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This study uses the Centennial Celebrations of 1967 and Expo 67 to explore how religion informed Canadian nation-building and national identities in the 1960s.
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
Reproduction of the original: For the Sake of the School by Angela Brazil
In The Centennial Cure, the second volume in the Studies in Atlantic Canada History series, Meaghan Elizabeth Beaton critically examines the intersection of state policy, cultural development, and commemoration in Nova Scotia during Canada’s centennial celebrations. Beaton’s engaging and insightful analysis of four case studies­– the establishment of the Cape Breton Miners’ Museum, the construction of Halifax’s Centennial Swimming Pool, the Community Improvement Program, and the 1967 Nova Scotia Highland Games and Folk Festival­–reveals the province’s attempts to reimagine and renew public spaces. Through these case studies Beaton illuminates the myriad ways in which Nova Scotians saw themselves, in the context of modernity and ethnic identity, during the post-war years. The successes and failures of these infrastructure and cultural projects, intended to foster and develop cultural capital, reflected the socio-economic realities and dreams of local communities. The Centennial Cure shifts our focus away from the dominant studies on Expo’67 to provide a nuanced and tension filled account of how Canada’s 1967 centennial celebrations were experienced in other parts of Canada.
From 1900 to 1908 includes the "Annual digest of Canadian cases ... decided in the Judicial Committee of the Privy Council, in the Supreme and Exchequer Courts of Canada, and in the courts of the provinces ... Edited by Edward B. Brown."
Breaking away from the traditional analysis of church policy, sermons, and clerical scholarship, For Canada's Sake presents an exemplary analysis of the meaning behind religiously informed public celebrations and rituals such as centennial hymns and prayers and Expo pavillions. Miedema argues that the 1967 celebrations reveal the continued importance of religion to Canadian public life, showing that a waning "Christian Canada" was being replaced by an officially "interfaith" country. The author throws into bold relief the varied attempts of government officials and religious leaders to come to terms with new Canadian and global realities, as well as the response of Canadians to their own increasing religious diversity.