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Journal articles on the topic 'Canadian Aesthetics'
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1
Cooper, W. E. "Aesthetics in Canada: The State of the Art." Dialogue 26, no. 1 (1987): 123–34. http://dx.doi.org/10.1017/s0012217300042347.
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Opuscula Aesthetica Nostra is a pioneering publishing effort, blazing a trail which specialists in other philosophical fields should consider following. It purports to represent what is happening in aesthetics throughout English-speaking and French-speaking Canada today, and in consequence it is an intriguing exercise in Canadian bilingualism. It purports also to show, as co-editor Calvin Seerveld says in the Preface, that “aesthetics deserves its own bona fide place in the national market place of ideas”; so the editors have reprinted strong previously published papers, in addition to soliciting new material on the occasion of the Tenth International Congress of Aesthetics held in Montreal in 1984. The result is a satisfying pot-pourri of ideas.
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Smith, Sarah E. K., and Carla Taunton. "Unsettling Canadian Heritage: Decolonial Aesthetics in Canadian Video and Performance Art." Journal of Canadian Studies 52, no. 1 (January 2018): 306–41. http://dx.doi.org/10.3138/jcs.2017-0053.r2.
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Sawada, Daiyo, and David E. Young. "Aesthetics in Canadian Education: A Perspective from the East." Canadian Journal of Education / Revue canadienne de l'éducation 14, no. 3 (1989): 269. http://dx.doi.org/10.2307/1495358.
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Diamond, Beverley. "The Power of Stories: Canadian Music Scholarship’s Narratives and Counter-Narratives." Articles 33, no. 2 (August 19, 2015): 155–65. http://dx.doi.org/10.7202/1032701ar.
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This article is a reflection on how narratives of Canadian music scholarship have shifted since the late 1980s, generally moving toward an array of “diversity narratives.” It questions how government policy, academic institution building, increased interdisciplinarity, new configurations of individual and collective experience, and new regional or nationalist discourses have played a role in this shift. It suggests that Canadians may be particularly well poised to lead in the study of how multiple narratives and “sovereign aesthetics” can coexist.
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Harrison, Jeanine, Colleen White, and Tracey Hotta. "The Expanding Role of the Canadian Nurse Practitioner in Medical Aesthetics." Plastic Surgical Nursing 40, no. 4 (October 2020): 202–4. http://dx.doi.org/10.1097/psn.0000000000000321.
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Young, Stephen. "AESTHETICS OF VICTIM/VICTIMIZATION IN THREE WORKS OF ANGLO-CANADIAN MUSIC." American Review of Canadian Studies 19, no. 4 (December 1989): 429–36. http://dx.doi.org/10.1080/02722018909481466.
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Lamb, Rebekah. "Michael O’Brien’s Theological Aesthetics." Religions 12, no. 6 (June 18, 2021): 451. http://dx.doi.org/10.3390/rel12060451.
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This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’Brien’s extensive collection of paintings (principally because the first catalogue of his art was only published in 2019). Instead, they have worked on his prodigious output of novels and essays. In prioritising O’Brien’s paintings, this study will assess the relationship between his theological reflections on the Catholic imagination and art practice. By focusing on the interface between theory and practice in O’Brien’s art, this article shows that conversations about the philosophy of the Catholic imagination benefit from attending to the inner standing points of contemporary artists who see in the arts a place where faith and praxis meet. In certain instances, I will include images of O’Brien’s devotional art to further illustrate his contemplative, Christ-centred approach to aesthetics. Overall, this study offers new directions in O’Brien studies and scholarship on the philosophy of the Catholic imagination.
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HARRISON, KLISALA. "Sustainability and Indigenous Aesthetics: Musical Resilience in Sámi and Indigenous Canadian Theatre." Yearbook for Traditional Music 51 (November 2019): 17–48. http://dx.doi.org/10.1017/ytm.2019.6.
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Histories of colonial cultural erasure, unsuccessful decolonisation or postcolonialism and rapid modernisation are typically seen as the challenges to sustaining Indigenous traditional musics (Harrison, in press). The Indigenous peoples of Canada have experienced colonial assimilationist policies of government and church, including residential schools that took children away from their families and forbade song, dance and language. These policies resulted in musics and even entire cultures being erased. Although there have been recent improvements in Scandinavia, similar kinds of discrimination happened where the traditional Sámi vocal form, joik (in pan-Sámi juoiggas) was long (and in some cases, still is) regarded as sinful, and Sámi children were forbidden to use their mother tongues at school (for example, from about 1850 to 1980 during Norway’s Fornorskning or Norwegianisation policy). In recent years, the Indigenous musics of Canada and the Nordic countries, among others, have reflected, articulated and interpellated sociocultural interrelations and politics (Diamond 2002; Diamond et al. 2018; Harrison 2009; Hilder 2012, 2015; Moisala 2007; Ramnarine 2009, 2017), and Indigenous artists have taken action on politicised issues through a range of contemporary and flourishing artistic expressions (Robinson and Martin 2016).
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Merson, Emily H. "International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale." Millennium: Journal of International Studies 46, no. 1 (August 24, 2017): 41–65. http://dx.doi.org/10.1177/0305829817716671.
