Short Description:
The eight chapters of this book encapsulate the past, present, and future of Canadian immigration and settlement. The topics, in part, cover the history of immigration to Canada through an objective lens that allows readers to learn what transpired with the settlement of specific ethnic groups, as well as address Canada’s current policies and approaches to immigration. This leads to an exploration of the challenges that newcomers to Canada and the settlement sector are encountering today. Readers and learners of settlement studies will embark on a journey of self-reflection throughout this book as they engage in many activities, quizzes, and interactions which may be self-directed or instructor led.

Long Description:
The OER textbook is an introduction to key issues in the settlement sector rather than a comprehensive exploration of this dynamic and multifaceted field. Maria MacMinn Varvos situates the history of settlement services in Canada, including a look at delivery models and perspectives. She also explores the relationship between literacy levels of women and its affect on their settlement. Alexandru Caldararu introduces and situates social justice and anti-oppressive practice in settlement worker practice. He also presents a detailed discussion on climate migration and its implications on settlement. Christina Hamer presents types of migration-related trauma and the mental health challenges many newcomers face before arriving in Canada. Rennais Gayle discusses the settlement experiences of older arriving immigrants, particularly focusing on family dynamics. In her chapter, Julie Clements provides an overview of how settlement workers can effectively navigate intercultural communication contexts. Lynn Sutankayo delves deeply into how related concepts in settlement act as a conduit towards further understanding of issues in gender, sexuality, and culture. While the textbook chapters can be read in the order presented, each chapter presents a unique issue and can also be enjoyed in non-sequential order.

Word Count: 89622

ISBN: 978-1-55195-472-1

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Candace Cable became the first woman to medal at the summer and winter Paralympic Games.

This resource is from a collection of biographies of famous women. It is provided by the National Women's History Museum, and may include links to supplemental materials including lesson plans about the subject and related topics, links to related biographies, and "works cited" pages. The biographies are sponsored by Susan D. Whiting.

Whig nominee Zachary Taylor's reluctance to clearly declare his political views was an issue eagerly exploited by the opposition in the 1848 campaign. Here the artist shows phrenologist Orson S. Fowler probing the candidate's skull to determine his "principles," as New York "Tribune" editor Horace Greeley (left) takes notes. Greeley asks, "What for a Prsident would he make?" Fowler replies, "he says he is 'Incompetent,' & so say his developments." Taylor (center) sits grumbling, "When I get to Washington I will turn [Postmaster General] Cave Johnson out, and put a good Military man in his place, This paying 7.50 for "dead letters," is too much for me to stand." Beginning in late July the "dead letter" issue was a source of great popular amusement at Taylor's expense. After Taylor's nomination in early June, he was sent a letter by John Morehead offering him the candidacy. In an economizing move, Taylor had recently instructed the local postmaster in Baton Rouge not to forward to him any letters on which postage was not prepaid. Consequently, Morehead's notification of nomination was among the mail that landed in the dead letter office in Washington, and after several weeks cost Taylor $7.50 to have retrieved. Among the long list of Taylor's characteristics that Greeley and Fowler have compiled are: "A Quick Fiery Temper," "A lack of self respect," and "Disregard for things Sacred." Each of these falls under a broader category, such as "Combativeness," which is accompanied by a number designating its degree of "development." The number six indicates an ideal level of development, anything lower being deficient. Seven, the highest possible score, was excessive. Here Taylor scores a seven in "Combativeness," but only receives a one for "Self Esteem." In "Firmness" he receives a fourteen, making him remarkably "Obstinate & Mulish." Shelved on the back wall at right are specimens of heads and skulls, including those of Martin Van Buren, James Watson Webb, Henry Clay, and a black man. Posted on the left is a sign advertising "Fowler & Wells. Phrenologists, 131 Nassau St. Clinton Hall, N. York."|Drawn by "W.J.C."|Entered . . . 1848 by H.R. Robinson.|Lithd. & published by H.R. Robinson-31 Park Row New York.|Title appears as it is written on the item.|Lorant, p. 19.|Weitenkampf, p. 93-94.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1848-24.

A grim commentary on the extraordinary measures taken by some Americans to evade military service during the Civil War. A man in shirtsleeves (center) has just had his right hand mutilated by a woman who stands at left, holding a hammer and knife. On a stump before the woman lies the man's severed index finger. "Oh Lord! Oh Lord! how it hurts," howls the man, as he dances about holding his bleeding hand. On the right, another man with an amputated finger extends his hand and reassures him, "Tˆü_ˆüąwont hurt but a minute and then you can get one of those." He refers to a certificate in his left hand, signed by "Dr. Syntax," certifying that "I have examined Adam Cowherd, Esq. and find that he has lost the first finger of his right hand. He affirms that it was cut off while digging post holes. I recommend that he be sent to the Army or to Fort Lafayette." During the Civil War, Fort Lafayette was used as a prison for political offenders.|Entered . . . 1862, by Wm. E.S. Trowbridge . . . Southern District of New York.|The Library's impression of the print was deposited for copyright on August 27, 1862.|Title appears as it is written on the item.|Wm. E.S. Trowbridge, del.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1862-6.

