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12. What We Talk About When We Talk About Indian
12. What we talk about when we talk about Indian Yvette Nolan here are many Shakespearean plays I could see in a native setting, from A Midsummer Night’s Dream to Coriolanus, but Julius Caesar isn’t one of them’, wrote Richard Ouzounian in the Toronto Star ‘Tin 2008. He was reviewing Native Earth Performing Arts’ adaptation of Julius Caesar, entitled Death of a Chief, staged at Buddies in Bad Times Theatre, Toronto. Ouzounian’s pronouncement raises a number of questions about how Indigenous creators are mediated, and by whom, and how the arbiter shapes the idea of Indigenous.1 On the one hand, white people seem to desire a Native Shakespeare; on the other, they appear to have a notion already of what constitutes an authentic Native Shakespeare. From 2003 to 2011, I served as the artistic director of Native Earth Performing Arts, Canada’s oldest professional Aboriginal theatre company. During my tenure there, we premiered nine new plays and a trilingual opera, produced six extant scripts (four of which we toured regionally, nationally or internationally), copresented an interdisciplinary piece by an Inuit/Québecois company, and created half a dozen short, made-to-order works, community- commissioned pieces to address specific events or issues. One of the new plays was actually an old one, the aforementioned Death of a Chief, which we coproduced in 2008 with Canada’s National Arts Centre (NAC). Death, an adaptation of Shakespeare’s Julius Caesar, took three years to develop. Shortly after I started at Native Earth, Aboriginal artists approached me about not being considered for roles in Shakespeare (unless producers were doing Midsummer Night’s Dream, because apparently fairies can be Aboriginal, or Coriolanus, because its hero struggles to adapt to a consensus-based community). -
Placenaming on Cape Breton Island 381 a Different View from The
Placenaming on Cape Breton Island A different view from the sea: placenaming on Cape Breton Island William Davey Cape Breton University Sydney NS Canada [email protected] ABSTRACT : George Story’s paper A view from the sea: Newfoundland place-naming suggests that there are other, complementary methods of collection and analysis than those used by his colleague E. R. Seary. Story examines the wealth of material found in travel accounts and the knowledge of fishers. This paper takes a different view from the sea as it considers the development of Cape Breton placenames using cartographic evidence from several influential historic maps from 1632 to 1878. The paper’s focus is on the shift names that were first given to water and coastal features and later shifted to designate settlements. As the seasonal fishing stations became permanent settlements, these new communities retained the names originally given to water and coastal features, so, for example, Glace Bay names a town and bay. By the 1870s, shift names account for a little more than 80% of the community names recorded on the Cape Breton county maps in the Atlas of the Maritime Provinces . Other patterns of naming also reflect a view from the sea. Landmarks and boundary markers appear on early maps and are consistently repeated, and perimeter naming occurs along the seacoasts, lakes, and rivers. This view from the sea is a distinctive quality of the island’s names. Keywords: Canada, Cape Breton, historical cartography, island toponymy, placenames © 2016 – Institute of Island Studies, University of Prince Edward Island, Canada Introduction George Story’s paper The view from the sea: Newfoundland place-naming “suggests other complementary methods of collection and analysis” (1990, p. -
The Heritage Gazette of the Trent Valley Volume 19, Number 4, February 2015
1 Heritage Gazette of the Trent Valley, vol 19, no 4 february 2015 ISSN 1206-4394 The heriTage gazeTTe of The TrenT Valley Volume 19, number 4, february 2015 President’s Corner: ….…………………………….…….…………..…………………..……… Guy Thompson 2 Samuel de Champlain and the Portage Road in 1615 …………………………………………… R. B. Fleming 3 Samuel de Champlain and the Portage Road in 1615, footnotes ………………………………… R. B. Fleming 43 Lieutenant Harold S. Matthews: Reflections on a family photo album …………………….… Elwood H. Jones 7 Mabel Nichols’ Science Note Book ……………………………………………..………………….. John Marsh 11 Thomas Morrow in World War I: Part 3 …………………………………………… Memoirs, Thomas Morrow 14 Hazelbrae Barnardo Home Memorial 1913 ………………………………………… Ivy Sucee and John Sayers 27 John Boyko and How Canada Fought the American Civil War ……………………………... Michael Peterman 30 World War I Nursing Sisters: Old Durham County ………………………...………………… Elwood H. Jones 32 Queries …………………………………………….………………… Heather Aiton Landry and Elwood Jones 33 Old Stone House, Hunter and Rubidge, 31; Peterborough’s Earliest Photographer? 33; PCVS Class 9-1 1943-44; A New Pulpit at St. John’s Anglican Church Peterborough 34; Wall Street or Bust (with Dianne Tedford) 35; Peter Lemoire, 36; The Market Hall 1913 37; P. G. Towns and the “Canadian Grocer”, 38; Trent Valley Archives Even new buildings are haunted: Trent Valley Archives downtown ghost walk October 2014 ( Jessica Nyznik) 36; Around Trent Valley Archives 31; Events 2015 29 Coming Events There and Back Again: Searching for Peterborough’s Irish Roots, February 17 …..…. Ruth Kuchinad 37 Workshop on Upper Canada & Canada West Research …………………………………..OGS Toronto 38 Books Entangled Roots, Bev Lundahl …………………..……………….. Keith Foster 39 and inside back cover Cornelius Crowley of Otonabee and His Descendants, Colum Diamond ………………………………. -
