Canadian History

Like a modern Jane Austen, she has captured almost a century of Torontonian social history. For the Christian, she has done even more. She has described a Christian environment which existed as living proof of the promise Paul made to the Galatians that the fruits of the Spirit would be “love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, and self-control.” Could this be how Toronto came to be known as “Toronto the good?” These attributes are to be found in Grace Irwin’s description of her times.
As a devoted reader of her books, it is impossible for me not to be prejudiced in her favor. Ever since I discovered her first book, Least of All Saints, and reviewed it for the Winnipeg Free Press, I have appreciated the skillful way in which she has recorded much of what is also my history. I refer to her Andrew Connington trilogy, and her personal story, In Little Place. I wonder how many Canadians are still required to memorize those lines from Tennyson’s Ulysses:
“I am a part of all that I have met; yet all experience is an arch where through gleams that untraveled world whose margin fades forever and forever when I move.”

Sharon Pollock (1936-) was one of the major contributors to the Anglophone-Canadian theatre that seeks to establish Canadian power through identity. Her effort coincided with the seventies' epoch of Canadian national theatrical awakening. Pollock was provoked by the rarity of Canadian stories on the stage. She realized that the literary production was dominated by the United States or England and the actors were intended to sound like English or the United States. During that Period, she focused on establishing the Canadian independent identity through the production of historical stories. Being newly de-colonized country, Canada wanted to establish a white identity through the racial selection of the desirables and the exclusion of the non-European immigrants.Pollock's historical Inquiry revealed the methods that Canada utilized. Pollock pinpoints that even those who were beneficial to Canada were cast aside because they were non-white. The paper adopts two principles of Critical Race Theory to further detect the use of Institutionalized Racism in the plays. Sharon Pollock tackled controversial Canadian history of oppression and segregation against minorities, such as the native people and the Sikh community. The Komagata Maru incident examines Canadian and East-Indian immigration policy under the Umbrella of the British Empire.

Like a modern Jane Austen, she has captured almost a century of Torontonian social history. For the Christian, she has done even more. She has described a Christian environment which existed as living proof of the promise Paul made to the Galatians that the fruits of the Spirit would be “love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, and self-control.” Could this be how Toronto came to be known as “Toronto the good?” These attributes are to be found in Grace Irwin’s description of her times.
As a devoted reader of her books, it is impossible for me not to be prejudiced in her favor. Ever since I discovered her first book, Least of All Saints, and reviewed it for the Winnipeg Free Press, I have appreciated the skillful way in which she has recorded much of what is also my history. I refer to her Andrew Connington trilogy, and her personal story, In Little Place. I wonder how many Canadians are still required to memorize those lines from Tennyson’s Ulysses:
“I am a part of all that I have met; yet all experience is an arch where through gleams that untraveled world whose margin fades forever and forever when I move.”

Tohmajärven Aseman seudulla Pohjois-Karjalassa alkoi Karjalan junaradan rakentumisen (vuosina 1892-1894) jälkeen rakentua pienteollisuutta, jonka ohessa syntyi maakunnallisesti merkittävä tehdasmiljöö. Turvepehkuosuuskunnasta vuonna 1907 alkanut teollisuustoiminta laajeni 1920-luvulla Tehdasosuusliikkeeksi, jossa toimi saha, mylly sekä tiilitehdas. Tehdasosuusliike nousi 1950-lukuun tullessa Pohjois-Karjalan suurin osuustoiminnallinen yritys, joka työllisti parhaimmillaan n. 350 henkeä. Tässä katsauksessa esitellään Tohmajärven Tehdasosuusliikkeen syntyvaiheita ja historiaa sekä esitellään harvinaislaatuista valokuvamateriaalia tehtaan arjesta.

I had to think about the abstract for this paper at a time when I was rather preoccupied with writing another, not about photography but about the railway, though still with reference to Australian and Canadian literature.* There seemed no relation between the two. But after delivering the railway paper, while browsing in the conference book display area, I happened upon Brian Johnson\u27s and Dudley Whitney\u27s lavish coffee-table presentation of Canada from the train, a photographic production entitled Railway Country

During Expo 86, composer Martin Bartlett showcased his commitment to having Javanese music settle in Vancouver. By organizing a month-length workshop on Indonesian performing arts, he secured the Indonesian Embassy’s gift of a full Javanese gamelan to Simon Fraser University. The success of this first workshop encouraged Bartlett to repeat the experience for several years. In the summer of 1988, the event took an unexpected turn by concurrently featuring gamelan and electronic music workshops side by side. Dubbed “Dance and Music of Two Worlds,” it provided a unique place of encounter in which Javanese music traditions coexisted with electronic arts. Although the two hardly intermingled, the 1980s and 1990s saw many interdisciplinary productions mixing gamelan and electronics emerge from participating students. At the time, this relatively unexplored encounter between sound worlds put a stamp on the regional identity of the Vancouver gamelan scene, one still echoing today.

