Robert George Malcomson Papers, 1790s-2009 (non-inclusive)

Materials related to military and naval operations of the 1812 era, research of the late Robert Malcomson, Canadian author and historian. Materials include photocopies of materials relating to the War of 1812, photographs and detailed research notes Malcomson made regarding his approach to research (mainly found in Series VIII). Materials were originally arranged in binders relating to an area of research or a certain publication. Articles were removed from the binders and placed in folders using original titles from the binders as series or sub-series titles. Articles within the binders were separated by tabs indicating what the article related to in the publication or topic of interest. In order to avoid repetition, the writing on the tab was used for folder titles, as each folder would be a part of the Series under which it was grouped. The tab names could be authors, events, accounts etc. of the War. Series and sub-series titles were derived from the original titles on the binders. Original intellectual order was retained, grouping similar subjects into Series and Sub-series. Dates recorded were the publication dates of the articles; however, if no publication date was present the date of retrieval was used if from an academic database (ex. JSTOR). The black and white photos from various repositories are reproductions of paintings, microfilm etc. on photographic paper. The colour photographs from various repositories are actual photographs. All books donated by Malcomson were integrated into the University’s Special Collections book collection. These volumes are noted at the end of the finding aid under separated materials.

The formation of conscience : pedagogy of the sacred

This qualitative study explores Thomas Green's (1999) treatise, Voices: The Educational Formation of Conscience; for the purpose of reconstruing the transformative usefulness of conscience in moral education. Conscience is "reflexive judgment about things that matter" (Green, 1999, p. 21). Paul Lehmann (1963) suggested that we must "do the conscience over or do the conscience in" (p. 327). Thomas Green "does the conscience over", arguing that a philosophy of moral education, and not a moral philosophy, provides the only framework from which governance of moral behaviour can be understood. Narratives from four one-to-one interviews and a focus group are analysed and interpreted in search of: (a) awareness and understanding of conscience, (b) voices of conscience, (c) normation, (d) reflexive emotions, and (e) the idea of the sacred. Participants in this study (ages 16-21) demonstrated an active awareness of their conscience and a willingness to engage in a reflective process of their moral behaviour. They understood their conscience to be a process of self-judgment about what is right and wrong, and that its authority comes from within themselves. Narrative accounts from childhood indicated that conscience is there "from the beginning" with evidence of selfcorrecting behaviour. A maturing conscience is accompanied by an increased cognitive capacity, more complicated life experiences, and individualization. Moral motivation was grounded in " a desire to connect with things that are most important." A model for conscience formation is proposed, which visualizes a critical path of reflexive emotions. It is argued that schools, striving to shape good citizens, can promote conscience formation through a "curriculum of moral skills"; a curriculum that embraces complexity, diversity, social criticism, and selfhood.

Cabinet Card by C. Arthur, Photographer, St. Catharines [n.d.]

An unidentified young woman is featured in this black and white cabinet card by photographer C. Arthur, of St. Catharines, Ontario. The address of Mr. Arthur's studio is printed along the bottom of the photograph. This photograph was among the family memorabilia owned by Iris Sloman Bell of St. Catharines. The Sloman - Bell families include relatives who were former African American slaves who settled in Canada.Charles A. Arthur is listed as a photographer in St. Catharines from 1880 - 1883 and Charles P. Arthur (possibly a son?) was a photographer in the same city in 1898. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990.

Photograph of Two Girls by R. F. Uren, Photographer, St. Catharines [n.d.]

Two unidentified girls are featured in this black and white cabinet card style photograph by R. F. Uren, of St. Catharines. The photograph is not dated, however, the address of the photographer is printed at the bottom of the cabinet card. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former African American slaves who settled in Canada.Richard Frank (R.F.) Uren was a photographer in St. Catharines from 1886-1895. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Photograph of Mary Bell by F. Pfaff, Photographer, Erie, Pa. [n.d.]

A cabinet card believed to be of Mary Bell, photographed by F. Pfaff, Artistic Photographer, of Erie, Pennsylvania. A handwritten entry on the reverse of the photo lists the address "231 Duke St.", however, the company's logo identifies its address as 1011 State St., Ground Floor Gallery. This photograph was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family includes relatives who are former Black slaves from the United States."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services. " Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Albert and Josephine Sloman [n.d.]

A coloured photographic portrait of Albert and Josephine Sloman. The location and date of the photograph are unknown. The Sloman - Bell families were from the St. Catharines and London areas of Ontario. Their descendants include former African American slaves who settled in Canada. This photo was in the possession of Albert and Josephine Sloman's grandson, Rick Bell, of St. Catharines.

Two Black Gentlemen Photographed by John Cooper, London/St. Thomas, Ont. [n.d.]

An undated cabinet card of two Black men photographed by John Cooper, who operated as a photographer in London, Ont. and St. Thomas, Ont. from 1857 - 1890. The reverse of the photograph features the photographer's stamp in coloured ink. This photograph was in the possession of Iris Sloman Bell, of St. Catharines. The Sloman - Bell family have relatives who include former Black slaves from the United States. John Cooper is listed as a photographer and daguerrean artist in 1857 - 1890 in London, Ont. and in 1874 in St. Thomas, Ont. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of African Canadian by Photographer W. J. Rea, of Windsor [n.d.]

