scholarly journals The original roots man: landscape, nationalism and dress

2021 ◽  
Author(s):  
Ariana Ho
Keyword(s):  
National Identity ◽  
Mass Culture ◽  
Cultural Memory ◽  
Research Paper ◽  
Major Research ◽  
Group Of Seven ◽  
Gender Space ◽  
Emily Carr

The landscape paintings of Canadian artist Tom Thomson have long been a part of the Canadian canon of art. The Group of Seven, Emily Carr and Tom Thomson have produced images of the Canadian wilderness that continue to capture the imagination of Canadians to this day. After nearly a hundred years since the passing of Tom Thomson in 1917, the mythology surrounding the artist continues to develop as he plays an important role within Canadian cultural memory and consciousness as a quintessential Canadian icon. Some scholars have argued that the Thomson myth has less to do with the art that he produced, and have more to do with the prevalent ideas and values that were projected onto his life after his mysterious death at Canoe Lake. In the summer of 2014, Canadian lifestyle brand Roots Canada Ltd. released the Tom Thomson collection, which sought to recognize the artist’s life and works, as the “Original Roots Man”. The narrative revolving around Tom Thomson, national identity and the wilderness may appear to truly represent Canadian life and reality given its repetition within discourses of mass culture and in the recent Roots collection. However, as this Major Research Paper (MRP) proposes, the Thomson myth speaks of larger themes having to do with how Canadians think about identity, gender, space and history and their place in it. This MRP explores the convergence of nationalism, antimodernism, the differentiation of space, and the commodification of heritage through Roots’ 2014 Tom Thomson Collection. Ultimately, this MRP argues that the Roots Tom Thomson Collection serves as an example of the commodification of heritage that provides a limited vision of Canada.

scholarly journals The original roots man: landscape, nationalism and dress

2021 ◽  
Author(s):  
Ariana Ho
Keyword(s):  
National Identity ◽  
Mass Culture ◽  
Cultural Memory ◽  
Research Paper ◽  
Major Research ◽  
Group Of Seven ◽  
Gender Space ◽  
Emily Carr

The landscape paintings of Canadian artist Tom Thomson have long been a part of the Canadian canon of art. The Group of Seven, Emily Carr and Tom Thomson have produced images of the Canadian wilderness that continue to capture the imagination of Canadians to this day. After nearly a hundred years since the passing of Tom Thomson in 1917, the mythology surrounding the artist continues to develop as he plays an important role within Canadian cultural memory and consciousness as a quintessential Canadian icon. Some scholars have argued that the Thomson myth has less to do with the art that he produced, and have more to do with the prevalent ideas and values that were projected onto his life after his mysterious death at Canoe Lake. In the summer of 2014, Canadian lifestyle brand Roots Canada Ltd. released the Tom Thomson collection, which sought to recognize the artist’s life and works, as the “Original Roots Man”. The narrative revolving around Tom Thomson, national identity and the wilderness may appear to truly represent Canadian life and reality given its repetition within discourses of mass culture and in the recent Roots collection. However, as this Major Research Paper (MRP) proposes, the Thomson myth speaks of larger themes having to do with how Canadians think about identity, gender, space and history and their place in it. This MRP explores the convergence of nationalism, antimodernism, the differentiation of space, and the commodification of heritage through Roots’ 2014 Tom Thomson Collection. Ultimately, this MRP argues that the Roots Tom Thomson Collection serves as an example of the commodification of heritage that provides a limited vision of Canada.

scholarly journals The CBC's "Seven wonders of Canada" : exclusionary aspects of a project of national identity

2021 ◽  
Author(s):  
Debbie Starzynski
Keyword(s):  
National Identity ◽  
Immigration Policy ◽  
Power Relations ◽  
Research Paper ◽  
Cultural Analysis ◽  
Cultural Pluralism ◽  
The Other ◽  
Major Research ◽  
National Belonging ◽  
National Space

The topic of my major research paper is national identity in the context of cultural pluralism. The paper has as its goal a socio-cultural analysis of national belonging. Immigration policy as gateway has, historically, excluded certain groups from entry to the country; nationalisms have prevented some of those who have gained entry to the country from gaining entry to the nation. I argue that the CBC's"Seven Wonder of Canada" campaign is one such nationalism, revealing nationalist tropes which include the cultural centre's longstanding tradition of identifying with the landscape and its more recent tradition of identifying with multicultural ideology - in its construction of national identity. Ultimately, this paper demonstrates that the campaign reflects an a-historic notion of national identity in which both geography and multiculturalism are used by the cultural centre to exclude. The construction of an exclusionary notion of national identity is necessarily challenged by notions of cultural pluralism. In the context of imbalanced power relations, mainstream Canadians, the cosmopolite and the Other vie for a share of national space.

