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The essays in Canadian Cultural Exchange / Échanges culturels au Canada provide a nuanced view of Canadian transcultural experience. Rather than considering Canada as a bicultural dichotomy of colonizer/colonized, this book examines a field of many cultures and the creative interactions among them. This study discusses, from various perspectives, Canadian cultural space as being in process of continual translation of both the other and oneself. Les articles réunis dans Canadian Cultural Exchange / Échanges culturels au Canada donnent de l’expérience transculturelle canadienne une image nuancée. Plutà ́t que dans les termes d’une dichotomie biculturelle entre colonisateur et colonisé, le Canada y est vu comme champ oÃ1 plusieurs cultures interagissent de manià ̈re créative. Cette étude présente sous de multiples aspects le processus continu de traduction d’autrui et de soi-mÃame auquel l’espace culturel canadien sert de théâtre.
Christian missions and missionaries have had a distinctive role in Canada's cultural history. With Canadian Missionaries, Indigenous Peoples, Alvyn Austin and Jamie S. Scott have brought together new and established Canadian scholars to examine the encounters between Christian (Roman Catholic and Protestant) missionaries and the indigenous peoples with whom they worked in nineteenth- and twentieth-century domestic and overseas missions. This tightly integrated collection is divided into three sections. The first contains essays on missionaries and converts in western Canada and in the arctic. The essays in the second section investigate various facets of the Canadian missionary presence and its legacy in east Asia, India, and Africa. The third section examines the motives and methods of missionaries as important contributors to Canadian museum holdings of artefacts from Huronia, Kahnawaga, and Alaska, as well as China and the South Pacific. Broadly adopting a postcolonial perspective, Canadian Missionaries, Indigenous Peoples contributes greatly to the understanding of missionaries not only as purveyors of western religious values, but also as vehicles for cultural exchange between Native and non-Native Canadians, as well as between Canadians and the indigenous peoples of other countries.
She considers each of these diverse genres in terms of the way it explains the cultural identity of a nation formed from the settlement of immigrant peoples on the lands of dispossessed indigenous peoples.
Annotation Examining culture as social identity, this collection explores issues such as gender, technology, cultural ethnicity, and regionalism in four general areas: the media, individual and national identity, languages, and cultural dissent.
This edited volume explores how Chinese school-based educators learn from others and attain awareness in dialogue with the world in an era of increasing globalization and information exchange. Minzhu Primary School in Shanghai, China, and Bay Street School in Toronto, Canada, have been connected as sister schools of cross-cultural exchange since 2008. Together, they have explored ways to reciprocally learn in a cross-cultural partnership while remaining grounded in their home culture and language. In this book, chapter authors examine how Chinese school-based educators view themselves, understand others, and grow and develop as a consequence of a decade of cross-cultural reciprocal learning as sister schools. Further, the authors discuss prospects for future educational interactions between Canada and China.
We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.
Since the first trade deal with the US in 1984, Canada has insisted on a "cultural exemption" to ensure that governments were free to protect Canadian culture and to restrict foreign ownership and limit foreign content in the media. Negotiators and government ministers considered the cultural exemption key to reassuring Canadians that the deal did not undermine our cultural sovereignty. In every trade deal since, culture has been a contentious issue. Media giants and foreign governments have pushed for unlimited access to Canada. Ottawa has worked with cultural industries to maintain the cultural exemption. Garry Neil has been close to every one of these negotiations, and has been a key advisor to cultural groups on trade deals. He has been part of the international initiative to assert the importance of cultural diversity in the world, and to create effective measures to guarantee it. This book reflects his experience trying to ensure that the reality matches the rhetoric when it comes to culture. As he sees it, in spite of the claims, Canadian cultural policies and programs have been steadily restricted by successive trade deals. He explains how this has happened, and what needs to be done for Canada to maintain our cultural sovereignty and creative life in the face of multinational corporations and their government supporters who are promoting a world monoculture.
How do we make culture and how does culture make us? Canadian Cultural Poesis takes a comprehensive approach toward Canadian culture from a variety of provocative perspectives. Centred on the notion of culture as social identity, it offers original essays on cultural issues of urgent concern to Canadians: gender, technology, cultural ethnicity, and regionalism. From a broad range of disciplines, contributors consider these issues in the contexts of media, individual and national identity, language, and cultural dissent. Providing an excellent introduction to current debates in Canadian culture, Canadian Cultural Poesis will appeal not only to readers looking for an overview of Canadian culture but also to those interested in cultural studies and interdisciplinarity, as well as scholars in film, art, literature, sociology, communication, and womens studies. This book offers new insights into how we make and are made by Canadian culture, each essay contributing to this poetics, inventing new ways to welcome cultural differences of all kinds fo the Canadian cultural community.
Material Cultures in Canada presents the vibrant and diverse field of material culture studies in Canadian literary, artistic, and political contexts today. The first of its kind, this collection features sixteen essays by leading scholars in Canada, each of whom examines a different object of study, including the beaver, geraniums, comics, water, a musical playlist, and the human body. The book’s three sections focus, in turn, on objects that are persistently material, on things whose materiality blends into the immaterial, and on the materials of spaces. Contributors highlight some of the most exciting new developments in the field, such as the emergence of “new materialism,” affect theory, globalization studies, and environmental criticism. Although the book has a Canadian centre, the majority of its contributors consider objects that cross borders or otherwise resist national affiliation. This collection will be valuable to readers within and outside of Canada who are interested in material culture studies and, in addition, will appeal to anyone interested in the central debates taking place in Canadian political and cultural life today, such as climate change, citizenship, shifts in urban and small-town life, and the persistence of imperialism.