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What makes Canada a different kind of society from the United States? In this book-length essay, Philip Resnick argues that, in more ways than one, Canada has been profoundly marked by its European origins. This is most apparent where the European historical underpinnings both of English-speaking and French-speaking Canada are concerned, but it is no less true when one examines Canada's multiple national identities, robust social programs, increasingly secular values and multilateral outlook on international affairs today. As the war in Iraq brought home, and the 2004 federal election reinforced, Canada is a more European-type society than is our neighbour to the south. This does not come without its own complexities or problems. On the contrary, there are significant parallels between the ambiguous versions of national identity that one finds in Canada and what one finds on the European continent. There are parallels, too, between the elements of self-doubt that characterize Canadians overall when they think about their country and those of Europeans caught up in their own, often fractious, attempts to forge a more integrated Europe. The author argues that Canada needs Europe as an effective counter-weight to the influence of the United States. He further argues that, at a deeper existential level, Canadians need relevant European references to better understand what makes them the kind of North Americans that they are.
"The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).
Citizenship and Identity offers an analysis of contemporary politics and of the scepticism and apathy which characterise the political life of modern democracies. Starting from exploration of liberal-democracy and a critique of the fragmentation of contemporary politics, this book develops a republican perspective as an alternative framework for political institutions and civic participation.
As Canada's ethno-racial composition becomes more complex, critical understandings of race, ethnicity, identity, and belonging are increasingly important goals for social justice, fairness, and inclusion. This edition addresses these concerns.
Winner of the 2018 Louise de Kiriline Lawrence Award for Nonfiction Longlisted for the 2018 RBC Taylor Prize Shortlisted for the 2018 Edna Staebler Award for Creative Non-Fiction The sweeping, epic story of the mysterious land that came to be called “Canada” like it’s never been told before. Every map tells a story. And every map has a purpose--it invites us to go somewhere we've never been. It’s an account of what we know, but also a trace of what we long for. Ten Maps conjures the world as it appeared to those who were called upon to map it. What would the new world look like to wandering Vikings, who thought they had drifted into a land of mythical creatures, or Samuel de Champlain, who had no idea of the vastness of the landmass just beyond the treeline? Adam Shoalts, one of Canada’s foremost explorers, tells the stories behind these centuries old maps, and how they came to shape what became “Canada.” It’s a story that will surprise readers, and reveal the Canada we never knew was hidden. It brings to life the characters and the bloody disputes that forged our history, by showing us what the world looked like before it entered the history books. Combining storytelling, cartography, geography, archaeology and of course history, this book shows us Canada in a way we've never seen it before.
How did British colonists in Victorian Montreal come to think of themselves as “native Canadian”? This richly illustrated work reveals that colonists adopted, then appropriated, Aboriginal and French Canadian activities such as hunting, lacrosse, snowshoeing, and tobogganing. In the process, they constructed visual icons that were recognized at home and abroad as distinctly “Canadian.” This new Canadian nationality mimicked indigenous characteristics but ultimately rejected indigenous players, and championed the interests of white, middle-class, Protestant males who used their newly acquired identity to dominate the political realm. English Canadian identity was not formed solely by emulating what was British; this book shows that it gained ground by usurping what was indigenous in a foreign land.
Focusing on the major movements and personalities of the time, as well as the lasting influence of the period, Canada's 1960s examines the legacy of this rebellious decade's impact on contemporary notions of Canadian identity.
Shortly after Canadian confederation, Thomas D'Arcy McGee proclaimed that education was "an essential condition of our political independence" and that its role was to form citizens for the new regime. Comparing this idea of education for citizenship, or civic education, to the modern goals of education, Liberal Education, Civic Education, and the Canadian Regime explores the founders' principles, their sources, and the challenges that threaten their vision for Canada. The collection's first essays analyze the political thought of early Canadians such as Brown, McGee, Ryerson, and Bourinot, while later chapters examine enduring principles of liberal democracy derived from Aristotle, de Tocqueville, and Hobbes. The final chapters bring the discussion forward to such topics as the decline of Canadian Catholic liberal arts colleges and the emerging role of our Supreme Court as a self-appointed "moral tutor." Moreover, as it deals with the changing roles of universities in contemporary Canada, Liberal Education, Civic Education, and the Canadian Regime engages current debates about the value and place of a traditional liberal education and the consequences of turning our back on the concepts that inspired our founding leaders. Considering whether Canada’s early documents and traditions can revive past debates and shed light on contemporary issues, this highly original collection presents education as an essential condition of our independence and asks whether current educational principles are threatening Canadians’ capacity for self-government.
A gift from the Creator – that is where it all began. The game of lacrosse has been a central element of many Indigenous cultures for centuries, but once non-Indigenous players entered the sport, it became a site of appropriation – then reclamation – of Indigenous identities. Focusing on the history of lacrosse in Indigenous communities from the 1860s to the 1990s, The Creator’s Game explores Indigenous-non-Indigenous relations and Indigenous identity formation. While the game was being stripped of its cultural and ceremonial significance and being appropriated to construct a new identity for the nation-state of Canada, it was also being used by Indigenous peoples for multiple ends: to resist residential school experiences; initiate pan-Indigenous political mobilization; and articulate Indigenous sovereignty and nationhood on the world stage. The multilayered story of lacrosse serves as a potent illustration of how identity and nationhood are formed and reformed. Engaging and innovative, The Creator’s Game provides a unique view of Indigenous self-determination in the face of settler-colonialism.
Mosaic Fictions reveals the tensions between national and global affiliations in Spanish Civil War literature, highlighting writers such as Leonard Cohen, Dorothy Livesay, and Mordecai Richler.