Birth records typically give the child's name, date of birth, place of birth (or where recorded), parents' names, parents' places of birth, and reference source volume, page and line number. Marriage records typically give the bride's and groom's places of origin, date and place of marriage, bride's and groom's ages and places of birth, whether this is the first marriage, and bride's and groom's parents' names, followed by reference source volume, page and line number. Death records typically give the decedent's date and place of death, place of birth, parents' names, and reference source volume, page and line number. Contains the following records: births for the years 1737 through 1863; deaths for the years 1737 through 1857; marriages for the years 1737 through 1857; and baptisms for the years 1800 through 1816. Nearly all of the information falls between 1737 and 1857, but a few vital records go back as far as 1654. This volume has a new fullname index (containing roughly 6,000 to 10,000 names) to ease research.

"Modern Privacies" addresses emergent transformations of privacy in western societies from a multidisciplinary and international perspective. It examines social and cultural trends in new media, feminism, law, work and intimacy which indicate that our perceptions, evaluations and enactments of privacy in constant flux.

Canadian Born (1895) is a collection of poems by E. Pauline Johnson. Revered as one the foremost indigenous Canadian poets of her time, Johnson was a prolific writer whose works explored her Mohawk heritage while shedding light on the racism and persecution faced by indigenous peoples across North America. Canadian Born captures Johnson's range as a poet in tune with the Romantic tradition without erasing her dualistic sense of identity as a woman of Mohawk and English heritage. Introducing her collection with a brief inscription, the poet lays out the political purpose of her work addressed to all "Canadian born" individuals, "whether he be [her] paleface compatriot who has given to [her] his right hand of good fellowship," or "that dear Red brother of whatsoever tribe or Province." No matter the identity of her reader, Johnson hopes to show them that "White Race and Red are one if they are but Canadian born." Whether or not she succeeds in her mission is up to the reader to decide, and yet the beauty and power of her poetry cannot be denied. Personal and political, patriotic and critical of colonial misdeeds, Johnson captures as much as she can of the Canadian experience, paying equal regard to a mariner longing to return to "the sea, the hungry sea" and an Indian corn husker with "Age in her fingers, hunger in her face, / Her shoulders stooped with weight of work and years." With a beautifully designed cover and professionally typeset manuscript, this edition of E. Pauline Johnson's Canadian Born is a classic of Canadian literature reimagined for modern readers.

Critique in a Neoliberal Age brings a critique of ideology to main debates within economic sociology, populism studies, the neoliberal university, therapy culture, contemporary intimacies and feminism. Over the last decades, neoliberalism has worked to lift social protections and political regulations from the market and to identify modernity with capitalism itself. It has also engaged in an ideological project to screen alternative measurements of progress. Liberal and social democracy have been effectively disabled as grounds for weighing the costs of neoliberal predations. This volume examines the strategies through which neoliberalism has reconstituted and de-politicized liberal precepts such as universal justice, private right and a social democratic project responsive to needs. As such it will appeal to scholars and students of sociology and social and critical theory, political and social philosophy, politics, cultural studies and feminist thought.

Feminism is currently at an impasse. Both the liberation feminism of the 1970's and the more recent feminism of difference are increasingly faced with the limitations of their own perspectives. While feminists today generally acknowledge the need to recognise diversity, they lack a coherent framework through which this need can be articulated. In "

Originally published in 1984, this study deals with a number of influential figures in the European tradition of Marxist theories of aesthetics, ranging from Lukacs to Benjamin, through the Frankfurt School, to Brecht and the Althusserians. Pauline Johnson shows that, despite the great diversity in these theories about art, they all formulate a common problem, and she argues that an adequate response to this problem must be based on account of the practical foundations within the recipient's own experience for a changed consciousness.

Originally published in 1984, this study deals with a number of influential figures in the European tradition of Marxist theories of aesthetics, ranging from Lukacs to Benjamin, through the Frankfurt School, to Brecht and the Althusserians. Pauline Johnson shows that, despite the great diversity in these theories about art, they all formulate a common problem, and she argues that an adequate response to this problem must be based on account of the practical foundations within the recipient's own experience for a changed consciousness.

If we are to believe what many sociologists are telling us, the public sphere is in a near terminal state. Our ability to build solidarities with strangers and to agree on the general significance of needs and problems seems to be collapsing. These cultural potentials appear endangered by a newly aggressive attempt to universalize and extend the norms of the market. For four decades Habermas has been trying to bring the claims of a modern public sphere before us. His vast oeuvre has investigated its historical, sociological and theoretical preconditions, has explored its relevance and meaning as well as diagnosing its on-going crises. In the contemporary climate, a systematic look at Habermas lifelong project of rescuing the modern public sphere seems an urgent task.

