Old Home Week Celebrations as Tourism Promotion and Commemoration: North Bay, Ontario, 1925 and 1935

This paper examines Old Home Week Celebrations held in North Bay, Ontario, in 1925 and 1935 in terms of both tourism promotion and the public use of the past. Tourism promotion in 1925 reflected a booster attitude and the belief that North Bay would soon benefit from the construction of the Georgian Bay Ship Canal. In 1935, the nature of tourism had changed and the major promotional strategy used was to link a visit to the Dionne Quintuplets in Corbeil with travel to North Bay. In 1925 North Bay also celebrated its history, using a pageant parade, celebrated its pioneers, and turned the granting of city status into a public drama. The 1935 Old Home Week celebration, in contrast, lacked focus, but the decentralization of its organization created an opportunity for the French Canadians of North Bay and area to participate in the event to a much greater extent than in 1925 and to commemorate the 400th anniversary of Jacques Cartier’s arrival in Canada. This memorialization reflected their desire for a greater involvement in civic affairs and the monument they erected created a lasting symbol of their presence in the city. Old Home Week celebrations can be used to study both tourism promotion and the social order of the city.Cet article traite des célébrations entourant la Réunion des anciens de 1925 et 1935, qui ont eu lieu à North Bay, en Ontario, tant du point de vue de la promotion touristique que de l’exploitation du passé par ses citoyens. La promotion touristique en 1925 reflétait l’enthousiasme et la conviction profonde que North Bay bénéficierait prochainement de la construction du canal maritime de la baie Georgienne. En 1935, la nature du tourisme avait changé et la principale stratégie promotionnelle visait à associer une visite aux jumelles Dionne à Corbeil à un séjour à North Bay. En 1925, North Bay a aussi célébré son histoire par un défilé historique, rendu hommage à ses pionniers et transformé la cérémonie de sa constitution en tant que ville en représentation dramatique publique. Quant à la célébration de la Réunion des anciens de 1935, elle se caractérise par un manque de focalisation, mais la décentralisation de son organisation a donné l’occasion aux Canadiens français de North Bay et de la région de participer à l’événement davantage qu’ils ne l’avaient fait en 1925 et de commémorer le 400e anniversaire de l’arrivée de Jacques Cartier au Canada. Leur désir d’une plus grande participation aux affaires municipales prenait ainsi forme et le monument érigé à cette occasion devenait le symbole de leur présence dans la ville. Les célébrations entourant la Réunion des anciens peuvent servir à étudier à la fois la promotion touristique et l’ordre social de la ville

Christine de Pizan's Livre d'Epitre d'Othea a Hector at the Intersection of Image and Text

Christine de Pizan, the first professional author in Western Europe, wrote the Book of the Epistle of Othea to Hector in 1399. Of Italian origins, Christine had moved with her family to the Valois court of Charles V in approximately 1368. The French king had invited her father, a professor at the University of Bologna, to Paris as his personal physician and court astrologer. Surrounded by the nascent humanism encouraged by the French monarch, Christine gained the rudiments of a classical education, including the notarial script with which she would early support herself and her family upon the deaths of her husband and father. Having begun by writing lyric poetry for her personal use, the author created the Epistle of Othea mixing poetry and prose, using the format of earlier Latin works. Scholars generally concur that Christine participated in the facture of her numerous manuscripts. Although the extent and nature of her participation remain unclear, this paper assumes that she played some role in directing the contents and style of the illustrations with which her artists embellished the work. Comparisons among eight manuscript copies and one printed edition of the Epistle of Othea, the most popular of Christine's literary creations, constitute the basis of the present study. A collection of 100 vignettes loosely related to the Trojans (from whom the French believed they were descended), the Epistle of Othea contains an illustration accompanying each of its allegorical stories. Although its purported subject falls in the "miroir des princes" genre, the work's disjunctive nature leads to the conclusion that its author's actual motivations in writing it lay elsewhere. Specifically, this paper contends that Christine created her first serious prose work as a vehicle to establish herself within the royal and aristocratic community as an author to be respected, a voice to be heard. She designed it as a demonstration of the proper form of allegorical writing, in which the author clearly guides readers' interpretations. Furthermore, she herein embarked upon a lifelong battle against misogyny. Finally, Christine began with this work her efforts to rehabilitate her astrologer/father's tarnished reputation. Comparison of the verbal and visual imagery in the earliest three copies, created under the author's control between 1399 and ca 1410, discloses the close association between text and image. No textual comparisons among the in later copies were included, but later illuminations diverge increasingly from the originals. The changes result both from new media (grisaille, watercolor and woodcut print) and from the social milieux of the owners. That is, the art work in the Bodmer mixed-grisaille copy for Antoine, Great Bastard of Burgundy, demonstrates elements suggesting a highly enlightened court, while increased violence and sensationalistic qualities characterize the watercolor copy at Lille, created for bourgeois buyers. The reductive nature of the woodcut images, like that of the watercolors, relates to their medium. The most significant changes occur in the Lille watercolor on paper, whose artists sought innovation to please their clientele, according to the Lille M�_��diath�_��que Jean-L�_��vy in whose collection it is found. Similarities among the three later generations suggest possible ancestry in the ca 1400-50 Beauvais copy for the Bodmer and Lille manuscripts (both of approximately 1460) and the Paris incunable of 1499 created by Philippe Pigouchet. Although no clearcut family relationships can be identified at this time, it appears that the latter three copies and the Beauvais manuscript may all descend from an earlier copy, now lost

Faculty Concert, Wednesday, March 21, 2001

This is the concert program of the Faculty Concert of Anthony Di Bonaventura on Wednesday, March 21, 2001 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonata in G Major, K. 523, Sonata in D Major, K. 45, Sonata in D Major, K. 487, and Sonata in A Major, K. 39 by Domenico Scarlatti; Fantasie in C Major, Op. 17 by Robert Schumann; and Etude-Tableau in E-flat Major, Op. 33 No.6, Etude-Tableau in G Minor, Op. 33 No. 7, Prelude in C Minor, Op. 23 No. 7, Prelude in E-flat Major, Op. 23 No. 6, Etude-Tableau in C Major, Op. 33 No. 2, Prelude in D Major, Op. 23 No. 4, and Etude-Tableau in D Major, Op. 39 No 9. by Sergei Rachmaninoff. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Le Forum, Vol. 43 No. 2

https://digitalcommons.library.umaine.edu/francoamericain_forum/1100/thumbnail.jp

Revisiting Louis Roelandt’s Aula Academica : interior decoration and visitor experience in early 19th-century Belgian architecture

Since the inauguration of the Aula Academica in Ghent in 1826, its grand proportions and lavish decoration have impressed visitors. An examplar of tasteful, neoclassical architecture, the university building soon joined the list of Belgium's canonical buildings. The Aula was the first commission of Louis Roelandt (1786-1864), a promising architect who had just returned from training in Paris at the Ecole speciale d'architecture under Charles Percier and Pierre-Francois-Leonard Fontaine. Through a detailed analysis of the design process, this article examines how Roelandt's design forms part of an international architectural culture that understood not just the principles of composition but how composition combines with the ways an interior is used. Drawing on the example of a national pantheon commemorating important people, Roelandt created an ensemble in which architectural composition, interior decoration and the visitor's path of movement contribute to the expression of architectural character