Jean Barman was the recipient of the 2014 George Woodcock Lifetime Achievement Award. In French Canadians, Furs, and Indigenous Women in the Making of the Pacific Northwest, Jean Barman rewrites the history of the Pacific Northwest from the perspective of French Canadians attracted by the fur economy, the indigenous women whose presence in their lives encouraged them to stay, and their descendants. Joined in this distant setting by Quebec paternal origins, the French language, and Catholicism, French Canadians comprised Canadiens from Quebec, Iroquois from the Montreal area, and métis combining Canadien and indigenous descent. For half a century, French Canadians were the largest group of newcomers to this region extending from Oregon and Washington east into Montana and north through British Columbia. Here, they facilitated the early overland crossings, drove the fur economy, initiated non-wholly-indigenous agricultural settlement, eased relations with indigenous peoples, and ensured that, when the region was divided in 1846, the northern half would go to Britain, giving today’s Canada its Pacific shoreline.
When the Canadian government committed forces to join the military mission in Afghanistan following the terrorist attacks of September 11, 2001, little did it foresee that this decision would involve Canada in a war-riven country for over a decade. The Politics of War explores how, as the mission became increasingly unpopular, Canadian politicians across the political spectrum began to use it to score points against their opponents. This was “politics” with a vengeance. Through historical analysis of the public record and interviews with officials, Jean-Christophe Boucher and Kim Richard Nossal show how the Canadian government sought to frame the engagement in Afghanistan as a “mission” rather than what it was – a war. They examine the efforts of successive governments to convince Canadians of the rightness of Canada’s engagement, the parliamentary politics that resulted from the increasing politicization of the mission, and the impact of public opinion on Canada’s involvement. This contribution to the field of Canadian foreign policy demonstrates how much of Canada’s war in Afghanistan was shaped by the vagaries of domestic politics and political gamesmanship.
Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.
The editors take a critical look at the now almost mainstream "declinist" thesis and at the continued relevance of Canada's relationships with its principal allies - the United Kingdom, France, and the United States. Contributors discuss a broad range of themes, including the weight of a changing identity in the evolution of the country's foreign policy, the fate of Canadian diplomacy as a profession, the often complicated relationship between foreign and trade policies, the impact of immigration and refugee procedures on foreign policy, and the evolving understanding of development and defence as components of Canada's foreign policy.
Excerpts from the novels, plays, and poems of the French convict, prostitute, and literary artist join notes from his film, The Penal Colony, letters, essays, and a rare interview, all edited by a contemporary biographer.
The Criminal Child offers the first English translation of a key early work by Jean Genet. In 1949, in the midst of a national debate about improving the French reform-school system, Radiodiffusion Française commissioned Genet to write about his experience as a juvenile delinquent. He sent back a piece that was a paean to prison instead of the expected horrifying exposé. Revisiting the cruel hazing rituals that had accompanied his incarceration, relishing the special argot spoken behind bars, Genet bitterly denounced any improvement in the condition of young prisoners as a threat to their criminal souls. The radio station chose not to broadcast Genet’s views. “The Criminal Child” appears here with a selection of Genet’s finest essays, including his celebrated piece on the art of Alberto Giacometti.
The screenplay Typhus was penned by Sartre in 1943-44 as a commission for French filmmakers Pathe, who were by that stage already planning their post-war production. The film was never made, though Yves Allegret's film The Proud Ones of 1953 retains some distant echoes of Sartre's original script. Lost for some 60 years, Typhus was rediscovered and republished in 2007, becoming one of the French publishing successes of the year. --
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