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Dry Water tells the story of Donald Strand, from the time of his arrival as a ten-year-old orphan at his relatives Manitoba farm in 1890 to his apogee as a successful farmer. It recounts the crises he faces during a troubled marriage and the great stock market crash of 1929. His life parallels the growth and development of Manitoba during the same period.
Stead considered Dry Water, written in 19341935, to be his crowning achievement. He was unable to find a publisher for it during his lifetime, although an abridged edition was published by Tecumseh Press in 1983. This new edition includes the complete typescript, a critical introduction, and explanatory notes that place this novel in its proper literary and historical context.
L’art populaire au Québec
L’art populaire est le reflet d’une société, de la perspective de ses créateurs, dont les approches sont tantôt traditionnelles et rationnelles, tantôt indisciplinées et débridées. D’hier ou d’aujourd’hui, l’art populairen révèle toute son expressivité, met en valeur la beauté des objets anciens.
Du coq à l’âme : L’art populaire au Québec vient circonscrire l’art populaire et présenter son évolution dans le temps, depuis sa forme traditionnelle, fort ancienne, jusqu’à sa forme indisciplinée, plus récente, du graffiti.
Cet ouvrage est le résultat de plusieurs années de recherche et de rencontres avec des créateurs, des collectionneurs et des chercheurs, tous passionnés de cette forme de créativité originale et authentique.Une magnifique synthèse de la production et de l’évolution de l’art populaire, l’histoire culturelle et sociale et la créativité d’artistes québécois, souvent peu reconnus.
L’anthropologue Jean-François Blanchette jette un regard historique et photographique sur les collections d’art populaire québécois du Musée canadien de l’histoire, dont la très prestigieuse collection de Nettie Covey Sharpe, acquise en 2002.
Contrôles, surveillances et résistances
La traduction du Coran et la construction de l'image de la femme
Essays on Arctic Narrative
Transformation for the Digital Age
The rapid expansion of the Internet has fueled the emergence of electronic government at all levels in Canada. E-government's first decade featured online service underpinned by a technically secure infrastructure. This service-security nexus entails internal governance reforms aimed at realizing more customer-centric delivery via integration and coordination across departments and agencies. Yet, as online networking has become more pervasive and public demands for participation rise, pressures for greater openness and accountability intensify. The result is widening experimentation with online democracy. The e-governance focus is thus shifting toward issues of transparency and trust - and new possibilities for re-conceptualizing how power is organized and deployed. In sum, the prospects for digital transformation involve the interplay of these four dimensions: service, security, transparency and trust. This book identifies the main drivers of e-government, assesses the responses of Canada's public sector to date, and sketches out the major challenges and choices that lie ahead. The findings will be of interest to those studying or working in the world of public sector management and e-governance.
A Play by Oscar Ryan et al.
This volume comprises a reprinting and gloss of the original text of the 1933 Communist play Eight Men Speak. The play was banned by the Toronto police after its first performance, banned by the Winnipeg police shortly thereafter and subsequently banned by the Canadian Post Office. The play can be considered as one stage – the published text – of a meta-text that culminated in 1934 at Maple Leaf Gardens when the (then illegal) Communist Party of Canada celebrated the release of its leader, Tim Buck, from prison. Eight Men Speak had been written and staged on behalf of the campaign to free Buck by the Canadian Labour Defence League, the public advocacy group of the CPC. In its theatrical techniques, incorporating avant-garde expressionist staging, mass chant, agitprop and modernist dramaturgy, Eight Men Speak exemplified the vanguardist aesthetics of the Communist left in the years before the Popular Front. It is the first instance of the collective theatrical techniques that would become widespread in subsequent decades and formative in the development of modern Canadian drama. These include a decentred narrative, collaborative authorship and a refusal of dramaturgical linearity in favour of theatricalist demonstration. As such it is one of the most significant Canadian plays of the first half of the century, and, on the evidence of the surviving photograph of the mise-en-scene, one of the earliest examples of modernist staging in Canada.
The Image of Iceland in the Foreign Media during the Financial Crisis
In the space of a few days, one of the world’s richest and most egalitarian nations, Iceland, toppled into financial chaos and sunk into an economic, ethical, moral and identity crisis. The vast empire built by Iceland’s young entrepreneurs, the “new Vikings”—who had propelled the country to the top of wealth, equality and happiness charts—collapsed under the combined effect of the failure of its banks and astronomical debt (more than ten times the country’s gross domestic product). Iceland became, in the midst of the global economic crisis, an icon of disaster that troubles all Western countries seeking to understand how the Scandinavian model could collapse so suddenly. In this book, Daniel Chartier traces, through thousands of articles appearing in the foreign press, the fascinating reversal of Iceland’s image during the crisis. Citizens of a country now humiliated, Icelanders must deal with a number of significant issues including the quest for wealth, sovereignty, ethics, responsibility, gender and the limits of neoliberalism.
The Works of Margaret Atwood
Winner of the 2010 Margaret Atwood Society Best Book Prize. In Engendering Genre, renowned Margaret Atwood scholar Reingard M. Nischik analyzes the relationship between gender and genre in Atwood’s works. She approaches Atwood’s oeuvre by genre – poetry, short fiction, novels, criticism, comics, and film – and examines them individually. She explores how Atwood has developed her genres to be gender-sensitive in both content and form and argues that gender and genre are inherently complicit in Atwood’s work: they converge to critique the gender-biased designs of traditional genres. This combination of gender and genre results in the recognizable Atwoodian style that shakes and extends the boundaries of conventional genres and explores them in new ways. The book includes the first in-depth treatment of Atwood’s cartoon art as well as the first survey of her involvement with film, and concludes with an interview with Margaret Atwood on her career “From Survivalwoman to Literary Icon.”