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Is there such a thing as British Columbia culture, and if so, is there anything special about it? This is the broad question Dr. Maria Tippett answers in this work with an assured “yes!” To prove her point she looks at the careers of eight ground-breaking cultural producers in the fields of painting, aboriginal art, architecture, writing, theatre and music. The eight creative figures profiled in Made in British Columbia are not just distinguished artists who made an enduring mark on Canadian culture during the twentieth century. They are unique artists whose work is intimately interwoven with British Columbia’s identity. Emily Carr portrayed BC’s coastal landscape in a manner as unique as her lifestyle. Bill Reid’s carvings, jewellery and sculpture stand as a contemporary interpretation of his reclaimed Haida heritage. The name Francis Rattenbury is less known than The Empress Hotel in Victoria, one of many prominent BC buildings he designed, while Arthur Erickson’s modern architectural contributions are recognized worldwide. Martin Allerdale Grainger’s experience in the BC woods in the early days of hand-logging inspired him to write one of the undisputed classics of BC fiction, Woodsmen of the West. Jean Coulthard struggled for respect as a female composer during the 1920s and 1930s in British Columbia but eventually proved her extraordinary musical talents internationally. George Woodcock left Britain in 1949 to forge his career as an influential author, editor, mentor and tireless promoter of literary scholarship in the province, while playwright George Ryga, the son of Ukrainian immigrants, exposed the anguish and reality of life for Native women in our cities with his 1967 play, The Ecstasy of Rita Joe. Featuring images of the artists and their works, Made in British Columbia presents a history of the treasures found in our galleries, concert halls, theatres, museums, libraries and streetscapes, and explores the legacy of a cultural tradition as unique as the place that nurtured it.
The historical literature about postsecondary education in British Columbia, as in many jurisdictions, is fragmented, paying unequal attention to public colleges and universities, vocational colleges, apprenticeship, continuing education, and private institutions. Robert Cowin synthesizes these pieces, providing a comprehensive overview of the emergence and evolution of the provincial postsecondary system. He then defines three distinct theoretical lenses – social justice, human capital formation, and marketization – and applies each in turn to an analysis of five significant transitions. This dynamic systems approach, in which Cowin examines interactions across sectors, allows him to delineate the cumulative and complementary ways in which sectors have affected one another. Postsecondary Education in British Columbia provides a thoughtful critical analysis of the role of social justice, human capital, and the market in the development of the institutional arrangements – the distribution of institutions by size, mission, type, and location – and policies that have shaped contemporary education in the province.
A compilation on placer gold and lode gold deposits located in British Columbia.Historic reference data is supplied as is common deposit types. The listings of known gold deposits includes information on geological formation and tonnage and grades.Tabulated lists of gold deposits in British Columbia is also included.This is a compilation and overview of gold in British Columbia by a seasoned explorationist in the field.
Selling British Columbia is an entertaining examination of the development of the tourist industry in British Columbia between 1890 and 1970. Michael Dawson argues that in order to understand the roots of the fully-fledged consumer culture that emerged in Canada after the Second World War, it is necessary to understand the connections between the 1930s, 1940s, and the postwar era. Cultural producers such as tourism promoters and the state infrastructure played important roles in fostering consumer demand, particularly during the Depression, the Second World War, and throughout the postwar era. Dawson draws upon promotional pamphlets, newspapers, advertisements, and films, as well as archival sources regarding government, civic, and international tourism organizations. Central to his book is an examination of the representation of popular imagery and of how aboriginal and British cultures were commodified and marketed to potential tourists. He also looks at the gendered aspect of these promotional campaigns, particularly during the 1940s, and challenges earlier interpretations regarding the relationship between tourism and nature in Canada. Historians have tended to focus on either the first wave of consumerism from the 1880s to the 1920s, or else on the era of economic expansion that followed World War Two. As Dawson shows, the 1930-45 period in particular was an important and dynamic one in the creation of Canadian and British Columbian consumer culture. Michael Dawson’s highly readable and engaging account of the development of the British Columbia tourist industry will be welcomed by British Columbian and Canadian historians, as well as other scholars of tourism and consumerism.
Captain James Cook first made contact with the area now known as British Columbia in 1778. The colonists who followed soon realized they needed a written history, both to justify their dispossession of Aboriginal peoples and to formulate an identity for a new settler society. Writing British Columbia History traces how Euro-Canadian historians took up this task, and struggled with the newness of colonial society and overlapping ties to the British Empire, the United States, and Canada. This exploration of the role of history writing in colonialism and nation building will appeal to anyone interested in the history of British Columbia, the Pacific Northwest, and history writing in Canada.
The old buildings and historic places of British Columbia form a kind of "roadside memory," a tangible link with stories of settlement, change, and abandonment that reflect the great themes of BC's history. Michael Kluckner began painting his personal map of the province in a watercolour sketchbook. In 1999, after he put a few of the sketches on his website, a network of correspondents emerged that eventually led him to the family letters, photo albums, and memories from a disappearing era of the province. Vanishing British Columbia is a record of these places and the stories they tell, presenting a compelling argument for stewardship of regional history in the face of urbanization and globalization.