This Canvas shell includes a sample syllabus for a Modern American History course using OER resources. The shell also has two sample modules which include discussion prompts and a sample midterm assignment. Each module has a corresponding announcement that would be sent out at the beginning of the week to remind the students of the work to be done.

 The LA riots of 1992 were a pivotal moment in American history.  Not only did they raise awareness of issues of police violence related to African Americans in the beating of Rodney King, they were also the first instance when film footage by an ordinary citizen (well before cell phone cameras) would lead to such direct and widespread consequences.  Obviously, with those cell phone cameras, such incidents are now reported regularly, with the largest recent consequences being the summer protests of 2020 after the death of George Floyd.  For HS students, 30 years ago might seem like ancient history, but they witnessed 2020.  This provides an excellent opportunity not only to provide context for an historical event, but also to connect it directly to the world in which they live, and to explore the concepts of continuity and change.  This project is designed to not only help students achieve a better understanding of the events of 1992 as an historical event, but also to refine their skills as historians.  Finally, in the culminating part of the project, students will be able to evaluate the judgment of USC criminal justice and law professor Jody David Armour’s comment, “Ain’t nothing changed but the year it is.”

Sharply critical of both the Democratic and Whig choice of presidential candidates in 1852, the artist laments the nomination of two soldiers, Winfield Scott (center) and Franklin Pierce (far right), in preference to several more "capable" statesmen who appear at left. The latter are (left to right): Samuel Houston, John J. Crittenden, Thomas Hart Benton, Millard Fillmore, John Bell, Lewis Cass, Stephen A. Douglas, and Daniel Webster. Most prominent in the group are Fillmore, Cass, and Webster, who also sought the presidential nomination in 1852. Fillmore: "I have sought more anxiously to do what was right; than what would please, and feel no disappointment, at finding that my Conduct has, rendered me an unavailable candidate." Cass: "We have been partizans where we differed in opinions as to the best means of promoting the prosperity and happiness of our native land, but we cast aside, party when we stood Shoulder, to Shoulder, for the Constitution & the Union." Webster: "It is not our fortune to be, or to have been successful Millitary Chieftains. We are nothing but painstaking, hardworking, drudging Civilians, giving our life, and health, and strength, to the maintenance of the Constitution and upholding the liberties of our country." Columbia, draped in stars and stripes and grasping the hands of Scott and Pierce, responds: "I acknowledge your noble services, worth and Constant devotion most Illustrious sons, and that you have the long experience, Sound sense and practical wisdom which fit you to receive the highest honor in my power to bestow, but you are "not Available." " "Availability," in the contemporary lexicon, meant the quality of broad popular appeal. Scott and Pierce were both distinguished in the Mexican War. Scott, holding a liberty staff and Phrygian cap, proclaims: "You see Gentlemen it is "availability" that is required and that is "my" qualification." Pierce holds a shield adorned with stars and stripes, adding, "I am a "Great" man and have done the country "Great" Service! I never knew it before; but it "must be so;" for the Convention has declared it, and the Democracy affirm it." Before his nomination by the Democratic convention of 1852, Pierce was a relatively little known New Hampshire attorney--a fact which Whig publicists tended to exaggerate. Pierce had, after all, served as a two-term congressman and senator from New Hampshire.|Lith. & pub. by Nathaniel Currier, 152 Nassau St. N.Y.|Title appears as it is written on the item.|Gale, no. 880.|Weitenkampf, p. 107.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1852-14.

Capital of a column from the audience hall of the palace of Darius I, Susa, c. 510 B.C.E., Achaemenid, Tell of the Apadana, Susa, Iran (Louvre). Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Steven Zucker and Beth Harris.

A caricature of President Martin Van Buren issued during the Panic of 1837, strongly critical of his continuation of predecessor Andrew Jackson's hard-money policies. Particular reference is made to the Specie Circular, a highly unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver (i.e., "specie") in payment for public lands. Designed to curb speculation, the measure was blamed by administration critics for draining the economy of hard money and precipitating the 1837 crisis. Hearkening back to the anti-Jackson "King Andrew the First" (no. 1833-4), the artist portrays Van Buren as a monarch in a princely cloak, treading on the Constitution. He is crowned "in the name of Belzebub . . . Ragamuffin king" by a demon. Van Buren's cloak is trimmed with "shinplasters," the colloquial term for the often worthless small-denomination bank notes which proliferated during the panic. Van Buren says, "I like this cloak amazingly, for now I shall be able to put into execution my Designs without being observed by every quizing, prying Whig. I'm obliged to keep close since my Safety Fund is blown . . ." Under the Safety Fund law, passed during Van Buren's term as governor of New York, banks were required to contribute to a fund used to liquidate the obligations of banks that failed. The fund was quickly exhausted during the panic. On the walls are pictures of "Bequests of the Late Incumbent" (Andrew Jackson), including "The Hickory Stick," worshipped by the masses like the brazen serpent in the Old Testament, Jackson's spectacles and clay pipe, his hat, the Safety Fund balloon in flames, and "the Last Gold Coin," minted in 1829 (the year Jackson first took office). On the wall at right is a headless statue of Jackson holding a "veto" in his right hand (an allusion to Jackson's 1832 veto of a bill to recharter the Bank of the United States). Visible through a window is a street scene where a crowd mobs a theater exhibiting "a Real Gold Coin." Beneath Van Buren's feet are several documents, including the Specie Circular and "petitions," the missives from New York bankers and merchants which deluged the White House calling for repeal of the Circular. A document labeled "Indian claims" refers to another unpopular Jackson legacy: the numerous grievances by tribes like the Cherokees and Seminoles regarding unfair and inhumane government treaties by which they were being displaced and deprived of their lands.|Copyright secured according to law by F.J. Winston.|Published at 89 Nassau St. NY.|Signed: Forbes Delt.|The Library's impression of the print was deposited for copyright on August 29, 1837, and published at the same address as Anthony Fleetwood's "6 Cents. Humbug Glory Bank" (no. 1837-10).|Title appears as it is written on the item.|Weitenkampf, p. 49.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-1.

