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In 1844, Charles Dickens embarked on a year-long visit to Italy, where he turned his perceptive views of the human condition toward a thoughtful appraisal of the country's soul and character. Combining travelogue with social commentary, he formed a kaleidoscopic portrait of nineteenth-century Italian life as seen by an outsider. Rather than serving as a guidebook, his "pictures" from Italy entertain rather than instruct. Dickens' eye for detail and his abundant humor accent his comments on a country rich in art, character, and scenery. Most of the book focuses on Italy's northern regions -- Tuscany, Milan, and Venice -- in addition to sojourns in Rome and Naples. Although appalled by scenes of abject poverty, much of which he attributed to oppression by the Catholic Church, Dickens was captivated by his encounters with lively street carnivals, curious customs, and vivacious individuals. His reflections offer not only the social observations characteristic of his novels, but also keen insights into the author's mind and personality.
Most modern scholars agree that it was written mostly during Plato's so-called middle period. In the dialogue, Socrates is asked by two men, Cratylus and Hermogenes, to tell them whether names are "conventional" or "natural", that is, whether language is a system of arbitrary signs or whether words have an intrinsic relation to the things they signify.
The calm spirit of Cowley's "Essays" was in all his life. As he tells us in his Essay "On Myself," even when he was a very young boy at school, instead of running about on holidays and playing with his fellows, he was wont to steal from them and walk into the fields, either alone with a book or with some one companion, if he could find any of the same temper.
Carroll Aikins's play The God of Gods (1919) has been out of print since its first and only edition in 1927. This critical edition not only revives the work for readers and scholars alike, it also provides historical context for Aikins's often overlooked contributions to theatre in the 1920s and presents research on the different staging techniques in the play's productions. Much of the play's historical significance lies in Aikins's vital role in Canadian theatre, as director of the Home Theatre in British Columbia (1920-22) and artistic director of Toronto's Hart House Theatre (1927-29). Wright reveals The God of Gods as a modernist Canadian work with overt influences from European and American modernisms. Aikins's work has been compared to European modernists Gordon Craig, Adolphe Appia, and Jacques Copeau. Importantly, he was also intimately connected with modernist Canadian artists and the Group of Seven (who painted the scenery for Hart House Theatre). The God of Gods contributes to current studies of theatrical modernism by exposing the primitivist aesthetics and theosophical beliefs promoted by some of Canada's art circles at the turn of the twentieth century. Whereas Aikins is clearly progressive in his political critique of materialism and organized religion, he presents a conservative dramatization of the noble savage as hero. The critical introduction examines how The God of Gods engages with Nietzschean and theosophical philosophies in order to dramatize an Aboriginal lover-artist figure that critiques religious idols, materialism, and violence. Ultimately, The God of Gods offers a look into how English and Canadian theatre audiences responded to primitivism, theatrical modernism, and theosophical tenets during the 1920s.
Does hockey provide a better understanding of the differences between Canadian and Québécois nationalisms? Is there a fundamental relationship between the hockey arena and the political arena? What have we lost as a society in abolishing the tie game? Are salaries in the NHL really that outrageous? Is hockey more art than sport? Should hockey players be banned from using performance-enhancing drugs at all costs? Do goalies suffer from angst? Does our national sport have its own mythology and metaphysics? Do hockey brawls reflect our true human nature more than we would care to admit? And what would it be like if the great philosophers were to face off on the ice? A team of philosophy and hockey buffs go deep with these fascinating questions and many others in this examination of a worshipped sport elevated to something akin to a cult. Accessibly written and peppered with humour, the essays in this book will charm specialists, sports fans, and everyone in between. Whether you're a fan of Richard, Gretzky, Crosby, Plato, Kant, or Kierkegaard, you're invited to be a spectator at this very special meeting of minds!
