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Patricia E. Roy is the winner of the 2013 Lifetime Achievement Award, Canadian Historical Association. Canada's early participation in the Asia-Pacific region was hindered by "contradictory impulses" shaping its approach. For over half a century, racist restrictions curtailed immigration from Japan, even as Canadians manoeuvred for access to the fabled wealth of the Orient. Canada's relations with Japan have changed profoundly since then. In Contradictory Impulses, leading scholars draw upon the most recent archival research to examine an important bilateral relationship that has matured in fits and starts over the past century. As they makes clear, the two countries' political, economic, and diplomatic interests are now more closely aligned than ever before and wrapped up in a web of reinforcing cultural and social ties. Contradictory Impulses is a comprehensive study of the social, political, and economic interactions between Canada and Japan from the late nineteenth century until today.
This book charts the developments in Canadian art from the late nineteenth century to the present with new essays by the country's leading art historians. A comprehensive overview, this volume embraces painting, sculpture, photography, design, video, and conceptual and cross-disciplinary art, as well as studies of art institutions and historiography. Each chapter explores the richness and diversity of Canadian art; topics range from impressionist painting to the multimedia work of First Nations artists, and from the Group of Seven to contemporary video production. Newly commissioned, carefully edited, and with 185 full-colour illustrations, The Visual Arts in Canada will appeal to general readers and students alike. An extensive index, as well as an appendix that list galleries and artist-run centres across the country, make this the definitive resource for Canadian art from the past century. Throughout the twenty chapters, readers will recognize favourite artists and encounter new ones-all of whom play an integral role in the country's visual history.
Joan Murray discusses social and political events in combination with the movements, ideas, attitudes, styles, and important groups in Canadian art of this century.
This book brings together recent and original work to illuminate comparisons and contrasts between two former colonies of the British Empire. The contributors include some of the top names in history and political science in Canada and Australia. They cover the entire twentieth century and examine different aspects of Canadian-Australian relations, including trade, civil aviation, and military, constitutional, imperial, and diplomatic relations. The comparisons include Aboriginal rights, nation building, middle powers, and attitudes toward the Empire. This timely volume is well situated in the field of comparative studies, a new and growing area. It will be of interest to students and scholars of foreign affairs, the British Commonwealth and its dismantling, constitutional history, and international relations.
By examinng education, charity, community discipline, the relationship between clergy and congregations, and working-class religion, the contributors shift the field of religious history into the realm of the socio-cultural. This novel perspective reveals that the Christian churches remained dynamic and popular in English and French Canada, as well as among immigrants, well into the twentieth century.
Radical Housewives is a history of Canada’s Housewives Consumers Association. This association was a community-based women’s organization with ties to the communist and social democratic left that, from 1937 until the early 1950s, led a broadly based popular movement for state control of prices and made other far-reaching demands on the state. As radical consumer activists, the Housewives engaged in gender-transgressive political activism that challenged the government to protect consumers’ interests rather than just those of business while popularizing socialist solutions to the economic crises of the Great Depression and the immediate postwar years. Julie Guard's exhaustive research, including archival research and interviews with twelve former Housewives, recovers a history of women’s social justice activism in an era often considered dormant and adds a Canadian dimension to the history of politicized consumerism and of politicized materialism. Radical Housewives reinterprets the view of postwar Canada as economically prosperous and reveals the left’s role in the origins of the food security movement.
Canada in the Frame explores a photographic collection held at the British Library that offers a unique view of late nineteenth-century and early twentieth-century Canada. The collection, which contains in excess of 4,500 images, taken between 1895 and 1923, covers a dynamic period in Canada’s national history and provides a variety of views of its landscapes, developing urban areas and peoples. Colonial Copyright Law was the driver by which these photographs were acquired; unmediated by curators, but rather by the eye of the photographer who created the image, they showcase a grass-roots view of Canada during its early history as a Confederation. Canada in the Frame describes this little-known collection and includes over 100 images from it. The author asks key questions about what it shows contemporary viewers of Canada and its photographic history, and about the peculiar view these photographs offer of a former part of the British Empire in a post-colonial age, viewed from the old ‘Heart of Empire’. Case studies are included on subjects such as urban centres, railroads and migration, which analyse the complex ways in which photographers approached their subjects, in the context of the relationship between Canada, the British Empire and photography.
In the 1960s, Canadians could step through time to eighteenth-century trading posts or nineteenth-century pioneer towns. These living history museums promised authentic reconstructions of the past but, as Time Travel shows, they revealed more about mid-twentieth-century interests and perceptions of history than they reflected historical fact. An appetite for commercial tourism led to the rise of living history museums. They became important components of economic growth, especially as part of government policy to promote regional economic diversity and employment. Alan Gordon explores how these museums were shaped by post-war pressures, personality conflicts, funding challenges, and the need to balance education and entertainment. Ultimately, the rise of the living history museum is linked to the struggle to establish a pan-Canadian identity in the context of multiculturalism, competing anglophone and francophone nationalisms, First Nations resistance, and the growth of the state.