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This study uses the Centennial Celebrations of 1967 and Expo 67 to explore how religion informed Canadian nation-building and national identities in the 1960s.
Breaking away from the traditional analysis of church policy, sermons, and clerical scholarship, For Canada's Sake presents an exemplary analysis of the meaning behind religiously informed public celebrations and rituals such as centennial hymns and prayers and Expo pavillions. Miedema argues that the 1967 celebrations reveal the continued importance of religion to Canadian public life, showing that a waning "Christian Canada" was being replaced by an officially "interfaith" country. The author throws into bold relief the varied attempts of government officials and religious leaders to come to terms with new Canadian and global realities, as well as the response of Canadians to their own increasing religious diversity.
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
Rona from New Zealand has difficulty adjusting to traditional British school life at The Woodlands in Wales. Schoolgirl story told in typical Brazil style.
For Humanity's Sake is the first study in English to trace the genealogy of the classic Russian novel, from Pushkin to Tolstoy to Dostoevsky. Lina Steiner demonstrates how these writers' shared concern for individual and national education played a major role in forging a Russian cultural identity. For Humanity's Sake highlights the role of the critic Apollon Grigor'ev, who was first to formulate the difference between Western European and Russian conceptions of national education or Bildung – which he attributed to Russia's special sociopolitical conditions, geographic breadth, and cultural heterogeneity. Steiner also shows how Grigor'ev's cultural vision served as the catalyst for the creative explosion that produced Russia's most famous novels of the 1860s and 1870s. Positing the classic Russian novel as an inheritor of the Enlightenment's key values – including humanity, self-perfection, and cross-cultural communication – For Humanity's Sake offers a unique view of Russian intellectual history and literature.
In the tradition of Margaret MacMillan’s Paris 1919 comes a new consideration of Canada’s most famous war and the Treaty of Ghent that unsatisfactorily concluded it, from one of this country’s premier military historians. In the Canadian imagination, the War of 1812 looms large. It was a war in which British and Indian troops prevailed in almost all of the battles, in which the Americans were unable to hold any of the land they fought for, in which a young woman named Laura Secord raced over the Niagara peninsula to warn of American plans for attack (though how she knew has never been discovered), and in which Canadian troops burned down the White House. Competing American claims insist to this day that, in fact, it was they who were triumphant. But where does the truth lie? Somewhere in the middle, as is revealed in this major new reconsideration from one of Canada’s master historians. Drawing on never-before-seen archival material, Zuehlke paints a vibrant picture of the war’s major battles, vividly re-creating life in the trenches, the horrifying day-to-day manoeuvring on land and sea, and the dramatic negotiations in the Flemish city of Ghent that brought the war to an unsatisfactory end for both sides. By focusing on the fraught dispute in which British and American diplomats quarrelled as much amongst themselves as with their adversaries, Zuehlke conjures the compromises and backroom deals that yielded conventions resonating in relations between the United States and Canada to this very day.