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Drawing from and contributing to the International Relations (IR) aesthetics literature, I analyse how Anishinaabe artist Rebecca Belmore’s 2005 Venice Biennale performance-based video installation Fountain is an enactment of creative presence at an intersection of international and transnational politics. Belmore’s aesthetic method of engaging with water as a visual interface between the artist and viewer, by projecting the film of her performance onto a stream of falling water in the Canadian Pavilion exhibition, offers a method of understanding and transforming settler colonial power relations in world politics. I argue that Belmore’s artistic labour and knowledge production is an expression of Indigenous self-determination by discussing how Fountain is situated in relation with Indigenous peoples’ transnational land and waterway reclamations and cultural resurgences as well as the colonial context of the international art world dynamics of the Venice Biennale. My analysis of Belmore’s decolonial sensibility and political imagination with respect to water contributes to IR aesthetics debates by foregrounding the embodiment of knowledge production and performance artwork as a method of decolonisation.
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Kim, Yangsoon. "Elizabeth Bishop’s Back-and-Forth Migration: An American Poet’s Canadian “Home-Made” Aesthetics." Journal of American Studies 52, no. 3 (December 31, 2020): 161–80. http://dx.doi.org/10.22505/jas.2020.52.3.07.
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Ladouceur, Louise. "Surtitles take the stage in Franco-Canadian theatre." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 343–64. http://dx.doi.org/10.1075/target.25.3.03lad.
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Faced with the need to expand their audience, small Franco-Canadian theatre companies are experimenting with various on-stage translative strategies, such as surtitles, to reach audiences with diverse linguistic and cultural profiles. Not only do they explore their bilingualism in plays that incorporate Canada’s two official languages, they enhance the bilingual aesthetics of the original play with the use of surtitles. In addition to conventional surtitles translating the source text delivered orally on stage, creative surtitles transmit new messages and thus multiply the possible readings generated by the performance. Thus, translation achieves a certain autonomy within the theatre production and, in doing so, redefines its function while challenging the existing theoretical models applied to the translation of dramatic texts.
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Betts, Gregory. "Just Playing Mad: Irrationalism in Automatism via Claude Gauvreau." Brock Review 10, no. 2 (June 15, 2009): 10–25. http://dx.doi.org/10.26522/br.v10i2.49.
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With particular attention paid to three plays by Claude Gauvreau, my study will address the aesthetics of madness as it arose in one substantial node of Canadian avant-gardism – the French-Canadian Automatist movement. The Automatists shared the European Surrealist’s strong spirit of unbridled, irrational psychological utopianism, but believed they had surpassed the Surrealists in rejecting representationalism in art (including dream representation). This paper demonstrates how and why the work of one Automatist artist struggled to enact and unleash an irrational art on an unsuspecting Québécois public.
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Pugliese, Olga Zorzi. "Beautifying the City: 1960s Artistic Mosaics by Italian Canadians in Toronto." Quaderni d'italianistica 28, no. 1 (January 1, 2007): 93–113. http://dx.doi.org/10.33137/q.i..v28i1.8551.
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Italian Canadian craftsmen deserve recognition for their contribution to the aesthetics of Toronto's architectural environment through their role in the production of mosaic artworks. After an early period in the 1930s (which witnessed the ROM and Foster Memorial projects) there was a second phase of activity in the 1960s, in part as a result of the efforts of the entrepreneur Remo De Carli. Major works in churches (e.g. Our Lady of Sorrows Church), business establishments, banquet halls, and private homes were designed by Italian-trained artists in Canada, especially Vittorio Corsaletti, Luigi Nasato, and Vincenzo Vanin.
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Usmiani, Renate. "Roy Mitchell: Prophet in Our Past." Theatre Research in Canada 8, no. 2 (September 1987): 147–68. http://dx.doi.org/10.3138/tric.8.2.147.
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Roy Mitchell, Canadian pioneer of modernism in the theatre, has been largely ignored by Canadian theatre historians and publishers. Creative Theatre (1929), his summa, was republished in 1969 - in the United States. It is the purpose of this article to give an overview of Mitchell's innovative theoretical ideas (as expressed in his three books and numerous articles); of the early practical work at the Arts and Letters Club and at Hart House Theatre, which led to these ideas; and of the interrelationship between Mitchell's aesthetics of the theatre and his theosophist beliefs.
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Härting, Heike. "Foreign Encounters: The Political and Visual Aesthetics of Humanitarianism in Contemporary Canadian Film Culture." University of Toronto Quarterly 82, no. 2 (April 2013): 331–52. http://dx.doi.org/10.3138/utq.82.2.331.
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Sandlos, John. "From the Outside Looking in: Aesthetics, Politics, and Wildlife Conservation in the Canadian North." Environmental History 6, no. 1 (January 2001): 6. http://dx.doi.org/10.2307/3985229.
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Siemerling, Winfried. "Re/cognizing the Time-Spaces of the Black Atlantic: A Response." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 1 (December 29, 2020): 114–20. http://dx.doi.org/10.1017/pli.2020.24.