Bonté III was five years old. A cow at that age is at her prime. Prime is an accounting term. A dairy farm is a business and must be managed as such. From this perspective, Bonté III's days were numbered. Numbered is not an empty word. She had been a good representative of her breed. A cow, after all, has no need to try to be a cow. Her life is that of a cow: a predetermined cycle that is easily reflected on a balance sheet. She eats. She drinks. She ruminates. She urinates. She defecates. All this has a cost. She ovulates. She bears a calf. She gives birth. She produces milk. All this brings money. [...] Tit for tat. The only thing left to do for Bonté III was to call the butcher.The Fate of Bonté III is a story of love and loneliness with colourful characters, a reflection on life and the vital need to be useful to someone or to something.
In Ballast to the White Sea is Malcolm Lowry's most ambitious work of the mid-1930s. Inspired by his life experience, the novel recounts the story of a Cambridge undergraduate who aspires to be a writer but has come to believe that both his book and, in a sense, his life have already been "written." After a fire broke out in Lowry's squatter's shack, all that remained of In Ballast to the White Sea were a few sheets of paper. Only decades after Lowry's death did it become known that his first wife, Jan Gabrial, still had a typescript. This scholarly edition presents, for the first time, the once-lost novel. Patrick McCarthy's critical introduction offers insight into Lowry's sense of himself while Chris Ackerley's extensive annotations provide important information about Lowry's life and art in an edition that will captivate readers and scholars alike.
Recipient of the 2005 Governor General's Literary Award in non-fiction, Quand la nation débordait les frontières is considered the most comprehensive analysis of Lionel Groulx's work and vision as an intellectual leader of a nationalist school that extended well beyond the borders of Québec.For over five decades, historians and intellectuals have defined the nationalist discourse primarily in territorial terms. In this regard, Groulx has been portrayed--more often than not--as the architect of Québecois nationalism. Translated by Ferdinanda Van Gennip, A Nation Beyond Borders will continue to spark debate on Groulx's description of the parameters of the French-Canadian nation. Highlighting the often neglected role of French-Canadian minorities in his thought, this book presents the Canon as an uncompromising advocate of solidarity between all French-Canadian communities.
In Petun to Wyandot, Charles Garrad draws upon five decades of research to tell the turbulent history of the Wyandot tribe, the First Nation once known as the Petun. Combining and reconciling primary historical sources, archaeological data and anthropological evidence, Garrad has produced the most comprehensive study of the Petun Confederacy. Beginning with their first encounters with French explorer Samuel de Champlain in 1616 and extending to their decline and eventual dispersal, this book offers an account of this people from their own perspective and through the voices of the nations, tribes and individuals that surrounded them.Through a cross-reference of views, including historical testimony from Jesuits, European explorers and fur traders, as well as neighbouring tribes and nations, Petun to Wyandot uncovers the Petun way of life by examining their culture, politics, trading arrangements and legends. Perhaps most valuable of all, it provides detailed archaeological evidence from the years of research undertaken by Garrad and his colleagues in the Petun Country, located in the Blue Mountains of Central Ontario. Along the way, the author meticulously chronicles the work of other historians and examines their theories regarding the Petun's enigmatic life story.
Following the metaphysical and epistemological threads that have led to our modern conception of the body as a machine, the book explores views of the body in the history of philosophy. Its central thesis is that the Cartesian paradigm, which has dominated the modern conception of the body (including the development and practice of medicine), offers an incomplete and even inaccurate picture. This picture has become a reductio ad absurdum, which, through such current trends as the practice of extreme body modification, and futuristic visions of downloading consciousness into machines, could lead to the disappearance of the biological body. Presenting Spinoza's philosophy of the body as the road not followed, the author asks what Spinoza would think of some of our contemporary body visions. It also looks to two more holistic approaches to the body that offer hope of recovering its true meaning: the practice of yoga and alternative medicine. The metaphysical analysis is accompanied throughout by a tripartite historical and epistemological analysis: the body as an obstacle to knowledge (exemplified by Plato and our modern-day futurists), the body as an object of knowledge (exemplified by Descartes and modern scientific medicine); and the body as a source of knowledge (exemplified by the Stoics, and the philosophy of yoga).
