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Books on the topic 'Canadian Aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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1

Chen, John Z. Ming, and Yuhua Ji. Canadian-Daoist Poetics, Ethics, and Aesthetics. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-47959-9.

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2

Bailey, Anne Elizabeth. Timothy Findley and the aesthetics of fascism. Vancouver, B.C: Talonbooks, 1998.

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3

Wherry, Cathi Charles. Earthly gestures: Rebecca Baird, Aganetha Dyck, Marianne Nicolson, Alastair Heseltine. Victoria, B.C: Art Gallery of Greater Victoria, 2001.

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4

Canadian Society of Aesthetics. (2nd 1985 University of Toronto, Ont.). Nouveaux regards sur l'esthétique: Deuxième rencontre annuelle de la Société canadienne d'esthétique = New perspectives in aesthetics : second annual meeting of the Canadian Society of Aesthetics. [Toronto]: Département d'études françaises, Université de Toronto = Dept. of French, University of Toronto, 1986.

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5

Arun, Mukherjee. Oppositional aesthetics: Readings from a hyphenated space. Toronto: TSAR Publications, 1994.

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6

Stacey, R. H. Massanoga: The art of Bon Echo. [Ottawa]: Archives of Canadian Art, 1998.

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7

Stacey, R. H. Massanoga: The art of Bon Echo. Ottawa: Archives of Canadian Art, 1995.

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8

(Gallery), YYZ. Decalog: YYZ 1979-1989. Toronto: YYZ Books, 1992.

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9

Dumont, François. Usages de la poésie: Le discours des poètes québécois sur la fonction de la poésie, 1945-1970. Sainte-Foy, Québec: Presses de l'Université Laval, 1993.

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10

illustrator, Fitzpatrick Deanne, ed. Singily skipping along. Halifax, NS: Nimbus Publishing Limited, 2013.

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11

Quebec), Galerie Horace (Sherbrooke. Art et écologie: Du 8 au 31 mai 1987, Galerie Horace, Sherbrooke. --. [Sherbrooke, Qué: Galerie Horace, 1987.

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12

Norris, Ken. A new world: Essays on poetry and poetics. Montreal: Empyreal Press, 1994.

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13

An aesthetic underground. Guelph, Ont: Red Kite Press, 1999.

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14

Jennifer, Surridge, and Davies Brenda, eds. Happy alchemy: On the pleasures of music and the theatre. New York: Viking, 1998.

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15

Jennifer, Surridge, and Davies Brenda, eds. Happy alchemy: On the pleasures of music and the theatre. New York: Penguin Books, 1999.

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16

Davies, Robertson. Happy alchemy: Writings on the theatre and other lively arts. Toronto: Penguin Books, 1998.

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17

Davies, Robertson. Happy alchemy: Writings on the theatre and other lively arts. Toronto: M&S, 1997.

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18

Metcalf, John. An aesthetic underground: A literary memoir. Toronto: T. Allen Publishers, 2003.

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19

Halkes, Petra. Aspiring to the landscape: Investigations into the meaning of nature in works by Wanda Koop, Stephen Hutchings, Susan Feindel, and Eleanor Bond. [S.n: s.l., 2001.

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20

Aestheticism and the Canadian modernists: Aspects of a poetic influence. Kingston: McGill-Queen's University Press, 1989.

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21

Eurographics Workshop on Computational Aesthetics in Graphics, Visualization and Imaging (3rd 2007 Banff, Alta.). Computational aesthetics 2007: Eurographics Workshop on Computational Aesthetics in Graphics, Visualization and Imaging Banff, Alberta, Canada, 20-22 June, 2007. Edited by Cunningham Douglas W and European Association for Computer Graphics. Aire-La-Ville, Switzerland: Eurographics, 2007.

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22

Eurographics Workshop on Computational Aesthetics in Graphics, Visualization and Imaging (3rd 2007 Banff, Alta.). Computational aesthetics 2007: Eurographics Workshop on Computational Aesthetics in Graphics, Visualization and Imaging Banff, Alberta, Canada, 20-22 June, 2007. Edited by Cunningham Douglas W and European Association for Computer Graphics. Aire-La-Ville, Switzerland: Eurographics, 2007.

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23

McCaffery, Steve. Prior to meaning. [Buffalo, N.Y.]: University Libraries, State University of New York at Buffalo, 1996.

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24

Prior to meaning: The protosemantic and poetics. Evanston, Ill: Northwestern University Press, 2001.

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25

Nature framed: At home in the landscape. New York: Monacelli Press, 2011.

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26

Bayard, Caroline. The new poetics in Canada and Quebec: From concretism to post-modernism. Toronto: University of Toronto Press, 1989.

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27

International conference on acoustic ecology (1st 1993 Banff, Canada). The tuning of the world: Proceedings, [the first international conference on acoustic ecology, August 8-14, 1993, the BAnff Centre, Banff Canada]. [Banff, Alta: The Conference, 1993.

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28

Denman, K. L. Mirror image. Custer, WA: Orca Book Publishers, 2007.

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29

Disunified Aesthetics: Situated Textuality, Performativity, Collaboration. McGill-Queen's University Press, 2014.

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30

Hunter, Lynette. Disunified Aesthetics: Situated Textuality, Performativity, Collaboration. McGill-Queen's University Press, 2014.

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31

John Z. Ming Ming Chen and Yuhua Ji. Canadian-Daoist Poetics, Ethics, and Aesthetics: An Interdisciplinary and Cross-cultural Study. Springer, 2016.