2020 Visitors Guide a Storied Past, a Glorious Future: a Season to Celebrate the Elixir of Power
2020 VISITORS GUIDE A STORIED PAST, A GLORIOUS FUTURE: A SEASON TO CELEBRATE THE ELIXIR OF POWER Irresistible – that’s the only way to describe the variety, quality and excitement that make up the Stratford Festival’s 2020 season. First, there is our stunning new Tom Patterson Theatre, with ravishingly beautiful public spaces and gardens. Its halls, bars and café will be filled throughout the season with music, comedy nights, panel discussions and outstanding speakers to make our Festival even more festive. In the wake of an election in Canada, and in anticipation of one in the U.S., our season explores the theme of Power. Recent years have seen a growing acceptance of the naked use of power. Brute force is in vogue on the world stage, from international trade to immigration and the arms race – and, closer to home, in elections, in the workplace and even in social media engagements. Through comedy, tragedy, song, dance and farce, the plays and musicals of our 2020 season explore the dynamics of power in society, politics, art, gender and family life. In our new Tom Patterson Theatre, we present the two plays that launched the Stratford adventure in 1953: All’s Well That Ends Well and Richard III. The new venue is also home to a new musical, Here’s What It Takes; a new movement-based creation, Frankenstein Revived; and a series of improvisational performances – each one unique and unrepeatable – called An Undiscovered Shakespeare. But the fun isn’t all confined to one theatre. Our historic Festival Theatre showcases two of Shakespeare’s greatest plays, Much Ado About Nothing and Hamlet, as well as Molière’s brilliant satire The Miser and the first major new production in decades of the mischievous musical Chicago. -
Critical Canadiana
Critical Canadiana Jennifer Henderson In 1965, in the concluding essay to the first Literary History New World Myth: of Canada, Northrop Frye wrote that the question “Where is Postmodernism and here?” was the central preoccupation of Canadian culture. He Postcolonialism in equivocated as to the causes of this national condition of disori- Canadian Fiction By Marie Vautier entation, alternately suggesting historical, geographical, and cul- McGill-Queen’s tural explanations—the truncated history of a settler colony, the University Press, 1998 lack of a Western frontier in a country entered as if one were “be- ing silently swallowed by an alien continent” (217), a defensive The House of Difference: colonial “garrison mentality” (226)—explanations that were uni- Cultural Politics and National Identity in fied by their unexamined Eurocentrism. Frye’s thesis has since Canada proven to be an inexhaustible departure point for commentaries By Eva Mackey on Canadian literary criticism—as witnessed by this very essay, by Routledge, 1999 the title of one of the four books under review, as well as a recent issue of the journal Essays in Canadian Writing, organized around Writing a Politics of the question, “Where Is Here Now?” The question was first asked Perception: Memory, Holography, and Women at what many take to be the inaugural moment of the institution- Writers in Canada alization of CanLit, when the field began to be considered a cred- By Dawn Thompson ible area of research specialization.1 Since then, as one of the University of Toronto contributors to “Where Is Here Now?” observes, “Canadian liter- Press, 2000 ature as an area of study has become a rather staid inevitable in Here Is Queer: English departments” (Goldie 224). -
DIGITIZED QUEBEC DIRECTORIES MWG – September 2019 Mackay
DIGITIZED QUEBEC DIRECTORIES MWG – September 2019 MacKay – 1851 – Canada http://www.collectionscanada.gc.ca/obj/001075/f2/nlc003645.pdf or http://bibnum2.banq.qc.ca/bna/lovell/ Lovell – 1857-58 – Canada http://bibnum2.banq.qc.ca/bna/lovell/ Lovell – 1871 - Canada http://www.canadiana.ca/view/oocihm.09143/54?r=0&s=5 or http://bibnum2.banq.qc.ca/bna/lovell/ Lovell – 1871 – Province of Quebec http://www.collectionscanada.gc.ca/obj/001075/f2/nlc003646.pdf MONTREAL & AREA Doige – 1819 – Montreal https://archive.org/details/cihm_21072/page/n7 Doige – 1820 – Montreal https://archive.org/details/cihm_36130/page/n7 Lovell – 1842-2010 – Montreal & environs http://bibnum2.banq.qc.ca/bna/lovell/ Handy – 1894-95 – Montreal https://archive.org/details/montrealhandy18949500montuoft/page/n13 QUEBEC CITY & AREA MacKay – 1790 - Quebec City http://www.collectionscanada.gc.ca/obj/001075/f2/nlc003603.pdf Marcotte – 1822-1976 – Quebec City & environs http://bibnum2.banq.qc.ca/bna/marcotte/ Cherrier – 1873-74 - Quebec City & environs (note that this year is missing in the Marcotte BAnQ) http://online.canadiana.ca/view/oocihm.8_00011_1/7?r=0&s=1 GATINEAU-HULL & AREA Cherrier & Kerwin – 1872-73 – Hull & Aylmer (Ottawa) http://www.collectionscanada.gc.ca/obj/001075/f2/nlc008141.pdf Watkins – 1878 – St-Scholastique, Lachute, Hull, etc. http://online.canadiana.ca/view/oocihm.8_00196_1/9?r=0&s=1 Many other directories for Ottawa have been digitized at Library and Archives Canada and most of these include Hull, Aylmer and area listings. http://www.bac-lac.gc.ca/eng/discover/directories-collection/Pages/directories-collection-available- -