An unidentified African Canadian man is featured in this cabinet card by W. J. Rea, photographer, of Windsor, Ontario. The man appears to be in official dress, possibly of a religious or legal nature. This cabinet card bears the stamp of the photographer, W. J. Rea, in black ink along the bottom of the card and on the reverse. While it is undated, it is likely from the 1870s or 1880s. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include African American slaves from the United States who settled in Canada."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of Young Woman Photographed by N. C. Shorey, of Toronto [n.d.]

An unidentified African Canadian young woman is the subject of this cabinet card portrait photograph by N. C. Shorey, of Toronto, Ontario. The photo is undated but believed to be taken in the late 1890s. The photographer's stamp, with his name and address, appears in the gold lettering at the bottom of the card. The young woman in the photograph could possibly be a relative of the Sloman - Bell family, who resided in the London and St. Catharines areas. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family relatives are descended from former Black slaves from the United States.N. C. Shorey is listed as a photographer in Toronto, Ont. from 1892 - 1900. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Cabinet Card of Young African Canadian by The Dominion Photo Studio, Toronto [n.d.]

This unidentified African Canadian man is photographed at the Dominion Photo Studio, located at 388 Queen St. West in Toronto. The photographer's name is not known. No date is provided, however, the Dominion Studio is listed as operating from 1893-1894. The reverse of the card displays the Dominion Photo Studio stamp in gold lettering (image also attached). The gentleman in this cabinet card is possibly a relative of the Sloman - Bell family, who settled in the London and St. Catharines areas of Ontario. This cabinet card was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines. Relatives of the Sloman - Bell family include former African American slaves who came to Canada.The Dominion Portait Co. is listed as operating from 1893-1894 in Toronto. There is an additional listing for the Dominion Portrait Co. (Gourlay and Clark props.) for 1894. Source: Phillips, Glen C. The Ontario photographers list (1851-1900). Sarnia: Iron Gate Publishing Co., 1990. "Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

The Bond Girl phenomenon: defining the female protagonists of the James Bond films

Please consult the paper edition of this thesis to read. It is available on the 5th Floor of the Library at Call Number: Z 9999 C65 F86 2005

Reflection Reframed: The Process of Photography as Strategy for Teachers' Reflective Practice

Teacher reflective practice is described as an effective method for engaging teachers in improving their own professional learning. Yet, some teachers do not understand how to effectively engage in the reflective processes, or prefer not to formalize the process through writing a reflective journal as taught in most teacher education programs. Developing reflective skills through the process of photography was investigated in this study as a strategy to allow enhanced teacher reflection for professional and personal growth. The process of photography is understood as the mindful act of photographing rather than focusing on the final product-the image. For this study, 3 practicing educators engaged in photographic exercises as a reflective process. Data sources included transcribed interviews, participant journal reflections, and sketchbook artifacts, as well as the researcher's personal journal notes. Findings indicated that, through the photographic process, (a) teacher participants developed new and individual strategies for professional leaming; and (b) teacher participants experienced shifts in the way they conceptualized their personal worldviews.

Self-Regulated Learning and Children At-Risk for Learning Disabilities: Using Motivational Tactics to Support "Reading Rocks!"

This project explored self-regulation among children impacted by leaming disabilities. More specifically, this thesis examined whether a remedial literacy program called Reading Rocks! offered by the Leaming Disabilities Association of Niagara Region, provided participating children opportunities to set goals, develop strategies to meet these goals, and provide intemal and extemal feedback- all processes associated with a model of self-regulated leaming as pioneered by Butler and Winne (1995) and Winne and Hadwin (1999). In this thesis, I triangulate the data through the combination of three different methodologies. Firstly, I describe the various elements of the Reading Rocks! program. Secondly, I analyze the data gathered through three semi-structured interviews with three parents of children that participated in the Reading Rocks! program to demonstrate whether the program provides opportunities for children to self-regulate their learning. Thirdly, I also analyze photographic evidence of the motivational workstation boards created by the tutors and children to further illustrate how Reading Rocks! promotes self-regulatory processes among children.

Mary Bell Sumner Silhouette

A photographic copy of Mary Bell Sumner silhouette n.d.

Travailler autrement: critiques et pratiques alternatives

La « critique sociale » doit être comprise comme étant la capacité d’exprimer, d’afficher et d’exercer sa différence. Par ailleurs, la capacité d’exprimer sa différence est étroitement liée à l’état d’égalité. En revanche, ce sont les inégalités sociales qui poussent à l’homogénéisation. Alors, comment les personnes qui subissent les inégalités sociales peuvent-elle échapper à l’homogénéisation et devenir agents de critique sociale et moteurs de changement ? Autrement dit, faut-il donner raison à Marcuse sur le fait qu’une véritable remise en question du modèle dominant ne peut qu’émerger à la marge ? On peut penser que c’est là le rôle des organismes communautaires, même s’il arrive que le modèle dominant les récupère pour en faire un organe d’intégration des forces en opposition. Notre premier objectif de recherche est donc de voir s’il existe une critique concernent le travail chez les personnes interviewées. En outre, notre second objectif est de voir si le fait d’être à la marge permet de développer un rapport contestataire au modèle dominant de travail.