This study reconstructs major developments in Habermas thinking about the public sphere, and is a contribution to the current vigorous debate over its plight. It marshals the significance of Habermas lifetime of work on this topic to illuminate what is at stake in a contemporary interest in rescuing an embattled modern public sphere.

Habermas project of rescuing the neglected potentials of Enlightenment legacies has been deeply controversial. For many, it is too lacking in radical commitments to warrant its claim to a contemporary place within a critical theory tradition. Against this developing consensus, Pauline Johnson describes Habermas project as one that is still informed by utopian energies, even though his own construction of emancipatory hopes itself proves to be too narrow and one-sided.

If we are to believe what many sociologists are telling us, the public sphere is in a near terminal state. Our ability to build solidarities with strangers and to agree on the general significance of needs and problems seems to be collapsing. These cultural potentials appear endangered by a newly aggressive attempt to universalize and extend the norms of the market. For the past four decades the social theorist Jurgen Habermas has explored the relevance and meaning of the public sphere, as well as diagnosing its on-going crises. In the contemporary climate, a systematic look at Habermas' lifelong project of rescuing the modern public sphere seems an urgent task. This study reconstructs major developments in Habermas' thinking about the public sphere. Throughout his work Habermas has maintained that the complex ambiguity of the cultural achievements and potentials of the Enlightenment have not been properly understood. While his first major work tried to retrieve this complexity by excavating the neglected public-democratic core of Enlightenment liberalism, his later writings look to processes within modernization that confer value on a human capacity to interact communicatively. In recent times, Habermas has suggested that the modern public sphere is still central to the way in which liberal democratic societies reflect upon their normative foundations, and that we can learn from the traumatic histories and partial successes of the democratic nation states what needs to be done to build democracy with a post-national, cosmopolitan reach.
Habermas' project of rescuing the neglected potentials of Enlightenment legacies has been deeply controversial. For many, it is too lacking inradical commitments to warrant its claim to a contemporary place within a critical theory tradition. Against this developing consensus, Pauline Johnson describes Habermas' project as one that is still informed by utopian energies, even though his own construction of emancipatory hopes itself proves to be too narrow and one-sided.

Critique in a Neoliberal Age brings a critique of ideology to main debates within economic sociology, populism studies, the neoliberal university, therapy culture, contemporary intimacies and feminism. Over the last decades, neoliberalism has worked to lift social protections and political regulations from the market and to identify modernity with capitalism itself. It has also engaged in an ideological project to screen alternative measurements of progress. Liberal and social democracy have been effectively disabled as grounds for weighing the costs of neoliberal predations. This volume examines the strategies through which neoliberalism has reconstituted and de-politicized liberal precepts such as universal justice, private right and a social democratic project responsive to needs. As such it will appeal to scholars and students of sociology and social and critical theory, political and social philosophy, politics, cultural studies and feminist thought.

The White Wampum (1895) is the debut poetry collection of E. Pauline Johnson. Originally published in London, The White Wampum launched her career as one of Canada's most distinguished artists. Revered as one the foremost indigenous poets of her time, Johnson was a prolific writer whose works explored her Mohawk heritage while shedding light on the racism and persecution faced by indigenous peoples across North America. The White Wampum captures Johnson's range as a poet in tune with the Romantic tradition without erasing her dualistic sense of identity as a woman of Mohawk and English heritage. Choosing to emphasize the former, Johnson, who also went by Tekahionwake, her great-grandfather's name, adopts the persona of a Mohawk wife devoted to her husband, a powerful warrior: "I am Ojistoh, I am she, the wife / Of him whose name breathes bravery and life / And courage to the tribe that calls him chief. / I am Ojistoh, his white star, and he / Is land, and lake, and sky-and soul to me." When members of the rival Huron tribe capture Ojistoh, their plan for retribution fails to account for her own strength and willpower. Outnumbered and unarmed, she remains certain she will return to her husband alive. In "The Camper," Johnson invokes the beauty and simplicity of life on the plains, erasing for a moment all distinction between man and god, heaven and earth: "Night neath the northern skies, lone, black, and grim: / Nought but the starlight lies twixt heaven, and him. / Of man no need has he, of God, no prayer; / He and his Deity are brothers there." With a beautifully designed cover and professionally typeset manuscript, this edition of E. Pauline Johnson's The White Wampum is a classic of Canadian literature reimagined for modern readers.

