Ian Radforth – författare

The lumberjack – freewheeling, transient, independent – is the stuff of countless Canadian tales and legends. He is also something of a dinosaur, a creature of the past, replaced by a unionized worker in a highly mechanized and closely managed industry. In this far-ranging study of the logging industry in twentieth-century Ontario, Ian Radforth charters the course of its transition and the response of its workers to the changes.Among the factors he considers are technological development, changes in demography and the labour market, an emerging labour movement, new managerial strategies, the growth of a consumer society, and rising standards of living. Radforth has drawn on an impressive array of sources, including interviews and forestry student reports as well as a vast body of published sources such as The Labour Gazette, The Pulp and Paper Magazine of Canada, and The Canada Lumberman, to shed new light on trade union organization and on the role of ethnic groups in the woods work force.The result is a richly detailed analysis of life on the job for logging workers during a period that saw the modernization not only of the work but of relations between the workers and the bosses.

In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls.In Royal Spectacle, Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners.Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, Royal Spectacle contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.

In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls.In Royal Spectacle, Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners.Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, Royal Spectacle contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.

In late nineteenth-century Canada, the life insurance industry expanded impressively, offering policy-holders a greater sense of security. However, insurance fraud quickly followed in the footsteps of this boom, with murder sometimes being a deadly outcome. Making a Killing examines six legal cases in 1890s Ontario, where the Crown alleged that the accused had resorted to committing murder to obtain life insurance payouts. The scenarios varied widely, from a staged logging accident to conceal a murder, to a farmer’s wife who allegedly sought to collect the insurance on her husband by putting arsenic in the rhubarb she fed him. Newspapers eagerly reported these and other sensational crimes. Whether farmers or city dwellers, prosperous or poor, all the alleged perpetrators latched onto the quick money promised by the murder of an insured person. Legal historian Ian Radforth mines legal records and newspaper reports to reconstruct these alleged insurance murders and situate them in their Victorian contexts. Together, the fascinating cases reveal how insurance fraud emerged as a prominent public concern in Ontario and beyond.

In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls.In Royal Spectacle, Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners.Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, Royal Spectacle contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.

In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls.In Royal Spectacle, Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners.Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, Royal Spectacle contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers.Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city’s vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists’ accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers.Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city’s vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists’ accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers.Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city’s vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists’ accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

In nineteenth-century Toronto, people took to the streets to express their jubilation on special occasions, such as the 1860 visit of the Prince of Wales and the return in 1885 of the local Volunteers who helped to suppress the Riel resistance in the North-West. In a contrasting mood, people also took to the streets in anger to object to government measures, such as the Rebellion Losses bill, to heckle rival candidates in provincial election campaigns, to assert their ethno-religious differences, and to support striking workers.Expressive Acts examines instances of both celebration and protest when Torontonians publicly displayed their allegiances, politics, and values. The book illustrates not just the Victorian city’s vibrant public life but also the intense social tensions and cultural differences within the city. Drawing from journalists’ accounts in newspapers, Expressive Acts illuminates what drove Torontonians to claim public space, where their passions lay, and how they gave expression to them.

In February 1890, in a remote swamp in rural southwestern Ontario, two woodsmen discovered the frozen body of a well-dressed young stranger killed by two bullets to the back of the head. Before long, police laid a murder charge on Reginald Birchall, a handsome young gentleman from London just arrived in Canada to conduct an emigration scam. Although accused of the cold-blooded murder, Birchall charmed everyone he met and delighted in the attention lavished by the press of Canada, the United States, and Britain. In Deadly Swindle, Ian Radforth tells the fascinating story of one of Canada’s most sensational murder cases and shows how the regional and international press ran with it.The book draws an intriguing picture of social life in late nineteenth-century Canada, as well as a vivid and learned portrait of the workings of the criminal justice system at this time in the country’s history. A lively narrative, Deadly Swindle is based on extensive research, notably in Victorian newspapers, and is strengthened by a thorough knowledge of press history and the legal processes of the day.