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In this response to the incisive and stimulating discussions by Karina Vernon, Robert S. Levine, Barrington Walker, and Katja Sarkowsky of The Black Atlantic Reconsidered, I focus on the dynamic dimensions of Black Canadian and Black Atlantic time-spaces and temporalities, as well as issues of public, institutional, and pedagogical inclusion, incorporation, recognition, and transformation. In addition, questions of history and its uses, social aesthetics, and contrapuntal national/transnational frameworks are brought to the fore, often with reference to specific texts, to reflect on Black Canadian cultural achievement and its transnational and diasporic contexts both past and present.
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Beer, Ruth, and Caitlin Chaisson. "A Canadian Selvage: Weaving Artistic Research into Resource Politics." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 180–99. http://dx.doi.org/10.18432/ari29400.
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This exploratory article addresses our experiences as artist-researchers engaged with “Trading Routes: Grease Trails, Oil Futures,” a research-creation project supported by the Social Sciences and Humanities Research Council of Canada. “Trading Routes” focuses on the intersecting geographies of Indigenous fish grease trails and the proposed Alberta-British Columbia oil pipeline. These converging routes are shedding light on the present entanglement between Indigenous and non-Indigenous cultural heritage, ecological perspectives, and resource extraction. Through artistic scholarship, material production, historical and cultural understanding, we seek to better account for the ways in which an environmental social justice perspective can be crafted into arts-based research. We write from a point of reflection, where we assess, evaluate, disentangle, and unclad some of the learning that has come to us through the research-creation and presentation of contemporary weaving. We suggest that arts-based research can offer a methodology of learning and thinking rooted in a perspective of informing, informality, or thinking about artworks in form, an extension of a/r/tographic praxis that is grounded in an analysis of materiality and aesthetics.
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Meerzon, Yana. "Multiculturalism, (Im)Migration, Theatre: The National Arts Centre, Ottawa, a Case of Staging Canadian Nationalism." Journal of Contemporary Drama in English 6, no. 1 (April 27, 2018): 113–30. http://dx.doi.org/10.1515/jcde-2018-0015.
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AbstractOn October 22, 2015, two days after the Liberal Party of Canada came to power, The Globe and Mail published an editorial entitled “Canada to the World: Xenophobia Doesn’t Play Here.” The article suggested that, in these times of migration crises, a rising xenophobic discourse and neo-nationalism, it is essential for the European countries to start taking lessons in navigating cultural diversity from Canada, the first country in the world that institutionalized principles of multiculturalism. This view is clearly reflected in the repertoire politics of Canadian theatre institutions, specifically the National Arts Centre (NAC) Ottawa, the only theatre company in Canada directly subsidized by its government. Mandated to support artistic excellence through arts, the NAC acts as a pulpit of official ideology. It presents diversity on stage as the leading Canadian value, and thus fulfills its symbolic function to serve as a mirror to its nation.However, this paper argues that, by offering an image of Canada, constructed by our government and tourist agencies, as an idyllic place to negotiate our similarities and differences, the NAC fosters what Loren Kruger calls a theatrical nationhood (4–16). A closer look at the 2014 NAC English theatre co-production of Kim’s Convenience will help illustrate how the politics of mimicry can become a leading device in the aesthetics of national mimesis – a cultural activity of “representing the nation as well as the result of it (an image of the nation)” (Hurley 24); and how the artistry of a multicultural kitchen-sink can turn a subject of diversity into that of affirmation and sentimentalism.
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Brunner, Bettina. "‘What is a mouth’: Joyce Wieland’s Pierre Vallières (1972) and the politics of the film portrait." Moving Image Review & Art Journal 9, no. 1 (April 1, 2020): 10–23. http://dx.doi.org/10.1386/miraj_00020_1.
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Focusing on Joyce Wieland’s film portrait Pierre Vallières (1972), this article follows the Canadian artist and filmmaker’s practice as it evolved through her engagement with the New York film avant-garde of the 1960s. Through an analysis of Wieland’s collaboration with Shirley Clarke, I will also discuss Pierre Vallières in relation to US-American documentary practices from the same period. Referring to Clarke’s Portrait of Jason (1967) with its focus on the spoken word as well as Andy Warhol’s Screen Tests, I will place Wieland’s film within this line of film portraits engaging with identity and a performative notion of subjectivity. Drawing on Gilles Deleuze, this article concludes with a close reading of Wieland’s film, discussing her use of the close-up as a means of thwarting the linear narrative and logic of its subject’s political speech. Pierre Vallières’ politics thus emerges within an aesthetics that crosses the boundaries of documentary and avant-garde, communicating with audiences beyond the film’s original context of French-Canadian emancipation.
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Brunner, Bettina. "‘What is a mouth’: Joyce Wieland’s Pierre Vallières (1972) and the politics of the film portrait." Moving Image Review & Art Journal 9, no. 1 (April 1, 2020): 10–23. http://dx.doi.org/10.1386/miraj_00020_1.
