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DOCUMENT RESUME BD 055 010 SO 001 939 Project Canada West
DOCUMENT RESUME BD 055 010 SO 001 939 TITLE Project Canada West. Urbanization as Seen Through Canadian Writings. INSTITUTION Western Curriculum Project on Canada Studies, Edmonton (Alberta). PUB DATE Jun 71 NOTE 105p. EDRS PRICE 1F-$0.65 HC-$6.58 DESCRIPTORS Curriculum Development; *Environmental Education; Interdisciplinary Approach; Literature; *Literature Programs; Projects; Self Concept; Senior High Schools; Social Problems; *Social Studies; Urban Culture; Urban Environment; *Urbanization; *Urban Studies IDENTIFIERS Canada; *Project Canada West ABSTRACT Facing the reality that students have become very aware of their environment and the problems we face merely to survive, and being aware of the alienation of a person as urbanization increases, the project staff decided to develop a curriculum to examine the urban environment through the works of Canadian writers, poets, novelists, etc. IR this way, tenth, eleventh, and twelfth grade students could confront some of the major concerns; become involved personally, though vicariously, in the lives and situations of individuals; and, learn about himself, his place, his role in urban society, and his Canadian literary heritage. The content selection and coMpilation of the writings was from a national point of view related to all parts of Canadian urbanization. The materials accumulated or referred to them during six months are included here in various categories taking into consideration the physical and human elements of each work:1) Faces of the City: descriptions, rejection of and attraction to the city; 2) Faces in the City: dwellers life styles, reactions, age, ef'-nic groups, city natives; 3) Poverty; 4) Handicapped; 5)So-. Tres; and, 6) Pollution. The material discussed is very co allow for survey studies city or local studies, or intensive area studies of urban regions; and, may be used as supplementary material or as primary content. -
Capitalism Unchallenged : a Sketch of Canadian Communism, 1939 - 1949
CAPITALISM UNCHALLENGED : A SKETCH OF CANADIAN COMMUNISM, 1939 - 1949 Donald William Muldoon B.A., Simon Fraser University, 1974 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of History @ DONALD WILLIAM MULDOON 1977 SIMON FRASER UNIVERSITY February 1977 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Donald William Muldoon Degree: Master of Arts Title of Thesis: Capitalism Unchallenged : A Sketch of Canadian Communism, 1939 - 1949. Examining Committee8 ., Chair~ergan: .. * ,,. Mike Fellman I Dr. J. Martin Kitchen senid; Supervisor . - Dr.- --in Fisher - &r. Ivan Avakumovic Professor of History University of British Columbia PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) 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. I further agree that permission for mu1 tiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesi s/Di ssertation : Author : (signature) (name) (date) ABSTRACT The decade following the outbreak of war in September 1939 was a remarkable one for the Communist Party of Canada and its successor the Labor Progressive Party. -
Generic Experiment and Confusion in Early Canadian Novels of the Great War
Generic Experiment and Confusion in Early Canadian Novels of the Great War Colin Hill he Canadian novel changed dramatically in the years immediately following the Great War of 1914-18. In the 1920s and ’30s an innovative, modern, cosmopolitan, and multi-gen- ericT literary realism began to challenge and supersede the nineteenth- century romanticism that had loomed large in the national fiction at least since Confederation. Two formative literary magazines were found- ed shortly after the 1918 armistice: Canadian Bookman in 1919 and The Canadian Forum in 1920. Both publications printed articles and mani- festos that demanded a new realism capable of representing the modern and independent Canada that had emerged from the war. In these same years, Canadian writers from all regions began to produce modern-real- ist novels in various sub-genres, including prairie realism, urban realism, and social realism. These writers challenged the verbose and ornate styles of their predecessors with a language that was idiomatic and dir- ect. They sought narrative objectivism and impersonality in accordance with the documentary approach they brought to their representations of contemporary Canada. The most ambitious and creative modern realists experimented with literary form and reworked innovative and international modernist devices to express their interest in exploring and representing human psychology. By the end of the 1920s, some of the best examples of these multi-generic modern-realist works had been published, and a few of them are still read today: J.G. Sime’s Sister Woman (1919), Douglas Durkin’s The Magpie (1923), Frederick Philip Grove’s Settlers of the Marsh (1925), Martha Ostenso’s Wild Geese (1925), Morley Callaghan’s Strange Fugitive (1928), and Raymond Knister’s White Narcissus (1929). -