scholarly journals The CBC's "Seven wonders of Canada" : exclusionary aspects of a project of national identity

2021 ◽  
Author(s):  
Debbie Starzynski
Keyword(s):  
National Identity ◽  
Immigration Policy ◽  
Power Relations ◽  
Research Paper ◽  
Cultural Analysis ◽  
Cultural Pluralism ◽  
The Other ◽  
Major Research ◽  
National Belonging ◽  
National Space

The topic of my major research paper is national identity in the context of cultural pluralism. The paper has as its goal a socio-cultural analysis of national belonging. Immigration policy as gateway has, historically, excluded certain groups from entry to the country; nationalisms have prevented some of those who have gained entry to the country from gaining entry to the nation. I argue that the CBC's"Seven Wonder of Canada" campaign is one such nationalism, revealing nationalist tropes which include the cultural centre's longstanding tradition of identifying with the landscape and its more recent tradition of identifying with multicultural ideology - in its construction of national identity. Ultimately, this paper demonstrates that the campaign reflects an a-historic notion of national identity in which both geography and multiculturalism are used by the cultural centre to exclude. The construction of an exclusionary notion of national identity is necessarily challenged by notions of cultural pluralism. In the context of imbalanced power relations, mainstream Canadians, the cosmopolite and the Other vie for a share of national space.

Emily Carr and the legacy of Commonwealth modernism

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Twentieth Century ◽  
British Columbia ◽  
National Identity ◽  
Landscape Painting ◽  
Industrial Environment ◽  
Group Of Seven ◽  
Early Twentieth Century ◽  
The Many ◽  
Indigenous Land ◽  
Emily Carr

This chapter discusses the importance of landscape painting in the formation of early twentieth-century Canadian national identity, in particular the Theosophical aspirations and quest for the genius loci of the Group of Seven painters in Ontario, and Emily Carr in British Columbia. Jeff Wall’s published texts that describe the influence of Carr on his peers’ work, and their desire to work outside of the problematic of colonialism, necessitates this examination. Historian Lorenzo Veracini’s discussions of the many narratives utilized by settler colonial societies to authenticate and rationalize their rights to indigenous land are introduced in relationship to the discursive framing of texts that supported and documented Lawren Harris and Carr’s paintings. The national and regional legacy of spiritually-infused landscape painting was antithetical to young artists and intellectuals like Jeff Wall and Ian Wallace, who came to maturity in the late 1960s, and who were committed to revealing man’s alienation from his industrial environment through Marxist-informed critiques of capitalism.

The Group of Seven

2018 ◽  
Author(s):  
Eric Nay
Keyword(s):  
National Identity ◽  
Group Of Seven ◽  
Natural Beauty ◽  
Emily Carr

The Group of Seven was a group of Canadian landscape painters working in the early 1900s that developed a distinct style of painting tied to the evolution of Canada’s national identity. The group’s work focused on capturing the natural beauty of Canada’s vast wilderness through a self-proclaimed ‘‘Canadian’’ style that evolved following group expeditions into Canadian wildernesses. The original members of the group were Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A.Y. Jackson (1882–1972), Frank Johnston (1888–1949), Arthur Lismer (1885–1969), J.H. MacDonald (1873–1932), and Frederick Varley (1881–1969). The group’s members were based in Toronto, Ontario, and included fine artists, commercial artists and graphic designers who would meet at the Toronto Arts and Letters Club. Tom Thomson (1877–1917) was the group’s spiritual founder, even though he died three years prior to its official formation. Membership would expand in later years to include A.J. Casson (1898–1992), Edwin Holgate (1892–1977), and LeMoine Fitzgerald (1890–1956). Emily Carr (1871–1945) was also associated with the Group of Seven, but was never an official member. The Group of Seven disbanded in the 1930s.

scholarly journals National Identity Construction in Cultural and Creative Tourism: The Double Mediators of Implicit Cultural Memory and Explicit Cultural Learning

