listening Fiddle and Dance Studies from around the North Atlantic 5 Edited by Liz Doherty and Fintan Vallely First published in 2019 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN: 978-1-85752-073-6 About the author: Neil V. Rosenberg is a leading figure in Folklore studies and in Bluegrass music circles. A native of the western United States (Olympia, Washington; Los Alamos, New Mexico; Berkeley, California) who has been a performing musician (violin, voice, guitar, mandolin, and five-string banjo) since childhood, his music skills and experiences have helped him gain a closer understanding of music and music performance. This led to a PhD in Folklore from Indiana University in 1970, and to his teaching from 1968 until 2004 in the Department of Folklore at Memorial University of Newfoundland where he specialised in the study of contemporary folk music traditions. There he investigated the ways in which popular music interacts with local and regional folk music traditions and examined processes of cultural revival. His research – in Canada and the United States – focused upon professional, semiprofessional and amateur old-time, bluegrass, country and folk musicians. Now Professor Emeritus of Folklore at Memorial, Rosenberg’s highly regarded writing includes Bluegrass: A History (1985, the definitive work on that form of music, reprinted with a new preface in 2005). His other well-known publication has been the editing of the influential essay collection Transforming Tradition (1993), a unique examination of folk music revivals.
    [Show full text]
  • Performing Country Music in Canada
    Stompin’ Grounds: Performing Country Music in Canada by Erin Jan Elizabeth Schuurs A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © Erin Jan Elizabeth Schuurs, September, 2019 Abstract STOMPIN’ GROUNDS: PERFORMING COUNTRY MUSIC IN CANADA Erin Jan Elizabeth Schuurs Advisor: University of Guelph, 2019 Dr. Catharine Anne Wilson Country music in Canada and its different geographical regions existed within a transnational set of fictions which were shared by a great many North Americans. Industry members, performers, and fans have relied upon the markers of sound, rurality, masculinity, and later “Canadian-ness” to prove the music’s “authenticity.” More than anything, what is noteworthy about country music is not that it is a continuation of “authentic” folk practices, but the music’s ability to continually reinvent itself while maintaining these fictions. By examining five distinct country music performers who had active careers in Canada – Wilf Carter, Earl Heywood, Don Messer, Stompin’ Tom Connors, and Gordon Lightfoot – this study examines how Canadian country music artists between the 1920s and the 1970s created “authentic” images. This was achieved through song lyrics and instrumentation, visual markers such as cowboy hats, and through interviews, autobiographies, photographs, and other publicity materials. iii “Country music is three chords and the truth.” -Howard Harlan “Music is the emotional life of most people.” -Leonard Cohen iv Acknowledgements It takes a village to write a dissertation and I am forever grateful to the many people who formed the village it took to see this dissertation completed.
    [Show full text]
  • How the Canadian Broadcasting Corporation Served the Military in Korea, 1951-1956
    Canadian Military History Volume 24 Issue 2 Article 7 2015 How the Canadian Broadcasting Corporation Served the Military in Korea, 1951-1956 Mallory Schwartz Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Mallory Schwartz "How the Canadian Broadcasting Corporation Served the Military in Korea, 1951-1956." Canadian Military History 24, 2 (2015) This Article is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. : How the Canadian Broadcasting Corporation Served the Military in Korea, 1951-1956 How the Canadian Broadcasting Corporation Served the Military in Korea, 1951-1956 MALLORY SCHWARTZ Abstract: The Canadian Broadcasting Corporation (cbc) offered vital support to the Canadian forces engaged in the Korean theatre during and after the war, waged from 1950 to 1953. Though motivations varied between bureaucrats, service personnel, and broadcasters, all considered radio a means of evoking a sense of home on foreign soil or seas. To that end, the cbc went beyond reporting on the conflict to supply the armed forces with hundreds of hours of radio content, all carefully chosen to meet popular tastes, religious needs, and language requirements. Material passed from the cbc to the Far East by means of teletype circuits, shortwave transmitters and airmail parcels, filled with tapes and discs. This was only possible through collaboration with news agencies, Commonwealth broadcasters, and radio stations that served allied troops.
    [Show full text]
  • FROM the SCRAPBOOK Don Messer Dies at 63 – March 26, 1973 by Rev
    FROM THE SCRAPBOOK Don Messer Dies at 63 – March 26, 1973 by Rev. Dr. William Randall Reprinted from The Harvey Lionews January, 1998 Another NEW YEAR! From a Scrapbook gathered by Edwin Messer, copied and passed on to me by Ruth Cleghorn Ker is the story of Don Messer who died March 26.1973. In many ways Don Messer put Harvey on a map of the world. DON MESSER DIES AT 63 HALIFAX - Don Messer, popular band leader whose way down east music kept Canadian audiences tapping their toes for more than four decades, died here today. He was 63. A native of Tweedside, N.B., Messer organized his first musical group in 1934. Messer, who lived in the Halifax suburb of Rockingham, was pronounced dead on arrival at the Victoria General Hospital at about 9:45 a.m. Hospital officials said he had apparently suffered a coronary attack. The shy, retiring fiddler, who preferred to have his vocalists and other members of the band take the spotlight first gained prominence with a group of musicians he organized in 1934. Known as the New Brunswick Lumberjacks, the group performed on radio from Saint John. The original group of 19 went on national radio from CHSJ in 1938. The following year Messer accepted an offer to form a group in Charlottetown, using radio station CFCY as their base. The group, renamed Don Messer and His Islanders, was formed around two of the original members, lumberjack-vocalist Charlie Chamberlain from Bathurst, N.B. and bass player Julius (Duke) ) Neilson from Woodstock, N.B.