Genre, Narrative, and History in Timothy Findley's the Wars
臺大文史哲學報 第七十二期 2010年05月 頁129~151 臺灣大學文學院 Genre, Narrative, and History in Timothy Findley’s The Wars Wang, Mei-chuen∗ Abstract Timothy Findley’s The Wars (1977) started to investigate the underlying ideological assumptions about the writing of history before the rise of the postmodern epistemological and ontological questioning about history. Its problematization of realist presumptions of historical representation has been analysed by commentators, but the way Findley engages in genre transgression in order to unsettle history’s claims to authenticity and objectivity has not received adequate critical attention. This essay is concerned with how he employs the biographic form for his protagonist’s story but juxtaposes it with a nameless researcher’s collection of information about him and investigation into related historical documents as a metafictional device to problematize the writing of biography and history as mimetic representation. The focus will be on the narrative strategies used to achieve genre transgression and blur the distinction between biography and history. Keywords: Timothy Findley, The Wars, history writing, biography, genre transgression 99.2.22 收稿,99.05.13 通過刊登。 ∗ Ph.D. student, English Literature, Cardiff University, UK. 130 臺大文史哲學報 Timothy Findley’s fascination with the writing of history is exhibited in two of his novels, The Wars (1977) and Famous Last Words (1981). Integrating elements of factual history with the world of fiction, the two novels approach the issue of historical representation from a metahistorical perspective that allows for alternative visions of historical events and epistemological and ontological questioning of historiography. Linda Hutcheon celebrates Famous Last Words as a classic example of historiographic metafiction because it exhibits an intense postmodern self-reflexivity while simultaneously remaining grounded in social, historical, and political realities (13). -
The Artist and the Witness:: Jane Urquhart's The
Document généré le 28 sept. 2021 07:40 Studies in Canadian Literature / Études en littérature canadienne The Artist and the Witness: Jane Urquhart’s The Underpainter and The Stone Carvers Neta Gordon Volume 28, numéro 2, fall 2003 Résumé de l'article Jane Urquhart's The Underpainter takes a different approach than most Great URI : https://id.erudit.org/iderudit/scl28_2art03 War novels: it does not presume the implied authority of combatant's accounts, like Generals Die in Bed, but nor does it interrogate the war novel as a Aller au sommaire du numéro postmodern pastiche, as in Timothy Findley's The Wars. She presents a realistically conceived persona, while nevertheless questioning the authority of the unengaged artist to represent an historical event. Her extensive use of Éditeur(s) historical data is not applied in a postmodern method, but is rather inspiration for a fiction that refuses to grant itself full authority. Urquhart's The Stone The University of New Brunswick Carversis similarly concerned with the paradoxical combination of control and detachment in the relationship between the artist and her work. ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer cet article Gordon, N. (2003). The Artist and the Witness:: Jane Urquhart’s The Underpainter and The Stone Carvers. Studies in Canadian Literature / Études en littérature canadienne, 28(2), 59–73. All rights reserved © Management Futures, 2003 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. -
Department of Drama