This volume comprises a reprinting and gloss of the original text of the 1933 Communist play Eight Men Speak. The play was banned by the Toronto police after its first performance, banned by the Winnipeg police shortly thereafter and subsequently banned by the Canadian Post Office. The play can be considered as one stage-the published text-of a meta-text that culminated in 1934 at Maple Leaf Gardens when the (then illegal) Communist Party of Canada celebrated the release of its leader, Tim Buck, from prison. Eight Men Speak had been written and staged on behalf of the campaign to free Buck by the Canadian Labour Defence League, the public advocacy group of the CPC.In its theatrical techniques, incorporating avant-garde expressionist staging, mass chant, agitprop and modernist dramaturgy, Eight Men Speak exemplified the vanguardist aesthetics of the Communist left in the years before the Popular Front. It is the first instance of the collective theatrical techniques that would become widespread in subsequent decades and formative in the development of modern Canadian drama. These include a decentred narrative, collaborative authorship and a refusal of dramaturgical linearity in favour of theatricalist demonstration. As such it is one of the most significant Canadian plays of the first half of the century, and, on the evidence of the surviving photograph of the mise-en-scene, one of the earliest examples of modernist staging in Canada.
First published in 1963, in East Germany, They Divided the Sky tells the story of a young couple, living in the new, socialist, East Germany, whose relationship is tested to the extreme not only because of the political positions they gradually develop but, very concretely, by the Berlin Wall, which went up on August 13, 1961.The story is set in 1960 and 1961, a moment of high political cold war tension between the East Bloc and the West, a time when many thousands of people were leaving the young German Democratic Republic (the GDR) every day in order to seek better lives in West Germany, or escape the political ideology of the new country that promoted the "farmer and peasant" state over a state run by intellectuals or capitalists. The construction of the Wall put an end to this hemorrhaging of human capital, but separated families, friends, and lovers, for thirty years.The conflicts of the time permeate the relations between characters in the book at every level, and strongly affect the relationships that Rita, the protagonist, has not only with colleagues at work and at the teacher's college she attends, but also with her partner Manfred (an intellectual and academic) and his family. They also lead to an accident/attempted suicide that send her to hospital in a coma, and that provide the backdrop for the flashbacks that make up the narrative.Wolf's first full-length novel, published when she was thirty-five years old, was both a great literary success and a political scandal. Accused of having a 'decadent' attitude with regard to the new socialist Germany and deliberately misrepresenting the workers who are the foundation of this new state, Wolf survived a wave of political and other attacks after its publication. She went on to create a screenplay from the novel and participate in making the film version. More importantly, she went on to become the best-known East German writer of her generation, a writer who established an international reputation and never stopped working toward improving the socialist reality of the GDR.
There can be little dispute that culture influences philosophy: we see this in the way that classical Greek culture influenced Greek philosophy, that Christianity influenced mediaeval western philosophy, that French culture influenced a range of philosophies in France from Cartesianism to post-modernism, and so on. Yet many philosophical texts and traditions have also been introduced into very different cultures and philosophical traditions than their cultures of origin - through war and colonialization, but also through religion and art, and through commercial relations and globalization. And this raises questions such as: What is it to do French philosophy in Africa, or Analytic philosophy in India, or Buddhist philosophy in North America? This volume examines the phenomenon of the 'migration' of philosophical texts and traditions into other cultures, identifies places where it may have succeeded, but also where it has not, and discusses what is presupposed in introducing a text or a tradition into another intellectual culture.
When Hermes handed over to Apollo his finest invention, the lyre, in exchange for promotion to the status of messenger of the gods, he relinquished the creativity that gave life to his words.The trade-off proved frustrating: Hermes chafed under the obligation to deliver the ideas and words of others and resorted to all manner of ruses in order to assert his presence in the messages he transmitted. His theorizing descendants, too, allow their pretentions to creatorship to interfere with the actual business of reinventing originals in another language.Just as the Hermes of old delighted in leading the traveller astray, so his descendants lead their acolytes, through thickets of jargon, into labyrinths of eloquence without substance.Charles Le Blanc possesses the philosophical tools to dismantle this empty eloquence: he exposes the inconsistencies, internal contradictions, misreadings, and misunderstandings rife in so much of the current academic discourse en translation, and traces the failings of this discourse back to its roots in the anguish of having traded authentic creativity for mere status.