4th-3rd century B.C.E. bronze, 69 cm (Capitoline Museums, Rome. Speakers; Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Capitoline Venus, 2nd century C.E., marble, 193 cm (Capitoline Museums, Rome) (Roman copy of the Aphrodite of Knidos, a 4th century B.C.E. Greek original by Praxiteles) Speakers: Dr. Beth Harris and Dr. Steven Zucker. More art history videos on smarthistory.org.

Students conduct this investigation collaboratively and with minimal guidance from the instructor. Students are presented with the research problem at the start of the semester, typically within the first week of classes. Soon after, a class-wide discussion is facilitated through the posing of some preliminary questions. Eventually and within the first few weeks, students outline a project design and methodology for implementation in the field and laboratory. Along the way and as project-pertinent topical units are covered, students are given journal articles to read that might further their thinking about the project, might present some appropriate methodology, or might serve as a model investigation.

Field work is accomplished early in the semester and with minimal time invested. Because scheduling field trips that can accommodate everyone is difficult, the field experience is optional. In these situations, someone chronicles the field work with either a digital still camera or digital videocamera and then these are shared with everyone in the class.

All aspects of the project are collaborative; students collect and share data, prepare and share figures and tables, and collectively prepare the poster and abstract.

The following files are uploaded as supportive teaching materials:
1. Geobio Research Project Description F08.doc: This is the project overview that is distributed to students as a handout at the start of the semester.
2. Geobio Research Project Qs.doc: This set of questions is distributed early in the semester to spark a discussion and to aid in the design of the project.
3. Geobiology GSA SE 2009 Abstract.doc: This is a copy of the abstract that was submitted to the 2009 Southeast Section Geological Society Of America meeting in St. Petersburg.
4. Geobio GSA SE09 Poster.ppt: A copy of the poster presentation given at the 2009 Southeast GSA meeting.

(Note: this resource was added to OER Commons as part of a batch upload of over 2,200 records. If you notice an issue with the quality of the metadata, please let us know by using the 'report' button and we will flag it for consideration.)

This PBS video shows how Klaus Lackner, a geophysicist at Columbia University, is trying to tackle the problem of rising atmospheric CO2 levels by using an idea inspired by his daughter's 8th-grade science fair project. The video examines the idea of pulling CO2 out of the atmosphere via a passive chemical process.

This art history video discussion examines Caravaggio's "Calling of St. Matthew," oil on canvas, c. 1599-1600 (Contarelli Chapel, San Luigi dei Francesi, Rome).

This art history video discussion examines Caravaggio's "Crucifixion of St. Peter", oil on canvas, 1601 (Santa Maria del Popolo, Rome).

This art history video discussion examines Caravaggio's "Death of the Virgin," 1605-06, Oil on canvas, 12 feet, 10 inches x 8 feet (369 x 245 cm) (Musee du Louvre, Paris). Painted for the altar of a family chapel in the church of Santa Maria della Scala del Trastevere, Rome.

This art history video discussion looks at Michelangelo Merisi da Caravaggio's "Narcissus at the Source", oil on canvas, 1597-99 (Palazzo Barbarini).

This art history video discussion examines Michelangelo Merisi da Caravaggio's "The Supper at Emmaus", 1601, oil on canvas (National Gallery, London).

This activity from NOAA Earth System Research Laboratory introduces students to the scientific understanding of the greenhouse effect and the carbon cycle. The activity leads them through several interactive tasks to investigate recent trends in atmospheric carbon dioxide. Students analyze scientific data and use scientific reasoning to determine the causes responsible for these recent trends. By studying carbon cycle science in a visual and interactive manner, students can learn firsthand about the reasons behind our changing climate.

This interactive animation focuses on the carbon cycle and includes embedded videos and captioned images to provide greater clarification and detail of the cycle than would be available by a single static visual alone.