UNIVERSITY OF ALBERTA Mentoring Canadian Theatre: Paul Thompson's Influence On The State of Canadian Theatre Through His Work in Collective Creation Dunng the 1970s and Early 1980s Ryan Farrell O A thesis submitted to the Faculty of Graduate Studies and Research in partial Willment of the requirements for the degree of Master of Arts. DEPARTMENT OF DRAMA Edmonton, Alberta Spring, 2000 National Library Bibliothéque nationale u*u ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibrigmphiques 395 Wellington Street 395. rue Weliiigton OlÉewaON K1AOW OttawaON KlAON4 canada carlada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothéque nationale du Canada de reproduce, loan, distn'bute or seIl reproduire, prêter, distriiuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels mybe printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT In this thesis, 1 demonstrate how Paul Thompson's collective creations from the 1970s and early 1980s provided a mechanism by which to attach theatre practice to the creation of dramatic text. 1 demonstrate how Paul Thompson developed his collective creations to help replenish the body of Canadian written work in the country's theatre industry, creating a volume of playable Canadian theatre texts that were developed by Canadians, for Canadians, and based on Canadian subject-rnatter. -
“Lest We Forget”: Canadian Combatant Narratives of the Great War by Monique Dumontet a Thesis Submitted to the Faculty of G
“Lest We Forget”: Canadian Combatant Narratives of the Great War by Monique Dumontet A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of Doctor of Philosophy Department of English, Film, and Theatre University of Manitoba Winnipeg, Manitoaba Copyright © 2010 by Monique Dumontet Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-70307-6 Our file Notre référence ISBN: 978-0-494-70307-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Selected English-Canadian Fiction 1925-1932
THE MELODRAMATIC IMAGINATION: SELECTED CANADIAN FICTION THE MELODRAMATIC IMAGINATION: SELECTED ENGLISH-CANADIAN FICTION 1925-1932 By MARILYN J. ROSE, M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University April 1979 DOCTOR OF PHILOSOPHY (1979) McMASTER UNIVERSITY TITLE: The Melodramatic Imagination: Selected English-Canadian Fiction 1925-1932 AUTHOR: Marilyn J. Rose, B.A. (McMaster University) M.A. (Sir George Williams University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: x, 193 ii ABSTRACT The decade of the nineteen-twenties has generally been recognized as a dynamic period in English-Canadian literature, but so far as fiction is concerned its achievement is widely assumed to be the introduction of social realism into the Canadian novel. Those novels which employ other than realistic conventions have been assumed by many critics to be inferior because of their non-realistic aspects. 'lllis dissertation examines four such novels, supposedly flawed by melodramatic excess~ Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The .!2!!_ of Life (1930) - in order to discover the function and significance of melodramatic conventions and the sort of vision they project. The first part of the dissertation defines such terms as "realism" and ''melodrama." and explains the critical approach to be used. In the central four chapters, this critical approach is applied to each novel in turn. When the novels are compared, following the detailed analysis of each, significant similarities emerge. -
Generic Experiment and Confusion in Early Canadian Novels of the Great War Colin Hill
Document généré le 1 oct. 2021 13:07 Studies in Canadian Literature / Études en littérature canadienne Generic Experiment and Confusion in Early Canadian Novels of the Great War Colin Hill Volume 34, numéro 2, 2009 URI : https://id.erudit.org/iderudit/scl34_2art04 Aller au sommaire du numéro Éditeur(s) The University of New Brunswick ISSN 0380-6995 (imprimé) 1718-7850 (numérique) Découvrir la revue Citer cet article Hill, C. (2009). Generic Experiment and Confusion in Early Canadian Novels of the Great War. Studies in Canadian Literature / Études en littérature canadienne, 34(2), 58–76. All rights reserved © Management Futures, 2009 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/ Generic Experiment and Confusion in Early Canadian Novels of the Great War Colin Hill he Canadian novel changed dramatically in the years immediately following the Great War of 1914-18. In the 1920s and ’30s an innovative, modern, cosmopolitan, and multi-gen- ericT literary realism began to challenge and supersede the nineteenth- century romanticism that had loomed large in the national fiction at least since Confederation. Two formative literary magazines were found- ed shortly after the 1918 armistice: Canadian Bookman in 1919 and The Canadian Forum in 1920. -
Canadian Literature
