Documents found
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2861.
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2862.
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2863.More information
The history of the cab trade in Canada prior to 1914 is a largely unexplored field. This paper outlines the history of cabs in Winnipeg from 1871, when the first livery stables were opened, to 1910, when motorised taxicabs were introduced. The most striking feature of the early cab trade was its unprofitability, stemming the nature of the trade itself and from local conditions that made matters worse. Low revenues, high operating costs, a small and fragmented local market and competition from inside and outside the trade tended to keep individual enterprises small and without sufficient resources to compete with the well-financed taxicab companies that appeared in 1910. The taxicab dealt a severe blow to the horse cab, but the growing numbers of private automobiles also diminished the potential market for both horse cabs and taxicabs. Further, the private automobile created a whole new class of competitors as owners discovered lucrative sidelines in car hire and jitney services.
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2865.More information
How do Québécois films remember the Quiet Revolution? How do these films construct the event? The study of films produced in the 1960s and those produced afterwards which have the decade as their focal point help us answer the above questions. The article's themes of analysis are the following: the places in which the action unfolds, intergenerational relations and the characters' bonds to their community, nationalism, the here and the elsewhere, the attention paid to art and especially to music and finally the use of the film medium. While the winds of change were blowing in the Québec of the 1960s and while the protagonists in these films are young, the changes observed are not the same in films produced in the 1960s compared to those which focus on the decade with hindsight. In fact, they do not share the same approach to history and memory. The first group of films seek to make a clean sweep of the past and their characters evolve in a present sometimes devoid of a future while in the second group of films the protagonists possess both a genealogy and a destiny.
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2866.More information
The fur trade brought together partners from two civilizations. In this context of mutual dependence, adaptations and inventions were numerous: logic of exchange and gift and counter gift, a market economy logic, a transformation of debt mechanisms, a gradual and reciprocal learning of the Other's rules, biological and cultural mixing, cultural reinterpretations, the emergence of a new people, the Métis. Nonetheless, slowly and gradually, a market economy grew and colonial political power took hold. “The Beaver does all”, even builds colonial empires. Gradually, the relationship with nature changed, over hunting chased away the animals and in symbolic fashion the beaver came close to disappearing from the continent around 1930.
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2867.
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2868.More information
This article examines De Saint-Denys Garneau's (1912-1943) journey as a visual artist. As a young student at Montreal's École des beaux-arts, he had originally hoped to organise his work into a literary and pictorial diptych. During this period, he worked alongside Palardy, Jori Smith, Borduas, and Lemieux, and eventually rendered nudes in Holgate's workshop. Hoping to renew landscape art and to participate in Quebec's artistic renaissance, he linked up with other visual artists, including Muhlstock and Lyman, and with a number of art critics. However, shortly after forsaking writing in 1937, he also abandoned painting. At this time, his artistic quest was engulfed by a spiritual and religious journey that would dominate the rest of his all-too-short life. As a result, Garneau was unable to truly develop his own pictorial style. Yet his work is not without artistic merit—artist Jean-Paul Lemieux recalled that Garneau "sketched very well." Even so, and in spite of several exhibits and the recent publication of two art catalogues devoted to his work, which mainly highlight his landscapes, many of his paintings remain unknown to the public. These include a series of charcoal sketches produced while he was at the École des beaux-arts, the nudes painted in Holgates workshop, and a number of portraits.
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2869.