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The People of Glengarry
McLean works in the manuscript division of the National Archives of Canada, and draws extensively on unpublished sources to present a new interpretation of Scottish migration to Canada. Showing how the traditional clan society in western Inverness was disrupted by capitalism, she documents the emigration of nine coherent groups and their attempts to recreate Highland culture in Glengarry County in Ontario. Annotation copyrighted by Book News, Inc., Portland, OR
After the Hector
This is the first fully documented and detailed account, produced in recent times, of one of the greatest early migrations of Scots to North America. The arrival of the Hector in 1773, with nearly 200 Scottish passengers, sparked a huge influx of Scots to Nova Scotia and Cape Breton. Thousands of Scots, mainly from the Highlands and Islands, streamed into the province during the late 1700s and the first half of the nineteenth century. Lucille Campey traces the process of emigration and explains why Scots chose their different settlement locations in Nova Scotia and Cape Breton. Much detailed information has been distilled to provide new insights on how, why and when the province came to acqu...
From My Point of View
Add flesh and blood to some familiar biblical characters with this collection of short presentations which offers a humanizing glimpse into the lives of a dozen individuals who played crucial roles in Jesus' death and resurrection. Each dialogue is a brief biographical sketch, with one reader portraying the featured personality while a narrator provides background information and historical context. Peter, Mary Magdalene, Simon of Cyrene, Caiaphas, and Pontius Pilate are just some of the people Reece humanizes. These scripturally sound dramatic pieces can be used in a wide variety of situations, but are particularly appropriate for the Lent and Easter seasons, either as midweek programming, ...
‘My own sort of heaven’
Widely regarded as a major Australian artist, Rosalie Gascoigne first exhibited in 1974 at the age of fifty-seven. She rapidly achieved critical acclaim for her assemblages which were her response to the Monaro landscape surrounding Canberra. The great blonde paddocks, vast skies and big raucous birds contrasted with the familiar lush green harbour city of Auckland she had left behind. Her medium: weathered discards from the landscape. By her death in 1999, her work had been purchased for major public art collections in Australia, Aotearoa New Zealand and New York, and had been exhibited across Europe and Asia. Gascoigne’s story is often cast in simple terms—an inspirational tale of an o...
Annual Report
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The People's Clearance
This is a revisionist account of Highland Scottish emigration to what is now Canada, in the formative half century before Waterloo.
The L.M. Montgomery Reader
Now available in paperback, The L.M. Montgomery Reader assembles rediscovered primary material on one of Canada’s most enduringly popular authors, spanning the entirety of her high-profile career and the years since her death. The first volume, A Life in Print, focuses specifically on Montgomery’s role as a public celebrity and author of the resoundingly successful Anne of Green Gables (1908). The selections give a strong impression of Montgomery as a writer and cultural critic as she discusses a range of topics with wit, wisdom, and humour, including the natural landscape of Prince Edward Island, her wide readership, anxieties about modernity, and the continued relevance of "old ideals....
Who Runs the Artworld
Who Runs the Artworld: Money, Power and Ethics examines the economics and mythologies of today s global artworld. It unmasks the complex web of relationships that now exist among high-profile curators, collectors, museum trustees and corporate sponsors, and the historic and ongoing complicity between the art and money markets. The book examines alternative models being deployed by curators and artists influenced by the 2008 global financial crisis and the international socio-political Occupy movement, with a particular focus on a renewed activism by artists. This activism is coupled with an institutional and social critique led by groups such as Liberate Tate, the Precarious Workers Brigade and Strike Debt. Who Runs the Artworld: Money, Power and Ethics brings together a diverse range of thinkers who draw on the disciplines of art theory, social sciences and cultural economics, and curatorship and the lived experience of artists. The contributors to this book are, in their respective contexts, working at the forefront of these compelling issues.