$i.2j per copy CANADIAN Ä Spring, 1965 LIT6MRY HISTORY IN OIN7ID7I Articles BY A. J. M. SMITH, DONALD STEPHENS, GEORGE WOODCOCK, WARREN TALLMAN, WILLIAM H. MAGEE, L. A. A. HARDING Chronicles and Opinions BY NAIM KATTAN, FRANK DAVEY, WAYNE BURNS, NATHAN COHEN Reviews BY JOHN ROBERT COLOMBO, DONALD STEPHENS, ROBIN SKELTON, HELEN SONTHOFF, A. W. WAIN MAN, ELLIOTT GOSE, ROBERT HARLOW, JOAN LOWNDES, PETER STEVENS A QUARTERLY OF CRITICISM AND R€VI€W CANADIAN BIOGRAPHY WE ARE PLEASED TO ANNOUNCE that the British Columbia Medal for Popular Biography, which is administered by Canadian Literature, has been awarded to Phyllis Grosskurth for her John Addington Symonds: A Biography, which the judges unanimously regarded as by far the best biography published in 1964 by a Canadian writer. Mrs. Grosskurth's book is a lucid and penetrating study of her subject. She considers carefully and delicately the ten- sions that afflicted Symonds as an upper-middle-class Victorian who spent half his life resisting and the other half guiltily accepting his homosexual inclinations; she suggests with appropriate obliqueness the reasons for the great gap between Symonds' evident promise as a writer and his actual literary achievement; above all, the architecture of her book is beautifully balanced, and the writing admir- ably sensitive and clear. John Addington Symonds, published in Canada by Longmans, stands so far above any other biographical work published by a Canadian during 1964 that there was no moment of doubt that it deserved the award. This is the first time in many years that the U.B.C. Medal for Popular Biog- raphy has been awarded for a work on a non-Canadian subject. -
Romance and Realism in the Depiction of The
THE PRIMITIVE MYSTIQUE : ROMANCE AND REALISM IN THE DEPICTION OF THE NATIVE INDIAN IN ENGLISH-CANADIAN FICTION A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in the Department of English by Marjorie Anne Gilbart tRetzleff Saskatoon, Saskatchewan c 1981 . M .A . Gilbart Retzleff The author has agreed that the Library, University of Saskatchewan, may make this thesis freely available for inspection . Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who supervised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of . the College in which the thesis work was done . It is understood that due recognition will be given to the author of this thesis and to the University of Saskatchewan in any use of the material in this thesis . Copying or publication or any other use of the thesis for financial gain without approval by the University of Saskatchewan and the author's written permission is prohibited . Requests for permission to copy or to make any other use of material in this thesis in whole or in part s hould . be addressed to : Head of the Department of English University of Saskatchewan SASKATOON . Canada . Abstract Although several critics since the nineteenth century have written about the variety of interpretations of the native Indian in English- Canadian literature, no one has yet devoted a full-length study to the way the Indian is depicted in fiction alone . -
YORK UNIVERSITY ARCHIVES and SPECIAL COLLECTIONS Inventory of the Herman Arthur Voaden Fonds Inventory #F0440 the Digitization O
YORK UNIVERSITY ARCHIVES AND SPECIAL COLLECTIONS Inventory of the Herman Arthur Voaden fonds Inventory #F0440 The digitization of this finding aid was made possible - in part or entirely - through the Canadian Culture Online Program of Canadian Heritage, the National Archives of Canada and the Canadian Council of Archives. page 2 F0440 - Herman Arthur Voaden fonds Fonds/Collection Number: F0440 Title: Herman Arthur Voaden fonds Dates: 1854-1991 Extent: 33.0 m of textual records ca. 300 photographs ca. 70 glass plate negatives 42 audio discs 18 prints 15 audio reels 1 model Biographical Sketch/ Herman Arthur Voaden (1903-1991) was a teacher, playwright, director, editor, Administrative History: and arts activist. Herman Voaden was born in London, Ontario in 1903. He graduated from Queen's University, Kingston, Ontario, with a B.A. (Honours) in 1923 and an M.A. in 1926. He also later pursued post-graduate studies at the University of Chicago and at Yale University. Voaden taught high school in Ottawa, Windsor, and Sarnia. Then, in 1928, he became head of the Department of English at the Toronto Central High School of Commerce. He remained in this position until his retirement in 1964. Voaden also served as Director of the Modern Drama Course at the University of Toronto in 1929 and as the Director of the Summer Course Drama and Play Production at Queen's University from 1934 to 1936. During the 1920's and 1930's, Voaden was recognized as an innovative playwright, director and editor. In 1934, he established the Play Workshop, the leading Canadian experimental theatre company of the 1930's.