This work underscores the need to examine history philosophically, not only to better appreciate how it unfolds and relates to our own unfolding lives, but to better appreciate our free engagement in this changing world. Linking a conception of ourselves as free beings to the historical process was of central importance to the classical speculative philosophies of history of the nineteenth century, most notably Hegel's. Michel Foucault's work is often taken to be the antithesis of this kind of speculative approach. This book argues that Foucault, on the contrary, like Hegel, sees freedom as tied to the self-movement of thought as it realizes and shapes the world. Unlike Hegel, however, he does not see in that self-movement the process of Spirit reconciling itself with the world and thereby realizing itself as freedom. Rather, he sees in the freedom at the core of the self-movement of thought a possible threat around which that movement consolidates itself and gives shape to the world. Foucault's work is therefore not a simple rejection of Hegel's speculative philosophy of history, but rather an inversion of the manner in which history and freedom are related: for Hegel history realizes or actualizes the "idea" of freedom, whereas for Foucault freedom realizes or actualizes the "materiality" of history.
Personal data is increasingly being exchanged and stored by electronic means, making businesses, organizations and individuals more vulnerable than ever to identity theft and fraud. This book provides a practical and accessible guide to identity theft and fraud using a risk management approach. It outlines various strategies that can be easily implemented to help prevent identity theft and fraud. It addresses technical issues in a clear and uncomplicated way to help decision-makers at all levels understand the steps their businesses and organizations can take to mitigate identity theft and fraud risks. And it highlights the risks individuals face in this digital age. This book can help anyone - businesses and organizations of all sizes, as well as individuals - develop an identity theft and fraud prevention strategy that will reduce their risk and protect their identity assets. To date, little has been written on identity theft and fraud with a Canadian audience in mind. This book fills that gap, helping Canadians minimize their identity theft and fraud risks.
In Life, Fish and Mangroves, Melissa Marschke explores the potential of resource governance, offering a case study of resource-dependent village life. Following six households and one village-based institution in coastal Cambodia over a twelve-year period, Marschke reveals the opportunities and constraints facing villagers and illustrates why local resource management practices remain delicate, even with a sustained effort. She highlights how government and business interests in community-based management and resource exploitation combine to produce a complex, highly uncertain dynamic. With this instructive study, she demonstrates that in spite of a significant effort, spanning many years and engaging many players, resource governance remains fragile and coastal livelihoods in Cambodia remain precarious.
The articles in this collection focus on politics in the widest sense and its influence and visibility in translations from the early Middle Ages to the late Renaissance - from Eusbius' translations of Virgil to Shakespeare's adaptation of the story of Titus Andronicus. No translation, this collection argues, is an innocent, transparent rendering of the original; translation is always carried out in a certain cultural and political ambience.
Think you know a thing or two about zombies? Think again. If you're going to keep your wits - and your brains - about you during a zombie attack, you need expert advice. Braaaiiinnnsss!: From Academics to Zombies gathers together an irreverent group of scholars and writers to take a serious look at how zombies threaten almost every aspect of our lives. Spawned from the viral publication "When Zombies Attack!: Mathematical Modelling of an Outbreak of Zombie Infection," this multidisciplinary book draws on a variety of fields including biology, history, law, gender studies, archaeology, library science and landscape architecture. Part homage to zombie films and fiction, part cultural study, this collection humorously explores our deep-seated fear of the undead. Engaging and accessible, Braaaiiinnnnssss! will amuse academics and zombie fans alike.