Flint and Feather (1913) is a collection of the complete poems of E. Pauline Johnson. Revered as one the foremost Canadian poets of her time, Johnson was a prolific writer whose works explored her Mohawk heritage while shedding light on the racism and persecution faced by indigenous peoples across North America. "The lyrical verse herein is as a 'Skyward floating feather, / Sailing on summer air.' And yet that feather may be the eagle plume that crests the head of a warrior chief; so both flint and feather bear the hall-mark of my Mohawk blood." So states Johnson in the foreword to her complete poems, Flint and Feather, a collection that captures not only her range as a poet in tune with the Romantic tradition, but her dualistic sense of identity as a woman of Mohawk and English heritage. Choosing to emphasize the former, Johnson, who also went by Tekahionwake, her great-grandfather's name, adopts the persona of an Indian wife who, watching her love depart, wonders what he will "suffer from the white man's hand." In fear, in anger, in desperation, she proclaims "By right, by birth we Indians own these lands, / Though starved, crushed, plundered, lies our nation low..." In the face of defeat, she offers a poetry in tune with the "ghost upon the shore," the voices one hears "when the Northern candles light the Northern sky." Johnson's voice is thus both one of resistance and mourning, her song one of a land of plains and rivers, of fields that await the harvest despite the "prying pilot crow" whose "thieving raids" descend "[a]t husking time." With a beautifully designed cover and professionally typeset manuscript, this edition of E. Pauline Johnson's Flint and Feather is a classic of Canadian literature reimagined for modern readers.

Flint and Feather (1913) is a collection of the complete poems of E. Pauline Johnson. Revered as one the foremost Canadian poets of her time, Johnson was a prolific writer whose works explored her Mohawk heritage while shedding light on the racism and persecution faced by indigenous peoples across North America. “The lyrical verse herein is as a ‘Skyward floating feather, / Sailing on summer air.’ And yet that feather may be the eagle plume that crests the head of a warrior chief; so both flint and feather bear the hall-mark of my Mohawk blood.” So states Johnson in the foreword to her complete poems, Flint and Feather, a collection that captures not only her range as a poet in tune with the Romantic tradition, but her dualistic sense of identity as a woman of Mohawk and English heritage. Choosing to emphasize the former, Johnson, who also went by Tekahionwake, her great-grandfather’s name, adopts the persona of an Indian wife who, watching her love depart, wonders what he will “suffer from the white man’s hand.” In fear, in anger, in desperation, she proclaims “By right, by birth we Indians own these lands, / Though starved, crushed, plundered, lies our nation low…” In the face of defeat, she offers a poetry in tune with the “ghost upon the shore,” the voices one hears “when the Northern candles light the Northern sky.” Johnson’s voice is thus both one of resistance and mourning, her song one of a land of plains and rivers, of fields that await the harvest despite the “prying pilot crow” whose “thieving raids” descend “[a]t husking time.” With a beautifully designed cover and professionally typeset manuscript, this edition of E. Pauline Johnson’s Flint and Feather is a classic of Canadian literature reimagined for modern readers.

Bringing the Legends home Legends of the Capilano updates E. Pauline Johnson’s 1911 classic Legends of Vancouver, restoring Johnson’s intended title for the first time. This new edition celebrates the storytelling abilities of Johnson’s Skwxwú7mesh (Squamish) collaborators, Joe and Mary Capilano, and supplements the original fifteen legends with five additional stories narrated solely or in part by Mary Capilano, highlighting her previously overlooked contributions to the book. Alongside photographs and biographical entries for E. Pauline Johnson, Joe Capilano, and Mary Capilano, editor Alix Shield provides a detailed publishing history of Legends since its first appearance in 1911. Interviews with literary scholar Rick Monture (Mohawk) and archaeologist Rudy Reimer (Skwxwú7mesh) further considers the legacy of Legends in both scholars’ home communities. Compiled in consultation with the Mathias family, the direct descendants of Joe and Mary Capilano and members of the Skwxwú7mesh Nation, this edition reframes, reconnects, and reclaims the stewardship of these stories.

For Johnson, feminism must recognize itself as a humanism in order to avoid certain theoretical quagmires. [The argument] is extremely provocative, and even, I would say, necessary. This book is sure to be controversial and of interest to a wide audience in feminist theory. I know of no other treatment of feminism and humanism that is so clear, cogent, and systematic. Judith Grant University of Southern California Feminism is currently at an impasse. Both the liberation feminism of the 1970's and the more recent feminism of difference are increasingly faced with the limitations of their own perspectives. While feminists today generally acknowledge the need to recognise diversity, they lack a coherent framework through which this need can be articulated. In Feminism as Radical Humanism, Pauline Johnson calls for a reassessment of feminism's relationship to modern humanism. She argues that despite its very thorough and necessary critique of mainstream formulations of humanist ideals, feminism itself remains strongly committed to humanist values. Drawing on a broad range of political and intellectual traditions, Johnson demonstrates that, only by proudly affirming its own humanist commitments can feminist theory find a way to negotiate the impasse in which it currently finds itself. Feminism as Radical Humanism is an important and controversial contribution to feminist theory, and to the ongoing debate about the meaning of contemporary humanism.

Modern Privacies addresses emergent transformations of privacy in western societies from a multidisciplinary and international perspective. It examines social and cultural trends in new media, feminism, law, work and intimacy which indicate that our perceptions, evaluations and enactments of privacy in constant flux.