989 resultados para Pierre Elliott-Trudeau
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A letter from Prime Minister Pierre Elliott Trudeau to Donald Ziraldo, dated 19 December, 1983. Trudeau had visited the Inniskillin winery the same year and remarks on the conversation they shared. Also a thank you note for a bottle of wine from Ziraldo for the holidays.
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An invitation from The Right Honourable Pierre Elliott Trudeau for a gala concert in the Opera of the National Arts Centre in honour of Her Majesty Queen Elizabeth and His Royal Highness the Duke of Edinburgh.
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En 1969, le gouvernement de Pierre Elliott-Trudeau réalisa la plus grande expropriation de l’histoire du pays au nom du développement, pour construire le plus grand aéroport au monde : Mirabel. Le projet fut un cuisant échec pour plusieurs raisons sociales, politiques et économiques. Ce mémoire se concentre surtout sur les impacts post-expropriation sur la population de Mirabel et le positionnement politique de ces-derniers.
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Des lois sont adoptées, des politiques implantées, des centaines de milliers de dollars investis dans la formation des employés, et puis ? Cette recherche de type exploratoire tente de jeter la lumière sur ce qui se passe actuellement dans les points d'entrée canadiens situés au Québec en matière de lutte contre la traite de personnes migrantes et de présenter, s'il y a lieu, les incohérences entre l'engagement du Canada à lutter contre la traite de personnes et les pratiques des agents des services frontaliers du Canada sur le terrain. Pour ce faire, nous avons interviewé sept agents des services frontaliers du Canada travaillant à l'Aéroport international Pierre-Elliott-Trudeau de Montréal, quatrième poste frontalier aéroportuaire en importance au Canada et premier au Québec, afin d'en apprendre davantage sur les connaissances ainsi que sur les expériences de ceux-ci en matière de traite de personnes migrantes. Nous avons aussi rencontré quatre intervenants venant en aide aux victimes migrantes de la traite de personnes au Québec, principalement dans la région de Montréal, dans le but d'en savoir un peu plus sur l'expérience des victimes en lien avec l'Agence des services frontaliers du Canada et les impacts de ces expériences sur celles-ci. Si les agents interviewés semblent avoir une assez bonne idée, même si celle-ci paraît largement influencée par les médias, de ce qu'est la traite de personnes migrantes, rares sont ceux qui, dans le cadre de leurs fonctions, ont une expérience pratique auprès des victimes. L'absence de formation substantielle et continue, la perception du rôle de l'ASFC par ses agents ainsi que le manque de leadership de la direction en ce qui a trait à la traite de personnes migrantes semblent être des accrocs majeurs à la volonté politique du gouvernement canadien, plus particulièrement de l'Agence des services frontaliers du Canada, de combattre la traite de personnes migrantes sur son propre territoire. Les obstacles sont nombreux dans la lutte contre la traite de personnes aux frontières canadiennes et représentent un défi de taille à la fois complexe et compliqué. Une approche centrée sur la prévention et une plus grande sensibilisation des agents des services frontaliers du Canada proposent un début de solution.
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The letter begins by thanking J. Diefenbaker for a personal note and other mementos. O'Sullivan then begins to discuss Trudeau and his popularity, he remarks "If he calls an early election, he will sweep the Country. Truly he is a phenomenon, thanks to the press of Canada. However, the press are a fickle lot and could easily turn their marriage to him into a divorce under the new rules he had Parliament pass." He also discusses his opinion of how the provinces will vote in an upcoming election.
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Three photographs of Prime Minister Pierre Trudeau's visit to Inniskillin in 1983.
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What is the secret mesmerism that death possesses and under the operation of which a modern architect – strident, confident, resolute – becomes rueful, pessimistic, or melancholic?1 Five years before Le Corbusier’s death at sea in 1965, the architect reluctantly agreed to adopt the project for L’Église Saint-Pierre de Firminy in Firminy-Vert (1960–2006), following the death of its original architect, André Sive, from leukemia in 1958.2 Le Corbusier had already developed, in 1956, the plan for an enclave in the new “green” Firminy town, which included his youth and culture center and a stadium and swimming pool; the church and a “boîte à miracles” near the youth center were inserted into the plan in the ’60s. (Le Corbusier was also invited, in 1962, to produce another plan for three Unités d’Habitation outside Firminy-Vert.) The Saint-Pierre church should have been the zenith of the quartet (the largest urban concentration of works by Le Corbusier in Europe, and what the architect Henri Ciriani termed Le Corbusier’s “acropolis”3) but in the early course of the project, Le Corbusier would suffer the diocese’s serial objections to his vision for the church – not unlike the difficulties he experienced with Notre Dame du Haut at Ronchamp (1950–1954) and the resistance to his proposed monastery of Sainte-Marie de la Tourette (1957–1960). In 1964, the bishop of Saint-Étienne requested that Le Corbusier relocate the church to a new site, but Le Corbusier refused and the diocese subsequently withdrew from the project. (With neither the approval, funds, nor the participation of the bishop, by then the cardinal archbishop of Lyon, the first stone of the church was finally laid on the site in 1970.) Le Corbusier’s ambivalence toward the project, even prior to his quarrels with the bishop, reveals...
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Public or Civic Criminology : A Critique of Loader and Sparks
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Photographic documentation of sculpture produces significant consequences for the way in which sculptural space is conceived. When viewed as discrete mediums the interaction of the photograph and its sculptural subject is always framed by notions of loss. However, when taken as a composite system, the sculpture-photograph proposes a new ontology of space. In place of the fixity of medium, we can observe a topology at play: a theory drawn from mathematics in which space is understood not as a static field but in terms of properties of connectedness, movement and differentiation. Refracted through the photographic medium, sculpture becomes not a field of fixed points in space, but rather as a fluid set of relations - a continuous sequence of multiple ‘surfaces’, a network of shifting views. This paper will develop a topological account of studio practice through an examination of the work of the contemporary Belgian sculptor Didier Vermeiren (b. 1951). Since the 1980s, Vermeiren has made extensive use of photography in his sculptural practice. By analysing a series of iterations of his work Cariatide à la Pierre (1997-1998), this paper proposes that Vermeiren’s use of photography reveals patterns of connection that expand and complicate the language of sculpture, while also emphasising the broader topology of the artist’s practice as a network of ‘backward glances’ to previous works from the artist’s oeuvre and the art-historical canon. In this context, photography is not simply a method of documentation, but rather a means of revealing the intrinsic condition of sculpture as medium shaped by dynamic patterns of connection and change. In Vermeiren’s work the sculpture-photograph, has a composite identity that exceeds straightforward categories of medium. In their place, we can observe a practice based upon the complex interactions of objects whose ontology is always underpinned by a certain contingency. It is in this fundamental mobility, that the topology of Vermeiren’s practice can be said to rest.
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Digital Image
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Digital Image
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Digital Image
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Digital Image
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Les strictes fusions entre égaux constituent un phénomène très rare. Pourtant, de nombreux dirigeants communiquent sur l’aspect égalitaire des fusions et acquisitions qu’ils conçoivent. Dans cet article, les auteurs expliquent pourquoi les dirigeants <