THE DIGITAL DOMAIN NO. 3: Selected Internet Visual Resources for the Study of British Columbia - Arty Photography, and Multimedia
THE DIGITAL DOMAIN NO. 3: Selected Internet Visual Resources for the Study of British Columbia - Arty Photography, and Multimedia COMPILED BY DAVID MATTISON Access Services Archivist, BC Archives, Victoria his compilation lists publicly accessible Internet image collections documenting BC's pictorial heritage in the form T of selected artwork, photographs, and multimedia (combi nations of text, still images, and audio-video) Web sites. Architecture and cartography resources will be described in a future Digital Domain. Non-image-based Internet sites such as the George Eastman House photography database are also included because they document the existence of images held by institutions. Organizations such as the Vancouver Cultural Alliance which promote access to arts resources, but do not necessarily feature reproductions from the visual arts arena, are also included. Due to space limitations and the vast amount of visual material on the Internet, this listing is not inclusive. The majority of references in this bibliography are to Web sites whose URL (Universal/Uniform Resource Locator) or Internet address always begins with http://. In order to prevent confusion and because the URL must include the service designator, the Web designator is shown. The two most popular graphical Web browsers, Microsoft Internet Explorer and Netscape Navigator, both default to a Web URL when the service designator is not included. Those using the Internet through a proxy server or who have cookies disabled may encounter problems with some of these resources. You are encouraged to contact your Internet Service Provider (ISP) if you have problems connecting with a particular Web site or Internet computer system, or if you need general assistance in configuring your Web browser and any associated software required to access these resources. -
SUBMISSION RE-EDIT Caitlin Thompson Dissertation 2019
Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage by Caitlin Thompson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto © Copyright by Caitlin Thompson 2019 Making ‘fritters with English’: Functions of Early Modern Welsh Dialect on the English Stage Caitlin Thompson Doctor of Philosophy Centre for Drama, Theatre, and Performance Studies University of Toronto 2019 ABSTRACT The Welsh had a unique status as paradoxically familiar ‘foreigners’ throughout early modern London; Henry VIII actively suppressed the use of the Welsh language, even though many in the Tudor line selectively boasted of Welsh ancestry. Still, in the late-sixteenth century, there was a surge in London’s Welsh population which coincided with the establishment of the city’s commercial theatres. This timely development created a stage for English playwrights to dramatically enact the complicated relationship between the nominally unified nations. Welsh difference was often made theatrically manifest through specific dialect conventions or codified and inscrutable approximate Welsh language. This dissertation expands upon critical readings of Welsh characters written for the English stage by scholars such as Philip Schwyzer, Willy Maley, and Marissa Cull, to concentrate on the vocal and physical embodiments of performed Welshness and their functions in contemporary drama. This work begins with a historicist reading of literary and political Anglo-Welsh relations to build a clear picture of the socio-historical context from which Welsh characters of the period were constructed. The plays which form the focus of this work range from popular plays like Shakespeare’s Henry V (1599) to lesser-known works from Thomas Nashe’s Summer’s Last Will and Testament (1592) to Thomas Dekker’s The Welsh Embassador ii (1623) which illuminate the range of Welsh presentations in early modern England. -
Djanet Sears's Appropriations of Shakespeare in Harlem Duet
The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov by James Stuart McKinnon A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for the Study of Drama University of Toronto © Copyright by James McKinnon 2010 The Dramaturgy of Appropriation: How Canadian Playwrights Use and Abuse Shakespeare and Chekhov James Stuart McKinnon Doctor of Philosophy Graduate Centre for the Study of Drama University of Toronto 2010 Abstract Both theatre and drama were imported to Canada from European colonizing nations, and as such the canonical master-texts of European drama, particularly the works of Shakespeare, have always occupied a prominent place in Canadian theatre. This presents a challenge for living Canadian playwrights, whose most revered role model is also their most dangerous competition, and whose desire to represent the spectrum of contemporary Canadian experience on stage is often at odds with the preferences of many producers and spectators for the ―classics.