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Focusing on Joyce Wieland’s film portrait Pierre Vallières (1972), this article follows the Canadian artist and filmmaker’s practice as it evolved through her engagement with the New York film avant-garde of the 1960s. Through an analysis of Wieland’s collaboration with Shirley Clarke, I will also discuss Pierre Vallières in relation to US-American documentary practices from the same period. Referring to Clarke’s Portrait of Jason (1967) with its focus on the spoken word as well as Andy Warhol’s Screen Tests, I will place Wieland’s film within this line of film portraits engaging with identity and a performative notion of subjectivity. Drawing on Gilles Deleuze, this article concludes with a close reading of Wieland’s film, discussing her use of the close-up as a means of thwarting the linear narrative and logic of its subject’s political speech. Pierre Vallières’ politics thus emerges within an aesthetics that crosses the boundaries of documentary and avant-garde, communicating with audiences beyond the film’s original context of French-Canadian emancipation.
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Pantalony, David. "Biography of an Artifact: The Theratron Junior and Canada’s Atomic Age." Scientia Canadensis 34, no. 1 (December 16, 2011): 51–63. http://dx.doi.org/10.7202/1006928ar.
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In this article I examine the life of an artifact, the Theratron Junior, a sleek green radiotherapy machine from 1956 displayed in a permanent exhibit at the Canada Science and Technology Museum. It is currently seen through the lens of Canadian innovations, but the Theratron Junior brims with features and history that touch on several other historical narratives—scientific, commercial, labour, aesthetics and patient experience. The striking “sea foam” green paint, for example, has inspired an independent exhibition at the museum on the colour green in twentieth-century medicine. In addition, research into the former life of the specific machine on display (serial no. 15 from 1956), including the people who made and used it, has produced a reinvigorated artifact biography that enriches and challenges conventional narratives from Canada’s early atomic era. The lessons from careful artifact studies are readily clear—we are missing opportunities by taking for granted the most familiar items on our museum floors.
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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McCartney, Andra, and Ellen Waterman. "In and Out of the Sound Studio." Intersections 26, no. 2 (December 7, 2012): 3–19. http://dx.doi.org/10.7202/1013223ar.
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In the introduction to this special issue ofIntersections,Andra McCartney and Ellen Waterman reflect on In and Out of the Sound Studio, an inter-university ethnographic research project funded by the SSHRC between 2001 and 2005. The research team studied ideas and practices of contemporary Canadian soundmakers, aiming to address the relative invisibility and inaudibility of women, and thinking about ways in which sound technologies and practices are gendered. In their essay, the authors discuss the relationships found among the terms gender, sound, and technology in terms of terminology, aesthetics, mentoring, methodology and theory. Contributions by McCartney, Diamond, Laplante, Labrosse, Marsh, and Bosma are discussed.
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Zehle, Soenke. "Dispatches from the Depletion Zone: Edward Burtynsky and the Documentary Sublime." Media International Australia 127, no. 1 (May 2008): 109–15. http://dx.doi.org/10.1177/1329878x0812700114.
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The scope of China's contemporary transformation is measured by many observers according to the environmental crisis it has engendered. One of the most ambitious attempts to document this transformation has been the recent work by Edward Burtynsky. The China series is the latest contribution to the Canadian photographer's grand tour of industrial landscapes. Burtynsky employs the same approach and rules of composition across terrains and topics, and there is indeed nothing radically new in terms of subject or composition in the China series. Yet, linked to the question of scale that is so central to Burtynsky's approach, the question of the sublime offers a useful point of entry for approaching the China series, not only because it is so routinely inscribed in this (heterogeneous) tradition, but because the concept has also played a key role in the refashioning of Chinese aesthetics to stress the heroism of Chinese industrial ambition. And the suggestion, evident in the attentiveness to the scale of environmental devastation, that the sublime can no longer be invoked to legitimate a techno-feudalist course of development, can initiate a political conversation, even if the photographer's aesthetic does not offer an idiom with which to engage the complexities of cultural difference.
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Gaub, Albrecht. "Walter Kaufmann and the Winnipeg Ballet: A Fruitful Collaboration Soon Forgotten." Les Cahiers de la Société québécoise de recherche en musique 14, no. 2 (March 13, 2014): 89–99. http://dx.doi.org/10.7202/1023743ar.
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The early years of the Royal Winnipeg Ballet (RWB), the era of its founding director Gweneth Lloyd (1901–1993), remain a “dark age” because in 1954, all possessions of the company perished in a fire. Earlier attempts at writing the history of this institution, such as Max Wyman’s book The Royal Winnipeg Ballet: The First Forty Years (Toronto, Doubleday, 1978) and Jeff McKay and Patti Ross Milne’s documentary film 40 Years of One Night Stands (2008), suffer from a general neglect of the music used by the company. The RWB mounted several ballets to original music, typically by Canadian composers. Walter Kaufmann (1907–1984), a German-Jewish composer exiled after 1934, living in Canada from 1947, and appointed conductor of the Winnipeg Symphony Orchestra in 1948, received commissions for Visages, an abstract ballet for the company’s tenth anniversary in January 1949, and The Rose and the Ring, a “children’s Xmas ballet” (RWB), first performed in December of the same year. Creation, aesthetics, and reception of these ballets are evaluated on the basis of Kaufmann’s surviving autograph scores at Indiana University in Bloomington and of contemporaneous documents, especially press reviews and, in the case of Visages, a documentary film by the National Film Board of Canada, Ballet Festival (1949). Visages was immediately hailed as a major artistic achievement and remained a staple of the RWB’s repertory until the 1954 fire. The RWB showcased Visages at the Canadian Ballet Festivals in Toronto (1949) and Montréal (1950), drawing praise from renowned critic Anatole Chujoy, and regularly presented it on its tours, including one to Washington, D.C. (1954). Referring to Anna Blewchamp’s reconstruction to Lloyd’s ballet The Wise Virgins, which was also lost in the 1954 fire, chances for a revival of Visages are assessed.
