Family Record of the Clement Family (on fabric)

Family Record of the Clement Family (1 printed page) exactly as above, but printed on fabric, n.d.

Receipt from H. Carlisle and Co., St. Catharines for fabric

Receipt from H. Carlisle and Co., St. Catharines for fabric, Jan. 3, 1888.

Structural analysis of the Paint Lake Deformation Zone, Northern Ontario /

The Paint Lake Deformation Zone (PLDZ), located within the Superior Province of Canada, demarcates a major structural and lithological break between the Onaman-Tashota Terrane to the north and the Beardmore-Geraldton Belt to the south. The PLDZ is an east-west trending lineament, approximately 50 km in length and up to 1 km in width, comprised of an early ductile component termed the Paint Lake Shear Zone and a late brittle component known as the Paint Lake Fault. Structures associated with PLDZ development including S-, C- and C'-fabrics, stretching lineations, slickensides, C-C' intersection lineations, Z-folds and kinkbands indicate that simple shear deformation dominated during a NW-SE compressional event. Movement along the PLDZ was in a dextral sense consisting of an early differential motion with southside- down and a later strike-slip motion. Although the locus of the PLDZ may in part be lithologically controlled, mylonitization which accompanied shear zone development is not dependent on the lithological type. Conglomerate, intermediate and mafic volcanic units exhibit similar mesoscopic and microscopic structures where transected by the PLDZ. Field mapping, supported by thin section analysis, defines five strain domains increasing in intensity of deformation from shear zone boundary to centre. A change in the dominant microstructural deformation mechanism from dislocation creep to diffusion creep is observed with increasing strain during mylonitization. C'-fabric development is temporally associated with this change. A decrease in the angular relationship between C- and C'-fabrics is observed upon attaining maximum strain intensity. Strain profiling of the PLDZ demonstrates the presence of an outer primary strain gradient which exhibits a simple profile and an inner secondary strain gradient which exhibits a more complex profile. Regionally metamorphosed lithologies of lower greenschist facies outside the PLDZ were subjected to retrograde metamorphism during deformation within the PLDZ.

Middle Ordovician (Whiterockian-Chazyan) trilobites from the Sunblood Formation, District of Mackenzie

The Middle Ordovician Sunblood Formation in the South Nahanni River area, District of Mackenzie, comprises mainly limestones and dolostones of intertidal and shallow subtidal origin as indicated by the presence of desiccation polygons, fenestral fabric, and oncolites. The study of well preserved, silicified trilobites from low diversity, Bathyurus-dominated, Nearshore Biofacies faunas of Whiterockian and Chazyan age collected in six stratigraphic sections through the Sunblood Formation permits the recognition of three new Whiterockian zones, and two previously established Chazyan zones. The Bathyurus mackenziensis, Bathyurus sunbloodensis, and Bathyurus margareti zones (Whiterockian), together with the Bathyurus nevadensis and Bathyurus granu/osus zones (Chazyan) represent the Nearshore Biofacies components of a dual biostratigraphic scheme that considers both temporal and spatial distribution patterns, and are compositionally distinct from faunas in correlative strata around North America that represent other biofacies. Twenty-six species belonging to eighteen genera are described and illustrated. Ludvigsenella ellipsepyga is established as a new bathyurine genus, in addition to four new species of Bathyurus : Bathyurus mackenziensis, Bathyurus sunbloodensis, Bathyurus margareti and Bathyurus acanthopyga. Other genera present are: Basilicus, Isote/us, ///aenus, Bumastoides, Fail/eana, Phorocepha/a,Ceraurinella, Acanthoparypha, Xystocrania, Cydonocephalus, Ectenonotus, Pseudomera, Encrinuroides, Calyptaulax, Amphilichas and Hemiarges.

Understanding the polyvocality of autism discourse : a critical autoethnographic approach

Currently, much of the autism literature supports the notion that Pervasive Developmental Disorder (PDD) is a deviation from what is considered "normal" and, accordingly, that it is in need of early remediation. This thesis explored alternative constructions of autism and pathology by drawing on theorists from other disciplines, such as cultural studies (Deleuze & Guattari, 1987, 1965, 1972, 1975,1980, 2003), critical psychology (Parker, 1995, 2002, 2005, 2007), disability studies (Danforth,1997, 1999, 2000; Skrtic, 1995, 1996) and anti-psychiatry (Basaglia, 1987). In an attempt to show how our accounts of the world encompass constructions rooted in language and our own histories of thinking about topics that interest us, this research took an autoethnographic approach to understanding autism discourse. Instead of denying the researcher's existence and personal investment in the research, the author attempted to implicate "the self in the research by acknowledging her own assumptions, biases and ideologies about autism discourse and practice. Thus, tensions between the self and other, personal and political become woven into the fabric, creating a personal, subjective, and partial account of the phenomenon. This research was intended to explicate and interrogate some of the taken-for-granted Truths which guide our practices with people with autism. This alternative critical framework focused on understanding autism as a discourse and explored the way these dominant autism constructions function in society. Furthermore, positioning "the self in the research was meant to illustrate the fundamental need for self-reflective practice in the social sciences.

