Sophisticated and well-curated, this photographic tour through Canada's history documents the nation's evolution over more than a century, as seen through the lens of photographers from The New York Times. The book compiles more than 100 iconic, momentous and inspiring images of Canada and includes ten commentary pieces from a range of important thinkers, historians and writers, including National Chief Shawn Atleo, MP Justin Trudeau, historians Charlotte Gray, Peter C. Newman and Tim Cook, and sports columnist Stephen Brunt. Through these pages and images, which represent a portal in time, a portrait of Canada emerges, not as seen by its own citizens, but as viewed through a distinctly American lens. The book includes photos arranged according to the following themes: • The Battlefield: Canada at War • Aboriginal People • The Changing Face of Canadian Society--Our Immigration Story • Landscape • The Political Arena • Industry • The War Machine: How the Homefront Supplied the Wars • Hockey • Icons (Stars, Sports Heroes, Political Figures, Royalty)

This book reveals the magnificent landscape paintings of the Group of Seven and their associates and explores how they contributed to Canada's modern cultural identity. The early decades of the 20th century were marked by artistic, economic, and social transformation in Canada and around the world. Starting in Toronto, a group of young modern artists, including Tom Thomson and Lawren S. Harris, and Emily Carr in British Columbia, desired to create a new painting vocabulary for the young nation coming into its own cultural identity. They turned away from city life and explored Canada's landscape, painting sublime vistas, monumental rivers, ancient forests around the great lakes, the mighty Rocky Mountains, and the arctic tundra, determined to break away from European stylistic traditions. Together, their paintings imagined a mythical Canada, expansive and rugged, that added to their country's growing sense of national pride. Featuring paintings, sketches, photographs, film stills, and documentary material, this catalog examines the language of Canadian modernism. It also includes essays and interviews that offer contemporary indigenous perspectives on the impact of industry on nature, issues surrounding national identity, and modern Canadian landscape painting. This generously illustrated book critically reviews Canada's modernism in art history.

New discusses the ways in which Canadian writing, through images of land and space, expresses various assumptions about social values. In addition to wide range of literary texts, he also draws upon geography, the social sciences, and the visual arts.

Sophisticated and well-curated, this photographic tour through Canada's history documents the nation's evolution over more than a century, as seen through the lens of photographers from The New York Times. The book compiles more than 100 iconic, momentous and inspiring images of Canada and includes ten commentary pieces from a range of important thinkers, historians and writers, including National Chief Shawn Atleo, MP Justin Trudeau, historians Charlotte Gray, Peter C. Newman and Tim Cook, and sports columnist Stephen Brunt. Through these pages and images, which represent a portal in time, a portrait of Canada emerges, not as seen by its own citizens, but as viewed through a distinctly American lens. The book includes photos arranged according to the following themes: • The Battlefield: Canada at War • Aboriginal People • The Changing Face of Canadian Society--Our Immigration Story • Landscape • The Political Arena • Industry • The War Machine: How the Homefront Supplied the Wars • Hockey • Icons (Stars, Sports Heroes, Political Figures, Royalty)

We are all our history. Yet despite curricular revisions, the mainstream historical narrative that shapes the way we teach students about the Canadian nation can be divisive, separating “us” from “them.” Responding to the evolving demographics of an ethnically and culturally heterogeneous population, Transforming the Canadian History Classroom calls for an innovative approach that instead places students – the stories they carry and the histories they want to be part of – at the centre of history education. Samantha Cutrara explores how teaching practices and institutional contexts can support ideas of connection, complexity, and care in order to engender meaningful learning and foster a student-centric history education. Applying insights gained from student and teacher interviews and case studies in schools, Transforming the Canadian History Classroom delineates a learning environment in which students can investigate the historical narratives that infuse their lives and imagine a future that makes room for their diverse identities.

Ten year old Rachel boards a ship that will take her from slavery in America to Nova Scotia but her col and barren new home is not what she imagined.

Imagining Ourselves gathers together selections from Canadian non-fiction books that in some way have had a major impact on how we view ourselves as Canadians, revealing how the national identity has been shaped and informed by the written word. Included are selections from such well-known Canadian books as Wild Animals I Have Known (Ernest Thomas Seton), Pilgrims of the Wild (Grey Owl), Klee Wyck (Emily Carr), The Game (Ken Dryden), Renegade in Power (Peter C. Newman), Survival (Margaret Atwood), and The Last Spike (Pierre Berton).

An innovative exploration of how colonial interventions in Afghanistan have been made possible through representations of the country as 'backward'.

In Life Beside Itself, Lisa Stevenson takes us on a haunting ethnographic journey through two historical moments when life for the Canadian Inuit has hung in the balance: the tuberculosis epidemic (1940s to the early 1960s) and the subsequent suicide epidemic (1980s to the present). Along the way, Stevenson troubles our commonsense understanding of what life is and what it means to care for the life of another. Through close attention to the images in which we think and dream and through which we understand the world, Stevenson describes a world in which life is beside itself: the name-soul of a teenager who dies in a crash lives again in his friend’s newborn baby, a young girl shares a last smoke with a dead friend in a dream, and the possessed hands of a clock spin uncontrollably over its face. In these contexts, humanitarian policies make little sense because they attempt to save lives by merely keeping a body alive. For the Inuit, and perhaps for all of us, life is "somewhere else," and the task is to articulate forms of care for others that are adequate to that truth.