Pen and sunlight sketches of scenery reached by the Grand Trunk Railway system and connections with summer routes and fares to principal points : including Niagara Falls, Thousand Islands, Rapids of the St. Lawrence, Montreal, Quebec, Parry Sound, Georgian Bay, Muskoka Lakes, Adirondacks, Lake St. John, Mackinac Island, Midland District Lakes, the White Mountains, the Suquenay River, Rangeley Lakes and the sea-shore.--

At head of title: "Great tourist route of America".

Summer resorts reached by the Grand Trunk Railway and its connections : Including Niagara Falls, The Thousand Islands, Rapids of the St. Lawrence River, The White Mountains, Montreal, Quebec, The Saquenay River, and the seashore. --

Compliments of Passenger Department.

Tourist travel via Grand Trunk Railway System : and connections, including Niagara Falls and Gorge, the Highlands of Ontario, comprising Georgian Bay, Muskoka Lakes ; St. Lawrence River, Montreal, Quebec, the Saguenay River, the Rangeley Lakes, White Mountains, and the Atlantic Sea-Coast /

Previous editions of this work have appeared under the title: Gateways of tourist travel.

Where's Albania? : staking out the politics of the real and reality in documentary cinema

This thesis, entitled, "Where's Albania? Staking Out the Politics of the Real and Reality in Documentary Cinema," charts the documentary tradition's path from its first incarnations, as filmed travelogue or ethnographic study, for example, right through to its development as a form acting as an objective observer, reflexive commentator, and finally, as a postmodern hybrid. This thesis begins by locating the documentary tradition's origins in realism. Foregrounding documentary cinema as a realist style is important in that it is a contention that spans this entire study. After working through the numerous modes of documentary as outlined by Bill Nichols, I suggest the documentary is often best understood as a hybrid form drawing on numerous modes and conventions. This argument permits my study to make a shift into postmodern theory, wherein I examine postmodernism's relationship to the documentary both as being influenced by it, but also as subsequently forcing documentary cinema to look back at itself and reevaluate the claims it has made in the past, and how postmodernism has drawn these claims to the surface of debate. My thesis concludes with a study of the mockumentary. This analysis confirms the link between postmodernism and documentary, but perhaps more importantly, this analysis investigates postmodemism's critique of the image and representation in general, two elements historically linked to documentary cinema's success as "truth teller."

Notice of Change in Reparation Agent- Quebec 1 May 1822

A notice of change in reparation agent between Robert Morrogh and Thomas Douglas from Quebec to Daniel Shannon in Niagara.

Representations of swinging London in 1960s British cinema : Blowup (1966), Smashing Time (1967), and Performance (1970)

This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

Letter to Colonel Nelles of the 4th Lincoln Militia in Grimsby from Apt. Military Secrets, Quebec

Letter to Colonel Nelles of the 4th Lincoln Militia in Grimsby from Apt. Military Secrets, Quebec. When this envelope is unfolded it contains the printed words “On his Majesty’s service” “The Ordnance Storekeeper” and “Military Secretary”. This item is badly stained and torn but text is not affected, Jan. 9, 1839.

Appointment of John B. Parkynn [Parkin] (J.P. Bradley’s brother) to be an Ensign of the 1st Company of the Royal Quebec Volunteers

Appointment of John B. Parkynn [Parkin] (J.P. Bradley’s brother) to be an Ensign of the 1st Company of the Royal Quebec Volunteers. This is signed by the Governor General, the Earl of Gosford and Governor General, Secretary J. Walcott, Nov. 27, 1837.

Memoranda (3 pages, handwritten) with orders to officers of the Royal Quebec Volunteers

Memoranda (3 pages, handwritten) with orders to officers of the Royal Quebec Volunteers regarding their duties at Quebec. This is unsigned, n.d.

Muster roll (1 page, handwritten) of the Royal Quebec Volunteers of Company no. 3 with Captain W. Power

Muster roll (1 page, handwritten) of the Royal Quebec Volunteers of Company no. 3 with Captain W. Power, Lieutenant J.P. Bradley and Ensign C. Allegn, n.d.

Printed Blank of an Orderly Officer’s Report signed by J.P. Bradley, Lieutenant of the Royal Quebec Volunteers

Printed Blank of an Orderly Officer’s Report signed by J.P. Bradley, Lieutenant of the Royal Quebec Volunteers.