Our perception of women's roles has changed dramatically since 1945. In this collection Joy Parr has brought together ten studies from a variety of disciplines examining changing ideas about women. Mariana Valverde writes about teenage girls in the immediate postwar years and finds that stereotypes of a supposedly simple, secure, politically quiescent, and sexually conformist life do not really hold. Joy Parr follows women shoppers of the early 1950s, in their sometimes comical encounters with male designers, manufacturers, and retailers, in search of the tools and totems of modernity for their homes. Increasingly these homes were in suburban subdivisions, whose pleasures and possibilities for women Veronica Strong-Boag reconsiders. Joan Sangster reminds us that wage-earning mothers were numerous in the fifties and sixties, and through a juxtaposition of their own stories with contemporary studies tells much about these self-denying women's lives. Franca Iacovetta discusses the experiences of immigrant and refugee women in northwestern and south-central Ontario, experiences that were interpreted through their starkly different European wartime memories. Based upon her work among the rural women of southwestern Ontario, Nora Cebotarev charts the changes that transformed farm families and finances from the sixties to the eighties. Ester Reiter compares the recollections of women who had worked together during the 1960s in an auto parts plant in the Niagara Peninsula with contemporary newspaper accounts of a strike, and leads us into a complex narrative of gender and militancy. Nancy Adamson reconsiders the diversity of feminist organizing within the province over the decades since second-wave feminism began; she tracks the different needs and paths that brought women to the women's liberation movement and the ways in which their feminist analysis arose from their experience as community activists. Linda Cardinal writes about Franco-Ontarian women, charting the ways in which feminist activists challenged and were challenged as they worked with traditional farm and church-based women's groups in northern and eastern Ontario. Marlene Brant Castellano and Janice Hill introduce us to four aboriginal women: Edna Manitowabi, Jeannette Corbiere Lavell, Sylvia Maracle, and Emily Faries, whose work has been to reclaim and build upon the knowledge and responsibilities long entrusted to the women of Ontario's First Nations.

An examination of the lives of women who influenced, and were influenced by, northern Ontario.

Enduring icon of creativity, authenticity, and rebellion, and the subject of numerous new biographies, Arthur Rimbaud is one of the most repeatedly scrutinized literary figures of the last half-century. Yet almost thirty years have elapsed without a major new translation of his writings. Remedying this state of affairs is Rimbaud Complete, the first and only truly complete edition of Rimbaud’s work in English, translated, edited, and introduced by Wyatt Mason. Mason draws on a century of Rimbaud scholarship to choreograph a superbly clear-eyed presentation of the poet’s works. He arranges Rimbaud’s writing chronologically, based on the latest manuscript evidence, so readers can experience the famously teenaged poet’s rapid evolution, from the lyricism of “Sensation” to the groundbreaking early modernism of A Season in Hell. In fifty pages of previously untranslated material, including award-winning early verses, all the fragmentary poems, a fascinating early draft of A Season in Hell, a school notebook, and multiple manuscript versions of the important poem “O saisons, ô chateaux,” Rimbaud Complete displays facets of the poet unknown to American readers. And in his Introduction, Mason revisits the Rimbaud myth, addresses the state of disarray in which the poet left his work, and illuminates the intricacies of the translator’s art. Mason has harnessed the precision and power of the poet’s rapidly changing voice: from the delicate music of a poem such as “Crows” to the mature dissonance of the Illuminations, Rimbaud Complete unveils this essential poet for a new generation of readers.

Ils m'ont violee est un recit poignant qui ne laisse pas le lecteur indifferent. Face a un drame qui dure depuis des annees, Masumbuko Mununguri nous offre une fiction cathartique qui demeure neanmoins une invitation a l'action. Comment peut-on rester les bras croises face a tous ces morts ? C'est la question a laquelle le lecteur est oblige de repondre en refermant ce livre. Un temoignage au nom de ceux qui sont morts et qui ne pourront pas parler. Masumbuko se veut le porte-parole de ceux-la. Il tire sa legitimite de sa connaissance de la region dont sa famille est originaire et qu'il visite regulierement voila deja vint ans; vingt ans que l'on tue dans l'indifference generale.

Dans quelle mesure le corps fait-il l'identité d'un être humain ? Et pour combien de temps si quelque chose survit de lui, après sa mort, ce n'est pas tout à fait son corps ? Dans toutes les cultures, il semble que l'humanité, sous des formes diverses, ait été amenée à imaginer l'être humain comme composé de deux parties : une partie périssable et une partie qui continue d'agir bien au-delà de la mort, même si elle n'est pas immortelle. Ces deux parties ne se réduisent pas nécessairement à un corps visible et à un animal double, invisible, mais qui meurt quand l'autre meurt. Chez les Maenge de Nouville-Guinée, l'individu a deux âmes, même s'il n'a qu'un seul corps. De nombreuses sociétés pensent qu'il faut plus de deux êtres humains pour faire un être humain. Il faut que l'esprit d'un ancêtre, ou l'action d'un dieu vienne sinon animer ce corps, du moins le rendre complet, le compléter. Chaque personne naît donc, s'étant inscrite en soi, formant comme une sorte d'intimité impersonnelle, un ensemble d'idées, d'images, de valeurs, par lesquelles l'ordre ou les désordres qui s'impriment dans son corps. règne dans sa société. Seize anthropologues et historiens ont exploré ces réalités culturelles dispersées dans l'espace et le temps.