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32

Beyond Wilderness: The Group of Seven, Canadian Identity, and Contemporary Art. McGill-Queen's University Press, 2017.

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33

Bailey, Anne Geddes. Timothy Findley and the Aesthetics of Fascism: Intertextual (The New Canadian Criticism Series). Talonbooks, 1998.

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34

Bateman, Robert. Bateman: Animal Worlds 2008 Calendar. Pomegranate (Cal), 2007.

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35

Bateman, Robert. Bateman: New Works. Greystone Books Ltd., 2014.

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36

Caruso, Barbara. Wording the Silent Art. Mercury Press, 2001.

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37

1943-, McKaskell Robert, Topalian Marco Y. 1960-, Art Gallery of Windsor, and Glenbow Museum, eds. Making it new!: (the big sixties show). Windsor, Ont: Art Gallery of Windsor, 1999.

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38

Daina, Augaitis, Pakasaar Helga, and Walter Phillips Gallery, eds. Eye of nature. Banff, Alta: Walter Phillips Gallery, 1991.

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39

Aesthetic Underground. Biblioasis, 2015.

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40

Writing in Our Time: Canada’s Radical Poetries in English (1957-2003). Wilfrid Laurier University Press, 2005.

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41

Lindgren, Allana C. English-Canadian Ethnocentricity. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.005.

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In July 1936, Boris Volkoff, a respected Toronto dance teacher and choreographer, and some of his students represented Canada at the Internationale Tanzwettspiele, one of the arts events staged in conjunction with the infamous Nazi Olympics. To depict Canada and its heritage in dance, Volkoff choreographed Mon-Ka-Ta and Mala, two works inspired by indigenous cultures. Accessing archival documents, this chapter argues that Volkoff’s choreography was aligned with the attitudes underpinning English-Canadian ethnocentricity, particularly regarding salvage ethnography, aesthetic primitivism, and the appropriation of indigenous iconography for nationalist narratives.
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42

Image et récit: Littérature(s) et arts visuels du Canada : actes du colloque international. [Paris]: Presses de la Sorbonne nouvelle, 1993.

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43

Happy Alchemy. Viking, 1997.

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44

1925-, Pelletier Jacques, and Côté Jean-Guy, eds. L' Avant-garde culturelle et littéraire des années 1970 au Québec. Montréal, Québec: Université du Québec à Montréal, 1986.

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45

Aspiring to the Landscape: On Painting and the Subject of Nature. University of Toronto Press, 2006.

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46

Kim, Christine. Ephemeral Publics and Roy Kiyooka’s StoneDGloves. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040139.003.0006.

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This concluding chapter outlines a form of ephemeral intimacy that emerges within racialized publics and that might also potentially be extended to include dominant publics by examining the work of poet and visual artist Roy Kiyooka and his influence on Asian Canadian creative and critical work. Kiyooka's work operates as an Asian Canadian archive for how it historicizes racialized logics that are often at odds with racialized representations. The chapter then focuses on Kiyooka's StoneDGloves (1997), which, as an experimental piece of visual art and poetry, explores the limits of aesthetic and social representation—a concern that is also at the heart of Asian Canadian publics.
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47

You Must Work Harder to Write Poetry of Excellence: Ideolect, Ideology and Aesthetic Conscience in Canadian Poetry Book Reviews Since 1961. Book*hug, 2012.

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48

Arts of Engagement: Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of Canada. Wilfrid Laurier University Press, 2016.

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49

Schaub, Mirjam. The Affective Experience of Space. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.21.

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This article investigates the aesthetic conclusions that the Canadian artists Janet Cardiff and George Bures Miller draw from the basic phenomenon of listening—such as the “horizon of simultaneity” of sound and vision—in their own creation of their audio- and video-walks. It describes how their work functions as social experiments in the public sphere. The thesis is that their works “vampirize” sounds and actively assimilate them to natural acoustic tracks and traces, thus becoming affective traps for their pursuers. Cardiff and Miller lead the participants astray in their desire to actually “see” what is “only” to be heard. Thus an uncanny criminology of artificially laid traces is to be predicated on the seductiveness of the disembodied human voice as guiding narrative. Cardiff’s and Miller’s intriguing art form improvises a new way across the ravages of time by inventing new vestiges of the past.
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50

Nette, Andrew. Rollerball. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325666.001.0001.

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Rollerball, the Canadian-born director and producer Norman Jewison's 1975 vision of a future dominated by anonymous corporations and their executive elite, in which all individual effort and aggressive emotions are subsumed into a horrifically violent global sport, remains critically overlooked. What little has been written deals mainly with its place within the renaissance of Anglo-American science-fiction cinema in the 1970s, or focuses on the elaborately shot, still visceral to watch, game sequences, so realistic they briefly gave rise to speculation Rollerball may become an actual sport. Drawing on numerous sources, including little examined documents in the archive of the film's screenwriter William Harrison, this book examines the many dimensions of Rollerball's making and reception: the way it simultaneously exhibits the aesthetics and narrative tropes of mainstream action and art-house cinema; the elaborate and painstaking process of world creation undertaken by Jewison and Harrison; and the cultural forces and debates that influenced them, including the increasing corporate power and growing violence in Western society in late 1960s and early 1970s. The book shows how a film that was derided by many critics for its violence works as a sophisticated and disturbing portrayal of a dystopian future that anticipates numerous contemporary concerns, including ‘fake news’ and declining literary and historical memory. The book includes an interview with Jewison on Rollerball's influences, making, and reception.
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