SAGE Open ◽  
2021 ◽  
Vol 11 (3) ◽  
pp. 215824402110407
Author(s):  
Shu-Ning Zhang ◽  
Wen-Qi Ruan ◽  
Ting-Ting Yang
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Mixed Method ◽  
Cultural Memory ◽  
Interactive Effect ◽  
Cultural Learning ◽  
Structured Interviews ◽  
Factors Affecting ◽  
Mediating Role ◽  
Chinese Tourists

In light of the gap in the national identity research, this study proposes, constructs, and examines the path to national identity by using a mixed-method approach. Study 1 collected 502 questionnaires from Chinese tourists, and Study 2 conducted semi-structured interviews with 15 tourists. The findings confirm that cultural and creative tourism contributes to the construction of tourists’ national identity. Tourists’ long-term implicit cultural memory and short-term explicit cultural learning are the double guarantees for forming tourists’ cultural identity. Importantly, tourists’ cultural identity plays a critical mediating role in promoting national identity. Moreover, the interactive effect of cultural experience and creative performance accelerates the construction process of tourists’ national identity. This study consolidates the sociopolitical significance of cultural and creative tourism for national identity through a rare mixed method and identifies the specific role of the cultural factors affecting national identity, thereby providing great theoretical contributions and practical value.

scholarly journals Een pasgeboren staat, of een recentelijk ontwaakte natie?

1970 ◽  
Vol 59 ◽  
pp. 5-22
Author(s):  
Nele Bemong
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Collective Memory ◽  
Cultural Memory ◽  
Crucial Role ◽  
Historical Novel ◽  
International Community ◽  
Historical Novels ◽  
The Creation

Between 1830 and 1850, practically out of nowhere there came into beinga truly 'Belgian' literature, written boch in Flemish and in French, but aimedat a single goal: the creation of a Belgian past and the conscruction of aBelgian national identity. The historical novel played a crucial role in thisconscruction and representation of a collective memory for the Belgian statejust out of the cradle. The prefaces to these historical novels are characterizedboth by the central role granted to the representacion of Flanders as the cradleof nineteenth-century Belgium, and by the organically and religiously inspiredimagery. Attempts were made to create an intimate genealogical relationshipwith the forefathers, in order to make the Belgian citizens feel closer to theirrich heritage. Through the activation of specific recollections from theimmense archive of the collective cultural memory, Belgian independencefound its legitimization both towards the international community andtowards the Belgian people.

scholarly journals Keep Your Citizens Close: Building A Policy Framework in Response to Canada’s Returning Foreign Fighters

2021 ◽  
Author(s):  
Mathew Shane McVeigh
Keyword(s):  
Research Paper ◽  
Policy Framework ◽  
Irregular Migration ◽  
Major Research ◽  
Home State ◽  
Returning Home ◽  
Foreign Fighters ◽  
First Time

This Major Research Paper examines the irregular migration of Canadian citizens who engaged in terrorism abroad, specifically Syria and Iraq, and who are now returning home. The paper examines how they were radicalized into adopting an ideology that stands against the individuals’ home state and how they can be reintegrated once they have returned. The paper acknowledges that this is not the first instance of Canadian foreign fighters, but is the first time where they pose a threat to Canada. Since this threat must be addressed in some way, the paper examines different strategies to mitigate any risk to other Canadian citizens and to counter any future radicalization of Canadian citizens. Keywords: Irregular Migration; Terrorism; Foreign Fighter; Radicalization; Deradicalization; Disengagement

Museum Practices and Migrating Modernity: A Perspective from the South

2014 ◽  
Vol 1 ◽  
Author(s):  
Celeste Ianniciello ◽  
Michaela Quadraro
Keyword(s):  
National Identity ◽  
Cultural Diversity ◽  
European Society ◽  
Cultural Memory ◽  
The South ◽  
Positive Role ◽  
Migratory Movements ◽  
The Impact ◽  
Fundamental Consideration

The research presented in this paper has been developed within the European project MeLa* (“European Museums in an age of migrations”), which focuses on how contemporary migratory movements come to reshape the role of museums and archives as the privileged places of national identity and cultural memory.[1] The fundamental consideration on which the research is built is that today, under the impact of globalization and an increasing awareness of the positive role played by cultural diversity, museums can no longer pretend to represent culture in exclusively national or local terms, because they are facing the challenge of an increasingly diverse, transcultural and multilingual European society.

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