Crafting a Canadian Imagination:
A Juxtaposition of Baseland and Hinterland Experiences
Establishing a uniquely Canadian imagination has traditionally been regarded as a difficult task, as it hopes to craft a form of literature that places Canadian authors outside of the realm of influence of its early colonial European establishment, and more recent American convergence. However, it is possible to extrapolate an idiosyncratic identity that is not formed as a product of the difference between Canadian authors and their European or American powers, but rather through examining the ways in which these impacts have helped inform authors in creating literature which adheres to prevailing forms, and how they have guided authors in responding to topical ideals and pressures. The contrasting ideas of Europeans and Americans conform to two major facets of Canadian literature, the baseland and hinterland methodologies. Baseland literature conforms to the European desires for tradition and respect of form, which was an important focus of the British government in early colonial and confederation periods. Conversely, hinterland literary form allows expression through an American desire for freedom from rule and tradition, a form widely used in the modern and postmodern periods of a growing society. Differences in baseland and hinterland compliment the diverse struggles and desires of writers at different times throughout history. Canadian writers have established a unique imagination through the forms and functions of baseland and hinterland ideologies, facilitating a distinctly Canadian interpretation of society and self from colonial to contemporary times.
One of the two primary functions of baseland and hinterland literary instruction ...
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... and integrated communities in a vast new country, and allowed poets to instill traditional values through prophetical insights. The less structured hinterland literature arose from a desire to seek the same open freedom that was prevalent in American culture, and allowed poets to experiment with new forms and experience Canadian frontiers without conforming to traditional rules. A successfully growing citizenship and culture prompted the hinterland content of individualism and regard for nature, and poets were able to discover new frontiers and leave order behind to seek out chaos and freedom. The history of Canadian literature, from a traditional British baseland order to a free American hinterland chaos subsequently produced a distinctly Canadian imagination, which has morphed and grown in response to the important issues and ideas of the citizens it represents.
To start off, I’ll be writing about the life of people in British North America and its significance towards unifying Canada, as well as background knowledge of conflicts that existed. Life in British North America was changing at an alarming rate. New technology and services were being introduced such as railways and steamships. Industries such as building, producing and farming were being introduced. This was in part due to the many immigrants from Britain and France who’d settled. This was dreadful for the First Nations as their land had been taken away even more so than before. More resources were needed for the growing crowd so trade agreements were made. As more people came, the First Nations were even more distanced from the Europeans. Meanwhile, the French and the British wanted the other’s culture to be erased from the
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Canada’s national culture has been shaped by prose, poetry and painting in varying degrees since the country’s early days. The artistic movement in Canada has transitioned significantly throughout the course of the nation’s development, from an agricultural society to the urbanized one known today. Early periods view art much differently than those who followed, like the Group of Seven. A notably nationalist art movement suggests that their art represented a dramatic departure from earlier styles of painting in Canada. This paper will argue that the Group of Seven did in fact play a major role in its transition, in addition to ‘Great White Hope’, the myth of the North, which catered to the idealistic notion of the North’s influence in art. The work of Homer Watson, After the Rain, and Arthur Lismer’s, A September Gale, will also be used to help note the changing style and dynamic of Canadian art.
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Many people across the globe argue that nationalism within Canada is simply not feasible. It is said that we as a people, differ so greatly with our diverse cultures, religions, and backgrounds that we cannot come together and exist together as a strong, united nation. In his book, Lament for a Nation, George Grant tells the reader that “…as Canadians we attempted a ridiculous task in trying to build a conservative nation in the age of progress, on a continent we share with the most dynamic nation on earth. The current history is against us.” (1965) Originally directed towards the Bomarc Missile Crisis, the book argues that whatever nationalism Canada had was destroyed by globalization as well as the powerful American sphere of influence. Although it is true that the book was initially written as a response to the events that took place in the late 1950s, many of the points are still valid today.
From the start of the 1920's, Canadians have faced a considerable amount of threat towards the Canadian culture from it's American neighbours. For Canada, living so close causes a concern on Canadian identity from American implementation, however, being in a close relationship with the States, it has also promoted Canadian culture. An examination of the nation's success with CBC from America's involvement in the airwaves, Canadian nationalism is promoted through Hockey Night in Canada and the establishment of the National Film Board during the growth of American entertainment industries, will clearly prove that American influence has not diminished Canadian identity but in fact has strengthened it.
“ Canada 's national obsession seems to be its own identity.” For many years Canada has feared the increasing influence of its North American neighbors on its culture - the United States . It has become a matter of growing concern for the people of power and influence in Canada to maintain their separate cultural identity and to promote their own cultural norms. Gaetan Tremblay presents his views on this topic and does this from the perspective of a person living and working in Quebec.
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Today Canada and the United States are major trading partners, allies, and two neighboring countries with a long history of cooperation with each other. But is it possible for Canada to protect its independence and culture living next door to the country so powerful and rich as the United States. Since the Canadian confederation, Canada started developing relations with the U.S. As the years passed by, Canada began to relay on the United States in the national defense. Many Canadians think that the military, political and economical dependence would not make a difference to their daily life. But today more then even Canadian culture is affected by the American influence. Media, American artists, economic dependence, American propaganda and political pressure from the United States is making Canada too Americanized. All of these factors reflect on the social life of ordinary Canadians threatening the heritage and the traditions that define Canada as independent country.
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