Canada and the Idea of North examines the ways in which Canadians have defined themselves as a northern people in their literature, art, music, drama, history, geography, politics, and popular culture. From the Franklin Mystery to the comic book superheroine Nelvana, Glenn Gould's documentaries, the paintings of Lawren Harris, and Molson beer ads, the idea of the north has been central to the Canadian imagination. Sherrill Grace argues that Canadians have always used ideas of Canada-as-North to promote a distinct national identity and national unity. In a penultimate chapter - "The North Writes Back" - Grace presents newly emerging northern voices and shows how they view the long tradition of representing the North by southern activists, artists, and scholars. With the recent creation of Nunavut, increasing concern about northern ecosystems and social challenges, and renewed attention to Canada's role as a circumpolar nation, Canada and the Idea of North shows that nordicity still plays an urgent and central role in Canada at the start of the twenty-first century.
While a compass might tell us which direction we are going, there is really only one direction to which it ever points: north. North is the ultimate point of orientation, but it is also a celebrated destination for the adventurous, the curious, the solitary, and the foolhardy. In this fascinating book—updated in this accessible, pocket edition—Peter Davidson explores the concept of “north” through its many manifestations in painting, legend, and literature. Arctic bound, Davidson takes the reader on a journey from the heart of society to the most far-flung outposts of human geography, packing in our rucksacks a treasure trove of stories and artworks, from the Icelandic Sagas to Nabokov’s snowy kingdom of Zembla, from Hans Christian Andersen’s forbidding Snow Queen to the works of artists such as Eric Ravilious, Ian Hamilton Finlay, and Andy Goldsworthy. He celebrates the different ways our artists and writers have illuminated our relationship with the earth’s most dangerous and austere terrain. Through Davidson’s astonishing but inviting erudition, we ultimately come to see north as a permanent goal, frozen forever on a horizon we never seem to quite reach.
From our former Governor General, The Idea of a Nation is a series of fifty—of several thousand—carefully chosen letters he has written to people he has admired and befriended over his seventy-plus years, that sets out David Johnston's frank, informed, and novel thoughts about Canada. Touching on a wide range of topics ranging from learning, the law, kindness and courage, to the monarchy, Aboriginal education, justice, bilingualism, mental health, and hockey, David Johnston has always used the letter writing form to tackle the passions, challenges, and goals of his incredibly accomplished and varied life. From his earliest years at Harvard, he has written several letters each day, starting with those to his large family, and broadening out to an ever-widening circle of friends that includes ministers and monarchs, educators and entrepreneurs, and many extraordinary Canadians who have deepened his perspective and touched his heart. The letters included in this beautiful volume are all about Canada—a project to help him understand and share his views on this great country, past, present, and future. Presented in three parts—What Shapes Me, What Consumes Me, and What Comforts Me—The Right Honourable David Johnston reaches out to his grandchildren, Kevin Vickers, Clara Hughes, Chris Hadfield, the Aga Khan, Tina Fontaine, Mike Lazaridis, the teachers of our country, a grade five class in Winnipeg, an unknown Inuit boy he met at Rideau Hall, and many others. The perfect gift for graduates, this unique and lovely book should find its home in every Canadian's library.
In its first seven years, the North American Free Trade Agreement (NAFTA) tripled trade and quintupled foreign investment among the U.S., Mexico, and Canada, increasing its share of the world economy. In 2001, however, North America peaked. Since then, trade has slowed among the three, manufacturing has shrunk, and illegal migration and drug-related violence have soared. At the same time, Europe caught up, and China leaped ahead. In The North American Idea, eminent scholar and policymaker Robert A. Pastor explains that NAFTA's mandate was too limited to address the new North American agenda. Instead of offering bold initiatives like a customs union to expand trade, leaders of the three nations thought small. Interest groups stalemated the small ideas while inhibiting the bolder proposals, and the governments accomplished almost nothing. To overcome this resistance and reinvigorate the continent, the leaders need to start with an idea based on a principle of interdependence. Pastor shows how this idea--once woven into the national consciousness of the three countries--could mobilize public support for continental solutions to problems like infrastructure and immigration that have confounded each nation working on its own. Providing essential historical context and challenging readers to view the continent in a new way, The North American Idea combines an expansive vision with a detailed blueprint for a more integrated, dynamic, and equitable North America.
"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).
She considers each of these diverse genres in terms of the way it explains the cultural identity of a nation formed from the settlement of immigrant peoples on the lands of dispossessed indigenous peoples.
Tired of his mother's overprotectiveness and intrigued by the life of African American explorer Matthew Henson, twelve-year-old Alvin travels north and spends a season with a trapper near the Arctic Circle.
Spanning the North Atlantic rim from Canada to Scotland, and from the Caribbean to the coast of West Africa, the British Atlantic world is deeply interconnected across its regions. In this groundbreaking study, thirteen leading scholars explore the idea of transatlanticism--or a shared "Atlantic world" experience--through the lens of architecture, built spaces, and landscapes in the British Atlantic from the seventeenth century through the mid-nineteenth century. Examining town planning, churches, forts, merchants' stores, state houses, and farm houses, this collection shows how the powerful visual language of architecture and design allowed the people of this era to maintain common cultural experiences across different landscapes while still forming their individuality. By studying the interplay between physical construction and social themes that include identity, gender, taste, domesticity, politics, and race, the authors interpret material culture in a way that particularly emphasizes the people who built, occupied, and used the spaces and reflects the complex cultural exchanges between Britain and the New World.
