Hesperian College football team, Woodland, California, 1891

Hesperian College football team, Woodland, California, 1891. Standing, left to right: Sidney Elston, Ernest Norton, Charlie Elston, Charlie Merritt, Jimmie Johnston, Rolls Bray, Frank Zimmerman. Seated, left to right: John Gardner, Bill Banks, Jerry Rust, Bob Simons. On floor, left to right: Joe Harlan, George Martin.

Charles Clarke Chapman, 1942

Photographico portrait of Charles Clarke Chapman, Taken by Bob Gamble, Hollywood, California, 1942

Charles C. Chapman's birthday celebration, Fullerton, California,1932

Family portrait taken at Charles C. Chapman's birthday celebration, Fullerton, California,July 2, 1932. The group poses outside his residence on the lawn. Top row [left to right]: Arthur Irvin, Charles Wickett, Irvin Chapman, Sam Collins, Paul Williams, Grant Chapman,, Sidney Chapman, Clay McCarn, Earl Chapman's son David McDougal, Earl Chapman's son William McDougal, Earl Chapman, Harry Chapman, William Wickett Sr. Second row [left to right]: Mr. VanMeter, Mrs. Sinclair, C. C. Sinclair, John Franklin, Way Bagley, Marjorie Collins, Emma Williams, Ruth Chapman, Vesta Chapman, Inez Bagley, Grace Chapman, Bertha Chapman, Clough Chapman, Frank and Bertha Chapman's daughter Agnes McDougal [Streech], Georgiana Chapman, Thela Clough, Mrs. Earl [Ann] Chapman, Bessie Reynolds, Fred Chapman, E. B. [Bert] Reynolds. Seated [left to right]: Mrs. VanMeter, Hattie Clark, Louie Messlar, Charlie Thamer, Louella Thamer, Dolla Harris, Stanley Chapman Sr. holding Mary Anne, Ethel Wickett, Charles C. Chapman, Clara Chapman, Colum C. Chapman, Aunt Annie Colum, Deryth Chapman, Anna Marie Chapman, Floy Chapman, Edith Chapman. Front row [left to right]: Sam E. Collins, Bill Wickett Jr., Joyce Chapman, Marilyn Chapman, Elizabeth Chapman, Mary McCarn, Nina Chapman Lescher, Jodeane Collins, Bob Gibb, Jean Chapman. In front is a floral arrangement with drawing of a Western Union telegram "To Chas. C. Chapman, July 2, 1932, N. Fullerton, Cal., 'Wishing you a happy birthday, Nina."

Architectural rendering of the Argyros Forum

Photographic copy of the architectural rendering of the Argyros Forum, Chapman University, Orange, California. Architect: Bob Murrin. Groundbreaking September 16, 1991 and dedication October 26, 1992.

Architectural model of Pralle-Sodaro Residence Hall, Chapman University, Orange, California

Architectural model of the Pralle-Sodaro Residence Hall, Chapman University, Orange, California, dedicated October 21, 1991. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units. This state-of-the-art residence hall was made possible by the tremendous generosity of Bob and Helga Pralle and Don and DeeDee Sodaro. Bob Pralle served as a trustee for eighteen years beginning in 1984 and Don Sodaro as Chairman of the board of trustees and has served on the board for fourteen years beginning in 1988. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units.

Dedication of the Pralle-Sodaro Residence Hall, chapman University, Orange, California

Dedication of the Pralle-Sodaro Residence Hall, 323 East Walnut Avenue, Chapman University, Orange, California, October 21, 1991. At the podium, George L. Argyros, Chairman of the Board of Trustees is speaking to Helga Pralle while President James L. Doti stands directly behind, and Bob Pralle applauds at right. Don and Dee Dee Sodaro are in the back at left. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units. This state-of-the-art residence hall was made possible by the tremendous generosity of Bob and Helga Pralle and Don and DeeDee Sodaro. Bob Pralle served as a trustee for eighteen years beginning in 1984 and Don Sodaro as Chairman of the board of trustees and has served on the board for fourteen years beginning in 1988. Pralle-Sodaro Hall (3 floors, 75,382 sq.ft.) is a three-story building containing one-hundred-fifty-five units.