‖ Since the 1990s, a number of Canadian playwrights have attempted to challenge the role of canonical plays and the values they represent by appropriating and critiquing them in plays of their own, creating a body of work which disturbs conventional distinctions between ―adaptations‖ and ―originals.‖ This study describes and analyzes the adaptive dramaturgies used by recent Canadian playwrights to appropriate canonical plays, question the privileged place they occupy in Canadian culture, expose the exclusionary hierarchies they legitimate, and claim centre stage for Canadian perspectives which have hitherto been waiting in the wings. It examines how playwrights challenge, usurp, or exploit the cultural capital of the canon by ―re-citing‖ old plays ii in new works, how they or their producers attempt to frame the reception of their plays in order to address cultural biases against adaptation, and how audiences respond. -
The Response of Vancouver's Chinese Community to Hong Kong Immigrants, 1980-1997
WE ARE CHINESE CANADIAN: THE RESPONSE OF VANCOUVER'S CHINESE COMMUNITY TO HONG KONG IMMIGRANTS, 1980-1997 Julianne Rock Bachelor of Arts Honours, Queen's University, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Julianne Rock 2005 SIMON FRASER UNIVERSITY Spring 2005 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Julianne Rock Degree: Master of Arts Title of Research Project: We are Chinese Canadians: The Response of Vancouver's Chinese Community to Hong Kong Immigrants, 1980-1997 Examining Committee: Chair: John Craig Associate Professor, Department of History Jacob Eyferth Senior Supervisor Assistant Professor, Department of History Janice Matsumura Supervisor Assistant Professor, Department of History Hugh Johnston Internal Examiner Professor, Department of History Approved: SIMON FRASER UNIVERSITY PARTIAL COPYRIGHT LICENSE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. -
British Columbia
British Columbia Research Outline Table of Contents Records Of The Family History Library Research Strategy Archives And Libraries Census Church Records Court Records Directories Emigration And Immigration Genealogy History Land And Property Military Records Naturalization And Citizenship Newspapers Periodicals Probate Records Societies Taxation Vital Records For Further Reading Comments And Suggestions This outline describes major sources of information about families from British Columbia. As you read this outline, study the Canada Research Outline (34545), which will help you understand terminology, contents, and uses of genealogical records. RECORDS OF THE FAMILY HISTORY LIBRARY The Family History Library has many of the records described in this outline. Some of the sources described in this outline list the Family History Library's book, microfilm, microfiche, and computer numbers. These are preceded by FHL, the abbreviation for Family History Library. You can use these numbers to locate materials in the library and to order microfilm and microfiche at Family History Centers. You can use the computer number if you have access to the Family History Library Catalog on computer. Using the “Computer Number Search” is the fastest way to find a source in the catalog. Most microfilms available at the library can also be distributed to its Family History Centers. A current list of Family History Centers in your area can be obtained from the Family History Library. RESEARCH STRATEGY When researching in this province, begin by checking the following records in the order suggested: 1. Vital records 2. Church records 3. Census records 4. Probate records 5. Local histories ARCHIVES AND LIBRARIES See also the “Societies” section of this outline. -
INTRODUCTION Overview in This Lesson I'm Going to Start
LESSON 1: INTRODUCTION Overview In this lesson I’m going to start from the very beginning of the known inhabitants of the land we call Canada, giving a brief history of the Siberians who crossed the Bering Strait, what peoples lived where, and then what peoples colonized and took Canada for themselves. Regardless of what they may have been taught in other classes, I want to start Canadian history from the beginning, and build on it from there so students can get a very holistic understanding of how our country started and how this history defines what it is today. Learning Goal I want this lesson to give students a foundation on which they can build their understanding of Canada’s origins and peoples, as well as the concept of colonialism. Seeing as Canada as it exists today was cultivated from colonialism and the changing of hands, putting students in this mindset to start will be a good basis. I also want to put them in the mindset that although the British technically “won” in the end, there are several other peoples who contributed in creating Canada’s identity. Curriculum Expectations 1. I am going to be teaching early Canadian settlers, and as such this lesson will be addressing key factors leading to Canada’s colonization. By the end of this class, students will be able to see emerging themes, concepts and peoples being explored in the rest of the unit. 2. I will largely be dealing with Historical Significance in this lesson, as we are exploring events on the cusp of a massive shift in events that lead to how Canada is today.