This volume offers a compilation of folklore material gathered from Lunenburg County, Nova Scotia, including data relating to traditional work patterns, education, values, beliefs, and songs.

Ian McKay shows how the tourism industry & cultural producers have manipulated the cultural identity of Nova Scotia to project traditional folk values. He offers analysis of the infusion of folk ideology into the art & literature of the region, & the use of the idea of the 'simple life' in tourism promotion.

The popular conception of Nova Scotians as a pure, simple, idyllic people is false, argues Ian McKay. In The Quest of the Folk he shows how the province's tourism industry and cultural producers manipulated and refashioned the cultural identity of the region and its people to project traditional folk values. McKay offers an in-depth analysis of the infusion of a folk ideology into the art and literature of the region and the use of the idea of the "Simple Life" in tourism promotion. He examines how Nova Scotia's cultural history was rewritten to erase evidence of an urban, capitalist society, class and ethnic differences, and women's emancipation. In doing so he sheds new light on the roles of Helen Creighton, the Maritime region's most famous folklorist, and Mary Black, an influential handicrafts revivalist, in creating this false identity.

This collection of Newfoundland folk narratives, first published in 1996, grew out of extensive fieldwork in folk culture in the province. The intention was to collect as broad a spectrum of traditional material as possible, and Folktales of Newfoundland is notable not only for the number and quality of its narratives, but also for the format in which they are presented. A special transcription system conveys to the reader the accents and rhythms of each performance, and the endnote to each tale features an analysis of the narrator’s language. In addition, Newfoundland has preserved many aspects of English and Irish folk tradition, some of which are no longer active in the countries of their origin. Working from the premise that traditions virtually unknown in England might still survive in active form in Newfoundland, the researchers set out to discover if this was in fact the case.

This book is the only comprehensive bibliography of Canadian folklore in English. The 3877 different items are arranged by genres: folktales; folk music and dance; folk speech and naming; superstitions, popular beliefs, folk medicine, and the supernatural; folk life and customs; folk art and material culture; and within genres by ethnic groups: Anglophone and Celtic, Francophone, Indian and Inuit, and other cultural groups. The items include reference books, periodicals, articles, records, films, biographies of scholars and informants, and graduate theses. Each items is annotated through a coding that indicates whether it is academic or popular, its importance to the scholar, and whether it is suitable for young people. The introduction includes a brief survey of Canadian folklore studies, putting this work into academic and social perspective. The book covers all the important items and most minor items dealing with Canadian folklore published in English up to the end of 1979. It is concerned with legitimate Canadian folklore – whether transplanted from other countries and preserved here, or created here to reflect the culture of this country. It distinguishes between authentic folklore presented as collected and popular treatments in which the material has been rewritten by the authors. Intended primarily for scholars of folklore, international as well as Canadian, the book will also be of use to scholars in anthropology, cultural geography, oral history, and other branches of Canadian culture studies, as well as to librarians, teachers, and the general public.

It started on a summer afternoon in 1795 when a young man named Daniel McGinnis found what appeared to be an old site on an island off the Acadian coast, a coastline fabled for the skullduggery of pirates. The notorious Captain Kidd was rumored to have left part of his treasure somewhere along here, and as McGinnis and two friends started to dig, they found what turned out to be an elaborately engineered shaft constructed of oak logs, nonindigenous coconut mats, and landfill that came to be known as the Money Pit. Ever since that summer day in 1795, the possibility of what might be hidden in the depths of a small island off the south coast of Nova Scotia, Canada, has made it the site of the world's longest, most expensive, and most perplexing treasure hunt. Author D'Arcy O'Connor recounts the fascinating stories and amazing discoveries of past and current treasure seekers who have sought Oak Island's fabled treasure for over two hundred years. It has baffled scientists and madmen, scholars and idiots, millionaires and get-rich-quick schemers, psychics, engineers, charlatans, and even a former president of the United States. The island has consumed the fortunes-and in some cases, the lives-of those who have obsessively set out to unlock its secret. Despite all their efforts, the mystery remains unsolved, and not a single dime of treasure has ever been recovered. The present-day search is an archaeological dig exceeding anything ever done anywhere for similar purposes, and it may well result in the discovery of one of the world's richest and most historically significant treasures. But this is also the story of individuals who have dedicated years of their lives to discover what was buried long ago beneath this strange island. They are driven by a lust for gold, by archaeological curiosity, and by their determination to outwit the engineer who was responsible for the Oak Island enigma.

Made-in-Canada-Humour is an interdisciplinary survey and analysis of Canadian humour and humorists in the nineteenth and twentieth centuries. The book focuses on a variety of genres. It includes celebrated Canadian writers and poets with ironic and satiric perspectives; oral storytellers of tall tales in the country and the city; newspaper print humorists; representative national and regional cartoonists; and comedians of stage, radio and television. The humour gives voice to Canadian values and experiences, and consequently, techniques and styles of humour particular to the country. While a persistent comic theme has been joking at the expense of the United States, both countries have influenced one another’s humour. Canada’s unique humorous tradition also reflects its emergence from a colonial country to a postcolonial and postmodern nation with contemporary humour that addresses gender and racial issues.