Fairview School class photograph, ca. 1930

Individuals in the photograph are identified as follows: Front Row, L to R: Stuart McDonald, Pete Burtch, Carl Schwenker, Bill Davey, Jim Barnes, ? McDonald, Marie Youngblutt, Lorraine Havens, Margaret Sinclair, Carla Prince, Verna Sinclair, Helen Welsh, Margaret Welsh, Elsie Backshall, Smith girl, Amy McDonald. 2nd Row, L to R: Nelson Sinclair, Gordon Wilson, Ivan Burtch, ? Smith, George Corman, Roy Burtch, Mort Corman, Bob Bell, ?Wilson, Jim Combe, Murray Combe, Jack High, George Welsh, Larry Downes, Gordon Schwenker, Albert Davey, Harvey Davey. Back Row, L to R: Bert Sinclair, Jim Mason, Len Corman, Johnny Corman, David Hallett, Lloyd Graham, Paul Harndon?, Gordon Dormes, George Bell, Doug Garriock, ?McDonald, Mary? Honsberger, Mary Backus, Hilda Wilson. The teacher may be Beatrice Armstrong. Fairview School was built in 1919 in Louth Township, Lincoln County, Ont. It may have been built around the time the county constructed other schools, namely, Grapeview and Glenridge. Nicholson and Macbeth may have been the architects of this school, as some features on the building, ie. the carved stone children’s faces below the lintel of the front door , appear in another known and proven Nicholson and Macbeth building, the former YMCA on Queen Street in St. Catharines. The school remained in operation until 1979 when it was purchased for a church, the Fairview-Louth Community church, which later became Southridge Community church, now located on Glenridge Avenue, St. Catharines, Ont. Today the building is occupied by the Niagara Korean Presbyterian Church.

Merritton Pen Centre Lions photographs, 1960.

Two black and white photographs of the Merritton Pen Centre Lions, dated 1960. One photograph is of the team, and the other one is of the pitching staff. The photograph of the team includes Bill Colbey (Lions Club), Jack McFadden, Bob Sunderland, Gary Blank, John MacDonald, John Davis (Coach), John Dempsey, Art Barclay, Frank Krsul, Percy Gilligan (Pen Centre), Terry Saxton, George Krusl, Dave Morris, Ian MacDonald (Mgr), Pete Holowchuk, Bernie Stubbert, Bill Hicks, Jim Thomson (Bat Boy), George Depitris (Property) and Charlie McGuire. Jim Hale is absent. The photograph of the pitching staff includes John Dempsey, Art Barclay and John MacDonald.

Globalization and Its Impact on Assessment: Moving Toward a New Story

Globalization has resulted in large-scale international and local assessments closely tied to notions of accountability and competitiveness in a globalized economy. Although policy makers seek to ensure citizens meet the demands of a global knowledge-based economy, such assessments may also impede the development of requisite 21st century skills. While standardization currently is viewed as the most effective measurement of student achievement, several Canadian and international jurisdictions are moving toward assessment for learning (AfL). This conceptual study sought to identify whether AfL or standardized assessment most effectively meets 21st century learning goals in the wake of rapid global change. It applies a Story Model theoretical framework to understand the current, the new emerging, and the future ideal story of education from a personal, cultural, and global lens. The study examines the main critiques and/or challenges of standardized testing, the benefits of AfL for student learning, and new teaching and assessment approaches to the development of 21st century learning goals. The study applies the Story Model’s inside-outside/past-future approach to determine the future direction of assessment. Results show that the new story of assessment will most likely entail a model that integrates both standardized testing and in-class assessments in the form of AfL and PBL.

Fairview School class photograph, ca. 1930.

Fairview School (9th Street Louth, St. Catharines, Ontario) photograph, ca. 1933 Individuals in the photograph are identified as follows: Front Row, L to R: Stuart McDonald, Pete Burtch, Carl Schwenker, Bill Davey, Jim Barnes, ? McDonald, Marie Youngblutt, Lorraine Havens, Margaret Sinclair, Carla Prince, Verna Sinclair, Helen Welsh, Margaret Welsh, Elsie Backshall, Smith girl, Amy McDonald. 2nd Row, L to R: Nelson Sinclair, Gordon Wilson, Ivan Burtch, ? Smith, George Corman, Roy Burtch, Mort Corman, Bob Bell, ?Wilson, Jim Combe, Murray Combe, Jack High, George Welsh, Larry Downes, Gordon Schwenker, Albert Davey, Harvey Davey. Back Row, L to R: Bert Sinclair, Jim Mason, Len Corman, Johnny Corman, David Hallett, Lloyd Graham, Paul Harndon?, Gordon Dormes, George Bell, Doug Garriock, ?McDonald, Mary? Honsberger, Mary Backus, Hilda Wilson. The teacher may be Beatrice Armstrong.

