Early Life in Upper Canada


Book Description

Although there were abundant hardships, early life in Upper Canada was romantic and colourful in many ways. However, despite important contributions to the social and economic history of Canada, few good, comprehensive accounts have been generally available. Early Life in Upper Canada, originally published in 1933, is by far the finest history yet compiled, and it is now being reprinted in order to make available to a new generation an important and engrossing description of this area of Canadian history. The author, a distinguished Canadian historian, has drawn on contemporary letters, diaries, newspapers, and periodicals, as well as consulting all the existing histories, and he has supplemented these researches with interviews with persons who had personal contacts with early life in the Province. Mr. Guillet has compiled a thorough, accurate and delightfully readable history, that brings vividly to life the early settlers and their experiences. This is in accordance with the author's profound desire to make the study of Canadian history a delight rather than a chore. He has not concealed the unpleasant aspects of pioneer life, nor does he attempt to glamorize its difficulties. There is a tendency at times to forget that the founders of Upper Canada include hundreds of thousands of men and women of many nationalities, and fur traders, lumbermen, and voyageurs, as well as settlers. Their contributions, too, are acknowledged and recorded here. This book is profusely illustrated, with drawings made, in many cases, by army cartographers, who were skilled creative artists as well. Their paintings, fortunately, have been better preserved than were written accounts of the times, and are accurate depictions of pioneer life. The extensive bibliography and carefully prepared index will make this work invaluable for historians as well as for general readers.




Canada in the Frame


Book Description

Canada in the Frame explores a photographic collection held at the British Library that offers a unique view of late nineteenth-century and early twentieth-century Canada. The collection, which contains in excess of 4,500 images, taken between 1895 and 1923, covers a dynamic period in Canada’s national history and provides a variety of views of its landscapes, developing urban areas and peoples. Colonial Copyright Law was the driver by which these photographs were acquired; unmediated by curators, but rather by the eye of the photographer who created the image, they showcase a grass-roots view of Canada during its early history as a Confederation. Canada in the Frame describes this little-known collection and includes over 100 images from it. The author asks key questions about what it shows contemporary viewers of Canada and its photographic history, and about the peculiar view these photographs offer of a former part of the British Empire in a post-colonial age, viewed from the old ‘Heart of Empire’. Case studies are included on subjects such as urban centres, railroads and migration, which analyse the complex ways in which photographers approached their subjects, in the context of the relationship between Canada, the British Empire and photography.







Codex Canadensis and the Writings of Louis Nicolas


Book Description

A natural history and illustrations of the New World in the seventeenth century.







Distorted Descent


Book Description

Distorted Descent examines a social phenomenon that has taken off in the twenty-first century: otherwise white, French descendant settlers in Canada shifting into a self-defined “Indigenous” identity. This study is not about individuals who have been dispossessed by colonial policies, or the multi-generational efforts to reconnect that occur in response. Rather, it is about white, French-descendant people discovering an Indigenous ancestor born 300 to 375 years ago through genealogy and using that ancestor as the sole basis for an eventual shift into an “Indigenous” identity today. After setting out the most common genealogical practices that facilitate race shifting, Leroux examines two of the most prominent self-identified “Indigenous” organizations currently operating in Quebec. Both organizations have their origins in committed opposition to Indigenous land and territorial negotiations, and both encourage the use of suspect genealogical practices. Distorted Descent brings to light to how these claims to an “Indigenous” identity are then used politically to oppose actual, living Indigenous peoples, exposing along the way the shifting politics of whiteness, white settler colonialism, and white supremacy.







Museum Pieces


Book Description

The ways in which Aboriginal people and museums work together have changed drastically in recent decades. This historic process of decolonization, including distinctive attempts to institutionalize multiculturalism, has pushed Canadian museums to pioneer new practices that can accommodate both difference and inclusivity. Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.