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Green, Henry. "The Montreal Moroccan Diaspora." European Judaism 52, no. 2 (September 1, 2019): 129–42. http://dx.doi.org/10.3167/ej.2019.520210.
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Canada’s Moroccan Jewish community is the third largest diaspora in the world after Israel and France. This article introduces Sephardi Voices, a project to collect, preserve and archive audio-visually the life stories of Jews displaced from Arab/Islamic lands and in the process sketches an overview of the resettlement of one Sephardi migration community, the Moroccan to Montreal. Featuring scholars like Joseph Levy, Yolande Cohen and Jean-Claude Lasry, the integration experience of Moroccan Jews into the anglophone Ashkenazi community and the francophone Québécois society is presented, along with their efforts to build a French-Sephardi institutional structure to preserve their heritage. The article highlights the role of oral history and the aesthetics of remembrance as important vehicles to depict how memories are imparted and identities formed. Today, the Moroccan Jews of Montreal are transnationals and proud to add Canadian to their identity chain of Jewish, Sephardi, Moroccan and French.
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Chilima, Jania, Jill Blakley, Harry Diaz, and Lalita Bharadwaj. "Understanding Water Use Conflicts to Advance Collaborative Planning: Lessons Learned from Lake Diefenbaker, Canada." Water 13, no. 13 (June 25, 2021): 1756. http://dx.doi.org/10.3390/w13131756.
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Conflicts around the multi-purpose water uses of Lake Diefenbaker (LD) in Saskatchewan, Canada need to be addressed to meet rapidly expanding water demands in the arid Canadian prairie region. This study explores these conflicts to advance collaborative planning as a means for improving the current water governance and management of this lake. Qualitative methodology that employed a wide participatory approach was used to collect focus group data from 92 individuals, who formed a community of water users. Results indicate that the community of water users is unified in wanting to maintain water quality and quantity, preserving the lake’s aesthetics, and reducing water source vulnerability. Results also show these users are faced with water resource conflicts resulting from lack of coherence of regulatory instruments in the current governance regime, and acceptable management procedures of both consumptive and contemporary water uses that are interlinked in seven areas of: irrigation, industrial, and recreational water uses; reservoir water level for flood control and hydroelectricity production; wastewater and lagoon management; fish farm operations; and regional water development projects. As a means of advancing collaborative planning, improvements in water allocation and regulatory instruments could be made to dissipate consumptive use conflicts and fill the under-regulation void that exists for contemporary water uses. Additionally, a comprehensive LD water use master plan, as a shared vision to improve participation in governance, could be developed to direct the water uses that have emerged over time. This study suggests that these three areas are practical starting conditions that would enable successful collaborative planning for the seven areas of water uses. Focusing on these three areas would ensure the current and future needs of the community of water users are met, while avoiding reactive ways of solving water problems in the LD region, especially as the water crisis in the Canadian Prairie region where LD is located is expected to intensify.
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Woodland, Sarah. "A Review of Two Conferences: The Head and the Heart of Arts in Prisons." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 364–72. http://dx.doi.org/10.18432/ari29412.
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This is a comparative review of two conferences held in North America in March of 2018. Carceral Cultures was presented by the Canadian Association of Cultural Studies at Simon Fraser University, Vancouver, from March 1-4. The purpose of the conference was to bring together cultural theorists, practitioners and activists to contemplate the carceral. The Shakespeare in Prisons Conference was presented by the Shakespeare in Prisons Network at the Old Globe Theatre in San Diego, from March 22-25. The focus of this conference was to bring together artists and theorists who work in the field of arts in corrections, not limited to the works of the Bard. As a sometime practitioner-researcher of Prison Theatre I have found it interesting to compare the two conferences in terms of how each appealed to my head (cognition), and to my heart (affect), in engaging with the politics and aesthetics of arts in prisons. The conferences were divergent in so many ways, and yet now converge in my mind to deepen my understanding of the work that I do, and strengthen my resolve to continue resisting the broken (in)justice system through art-research-activism.
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Mackenthun, Gesa. "Sustainable Stories: Managing Climate Change with Literature." Sustainability 13, no. 7 (April 6, 2021): 4049. http://dx.doi.org/10.3390/su13074049.
