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Europeans in the nineteenth century were fascinated with the wild and the primitive. So compelling was the craving for a first-hand experience of wilderness that it provided a lasting foundation for tourism as a consumer industry. In this book, Patricia Jasen shows how the region now known as Ontario held special appeal for tourists seeking to indulge a passion for wild country or act out their fantasies of primitive life. Niagara Falls, the Thousand Islands, Muskoka, and the far reaches of Lake Superior all offered the experiences tourists valued most: the tranquil pleasures of the picturesque, the excitement of the sublime, and the sensations of nostalgia associated with Canada's disappearing wilderness. Jasen situates her work within the context of recent writings about tourism history and the semiotics of tourism, about landscape perception and images of `wildness' and `wilderness, ' and about the travel narrative as a literary genre. She explores a number of major themes, including the imperialistic appropriation and commercialization of landscape into tourist images, services, and souvenirs. In a study of class, gender, and race, Jasen finds that by the end of the century, most workers still had little opportunity for travel, while the middle classes had come to regard holidays as a right and a duty in light of Social Darwinist concerns about preserving the health of the `race.' Women travellers have been disregarded or marginalized in many studies of the history of tourism, but this book makes their presence known and analyses their experience. It also examines, against the backdrop of nineteenth-century racism and expansionism, the major role played by Native people in the tourist industry. The first book to explore the cultural foundations of tourism in Ontario, Wild Things also makes a major contribution to the literature on the wilderness ideal in North America.
The history of women and art in Canada has often been celebrated as a story of progress from amateur to professional practice. Rethinking Professionalism challenges this narrative by questioning the assumptions that underlie the category of artistic professionalism, a construct as influential for artistic practice as it has been for art historical understanding. Through a series of in-depth studies, contributors examine changes to the infrastructure of the art world that resulted from a powerful discourse of professionalization that emerged in the late- nineteenth century. While many women embraced this new model, others fell by the wayside, barred from professional status by virtue of their class, their ethnicity, or the very nature of the artworks they produced. The richly illustrated essays in this collection depict the changing nature of the professional paradigm as it was experienced by women painters, photographers, craftspeople, architects, curators, gallery directors, and art teachers. In so doing, they demonstrate the ongoing power of feminist art history to disrupt patterns of thought that have become naturalized and, accordingly, invisible. Going beyond the narratives of recovery or exclusion that the category of professionalism has traditionally encouraged, Rethinking Professionalism explores the very consequences of telling the history of women's art in Canada through that lens. Contributors include Annmarie Adams (McGill University), Alena Buis (Queen's University), Sherry Farrell Racette (University of Manitoba), Cynthia Hammond (Concordia University), Kristina Huneault (Concordia University), Loren Lerner (Concordia University), Lianne McTavish (University of Alberta), Kirk Niergarth (Mount Royal University), Mary O'Connor (McMaster University), Sandra Paikowsky (Concordia University), Ruth B. Phillips (Carleton University), Jennifer Salahub (Alberta College of Art & Design), and Anne Whitelaw (Concordia University).