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Battle of Windmill, eastern Ontario counties of Leeds Grenville political violence in 1820 and 1830.
These biographies of Canadians are arranged chronologically by date of death. Entries in each volume are listed alphabetically, with bibliographies of source material and an index to names.
During the nineteenth-century, the writing of history in English-speaking Canada changed from promotional efforts by amateurs to an academically-based discipline. Professor Taylor charts this transition in a comprehensive history. The early historians - the promoters of the title - sought to further their own interests through exxagerated accounts of a particular colony to which they had developed a transient attachment. Eventually this group was replaced by patriots, whose writing was influenced by loyalty to the land of their brith and residence. This second generation of historians attempted both to defend their respective colonies by explaining away past disappointments and to fit events into a predicitve pattern of progress and development. In the process, they established distinctive identities for each of the British North American colonies. Eventually a confrontation occurred between those who saw Canada as a nation and those whose traditions and vistas were provincial in emphasis. Ultimately the former prevailed, only to find the present and future too complex and too ominous to understand. Historians ssubsequently lost their sense of purpose and direction and fell into partisan disagreement or pessimistic nostalgia. This abandonment of their role paved the way for the new, professional breed of historian as the twentieth century opened. In the course of his analysis, Taylor considers a number of key issues about the writing of history: the kind of people who undertake it and their motivation for doing so, the intended and actual effects of their work, its influence on subsequent historical writing, and the development of uniform and accepted standards of professional practice.
A study of the popular movement and political agitation for educational reform in Upper Canada.
The colony that became Ontario arose almost spontaneously out of the confusion and uncertainty following the American Revolution, as a quickly chosen refuge for some 10,000 Loyalists who had to leave their former homes. After the War of 1812 settlers began to spread throughout the inter-lake peninsula that was to become southern Ontario and by the middle of the nineteenth century expansion had led to a diversifying agriculture and an increasingly open farming landscape that replaced a mature forest ecosystem. The scale of the change from forest to cropland profoundly affected what had been for many decades a rich environment for life forms, from large herbivores down to microscopic creatures. In Making Ontario David Wood shows that the most effective agent of change in the first century of Ontario's development was not the locomotive but settlers' attempts to change the forest into agricultural land. Wood traces the various threads that went into creating a successful farming colony while documenting the sacrifice of the forest ecosystem to the demands of progress, progress that prepared the ground for the railway. Making Ontario provides a detailed focus on environmental modification at a time of great changes. It is liberally illustrated with analytical maps based on archival research. J. David Wood is professor of geography and urban studies at Atkinson College, York University.
Heaman examines the ways in which British North America was advertised at home and abroad in the pursuit of productivity, markets, capital, and immigrants, and evaluates the exhibitions' impact on private industry, the government, and Canadian identity. She also considers the participation of women and native peoples at local and international exhibits, showing how they transcended the limited spheres of representation imposed upon them.
This is the first modern book about the artist David Wilkie (1785-1841), the first British painter to become an international celebrity. Based on extensive original research, the book explores the ways in which Wilkie's images, so beloved by his contemporaries, engaged with a range of cultural predicaments close to their hearts. In a series of thematic chapters, whose concerns range far beyond the details of Wilkie's own career, Tromans shows how, through Wilkie's thrillingly original work, British society was able to reimagine its own everyday life, its history, and its multinational (Anglo-Scottish) nature. Other themes covered include Wilkie's roles in defining the border between painting and anatomy in the representation of the human body, and in transforming the pleasures of connoisseurship from an elite to a popular audience. For the first time, all of Wilkie's major subject pictures are brought together, reproduced and discussed. With a great range of new archival material and original interp