    [Show full text]
  • Don Randell: Mistaken Fiddling Dichotomies Paula Flynn
    Document generated on 09/27/2021 9:38 p.m. Newfoundland Studies Don Randell: Mistaken Fiddling Dichotomies Paula Flynn Volume 22, Number 1, Spring 2007 URI: https://id.erudit.org/iderudit/nflds22_1art07 See table of contents Publisher(s) Faculty of Arts, Memorial University ISSN 0823-1737 (print) 1715-1430 (digital) Explore this journal Cite this article Flynn, P. (2007). Don Randell:: Mistaken Fiddling Dichotomies. Newfoundland Studies, 22(1), 165–186. All rights reserved © Memorial University, 2007 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Don Randell: Mistaken Fiddling Dichotomies1 PAULA FLYNN IN 2003 I ATTENDED A CONCERT in St. John’s given by the renowned English revival singer Martin Carthy, during which he performed traditional ballads, broadsides, and tunes. At intermission I discussed Carthy’s important role in the folk revival movement in the UK with a group of local musicians, and mentioned the importance of song collection and performance in our own culture. One musician agreed and, in a condescending manner, noted that it was imperative that Newfoundland and Lab- rador should not be known only for “musicians like Harry Hibbs.” Another musi- cian, a singer of traditional Newfoundland songs, asserted that the “trad/rock” band Figgy Duff had tried to raise the status of Newfoundland folk music.
    [Show full text]
  • Don Messer's Modern Canadian Fiddle Canon*
    Don Messer's Modern Canadian Fiddle Canon* NEIL V. ROSENBERG Recent studies of regional fiddle music traditions recognize hierarchies of ability and authority among their practitioners. Thus, Joyce Cauthen, writ­ ing of old-time fiddling in Alabama, divides the individuals whose biogra­ phies she presents into "Modest Masters qf the Fiddle and Bow" and "Alabama's Brag Fiddlers." When Peter Cooke began his research in the Shetland Isles, "Early enquiries," he says, "led me to the better-known, more skillful fiddlers, but it soon became apparent that collectively, they represented only the apex of a pyramid consisting of countless men and a very few women who could play the fiddle to some standard or other" ( 14 ). It is only coincidental that the records of Don Messer, the fiddler at the top of the Canadian pyramid for over two decades, were issued on the Apex label. But there is no question that from his position at the top, Messer shaped Canadian fiddling in a number of ways. In this study, I argue that Messer's influence can be seen as an example of what Philip V. Bohlman has described as "canon-formation" When I mention the topic of this paper to Canadians, everyone over the age of thirty responds with brief reminiscences of the national CBC television show, "Don Messer's Jubilee," that ran from 1959 to 1969. They tell of watc.hing with parents, speak of vocalist Charlie Chamberlain's legendary tippling, and recall the swirling folk dances of the Buchta Dancers. Elsewhere I have discussed how this extremely popular show reified the idea of the family entertainment at home (1976, 5).
    [Show full text]
  • The Canadian Broadcasting Corporation's Annual Report for 2002-2003
    43733_cover 7/9/03 8:41 PM Page 1 rapport annuel de CBC/Radio-Canada 2002-2003 2002-2003 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 annual report CBC/Radio-Canada report annual 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report CBC/Radio-Canada 2002-2003 annual report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 CBC/Radio-Canada report annual 2002-2003 annual report
    [Show full text]
  • Lester the Lobster Steve Foote
    Urbandale Corporation celebrated its 50th Anniversary in 2008 as one of the region's largest land developers, rental property owners and commercial landlords. Urbandale Corporation's diverse portfolio consists of residential rental units, commercial plazas and office buildings. The company's core activity remains the development of its land holdings and the creation of communities. With additional operations in Montreal and Palm Beach, Florida, Urbandale Corporation is currently active in four communities across Canada's National Capital Region, from the established Bridlewood and Kanata Lakes, to the progressive fast growing community of Riverside South and Kemptville. Chances are you'll find an Urbandale Corporation rental community that's perfect for you and your family. You may choose from affordable townhomes and apartments in clean, family settings to elegant suites in prestigious high-rises; all are managed with a personal touch and maintained to Urbandale Corporation's high standards. Urbandale Corporation's commitment to tenant satisfaction is the source of our excellent reputation in the Ottawa area. Urbandale Corporation is proud to have two superior Condominium projects offering units for sale. Urbandale Corporation also manages 8 Shopping Plazas throughout the National Capital Region and 2 office buildings located in downtown Ottawa and is proud to announce two brand new commercial plaza developments in Riverside South and Bridlewood in Kanata. www.urbandale.com Atlantic Voices: The Newfoundland and Labrador Choir of Ottawa Atlantic Voices: The Newfoundland and Labrador Choir of Ottawa was founded in the spring of 2002. Atlantic Voices is an amateur choir in its tenth season with a repertoire consisting mainly of Newfoundland, Maritime, and Celtic songs and music.
    [Show full text]
  • Country Music- Music of the Soul
    Colegiul Național ,, Mihail Kogălniceanu’’ Country music- music of the soul Vintilă Iulia, clasa a 12-a A 1 Colegiul Național ,, Mihail Kogălniceanu’’ Table of Contents General description – What is country music?...............................................................4 Stages of development – Country music’s paved road.................................................5 Stage one - First generation (1920s)..........................................................................6 Stage two - Second generation (1930s–1940s)..........................................................7 Singing cowboys and Western swing......................................................................7 Changing instrumentation.......................................................................................8 Hillbilly boogie.........................................................................................................8 Bluegrass, folk and gospel......................................................................................9 Honky Tonk..............................................................................................................9 Stage three - Third generation (1950s–1960s)...........................................................9 Rockabilly..............................................................................................................10 The Nashville and countrypolitan sounds..............................................................10 Country soul - crossover........................................................................................11
    [Show full text]