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This volume makes available, in English, most of the essays written to accompany the Canadian Museum of Civilization’s exhibition of the same name. Not included, are the essays by Gisela Hoffman, Bernadette Driscoll and Elizabeth McLuhan and the exhibition catalogue section which appeared in the original German publication. This book provides an overview of the evolution of contemporary Native Canadian art. Regional styles as well as individual artistic styles are discussed and the various subjects, themes and techniques reflected in the works are examined.
Inuit--sometimes referred to as Eskimo--art is the primary art form of Canada and has a large international following, particularly in the United States, Japan, and Germany. Despite its popularity, the complete history of Inuit art has never been presented. This is the first chronological synthesis of Inuit art, following its development from prehistory, through early American and European exploration, to the recognition of Inuit art as a commercial possibility, and up to the present. There is a particular emphasis on contemporary art and artists, and the years 1950 through 1997 are each given separate, detailed treatment in regard to important shows and events. This history is appropriate both for the beginning admirer of Inuit art and for those already well immersed in it.
Archaeological digs have turned up sculptures in Inuit lands that are thousands of years old, but "Inuit art" as it is known today only dates back to the beginning of the 1900s. Early art was traditionally produced from soft materials such as whalebone, and tools and objects were also fashioned out of stone, bone, and ivory because these materials were readily available. The Inuit people are known not just for their sculpture but for their graphic art as well, the most prominent forms being lithographs and stonecuts. This work affords easy access to information to those interested in any type of Inuit art. There are annotated entries on over 3,761 articles, books, catalogues, government documents, and other publications.
Rich colours and arresting designs capture the mood of celebration and joy that characterizes this photographic record of contemporary religious works of art. Chosen for their excellence in design and stitchery, these works represent the achievements of artists who have created art, in fabric, for places of worship. This book celebrates this important artistic expression, a significant part of our heritage. Pieces are selected from communities across Canada: from a small parish on a Micmac reserve in Nova Scotia to a large urban synagogue in Vancouver; from the igloo-shaped cathedral in Iqaluit to a suburban church nestled beside a wildlife march in southwestern Ontario.
"An outstanding set of studies that work well with each other to produce truly substantial and rich insights into the making and consuming of art in the colonial and post-colonial world."—Susan S. Bean, Curator, Peabody Essex Museum
What happens when the 12th century’s most famous French lovers are caught in the crossfire of factions, religious reform and blind ambition? Heloise is a determined young woman with an exceptional mind, longing to pursue learning rather than marriage or life as a cloistered nun. Her path inevitably crosses with Peter Abelard, the celebrity philosopher, theologian and master at Paris’ famed Cathedral School. When two such brilliant minds meet and engage, sparks are likely to ignite. But theirs is an impossible love. This is a time when the Gregorian Reforms are starting to bite and celibacy among the clergy and church officials is being rigorously imposed. Based on meticulous up-to-date research and the pair’s own writings, this novel offers a plausible interpretation of the known facts and a vivid imagining of the gaps in this legendary story. It shines a light on a changing world whose attitudes and politics are not so very different from our own.
In 1954, eager buyers lined up three abreast for over half a block to get into the Canadian Handicrafts Guild in Montreal where, once inside, they wrestled and argued to purchase stone sculptures carved by Inuit artists. In a short span, interest in Inuit carving became a worldwide phenomenon and a major source of income for the Inuit. Their sculptures, tapestries and prints later became the unofficial national art of Canada, gracing homes, corporate offices, postage stamps and international art showcases. This is the story of how Inuit art came to be regarded as some of the best Indigenous art of the twentieth century. James Houston, an artist as well as a brilliant raconteur and lecturer, was unquestionably instrumental in its development. His enthralling Arctic stories were a gift to journalists, but his inconsistencies became a major hurdle for historians. This book portrays the unusual alliance between James Houston and early Inuit art enthusiasts, the Canadian Handicrafts Guild and the Canadian Department of Northern Affairs. Through painstaking research, it presents their adventures, management, concerns and successes.
This volume raises questions about why oral celebrations of language receive so little attention in published literary histories when they are simultaneously recognized as fundamental to our understanding of literature. It aims to prompt debate regarding the transformations needed for literary historians to provide a more balanced and fuller appreciation of what we call literature, one that acknowledges the interdependence of oral storytelling and written expression, whether in print, pictorial, or digital form. Rather than offering a summary of current theories or prescribing solutions, this volume brings together distinguished scholars, conventional literary historians, and oral performer-practitioners from regions as diverse as South Africa, the Canadian Arctic, the Roma communities of Eastern Europe and the music industry of the American West in a conversation that engages the reader directly with the problems that they have encountered and the questions that they have explored in their work with orality and with literary history.
In parallel columns of French and English, lists over 4,000 reference works and books on history and the humanities, breaking down the large divisions by subject, genre, type of document, and province or territory. Includes titles of national, provincial, territorial, or regional interest in every subject area when available. The entries describe the core focus of the book, its range of interest, scholarly paraphernalia, and any editions in the other Canadian language. The humanities headings are arts, language and linguistics, literature, performing arts, philosophy, and religion. Indexed by name, title, and French and English subject. Annotation copyrighted by Book News, Inc., Portland, OR