These threats include: untamed nature, as symbolized by the harshness of winter or the ; the of some Québécois nationalists; and the balkanization of the country due to a policy that some critics believe encourages the development of ethnic ghettos rather than the assimilation of . This view has led the various defenders of a unified Canadian identity to take a rather belligerent stance towards these supposed threats.
The pluralist conception of Canadian identity considers accommodation through good-faith negotiation to be the best way of responding to tensions – national, regional, ethnic, religious and political – that make up Canada. According to this view, the rights contained in the do not form a systematically unified whole, but must be balanced against each other, something which is fully in keeping with Canadian tradition.
This paper sets out to overturn the settled and pristine landscapes managed and organized around Canadian nationalism by revisiting the history of Nicholas Flood Davin (1843-1901) and his literary, social, and political life that used “noble inspirations,” such as Shakespeare, to settle territories. Moll’s paper investigates Davin’s adaptation of Romeo and Juliet called The Fair Grit along with his other poetic, journalistic and political writing. For further reading and resources on similar issues, please visit the CASP .
This essay explores the connection between Shakespeare and tobacco advertising, particularly in terms of tobacco sponsorship of the Stratford Festival in Canada through donations and paid advertisements. From the 1920s, tobacco companies have used William Shakespeare to endorse and legitimize their products by creating Shakespeare themed marketing campaigns. Yet, the Stratford Festival has demonstrated that Shakespeare may rely on tobacco just as much as tobacco relies on Shakespeare. From its inception in the 1950s, the Stratford Festival has relied on the tobacco industry for financial sponsorship. Thus, the two seemingly unrelated entities—tobacco and Shakespeare—actually seem to share a symbiotic relationship—they each depend on the other for success and survival.
As a result, most understandings of Canadian identity have alternated between the extremes of unity and plurality, emphasizing either a vision of "one" Canada or a fragmented nation of "many" Canadas. A more recent, postmodernist view conceives of it as marked by a paradoxical combination of both unity and plurality, together. Another approach moves in between, rather than combining these two extremes, by viewing Canada as a more-or-less cohesive community characterized by what the philosopher called "deep diversity."
Ken Ludwig is an American playwright, who has had his play, Lend Me a Tenor, performed across Canada. This play features two characters on the stage in blackface, which references the legacy of racial stereotypes and colonial mentality that permeates from the American minstrel period. This play is exemplary of cultural transmission and the damaging effect it can have a nation if not questionned critically.
Here are some facts about Canada’s Great Depression that help form a broad look at its impact on the nation as a whole. – Between 1929 and 1933, the country’s Gross National…
Originally, the two principal competing views were those promoted by monarchists who proclaimed the and the ties with Britain that it represented, and those favoured by , as well as those such as the in and the in , who advocated protectionist economic policies in order to facilitate exports. But the Crown eventually lost virtually all of its power and now plays a largely symbolic role in the country. Those that put the economy first share in the belief that Canada is at its best when it is able to provide its citizens with an "efficient society."
Both men and women had clear responsibilities for “generating and transmitting knowledge, including significant ceremonial roles in the spiritual life, annual festivals and medicine societies of their communities and Nations” (NWAC, 2010a, p.
Such holds true for the American culture, which is not only a dominating factor in its own internal market and known domestically but also a dictating force in countries around the world on the global scale, and the first on their list – Canada.
Examples of ethnic groups seeking specific self-determination and recognition include Aboriginal peoples, the French-speaking Québécers, the English-speaking Canadians, and perhaps the .
Sylvia Bashevkin, True Patriot Love: The Politics of Canadian Nationalism (1991); Charles Blattberg, Shall We Dance? A Patriotic Politics for Canada (2003); Charles Blattberg, "Federalism and Multinationalism," in Patriotic Elaborations: Essays in Practical Philosophy (2009); Richard Gwyn, Nationalism without Walls: The Unbearable Lightness of Being Canadian (1995); Joseph Heath, The Efficient Society: Why Canada Is as Close to Utopia as It Gets (2001); Michael Ignatieff, The Rights Revolution (2000); Andrew E. Kim, "The Absence of Pan-Canadian Civil Religion: Plurality, Duality, and Conflict in Symbols of Canadian Culture," Sociology of Religion 54. 3 (1993); Will Kymlicka, Finding Our Way: Rethinking Ethnocultural Relations in Canada (1998); John Ralston Saul, Reflections of a Siamese Twin: Canada at the End of the Twentieth Century (1997); John Ralston Saul, A Fair Country: Telling Truths about Canada (2008); Charles Taylor, ed. Guy Laforest, Reconciling the Solitudes: Essays on Canadian Federalism and Nationalism (1993)
The familiar concept of "Canadian culture", and hence Canadian cinema, within critical terminology is essentially based on the principle that the ideology of a national identity, supposedly limited by such tangible parameters as lines on a map, emerges from a common geographical and mythological experience among its people....
According to Blaxter ‘health can be defined as finding the right balance between supernatural beings, the environment and processes within the body’ (pg.8, 2004).