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Literary and cultural texts are essential in shaping emotional and intellectual dispositions toward the human potential for a sustainable transformation of society. Due to its appeal to the human imagination and human empathy, literature can enable readers for sophisticated understandings of social and ecological justice. An overabundance of catastrophic near future scenarios largely prevents imagining the necessary transition toward a socially responsible and ecologically mindful future as a non-violent and non-disastrous process. The paper argues that transition stories that narrate the rebuilding of the world in the midst of crisis are much better instruments in bringing about a human “mindshift” (Göpel) than disaster stories. Transition stories, among them the Parable novels by Octavia Butler and Kim Stanley Robinson’s The Ministry for the Future (2020), offer feasible ideas about how to orchestrate economic and social change. The analysis of recent American, Canadian, British, and German near future novels—both adult and young adult fictions—sheds light on those aspects best suited for effecting behavioral change in recipients’ minds: exemplary ecologically sustainable characters and actions, companion quests, cooperative communities, sources of epistemological innovation and spiritual resilience, and an ethics and aesthetics of repair.
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MANAGHAN, TINA. "Highways, heroes, and secular martyrs: the symbolics of power and sacrifice." Review of International Studies 38, no. 1 (August 1, 2011): 97–118. http://dx.doi.org/10.1017/s0260210511000271.
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AbstractThis article examines the subtle and not so subtle shifts in Canadian political culture that have taken place in, through and alongside the so-called ‘return’ of the Canadian warrior. It begins from the contention that while the racialised dimensions of the post 9/11 Canadian security state have been well analysed elsewhere, the gendered dimensions have not been fully explored. This article explores the re-emergence of a sacrificial imaginary in Canadian culture through an examination of seemingly irreconcilable accounts that have emerged of the Canadian security state – one that reads ‘Canada’ through the story of the torture and repatriation of Canadian citizen, Maher Arar, and one that tells the story of ‘Canada at War’ through the warrior's return. It examines both in terms of the tensions and instabilities they reveal in the Western liberal imaginary and in terms of the ways in which they collectively operate to redefine the aesthetic borders of the Canadian political community. The article argues that the sacralisation of violence which has refound this political community has been enabled by a remasculinised aesthetic that delimits the ‘progressive liberalism’ which animated the Canada of Old – ostensibly in order to protect it.
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Bell, Shannon. "SHARPE’S PERVERSE AESTHETIC." Constitutional Forum / Forum constitutionnel 12, no. 1, 2 & 3 (July 24, 2011): 2001. http://dx.doi.org/10.21991/c9x371.
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Robin Sharpe1 was charged with possession of child pornography under section 163.1 of the Criminal Code.2 He argued that the section violated his freedom of expression under the Canadian Charter of Rights and Freedoms.3 The Supreme Court of Canada found that the provision prohibited the possession of visual representations that a reasonable person would view as depictions of explicit sexual activity with a person under the age of eighteen. The Court found that the sexual nature of the representations must be determined objectively. That is, it must be the “dominant characteristic.”4 In addition, the Court found that the section prohibited possession of written or visual materials that actively induce or encourage sexual acts with children.5
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Ramjattan, Vijay A. "Lacking the right aesthetic." Equality, Diversity and Inclusion: An International Journal 34, no. 8 (November 16, 2015): 692–704. http://dx.doi.org/10.1108/edi-03-2015-0018.
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Purpose – Expertise in English language teaching (ELT) is determined by being a white native speaker of English. Therefore, ELT is a type of aesthetic labour because workers are expected to look and sound a particular way. As nonwhite teachers cannot perform this labour, they may experience employment discrimination in the form of racial microaggressions, which are everyday racial slights. The purpose of this paper is to investigate what types of microaggressions inform several nonwhite teachers that they cannot perform aesthetic labour in private language schools in Toronto, Canada. Design/methodology/approach – The paper utilizes a critical race methodology in which several nonwhite teachers told stories of racial microaggressions. Findings – The teachers were told that they lacked the right aesthetic through microaggressions involving employers being confused about their names, questioning their language backgrounds, and citing customer preferences. Research limitations/implications – Future research must find out whether nonwhite teachers experience discrimination throughout Canada. Other studies must investigate how intersecting identity markers affect teachers’ employment prospects. Practical implications – To prevent the discrimination of nonwhite teachers (in Canada), increased regulation is needed. The international ELT industry also needs to fight against the ideology that English is a white language. Originality/value – There is little literature that examines language/racial discrimination in the Canadian ELT industry and how this discrimination is articulated to teachers.
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Balogh, Lehel. "Canadian-Daoist Poetics, Ethics, and Aesthetics: An Interdisciplinary and Cross-Cultural Study. By John Z. Ming Chen and Yuhua Ji. Berlin/Heidelberg: Springer, 2016. Pp. xx + 208. Hardback, $139.99; Paperback, $179.00." Religious Studies Review 44, no. 3 (September 2018): 349. http://dx.doi.org/10.1111/rsr.13620.
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Lysanets, Yuliia. "THE IMPLICATION FORMATIVE POTENTIAL RECEPTIVE AND SEMANTIC POTENTIAL OF SILENCE IN MODERN LITERARY AND MEDICAL DISCOURSE." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 37–40. http://dx.doi.org/10.28925/2412-2475.2019.136.
