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Essays on the Canadian Short Story
And Other Black Holes of Risk
In the past two years, the world has experienced how unsound economic practices can disrupt global economic and social order. Today’s volatile global financial situation highlights the importance of managing risk and the consequences of poor decision making. The Doom Loop in the Financial Sector reveals an underlying paradox of risk management: the better we become at assessing risks, the more we feel comfortable taking them. Using the current financial crisis as a case study, renowned risk expert William Leiss engages with the new concept of “black hole risk” — risk so great that estimating the potential downsides is impossible. His risk-centred analysis of the lead-up to the crisis reveals the practices that brought it about and how it became common practice to use limited risk assessments as a justification to gamble huge sums of money on unsound economic policies. In order to limit future catastrophes, Leiss recommends international cooperation to manage black hole risks. He believes that, failing this, humanity could be susceptible to a dangerous nexus of global disasters that would threaten human civilization as we know it.
Intersections between Canadian Literature and Film
Over the past forty years, Canadian literature has found its way to the silver screen with increasing regularity. Beginning with the adaptation of Margaret Laurence’s A Jest of God to the Hollywood film Rachel, Rachel in 1966, Canadian writing would appear to have found a doubly successful life for itself at the movies: from the critically acclaimed Kamouraska and The Apprenticeship of Duddy Kravitz in the 1970s through to the award-winning Love and Human Remains and The English Patient in the 1990s. With the more recent notoriety surrounding the Oscar-nominated Away from Her, and the screen appearances of The Stone Angel and Fugitive Pieces, this seems like an appropriate time for a collection of essays to reflect on the intersection between literary publication in Canada, and its various screen transformations. This volume discusses and debates several double-edged issues: the extent to which the literary artefact extends its artfulness to the film artefact, the degree to which literary communities stand to gain (or lose) in contact with film communities, and perhaps most of all, the measure by which a viable relation between fiction and film can be said to exist in Canada, and where that double-life precisely manifests itself, if at all.
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