Après la seconde victoire consécutive de la Coalition avenir Québec, il n’y a plus aucun doute que le système partisan québécois est engagé dans une transformation importante. Pour certains politologues, le clivage « Oui-Non » qui avait structuré les luttes partisanes au Québec est contesté par deux nouveaux clivages : le clivage gauche-droite et le clivage sur l’identité (Bélanger et al., 2022; Bélanger et Godbout, 2022). Bien que nous adhérions à ce constat, ces analyses contribuent à réduire les clivages à des questions de préférences électorales et négligent l’analyse des transformations structurelles qui sous-tendent leur évolution. Notre communication contribue à peaufiner ces analyses en identifiant les mécanismes causaux qui permettent d’expliquer le déclin du clivage Oui-Non. Dans ce contexte, nous proposons une explication alternative à la thèse des échecs référendaires dans l’explication de l’effritement du clivage Oui-Non, et nous insistons sur la déprolétarisation du Canada-français et la consolidation du pouvoir étatique par les francophones comme vecteurs de transformation du clivage dominant et du nationalisme québécois. Au niveau global, nous montrons également comment l’accélération de la mondialisation et les changements démographiques associés à l’immigration ont modifié l’équilibre des forces politiques en place et modifié les discours nationalistes des partis politiques au Québec.

Heritage professionals across Canada and around the world are beginning to
explore how decolonization can be applied to museum exhibits, collections, and programing. The Montreal Holocaust Museum (MHM), which was founded by survivors in 1979 and launched its current permanent exhibit in 2003, recently announced that it will be relocating to a new building and updating its exhibit. As such, this is an ideal time to consider how the MHM can respond to the changing landscape of museum practice in the twenty-first century. Is decolonization a process that can be meaningfully applied to Holocaust museums and, if so, how can the MHM’s permanent exhibit critically engage with issues surrounding settler colonialism and Indigeneity? This article explores three narrative themes within the museum: Canadian history; human rights; and Palestine/Israel. While the exhibit reinscribes settler colonial narratives and ideologies, it also contains multiple entry points that curators can use to deploy decolonial museum practices. A decolonial MHM can retain its specific focus on the genocide of European Jewry while also illuminating the colonial structures that visitors, museum content, and Holocaust memory are entwined within.

THE REMEMBRANCE OF ALL THINGS PAST...
Esther Delisle's book is a thoroughly documented account of the anti-Semitic and anti-liberal ideology of right-wing French Canadian nationalists during the decade leading up to the Second World War...Most writers, however, had judged these sentiments marginal, almost eccentric. Delisle's study did more
than confirm the existence of random anti-Jewish remarks; it
demonstrated extensive evidence of systematic Judenhass in the writings and teachings of some of the most important, and in nationalist circles revered, names from the recent past. And while Delisle made it clear that her study was confined to nationalists of the "extreme right," anyone who knew Quebec realized that to include the leading nationalist historian, Abbé Lionel Groulx, the leading nationalist daily newspaper, Le Devoir, the leading nationalist monthly, l’Action nationale, and the leading nationalist youth organization, Jeune Canada, meant that the study focused on mainstream nationalist ideology in the 1930's...What The Tiaitor and the Jew had succeeded in doing was to remind Quebeckers that their past was less than perfect, a daim bound to disturb those whose ideology is founded on selective memory...For nationalists everywhere, forgetting the past is at least as important as remembering it. The scandal of Esther Delisle's book is its insistence on the remembrance of all things past.
— from the preface by Ramsay COOK

Behind every myth lies a secret past. Buried beneath the founding myths of modern Quebec nationalism that call up images of the so-called Quiet Revolution and the Great Darkness that preceded it lies a truly discomfiting reality: World War ll. In Quebec history books and in the memoirs of the political figures who were young at the time, those terrible years of a world in flames are hardly even mentioned. Which is curious, given the profound affection the war rekindled in the minds of many French-Canadian nationalists for the dictatorships of Franco and Salazar and for Fascism and Nazism, but especially for the National Revolution proclaimed by French Vichy republic president, Marshall Pétain. The nationalist phalanx in Quebec dreamed of an independent Laurentia, modeled on the mother country, a kind of Vichy-on-the-St-Lawrence river.

This article examines how a man named John Reginald Abbott developed a sculpture programme on behalf of the Royal Canadian Mounted Police (RCMP) during the 1950s. Paying particular attention to contemporaneous happenings in Canadian sculpture, it begins by examining Abbott’s formal training as a sculptor and then considers his transition to police officer. It then assesses how the RCMP, in advance of the Canadian government’s widespread funding of the arts, paid for Abbott to study sculpture at Columbia University under the Italian sculptors Ettore Salvatore and Oronzio Maldarelli. After four months in New York, Abbott returned to Canada, and the article evaluates how he used the knowledge he gained there to initiate a formal system that used sculpted masks to help identify and locate criminal suspects. The article provides an in-depth analysis of one such case, a murder committed in Montreal during 1956, with specific emphasis on how photographic images of the masks were distributed. In doing so, it shows how the RCMP supported – at times reluctantly – the creation, display and dissemination of Abbott’s sculpture.

