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The links between national identity and the music industry in Canada are too diverse to be understood with any simplistic model of the nation. In early twentieth century Italy Ahtonio Gramsci examined the consumption of serialized stories written by foreigners. He developed a view of popular culture which focussed upon the role of the State in maintaining national unity. Since the federal State in Canada has intervened in the country's music business in recent years, Gramsci's schema provides us with a useful framework for that case. Moreover, his work avoids an orchestrated view of the nation or a narrow specification of the contents of culture. It allows us to take a view that Canadian culture is whatever Canadian's choose to write. Due to its inductive beginnings and theoretical shortcomings, the schema is not applied rigidly to music made by Canadians. Rather it has been kept on the sidelines to explore representations of Canadian music, the broadcasting, sound recording and concert promotion industries, and finally the future of music made in Canada. Gramsci's schema is one way to distinguish between the cause and uses of the nation in particular arguments. His ideas also explain why popular culture matters, without specifying its content or giving it artificial coherence. A framework is provided which admits that, in a society based upon exchange, the nation is fully implicated within a wider social fabric, so frequently cultural differences cannot be simplistically aligned with national borders. It allows us to reject essentialist nationalism and therefore the possibility of using the nation as a reason to suggest Canadian musicians are falling short, by not doing something different from their foreign counterparts. In its place the schema enables us to celebrate Canadian artists for what they have done in contributing to a wider sphere, and allows us to praise environments in which Canadian talent can be recognized and allowed to grow, whatever forms it takes.

No description available.

The links between national identity and the music industry in Canada are too diverse to be understood with any simplistic model of the nation. In early twentieth century Italy Ahtonio Gramsci examined the consumption of serialized stories written by foreigners. He developed a view of popular culture which focussed upon the role of the State in maintaining national unity. Since the federal State in Canada has intervened in the country's music business in recent years, Gramsci's schema provides us with a useful framework for that case. Moreover, his work avoids an orchestrated view of the nation or a narrow specification of the contents of culture. It allows us to take a view that Canadian culture is whatever Canadian's choose to write. Due to its inductive beginnings and theoretical shortcomings, the schema is not applied rigidly to music made by Canadians. Rather it has been kept on the sidelines to explore representations of Canadian music, the broadcasting, sound recording and concert promotion industries, and finally the future of music made in Canada. Gramsci's schema is one way to distinguish between the cause and uses of the nation in particular arguments. His ideas also explain why popular culture matters, without specifying its content or giving it artificial coherence. A framework is provided which admits that, in a society based upon exchange, the nation is fully implicated within a wider social fabric, so frequently cultural differences cannot be simplistically aligned with national borders. It allows us to reject essentialist nationalism and therefore the possibility of using the nation as a reason to suggest Canadian musicians are falling short, by not doing something different from their foreign counterparts. In its place the schema enables us to celebrate Canadian artists for what they have done in contributing to a wider sphere, and allows us to praise environments in which Canadian talent can be recognized and allowed to grow, whatever forms it takes. / Arts, Faculty of / Geography, Department of / Graduate

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Export performance of the individual firm is the focus of this research. Performance (export growth and export level) is thought to be a function of export strategies and firm and managerial determinants. Export strategies are defined a priori and relevant firm determinants selected through a literature survey. Primary data was collected from 142 firms of the electronics industry in Canada. The findings are: (1) export growth and export level are virtually independent gauges of export performance; (2) the sets of determinants for the two gauges of export performance are different; (3) export performance is fairly well explained by the selected determinants; (4) export performance is strategy specific: world oriented marketers perform best, U.S. oriented sellers perform worst; (5) characteristics of the firms that adopt each specific strategy differ. The results yield important implications for research applications, government export policies and management.

This study assesses critically the conceptualisation and operationalisation of variants of the de-industrialization thesis that have been proposed in Canada, the United States, and United Kingdom. A series of operational measures are identified and then applied to the case of Canada to determine if it has been losing its manufacturing base. Long term data on employment, output, investment, and trade are examined for the manufacturing sector as a whole. Certain general trends are also contrasted with those of other G-7 countries. Further, the study considers trends in the major manufacturing industries (two digit SIC) and in the sub-industry groups: automotive, steel, and pulp and paper. The data are mainly from Statistics Canada publications and U.S. Bureau of Labor Statistics. The evidence runs counter to the expectations of the de-industrialization thesis. Canada's manufacturing base has generally grown.