In Kierkegaard's Romantic Legacy, Anoop Gupta develops an original theory of the self based on Kierkegaard's writings. Gupta proceeds by historical exegesis and considers several important ways of thinking about self outside of the natural sciences. His study moves theories of the self from theology toward sociology, from a God-relationship to a social one, and illustrates how a loss in theological underpinnings partly contributes to the rise in the popularity of cultural relativism. By drawing on Kierkegaard's writings, Gupta develops a metaphysical account of the self that provides an alternative to the idea that there is no such thing as human nature.
In the last thirty years of the twentieth century, Canadian federal governments offered varying degrees of support for literary and other artistic endeavour. A corollary of this patronage of culture at home was an effort to make the resulting works available for audiences elsewhere in the world. Current developments in the study of translation and its influence as cultural transfer have made possible new assessments of such efforts to project a national image abroad. Translating Canada examines cultural materials exported by Canada in addition to those selected for acquisition by German publishers, theatres, and other culture brokers. It also considers the motivations of particular translators and the reception by German reviewers of works by a wide variety of Canadian writers -- novelists and poets, playwrights and children's authors, literary and social critics. Above all, the book maps for its readers a number of significant, though frequently unsuspected, roles that translation assumes in the intercultural negotiation of national images and values. The chapters in this collection will be of value to students, teachers, and scholars in a number of fields. Informed lay readers, too, will appreciate the authors' insights into the different ways in which translation has contributed to German reception of Canadian books and culture.
The Case for Centralized Federalism and its sister volume The Case for Decentralized Federalism are the outcome of the Federalism Redux Project, created to stimulate a serious and useful conversation on federalism in Canada. They provide the vocabulary and arguments needed to articulate the case for a centralized or a decentralized Canadian federalism. In The Case for Centralized Federalism, an array of experts condemns the federal government's submissiveness in its dealings with the provinces and calls for a renewed federal assertiveness. They argue that the federal government is best placed to create effective policy, support democracy and respond to issues of national importance.
In Crippling Epistemologies and Governance Failures, Gilles Paquet criticizes the prevailing practices of the social sciences on the basis of their inadequate concepts of knowledge, evidence and inquiry, concepts he claims have become methodological "mental prisons". Paquet describes the prevailing policy development process in Canada in terms of its weak information infrastructure, poor accountability, and inflexible organization design. In contrast, he suggests that social science and public policy should promote forms of "serious play" that would allow organizations to experiment with new structures. Paquet engages with numerous foundationalist programs in the social sciences in order to show their inadequacy and suggests important and unexplored directions in policy areas as diverse as education, science, health, intergovernmental and foreign policy. He closes the work with a plea for experimentalism in academic research, policy development, and organization design.
This is a collection of the published and previously unpublished short stories by Thomas Murtha, a Canadian writer born and raised in Ontario. Murtha was one of the notable experimental writers of the 1920s, but his work has been largely ignored by literary historians. Thomas Murtha was a classmate and colleague of other notable Canadians including former prime minister Paul Martin, Morley Callaghan, and Raymond Knister. Callaghan, Murtha, and Knister greatly influenced each others' work. Complete with a biographical introduction from Murtha's son, William, this collection provides insight into the work and life of one of Canada's most talented writers.
Margaret Atwood enjoys a unique prominence in Canadian letters. With over thirty books to her credit, in genres ranging from children's writing to dystopic novels, she is as creatively diverse as she is internationally acclaimed. Her success, however, has been double-edged: the very popularity that makes her such a prominent figure in the literary world also renders her vulnerable to claims of being a "sell-out," as she relates in her Empson lectures. The Open Eye negotiates the space between these positions, acknowledging Atwood's remarkable achievement while considering how it impacts on national politics and identity.The range of perspectives in this volume is stimulating and enlightening. The Open Eye begins with a focus on Atwood as she presents herself and is presented in Canada and abroad, and then proceeds to consider, more broadly, the intersection of life and literature that Atwood's works and persona effect. It offers fresh insight into Atwood's early writing, redresses the critical void regarding her poetry and shorter prose pieces, and provides a critical base from which readers can assess Atwood's most recent novels.A common thread throughout these essays is the recognition of Atwood's importance in the literary realm in general, and in Canadian literature more particularly.
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