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\"In the 1960s, Canadians could step through time to eighteenth-century trading posts or nineteenth-century pioneer towns. These living history museums promised authentic reconstructions of the past but, as Time Travel shows, they revealed more about mid-twentieth-century interests and perceptions of history than they reflected historical fact. The postwar appetite for commercial tourism led to the development of living history museums. They became important components of economic growth, especially as part of government policy to promote regional economic diversity and employment. Time Travel considers these museums in their historical context, revealing how Canadians understood the relationship between their history and the material world. Using examples from across Canada, Alan Gordon explores how these museums responded to shifting expectations of a nation defined by the Great Depression, the Second World War, and the space race. Along the way, museum projects were shaped by scandal, personality conflicts, funding challenges, and the need to balance education and entertainment: historical authenticity was often less important than the tourist experience. Ultimately, the rise of the living history museum is linked to the struggle to establish a pan-Canadian identity in the context of multiculturalism, competing anglophone and francophone nationalisms, First Nations resistance, and the growth of the state.\"-- Provided by publisher.

In this article I examine the Service, Office, and Retail Workers' Union of Canada (sorwuc), an independent, grassroots, socialist-feminist union that organized workers in unorganized industries in Canada in the 1970s and 1980s. I look at sorwuc's role in Canadian labour history in general, and its efforts to organize workers in the service industry in particular. My central thesis is that sorwuc's socialist-feminist unionism and commitment to organizing unorganized workers positioned the union as radically different from the mainstream labour movement. This difference both helped and hindered the union. Specifically, sorwuc's experiences organizing workers at Bimini pub and Muckamuck restaurant in British Columbia demonstrate that although its alternative structure and strategies aided organizing and strike efforts, these factors made little difference in the union's dealings with the labour relations boards and the courts: in both cases, the action or inaction of the state ultimately determined the outcome. Although sorwuc no longer exists, it remains an important historical example of how workers in Canada have been and can be organized. sorwuc thus offers important lessons about service worker organizing, alternative forms of unionization, and the powerful role of the state in labour relations in the postwar period. Dans cet article, j'examine le Syndicat canadien des employés de service, de bureau et de détail (sorwuc), un syndicat socialiste-féministe indépendant qui organisait des travailleurs dans les industries non syndiquées au Canada dans les années 1970 et 1980. Je regarde le rôle du sorwuc dans l'histoire du travail canadien en général, et ses efforts pour organiser les travailleurs dans le secteur des services en particulier. Ma thèse centrale est que le syndicalisme socialiste-féministe du sorwuc et son engagement d'organiser les travailleurs non syndiqués a positionné le syndicat comme radicalement différent du mouvement syndical traditionnel. Cette différence a à la fois aidé et gêné le syndicat. Plus précisément, les expériences du sorwuc d'organiser les travailleurs au pub Bimini et au restaurant Muckamuck en Colombie-Britannique démontrent que, bien que sa structure et ses stratégies alternatives ont aidé les efforts d'organisation et de grève, ces facteurs ont fait peu de différence dans les relations du syndicat avec les commissions des relations de travail et les tribunaux : dans les deux cas, l'action ou l'inaction de l'Etat en fin de compte a déterminé le résultat. Bien que le sorwuc n'existe plus, il reste un exemple historique important de la façon dont les travailleurs au Canada ont été et peuvent être organisés. Le sorwuc offre donc d'importantes leçons sur l'organisation de travail de service, d'autres formes de syndicalisation, et le rôle important de l'Etat dans les relations de travail dans la période d'après-guerre.

In this article, the authors juxtapose Allison Hedge Coke's poetry collection \"Blood Run\" (2006) with the larger context in which Native American Graves Protection and Repatriation Act (NAGPRA) operates in order to investigate how \"Blood Run\" exposes the limitations of repatriation legislation, most significantly, how NAGPRA's current definition of American Indian identity falls short of sovereign tribal conceptions of identity and tribal responsibility for caretaking ancestral remains. In particular, Hedge Coke's portrayal of repatriation struggles at the Blood Run State Historic Site highlights the extent to which NAGPRA's rhetoric of identity fails to encompass remains associated with non-federally recognized tribes, despite the intentions of the law's original authors, and the actual practices of NAGPRA, which sometimes exceed the law's reductive definition of Indigeneity in favor of \"creative\" applications of NAGPRA. In fact, Hedge Coke's \"Blood Run\" implicitly affirms and poetically embodies the complex intertribal formulation of identity that NAGPRA practitioners originally envisioned and that they sometimes enact in recuperative efforts to protect remains associated with non-federally recognized tribal groups. The authors claim that there are insights into Indigenous identity formation to be gained in the study of Hedge Coke's ceremony of urban, transnational, and intertribal sovereignty alongside the transgressive practices of NAGPRA officials. Mound poems and NAGPRA practices, both living texts, illustrate the limitations of NAGPRA's legislated rhetoric and enact a more empowering model of American Indian identity and community. (Contains 27 notes.)

During 1995 the Pitt Rivers Museum, University of Oxford, marketed a postcard depicting 14 early handwritten labels from the museum's archive. This commercially orientated, self-reflexive museum production is taken as the starting point for an analysis of the relationship between the collection, the collector, the museum exhibition and the visiting public. The roles of documentation as an aspect of colonial appropriation, and that of artists in residence as parallel commentary are reviewed. /// En 1995, le musée Pitt Rivers de l'université d'Oxford a mis en marché une carte postale reproduisant 14 étiquettes écrites à la main, tirées des archives du musée. Cette production muséale, orientée vers le commerce et se mettant en valeur, est prise comme point de départ d'une analyse de la relation entre la collection, le collecteur, l'exposition et le public visiteur. Les fonctions de documentation comme aspect de l'appropriation coloniale et celles d'artistes en résidence sont analysées en tant que commentaire parallèle.