In early modern Europe, blue textile dye was principally obtained from two dye plants, woad and indigo. Of these two dye sources, woad was native in the temperate climes of Europe, while tropical indigo became widely available only after Europe established commercial oceanic trade routes with India and the Americas. Indigo soon became a highly valued import, undermining woad production by unsettling traditional patterns of wealth circulation. Well-established woad producers took powerful steps to protect their industry, but in spite of (...) their efforts, it ultimately succumbed in the face of indigo imports. In this paper, I examine the ways in which the long lasting conflict between the dyestuffs woad and indigo in early modern Europe evokes the tensions between imported and home-grown commodities. (shrink)

This essay analyzes a silent short film portraying an urban canoeist. The film suggests that it is possible to make conscious choices about one’s means of conveyance through the city. Using a critical theoretical framework to unpack the implications of the film, this paper argues for the need to imagine unconventional modes of transportation and examine the power structures of automotive hegemony.

The Glyde mural in the University of Alberta’s Rutherford Library is a testament to the history of Alberta as it was understood by white society in the 1950s. A contemporary viewer described the painting as depicting “the civilizing influences in the early life of the Province.” The prominent historical heroes in the mural represent the main institutions that were involved in this process of ‘civilizing the savages'. An artefact of modern colonial racism, it has overshadowed the threshold of the library’s (...) South reading room since 1951. This article brings the ideas of several historical theorists to bear on the impact and implications of the historical memory invoked by the mural. (shrink)

The Glyde mural in the University of Alberta’s Rutherford Library is a testament to the history of Alberta as it was understood by white society in the 1950s. A contemporary viewer described the painting as depicting “the civilizing influences in the early life of the Province.” The prominent historical heroes in the mural represent the main institutions that were involved in this process of ‘civilizing the savages'. An artefact of modern colonial racism, it has overshadowed the threshold of the library’s (...) South reading room since 1951. This article brings the ideas of several historical theorists to bear on the impact and implications of the historical memory invoked by the mural. (shrink)

The form of commemoration offered by Remembrance Day ceremonies works to produce a sense of nationalist patriotism. The ‘public history’ of the nation, as a mode of self-representation, presents a particular narrative of limited scope, occluding all elements that do not fit its ideological framework. Remembrance Day simultaneously invokes and educates Canadian collective memory and public history, mediated through the contemporary power/knowledge discourse on war. The values, structure, and 'tendencies of a society' become evident in collective memory and this cultural (...) heritage of society becomes a site at which it is 'visible to itself'. (shrink)