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The article aims to analyse the receptive and semantic potential of silence based on the novel “Critical Condition” (2002) by the contemporary Canadian-American physician, writer Peter Clement. The research methodology is based on the application of modern literary studies in the fields of narratology, receptive aesthetics and literary hermeneutics. The theoretical significance of the research consists in the disclosure of the narrative category of silence in the modern American literary and medical discourse. The results of the study will improve the content of training courses in the world literature and form a methodological basis for the development of special courses, theme-based seminars and academic syllabi. In the course of the study, it was found that silence within the analysed literary work symbolizes the epistemological and communicative crisis of language. The author’s intentions and receptive resource of silence in the text have been analysed. The leading role of facial expressions as a means of exteriorizing the silence effect in the “doctor — patient” communicative situation has been observed. The patient’s silence in the novel is associated with the author’s rethinking of the phenomena of illness and disability, thus stimulating the reader to embrace the active position of co-creation and receptive cooperation by filling-in the narrative “gaps” of the text. Further research is needed to study the role of the reader’s reception in constructing the silence in the “doctor — patient”communicative situation, as exemplified by the literary and medical discourse of the US prose.
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Löschnigg, Maria. "‘Sublime Oilscapes’: Literary Depictions of Landscapes Transformed by the Oil Industry." Anglia 135, no. 3 (September 6, 2017): 543–60. http://dx.doi.org/10.1515/ang-2017-0049.
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AbstractLiterary reactions to the transformation of landscape by modern technology foreground the fragility of the planet while at the same time suggesting notions of immensity and inspiring awe. Oil mining, in particular, threatens and destroys essential mega-biotopes, as for example two of the biggest wetlands on earth, the Athabasca Tar Sands in Canada’s northern Alberta and the Niger Delta in southern Nigeria. While we are flooded, daily, by media reports on environmental damage and by scientifically based scenarios of future catastrophes, it is literature with its specifically ambiguous and multidimensional make-up, which proves to be an ideal medium to foreground the ambivalence of twenty-first century societies regarding their attitude towards a radically modified natural environment. The double aesthetics of the sublime, in particular, proves to be a congenial creative (and critical) approach to these fear- and awe-inspiring landscapes, which have been forged and shaped by technology and industry. In my essay I want to show how twenty-first century Canadian and Nigerian writers have responded to the effects of oil mining in their respective countries by drawing on notions of the sublime as they came to be articulated by Edmund Burke in the eighteenth century and have been taken up by scholars in the twentieth and twenty-first centuries. Through their narrative and poetic ‘sublime oilscapes’ these authors effectively foreground the problems inherent in the split attitude of contemporary societies.
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Worley, Brandon, Luvneet Verma, and Jillian Macdonald. "Aesthetic Dermatologic Surgery Training in Canadian Residency Programs." Journal of Cutaneous Medicine and Surgery 23, no. 2 (November 16, 2018): 164–73. http://dx.doi.org/10.1177/1203475418814228.
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Background: The public and other physicians expect dermatologists to be experts on aesthetic dermatology services. In Canada, current challenges may limit residents from achieving competency in aesthetic dermatology during their training. This may adversely affect patient safety, create medicolegal risks, and deter graduates from offering aesthetic procedures. Objectives: The objective of this article is to characterize the curriculum, hands-on learning opportunities, and perceptions of aesthetic dermatologic training in Canadian dermatology residency training programs. Methods: An online survey of faculty and residents within Canadian dermatology residency programs was performed. The main outcome measures were the hours of formal aesthetic dermatology teaching, the frequency of hands-on dermatology resident training with injectables and devices, and comparing faculty and resident perspectives regarding resident aesthetic dermatology training. Results: Thirty-six faculty members (40%) and 47 residents (34%) responded to the survey. Lasers, fillers, neuromodulators, and mole removal were most commonly taught in the 10 hours or fewer of formal instruction. Residents commonly observed rather than performed procedures. High dissatisfaction among residents was reported with the quality and quantity of aesthetic dermatology training. Faculty and resident respondents supported increasing aesthetic dermatology education, and approximately 70% of residents plan to offer aesthetic services. Discounted pricing or resident-led clinics were felt to be ways to increase resident hands-on experience. Conclusions: The standardization of core competencies in aesthetic dermatologic procedures is essential to ensure patient safety and practitioner competence. At present, formal aesthetic dermatology training in residency may be insufficient for hands-on training. The majority of dermatology faculty and resident respondents support increasing aesthetic dermatology training.
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Largo, Marissa. "A Country That Does Not Exist." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 108–30. http://dx.doi.org/10.1163/23523085-00101006.
