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Catalog of the exhibition, containing photographs of the art and artists, maps, descriptions of the art, and a brief history of the Inuit peoples, their art, its production and marketing, together with a selected bibliography of Inuit art, an index of artists' communities and a map of Inuit art centres.
In this lively book, designed specifically for introductory students, Steckley unpacks three white lies: the myth that there are fifty-two words for snow, that there are blond, blue-eyed Inuit descended from the Vikings, and that the Inuit send off their elders to die on ice floes.
The Canadian federal system was never designed to recognize Indigenous governance, and it has resisted formal institutional change. But change has come. Indigenous communities in the North have successfully negotiated the creation of self-governing regions, most of which have been situated politically and institutionally within existing constituent units of the Canadian federation. These varied governance arrangements are forms of nested federalism, a model that is transforming Canadian federalism as it reformulates the relationship between Indigenous peoples and the state. Nested Federalism and Inuit Governance in the Canadian Arctic traces the political journey toward self-governance taken by three predominantly Inuit regions over the past forty years: Nunavik in northern Québec, the Inuvialuit Settlement Region in the western Northwest Territories, and Nunatsiavut in northern Labrador. This meticulous analysis of the regions’ development trajectories provides new insight into the evolution of Indigenous self-government, as well as its consequences for Indigenous communities and for Canadian federalism.
Some fifty years ago, the remote Arctic community of Cape Dorset was introduced to the ancient traditions of Japanese printmaking by a Canadian artist, James Houston, who had studied printmaking in Japan with the revered master printmaker Un'ichi Hiratsuka. The remarkable story of that artistic encounter and its extraordinary results are the focus of this groundbreaking book. With two major essays and detailed captions, it features 49 exquisite and rare artworks (including Inuit prints from 1947 to 1963 and Japanese prints that were brought to Cape Dorset in 1959, as well as never-before-seen works by James Houston), and shows how Cape Dorset graphic artists selectively borrowed and actively transformed Japanese influences. It includes the voice of Cape Dorset printmaker Kananginak Pootoogook, as well as previously unplished historic photographs from Japan and Cape Dorset.
High Arctic, 1920: Three Inuit men delivered justice to an abusive Newfoundland trader. This is a story of fur trade rivalry and duplicity, isolation and abandonment, greed and madness, and a struggle for the affections of an Inuit woman during a time of major social change in the High Arctic. Doubts over the validity of Canadian sovereignty and an official agenda to confirm that sovereignty added to the circumstances in which a guilty verdict against the leader of the Inuit accused was virtually assured. The show trial that took place in Pond Inlet in 1923 marked a collision of two cultures with vastly different conceptions of justice and conflict resolution. It marked an end to the Inuit traditional way of life and ushered in an era in which Inuit autonomy was supplanted by dependence on traders and police, and later missionaries. The author draws on a combination of Inuit oral history, archival research, and his own knowledge acquired through 50 years in the Arctic to create a compelling story of justice and injustice in the Canadian far north. Kenn Harper lived in the Arctic for 50 years in Inuit communities in Canada and in Qaanaaq, Greenland. He has worked as a teacher, historian, linguist, and businessman. He speaks Inuktitut, and has written extensively on Northern history and language. He is a Fellow of the Royal Geographical Society and the Royal Canadian Geographical Society, a recipient of Queen Elizabeth's Diamond Jubilee Medal, and a Knight of the Order of Dannebrog (Denmark). Harper is the author of the bestselling Minik: the New York Eskimo.
A description of the transformation of the Inuit of the eastern Canadian arctic from a hunting and trapping society to a sedentary population tied to the economy of southern Canada and striving for self-government.
Ethnography of Inuit adolescence describing the life of young people between the ages of 9 and 20 in the community of Holman Island, NWT. Describes the day-to-day activities of Inuit youth, their time playing sports and games, attending school, engaging in sexual play, simply "hanging out" with friends and peers
In Life Beside Itself, Lisa Stevenson takes us on a haunting ethnographic journey through two historical moments when life for the Canadian Inuit has hung in the balance: the tuberculosis epidemic (1940s to the early 1960s) and the subsequent suicide epidemic (1980s to the present). Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.