Many Canadian women fiction writers have become justifiably famous. But what about women who have written non-fiction? When Anne Innis Dagg set out on a personal quest to make such non-fiction authors better known, she expected to find just a few dozen. To her delight, she unearthed 473 writers who have produced over 674 books. These women describe not only their country and its inhabitants, but a remarkable variety of other subjects: from the story of transportation to the legacy of Canadian missionary activity around the world. While most of the writers lived in what is now Canada, other authors were British or American travellers who visited Canada throughout the years and reported on what they found here. This compendium has brief biographies of all these women, short descriptions of their books, and a comprehensive index of their books’ subject matters. The Feminine Gaze: A Canadian Compendium of Non-Fiction Women Authors and Their Books, 1836-1945 will be an invaluable research tool for women’s studies and for all who wish to supplement the male gaze on Canada’s past.

At the heart of fame is the tricky business of image management. Over the last 115 years, the celebrity autobiography has emerged as a popular and useful tool for that project. In Limelight, Katja Lee examines the memoirs of famous Canadian women like L. M. Montgomery, Nellie McClung, the Dionne Quintuplets, Margaret Trudeau, and Shania Twain to trace the rise of celebrity autobiography in Canada and the role gender has played in the rise to fame and in writing about that experience. Arguing that the celebrity autobiography is always negotiating historically specific conditions, Lee charts a history of celebrity in English Canada and the conditions that shape the way women access and experience fame. These contexts shed light on the stories women tell about their lives and the public images they cultivate in their autobiographies. As strategies of self-representation change and the pressure to represent the private life escalates, the celebrity autobiography undergoes distinct shifts—in form, function, and content—during the period examined in this study. Limelight: Canadian Women and the Rise of Celebrity Autobiography is the first book to explore the history and development of the celebrity autobiography and offers compelling evidence of the critical role of gender and nation in the way fame is experienced and represented.

"Composer, lyricist, playwright, performer, director, theater owner, and star actor George M. Cohan (1878-1942) definitively shaped the burgeoning genre of musical comedy and the institution of Broadway in the early twentieth century. Remembered today for classic tunes like "You're a Grand Old Flag" and "Give My Regards to Broadway," he has been called "the father of musical comedy" and is memorialized with a statue in Times Square. In his day, he was famous as the "Yankee Doodle Boy" from his hit song and as the "Man Who Owned Broadway" from his musical of the same name. His songs and shows captured the spirit of an era when staggering social change gave new urgency to efforts to define Americanism. This book, the first on Cohan in fifty years and the first scholarly study on the subject, is not a biography but rather situates Cohan as a central figure of his day, placing his multifaceted contributions within overlapping historical and cultural contextual webs to examine his wide-ranging cultural impact. Chapters interweave discussion of his songs and shows with explorations of the roles he played in public life-entertainer, Broadway magnate, Irish American, celebrity, and, above all, emblem of patriotism. This approach offers not only a fuller understanding of his shows and career but also new perspectives on fundamental debates about American identity and the performing arts in the early twentieth-century United States"--

Issues for 1912-16, 1919- accompanied by an appendix: The Dramatic books and plays (in English) (title varies slightly) This bibliography was incorporated into the main list in 1917-18.