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This paper examines the 2013 exhibitionThrough the Looking Glass: Inside My Domestic Portraitof Filipino Canadian artist Julius Poncelet Manapul. I ask in this case study: What are the ways in which Filipino Canadian artists mobilize art in response to their invisibility in Canadian society? Adopting a contextual analysis, I interpret Manapul’s artwork, my interview with the artist, and his writings and place them in conversation with discourses of contemporary art, visual culture, and cultural studies.I argue Manapul’s hybrid art practice represents an emerging queer decolonial aesthetic that challenges Western heteronormative standards of family, home, identity, and citizenship consequently creating a utopic, third space of potentiality. Through physical, symbolic, and virtual interventions, Manapul provides an alternative vision of postcolonial subjectivity, which defies essentialist readings of ethnic identity prevalent in Canada’s neoliberal multicultural discourse. I discuss the implications of Manapul’s queer decolonial aesthetic in relation to multiculturalism in Canada and its generative possibilities for contemporary queer theory.
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Catanzaro, Christopher, and Enefiok Ekanem. "397 Assessment of Community Tree Planting Project Reveals Social and Psychological Benefits." HortScience 35, no. 3 (June 2000): 461C—461. http://dx.doi.org/10.21273/hortsci.35.3.461c.
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A community tree planting project was conducted on the border of an urban Nashville, Tenn., neighborhood in Autumn 1994. In Jan. 2000, a written survey was developed to assess residents' perception of this site. Responses were gathered voluntarily and anonymously following a community meeting. Photographs of the site taken before the planting and again recently were available to respondents. Descriptions of the site's appearance prior to planting (turf only) included barren, boring, and lacking character. Comments regarding the site with trees suggest that trees provide cover and shade, are aesthetically pleasing, and represent positive human involvement. The average rating of the site's appearance prior to planting was “fair,” while its recent appearance was rated “very good.” Among three tree species included in the planting, Southern magnolia was strongly preferred over Canadian (Eastern) hemlock and Eastern redbud. Respondents valued magnolia's size, unique flowers and leaves, and evergreen nature. Most respondents did not use the area for any specific purpose. Despite that fact, respondents stated that they benefitted from the soothing aesthetics of the landscaped site, and that the site added value to the neighborhood and implied the qualities of belonging and leadership. An unintended outcome of the survey was its educational aspect. Nearly two-thirds of respondents did not live in the area when this site was landscaped, and most of them were not aware that the neighborhood had conducted the project. Nearly one-half of all respondents expressed interest in additional landscaping at this site or nearby high-visibility, high-use sites.
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Cull, Brendan. "Early Canadian Botanical Photography at the Exposition universelle, Paris 1867." Scientia Canadensis 39, no. 1 (October 12, 2017): 27–50. http://dx.doi.org/10.7202/1041377ar.
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Sites et végétaux du Canada was an early photographic experiment in botanical illustration. Presented at the 1867 Paris exposition, the album’s 35 albumen prints were part of the Canadian displays. The photographs were a collaborative effort between Joseph-Charles Taché, Canada’s Executive-Secretary at the exposition; Louis-Ovide Brunet, a Catholic priest and botany professor at the Université Laval; and Livernois & Cie, a Québec City photography studio. Previous work has considered the album as the aesthetic accomplishment of Jules-Isaïe Benoît dit Livernois, excluding Taché and Brunet from the art historical narrative. In this paper, I consider the album’s political and botanical contexts, and viewership, to more clearly situate the album in the visual culture of early Canadian science. In its representation of Canadian landscapes and native-plant specimens, the album effectively employed photography to present Canada as a centre of cutting-edge scientific investigation.
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Carman, Wayne, and Elizabeth Hall-Findlay. "Canadian Society for Aesthetic (Cosmetic) Plastic Surgery." Canadian Journal of Plastic Surgery 17, no. 3 (August 2009): 116–18. http://dx.doi.org/10.1177/229255030901700304.
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Carman, Wayne, and Elizabeth Hall-Findlay. "Canadian Society for Aesthetic (Cosmetic) Plastic Surgery/." Canadian Journal of Plastic Surgery 18, no. 3 (September 2010): 116–18. http://dx.doi.org/10.1177/229255031001800301.
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Hall-Findlay, Elizabeth, and Félix-André Têtu. "Canadian Society for Aesthetic (Cosmetic) Plastic Surgery/." Canadian Journal of Plastic Surgery 19, no. 3 (September 2011): 71–73. http://dx.doi.org/10.1177/229255031101900301.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 77, no. 6 (June 1986): 1029. http://dx.doi.org/10.1097/00006534-198606000-00116.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 78, no. 1 (July 1986): 144. http://dx.doi.org/10.1097/00006534-198607000-00103.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 93, no. 7 (June 1994): 1542. http://dx.doi.org/10.1097/00006534-199406000-00089.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 79, no. 6 (June 1987): 1022. http://dx.doi.org/10.1097/00006534-198706000-00108.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 82, no. 2 (August 1988): 382. http://dx.doi.org/10.1097/00006534-198808000-00115.
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&NA;. "CANADIAN SOCIEY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 83, no. 4 (April 1989): 765. http://dx.doi.org/10.1097/00006534-198904000-00102.
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&NA;. "CANADIAN SOCIETY FOR AESTHETIC (COSMETIC) PLASTIC SURGERY." Plastic and Reconstructive Surgery 92, no. 1 (July 1993): 185. http://dx.doi.org/10.1097/00006534-199307000-00099.
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