Margaret Glassford fonds, 1941, 1951, 1961, 1971, 1973-1975, 1977-1984, 1986-2000, 2002, 2005, n.d.

Margaret was an only child who grew up on a farm just east of Cayuga, Ontario. After high school, Margaret attended Hamilton Teacher’s College and took a position with Grantham Public School Board and taught at Power Glen school. Margaret was married in 1962 and had 2 children, a daughter and a son in 1963 and 1964, respectively. Margaret left her teaching job to raise her children. Margaret was very creative and artistic and during this time, focused on these talents, which included painting, graphic arts and sewing. Margaret was also an accomplished pianist. In her 40’s, Margaret enrolled at Brock University and in 1989 obtained a Honors Bachelor of Arts degree with First-Class Honors in Sociology. In partial fulfillment of her Honors B.A. she completed her thesis that is entitled ; The State and Liberal Feminism: The Ontario Government’s “Business Ownership For Women Program”. While living in St. Catharines, Margaret attended York University and graduated with a Master of Arts in Sociology in 1992 where her studies focused on women’s issues. Margaret received a scholarship from York University and was a teaching assistant. Margaret stayed on at York University and completed her academic requirements for a Doctorate degree in Sociology. Her dissertation was on self employed women in St. Catharines at the beginning of WWII -- not the” Rosie the Riveters” who took over jobs formerly held by men who had to go off to fight World War II, but women who ran their own businesses when that was still unusual. Margaret completed the research for her thesis but did not complete her written thesis as she made a difficult decision to put her academic work on hold in the mid-1990’s and she returned to her love for the arts, although she always remained a voracious reader and interested in women’s issues. In the last decade of her life, she took up quilting with a passion, which she referred to as fabric arts. Margaret loved colour and being non-traditional. Margaret had been a quilting instructor at the Flemington College for Fine Arts in Haliburton. In 1997, Margaret founded Project Smile in the St. Catharines region, a non-profit group who make quilts for children with cancer. Margaret was also the President of the Niagara Heritage Quilters’ Guild in 2006-2007 and was very involved with the Local Council of Women.

Rittermere Farm Craft Studio Fonds, 1951-2006

During the 1950’s, the Rittenhouse family of Vineland in the Niagara Peninsula opened a craft store and studio. Within a short period of time, they realized that resources for the craft of rug hooking were in demand and they began to build their business around this niche. Edna Rittenhouse, the mother, was the wool dyer; Margaret Rowan, the daughter, was the pattern designer; Ted Rowan, the son-in-law, changed careers and became the manager of the family business. The 1960’s were a prosperous time, not only in the Niagara Peninsula, but also for the Rittenhouse business. Edna Rittenhouse had been hooking rugs for decades but she and her family worked at developing and sharing newer techniques with newer materials. Shading manuals were authored and published; students became teachers; creativity abounded in the demand for and the creation of new designs. Instead of using woolen yarn, they were using pure woolen fabric; instead of using a standard cutter, they began using a uniquely designed cutter; instead of using frames, they employed a table top method. The new material and technique resulted in a rug with a smooth, uniform texture and a soft nap. Since many crafters belonged to crafters guilds, Margaret and Ted Rowan began promoting the idea of a guild for rug hookers and in time the Ontario Hooking Craft Guild was also a reality. A joint project between Chatelaine magazine and the Rittermere studio for Canada’s centennial year of 1967 was extremely well received within the circle of hooking crafters and the Rittermere Farm Craft Studio became a North American landmark for crafters. From this point onward the studio had a large customer base not only in North America but also overseas. The studio remained popular until 1984 when Margaret and Ted Rowan decided to retire. The Rittermere name has been preserved in the name of Rittermere-Hurst-Field which is a similar business located in Aurora which is just north of Toronto.

HG 188.30-188.35

Very fine grained. Organic matter present. Lineations can also be seen throughout, mainly in one orientation suggesting a masepic fabric.