Métis or Moniyâw: Explorative stories of decolonizing my Métis identity

This thesis explores my emergent processes of identifying as a Métis person through autoethnographic narratives. I provide an overview of Métis history, identification, and decolonization, especially written by and for Aboriginal peoples. Using a decolonizing framework of Indigenous métissage (Donald, 2012) – which brings together complex, and nuanced influences to build knowledge – and an autoethnographic methodology, I explore cultural knowledges through critical self-reflection. I collected autoethnographic data in the form of personal journals and family artifacts; additionally, I shared conversations with other Métis peoples, which I used to further inform my own processes of identification and decolonization. The study results are presented as narrative vignettes, offering conclusions about: a) cultural ambivalence; b) privilege; c) language and music reclamation; and d) building relationships with both people and land. This research builds upon literature by, about, and for the benefit of Aboriginal peoples and settlers and offers considerations relevant to decolonization and identification.

Le mythe de la chanson québécoise : une étude sur les liens entre la tradition orale et le mouvement chansonnier des années soixante

Il est à noter que le texte de La Manikoutai a été reproduit dans ce mémoire (voir l’annexe 4, p. xv-xvii), avec l’aimable autorisation de Francyne Furtado des Nouvelles Éditions de l’Arc.

"Created in China" : l'émergence de nouvelles subjectivités dans l'industrie du cinéma indépendant chinois en contexte postsocialiste

In the current contemporary Chinese context, still caught up with a governmental censorship of the media productions as well as information circulation, creators must find diverse ways to express themselves freely. Several styles of cinemas cohabit in this country hustled by political ideologies. Two main categories are divided, opposed and intermingled, the “mainstream” cinema and the “independent” cinema. It is via the medium of cinema and more particularly that of the present generation of Chinese directors that will be highlighted the emergence of new creative subjectivities. These subjectivities are in a constant dance with the State in the reaching of professional achievement while maintaining the status of artistic independence. The author will look into the evolution of the notion of Chinese identity from the 1990s until today. Rising from an opposition between tradition and modernism, the formation of new subjectivities is founded on a constant negotiation with the imposing forces of globalization but also in relation with the Chinese State. One currently speaks about an easing of communist rigidity and even the emergence of neoliberal tendencies. This would lead to the creation of a Chinese identity, brought up to date in tune with the assertion of individual desires at the expense of the community. The collective experiment is set aside to make room for the subjectivity of creative individuals, who create while positioning themselves as a unit in interrelationship with society.

Chanter le développement au Burkina Faso : ethnographie de la rencontre entre deux champs d'action

Dans le contexte urbain du Burkina Faso, la chanson de sensibilisation se situe au coeur des pratiques sociales traditionnelles, des nouvelles économies culturelles et des approches participatives en matière de développement. Cette pratique répond à des enjeux particuliers au contexte local et aux relations internationales. La musique comme outil commun de communication sociale artistique rejoint des stratégies professionnelles différentes chez les artistes-musiciens et les associations locales. Pour les premiers, nous pouvons porter un regard sur la place du musicien dans la société contemporaine burkinabè, entre paupérisation et mondialisation. Pour les seconds, la chanson de sensibilisation s’inscrit comme une tentative d’innover dans les approches d’Information, Éducation et Communication (IEC) pour la santé et la Communication pour le Changement de Comportement (CCC). Ce mémoire présente les modes de collaboration entre les artistes-musiciens et les associations locales qui oeuvrent en santé au Burkina Faso. Il décrit l’état respectif de leur champ puis analyse les négociations sociales issues de leur rencontre. La problématique de recherche s’inscrit dans des courants de recherche en anthropologie et établit un pont avec la praxis de l’animation sociale et culturelle. La chaîne de création (production-diffusion-consommation) permet de poser un regard historique sur les concepts de culture et de développement dans le contexte particulier de l’Afrique de l’Ouest francophone.

Segmentation et exclusion des Gitans de Perpignan : émergence d'une élite politique?

Dans la dernière décennie, une abondante littérature a documenté la situation des Rroms d'Europe Centrale et de l'Est, où a émergé une nouvelle élite politiquement activiste. Mais chez les Tsiganes d'Europe de l'Ouest, l’activisme politique d’une élite semblait absent. Cette étude de terrain a été réalisée chez Gitans de Perpignan, à la recherche d’une action et d’une élite politique chez ce groupe, dans le contexte culturel d’une société segmentaire à pouvoir diffus, frappée d’exclusion par la société majoritaire. En effet, je propose que le concept de société segmentaire puisse s’appliquer aux Gitans, et que l’exclusion des Gitans par les païos (non Gitans) constitue un déni de la réalité relationnelle des Gitans avec la majorité païa. Enfin, l’enquête a révélé la position de «médiateurs culturels» des différents agents qui interviennent entre le monde des Gitans et celui des païos. C’est à travers le rôle de «médiateurs culturels» qu’émerge peut-être une élite politique.