Sakari Pälsi was a pioneer of Finnish archaeology and a globetrotting adventurer, who in 1927 travelled across Canada visiting various Finnish Canadian communities along the way. He was impressed by Canada's vastness and beauty but appalled by the large-scale extraction of natural resources and devastation of landscapes. Pälsi called the Sudbury-Copper Cliff region in northern Ontario as the epicenter of this destruction and described his impressions of the area and the life of immigrant Finnish workers. This article revisits the Greater Sudbury region and Pälsi's observations on the extractive industries and Finnish immigrants 95 years after his visit. We use his texts as a baseline for examining Finnish heritage in the area, in honour of his unique approach to travel writing. Pälsi's account of the area, and Canada more generally, reads out almost as a Socialist critique of the destructive Capitalist practices and careless large-scale exploitation of the environment.

https://www.alphil.com/9-revue-vaudoise-de-genealogie-et-d
Résumé : Le nom de famille symbolise l’identité. Si la généalogie compte sur une base participative, il faut l’attribuer en bonne partie à la force de l’identification au patronyme. L’exploitation des archives en fonction du nom hérité répond à sa longue transmission patrilinéaire. L’intérêt documentaire de la filiation s’est doublé d’une pratique expérimentale avec l’introduction de l’ADN en histoire des populations. Le chromosome Y se transmet par la voie des pères et trace une trajectoire historique parallèle au nom de famille. Cette corrélation permet d’examiner l’attribution de la paternité d’aussi loin qu’existe l’hérédité des noms. La méthodologie employée s’appuie sur les données classiques et génétiques pour explorer une souche vaudoise Bettex documentée dès 1500. Ce cas à la fois romand et québécois illustre la portée de la mixité empirique, alors qu’on découvre au prolifique émigré Jacob Bettex (1733–1807) une biologie incompatible avec son ascendance paternelle légitime. Le repérage historique d’une fausse paternité dans un patrilignage patronymique ne va pas sans bousculer l’ordre établi.

У монографії окреслено важливі моменти життєвого
шляху В. Чорновола. Розкрито роль і значення В. Чорновола
в суспільно-політичних процесах України другої половини
ХХ ст. Досліджено основні чинники формування його світогляду й активної громадської позиції, особливості діяльності
як організатора громадсько-політичного життя, редакційно-видавничу діяльність, умови перебування в ув’язненні і на
засланні, внесок у становлення громадсько-політичних організацій, діяльність на посаді голови Львівської обласної ради
та його вплив на проголошення й утвердження української
державності.
Книга адресована як науковцям, так і широкому колу читачів.

This report summarizes several phases of a multiphase science education development project occurring between April, 2004 and November, 2009 in three Inuit communities in the northern Qikiqtani (Baffin Island) Region of Nunavut, Canada. The project, in its entirety, is motivated to assist Inuit school communities in achieving their aspirations for science education. The project's overall focus is on: 1. establishing the current situation in science education in Kindergarten through to Grade 7 in the Qikiqtani communities, 2. identifying developmental aspirations for stakeholders within the communities and potential contributors and constraints to these aspirations, 3. implementing mechanisms for achieving identified aspirations, 4. evaluating the effectiveness of such mechanisms, and 5. providing suggestions for further development projects established to assist Aboriginal, especially Inuit, communities in achieving their goals for curriculum, in particular, science education. T...

This paper reports on several phases of a five-year science education development project in Nunavut, Canada. The project, in its entirety, was established as a Pilot Program for Nunavut schools in effort to understand school community aspirations for science education and ...

Cet article porte sur les attentes des élites franco-canadiennes, et plus particulièrement franco-ontariennes, à l’égard des artistes et de leurs oeuvres dans le contexte des transformations sociétales qui ont cours durant les années 1960 et 1970. Il analyse plus précisément les trois rapports d’enquêtes commandés par le gouvernement ontarien entre 1969 et 1991, soit ceux du Comité franco-ontarien d’enquête culturelle (communément appelé le Rapport Saint-Denis, déposé en 1969), du Groupe d’étude sur les arts dans la vie franco-ontarienne, intitulé Cultiver sa différence. Rapport sur les arts dans la vie franco-ontarienne (ou le Rapport Savard, déposé en 1977) et du Groupe de travail pour une politique culturelle des francophones de l’Ontario, dont le titre est RSVP. Clefs en main (ou le Rapport Grisé, déposé en 1991). L’analyse permet de cerner les divers rôles, le plus souvent de cohésion sociale et de construction identitaire, que les élites souhaitent faire jouer aux artistes et ...