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This unique study draws on biographical dictionaries as a collective portrait of the emerging Canadian middle class in the last half of the nineteenth century. The works compiled by Henry James Morgan, George MacLean Rose, and William Cochrane, and published between 1862 and 1903, reveal not only the life-course patterns of "representative" Canadians, but personal and social motivations driving the selection process. The complex of occupation, mobility and opportunity, networking, the meaning of success, and contrasts between the representation of men and women, are analyzed with an eye to the "structure of feeling" that characterized Canadian culture and national consciousness in this period.The National Album is a major contribution to Canadian studies, particularly to the flourishing interest in biography and autobiography, and to the interdisciplinary field of historical sociology.
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.
“There are two ladies in the province, I am told, who read,” writes Frances Brooke’s Arabella Fermor, “but both are above fifty and are regarded as prodigies of erudition.” Brooke’s The History of Emily Montague (1769) was the first work of fiction to be set in Canada, and also the first book to reflect on the situation of the woman writer there. Her analysis of the experience of writing in Canada is continued by the five other writers considered in this study – Susanna Moodie, Sara Jeannette Duncan, L.M. Montgomery, Margaret Atwood and Carol Shields. All of these authors examine the social position of the woman of letters in Canada, the intellectual stimulation available to her, the literary possibilities of Canadian subject-matter, and the practical aspects of reading, writing, and publishing in a (post)colonial country. This book turns on the ways in which those aspects of authorship and literary culture in Canada have been inscribed in imaginative, autobiographical and critical texts by the six authors. It traces the evolving situation of the Canadian woman writer over the course of two centuries, and explores the impact of social and cultural change on the experience of writing in Canada.
The legacy of Graeme Chalmers’s research in art education underpins a foundational understanding of critical multiculturalism and offers a rigorous analysis of oppression and institutionalization of unequal power relations. His work begins in stories involving disruption and advocacy, and how when working in collaboration, we may then begin to share lived knowledge in ways that bring sociopolitical dimensions to the fore to help us move towards breaking cycles of divisiveness. International scholars share both reflective commentaries that look back upon Graeme Chalmers’s contributions, as well as offer diverse perspectives that look forward to the enduring potentialities and possibilities of his work today and into the future. These perspectives are presented alongside thirty years of his scholarship creating new insights and provocations that will continue to influence our collective work for social justice. Art, Culture, and Pedagogy: Revisiting the Work of F. Graeme Chalmers holds timeless wisdom, articulating Graeme’s deep respect for cultural pluralism, his passionate embrace of inclusivity and diversity, and his dedication to social justice issues – all issues of compelling urgency today. His distinguished international leadership and his pioneering ideas continue to be adopted, engaged, and applied at all levels of art education.