Andrew Horrall
Biographic Data
| ID | 2527050 |
|---|---|
| NAME | Andrew Horrall |
| GIVEN NAMES | Andrew |
| FAMILY NAME | Horrall |
| SIGNATURE | HORRALL A |
| AFFILIATIONS | Library and Archives Canada |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Tracing the events and impacts of the Canadian satire boom of the 1960s
In the 1960s, Canada began shedding political, symbolic and cultural vestiges of its colonial ties to Britain. Politicians, Quebec separatists, new immigrant groups and university educated young people questioned what a modern Canada should be. Canadian comedians responded in part by adapting satirical techniques popularised by British stage revues like Beyond the Fringe, whose iconoclastic humour provided a voice with which to confront public fi…
This War has Produced a Woman Who Can Keep a Secret!’ 1
In 1944, the British government was looking for ways to convince the public at home and abroad that the nation’s status as a world power was undiminished. To this end, the Ministry of Information developed a propaganda campaign for revealing the portable Mulberry Harbour that had been designed and built in Britain, and used in that June's invasion of Normandy. The official narrative was overshadowed, however, by public incredulity about a young w…
The “Foreigners” from Broad Street
This article uses archival documents to create a group portrait of fifty-five sojourners from the Russian Empire who volunteered to fight for Canada in the First World War. It critically analyses the ethnic complexity of the Canadian Expeditionary Force (CEF) and its relationship to Canadian civilian society by tracing the men’s pre-war membership in Ottawa’s all but invisible Eastern European proletariat, through their wartime service in which o…
A Century of Canadian Art’
An exhibition of 263 works of Canadian art opened at London's Tate Gallery in October 1938. These showed how European traditions of portraiture, landscape and religious carving had interacted with Canada's geography and First Nations to create a distinct national aesthetic epitomised by the Group of Seven and Emily Carr. The exhibition had been envisioned by Vincent Massey, Canada's foremost arts patron and collector, who had lent many works to t…
Our Friend “The Enemy”
Through Thick and Thin
No prominent works on this page.
Through Thick and Thin
Our Friend “The Enemy”
A Century of Canadian Art’
An exhibition of 263 works of Canadian art opened at London's Tate Gallery in October 1938. These showed how European traditions of portraiture, landscape and religious carving had interacted with Canada's geography and First Nations to create a distinct national aesthetic epitomised by the Group of Seven and Emily Carr. The exhibition had been envisioned by Vincent Massey, Canada's foremost arts patron and collector, who had lent many works to t…
The “Foreigners” from Broad Street
This article uses archival documents to create a group portrait of fifty-five sojourners from the Russian Empire who volunteered to fight for Canada in the First World War. It critically analyses the ethnic complexity of the Canadian Expeditionary Force (CEF) and its relationship to Canadian civilian society by tracing the men’s pre-war membership in Ottawa’s all but invisible Eastern European proletariat, through their wartime service in which o…
This War has Produced a Woman Who Can Keep a Secret!’ 1
In 1944, the British government was looking for ways to convince the public at home and abroad that the nation’s status as a world power was undiminished. To this end, the Ministry of Information developed a propaganda campaign for revealing the portable Mulberry Harbour that had been designed and built in Britain, and used in that June's invasion of Normandy. The official narrative was overshadowed, however, by public incredulity about a young w…
Tracing the events and impacts of the Canadian satire boom of the 1960s
In the 1960s, Canada began shedding political, symbolic and cultural vestiges of its colonial ties to Britain. Politicians, Quebec separatists, new immigrant groups and university educated young people questioned what a modern Canada should be. Canadian comedians responded in part by adapting satirical techniques popularised by British stage revues like Beyond the Fringe, whose iconoclastic humour provided a voice with which to confront public fi…
Sociology (5 works) · History (4 works) · History (4 works) · Law (4 works) · Political science (4 works) · Art (3 works) · Art history (3 works) · Canadian Identity and History (3 works) · French Historical and Cultural Studies (3 works) · Law (3 works)