Vox Lycei 1949 1950

One of the most vibrant artists of her generation, Pegi Nicol MacLeod was a charismatic bohemian whose expressive images of the contemporary world were an essential component of Canadian modernism during the 1930s and 1940s. In Pegi by Herself, the first full-length biography of Nicol MacLeod, Laura Brandon draws on the artist's remarkable autobiographical paintings and extraordinarily vivid letters. Remembered as much for her colourful life, love affairs, and significant friendships with Vincent Massey, Norman Bethune, Frank Scott, and Graham Spry as for her artistic achievement, Nicol MacLeod exhibited successfully and received significant commissions from the National Gallery of Canada to paint the wartime women's services. She was honoured there with a memorial exhibition following her early death in 1949. Lavishly illustrated, Pegi by Herself accompanies Pegi Nicol MacLeod: A Life in Art, a touring retrospective exhibition of the artist's work that opens at the Carleton University Art Gallery in February 2005, and the premiere of an NFB film biography.

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Whether you are an employee, a manager, an entrepreneur or a CEO, The Sustainable MBA Second Edition provides the knowledge and tools to help you ‘green’ your job and organization, to turn sustainability talk into action for the benefit of your bottom line and society as a whole. Based on more than 150 interviews with experts in business, international organizations, NGOs and universities from around the world, this book brings together all the pieces of the business and sustainability puzzle including: What sustainability is, why you should be interested, how to get started, and what a sustainable organization looks like. A wide range of tools, guidelines, techniques and concepts that you can use to implement sustainability practices. Information on how to be a sustainability champion or intrapraneur in your organization including how to sell these ideas to your team and how to incorporate them into any job. A survey of the exciting trends in sustainable business happening around the world. A wealth of links to interesting resources for more information. The Sustainable MBA Second Edition is organized like a business school course, allowing you easy access to the relevant information you need about sustainability as it relates to Accounting, Economics, Entrepreneurship, Ethics, Finance, Marketing, Organizational Behavior and HR, Operations and Strategy. The Sustainable MBA Second Edition has been updated to reflect global developments in this evolving field to remain the definitive guide to sustainable business. Additional resources to accompany the book are available at www.thesustainablemba.com.

In Paper Cadavers, an inside account of the astonishing discovery and rescue of Guatemala's secret police archives, Kirsten Weld probes the politics of memory, the wages of the Cold War, and the stakes of historical knowledge production. After Guatemala's bloody thirty-six years of civil war (1960–1996), silence and impunity reigned. That is, until 2005, when human rights investigators stumbled on the archives of the country's National Police, which, at 75 million pages, proved to be the largest trove of secret state records ever found in Latin America. The unearthing of the archives renewed fierce debates about history, memory, and justice. In Paper Cadavers, Weld explores Guatemala's struggles to manage this avalanche of evidence of past war crimes, providing a firsthand look at how postwar justice activists worked to reconfigure terror archives into implements of social change. Tracing the history of the police files as they were transformed from weapons of counterinsurgency into tools for post-conflict reckoning, Weld sheds light on the country's fraught transition from war to an uneasy peace, reflecting on how societies forget and remember political violence.

Cameron Hughes has ignited crowds at sporting events across the globe for over 25 years. It's a story of getting up, showing up, and never giving up that will move every reader. Let's spread some cheer!

Winner of the Quebec Writers' Federation Paragraphe Hugh MacLennan Prize for Fiction Beena and Sadhana are sisters who share a bond that could only have been shaped by the most unusual of childhoods — and by shared tragedy. Orphaned as teenagers, they have grown up under the exasperated watch of their Sikh uncle, who runs a bagel shop in Montreal's Hasidic community of Mile End. Together, they try to make sense of the rich, confusing brew of values, rituals, and beliefs that form their inheritance. Yet as they grow towards adulthood, their paths begin to diverge. Beena catches the attention of one of the "bagel boys" and finds herself pregnant at sixteen, while Sadhana drives herself to perfectionism and anorexia. When we first meet the adult Beena, she is grappling with a fresh grief: Sadhana has died suddenly and strangely, her body lying undiscovered for a week before anyone realizes what has happened. Beena is left with a burden of guilt and an unsettled feeling about the circumstances of her sister's death, which she sets about to uncover. Her search stirs memories and opens wounds, threatening to undo the safe, orderly existence she has painstakingly created for herself and her son. Saleema Nawaz's characters compel us, intrigue us, and delight us with their raw, complicated humanity, and her sentences sing in the gorgeous cadences of a writer who chooses every word with the utmost care. Heralded across Canada for the power and promise of her debut collection, Mother Superior, Nawaz proves with Bone and Bread that she is one of our most talented and unique storytellers.

At the turn of the twentieth century numerous Canadian architects, artisans and artists set out to modify the aesthetic and social environment through the integration of the arts. Painters produced murals; architects designed furniture; clubs formed to bring together writers, artists and architects; collectors and governments commissioned paintings, furnishings and sculpture for public and private buildings; photography rivaled painting; and crafts became applied design. Building on both the Beaux-Arts movement in France and the Arts and Crafts movement in Britain and the United States, Canadian art practitioners met the challenge of obtaining patronage - which had until then looked abroad - to create a unique aesthetic that shot through all aspects of daily life. Their contributions fueled the economic growth that marked these prosperous years. Punctuated with numerous illustrations, original essays detail how architecture, monumental sculpture, urban planning, mural and decorative painting, graphic design, decorative arts and photography came together in an unprecedented fashion in this young country. Featured are not only the notable achievements but also the many creative and thoughtful projects that were proposed but never realized.0Exhibition: National Gallery of Canada, Ottowa, Canada (8.11.2013-2.3.2014).

In A Vulgar Art, Ian Brodie uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize—“literature” or “theatre”; “editorial” or “morality”—and analyze it accordingly. A Vulgar Art begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So, this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience. Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and sociocultural distances between the performer and the audience.