¹ Ward, Robert E., “Culture and Comparative Study of Politics, or the Constipated Dialectic,” American Political Science Review, 68 (1974), 190.CrossRefGoogle Scholar

² Cf. Easton, David, “The New Revolution in Political Science,” American Political Science Review 63 (1969)CrossRefGoogle Scholar, reprinted in the second edition of The Political System, (New York, 1971), 323–48.

³ E.B. Tylor (1871) cited by White, Leslie A., “The Concept of Culture,” in Culture and the Evolution of Man, ed. Montagu, M.F. Ashley (New York, 1972) 38.Google Scholar White's paper is an excellent review of the uses of “culture” by anthropologists and of the difficulties of arriving at a suitable definition.

⁴ The Compact Edition of the Oxford English Dictionary (Oxford, 1971), I, 622.

⁵ Royal Commission on National Development in the Arts, Letters and Sciences, Report (Ottawa, 1951), 7.Google Scholar

⁶ Almond, Gabriel A. and Verba, Sidney, The Civic Culture (Princeton, 1963) 12ff.CrossRefGoogle Scholar Cf. Almond, Gabriel and Powell, G. Bingham Jr., Comparative Politics (Boston and Toronto, 1966), 23ff.Google Scholar

⁷ Maslow, Abraham H., “A Theory of Human Motivation,” Psychological Review, 50 (1943), 370–96.CrossRefGoogle Scholar

⁸ Cultural Policy and Development in Ontario (Toronto), cited by Pasquill, Frank T. and Horsman, Joan, Wood Pennies: A Report on Cultural Funding Patterns in Canada, Programme in Arts Administration, York University, May 1973, 13.Google Scholar Schafer's classification is here described more fully: recreational culture: parks, beaches, conservation and recreational areas; physical culture: competitive sport, individual sport, gymnastics, track and field; media culture: publishing, radio, television, film and libraries; artistic culture: performing arts, exhibiting arts and crafts, writing; multiculture: language, linguistics, folk arts, ethnic and native expression; environmental culture: aesthetics of urban design, cultural facilities, landscape, architecture, historic sites.

⁹ A recent look at comics is suggestive in tracing the differences between “generations” of strips, from the funnies, to the unfunny funnies and the sophisticated adult funnies which frequently question established and dominant societal values. See Culhane, John, “Leapin’ Lizards What's Happening to the Comics?” The New York Times Magazine (5 May 1974), 16–17, 38–47.Google Scholar Two recent paperbacks make excellent source-books for the cultural implications of rock and roll. They are The Rolling Stone Reader, edited by the editors of Rolling Stone (New York, 1974) and The Rolling Stone Rock ‘N’ Roll Reader, ed. Fong-Torres, Ben (New York, 1974).Google Scholar Closer to home, Marie-France Moore's study of Mainmise, done within the framework of Léon Dion's work on Quebec culture, constitutes an invaluable examination of counterculture in French Canada. For Norman Mailer's comments on graffiti, see the text he has provided for Mervyn Kurlansky's and Jon Naar's The Faith of Graffiti (New York 1974).

¹⁰ Royal Commission on National Development in the Arts, Letters, and Sciences Report (Ottawa, 1951) 111.Google Scholar

¹¹ Boggs, Jean Sutherland, The National Gallery of Canada, (Toronto, 1971), 2–3.Google Scholar

¹² UNESCO, Cultural Policy: A Preliminary Study (Paris, 1969).Google Scholar This is an unsigned introductory publication in a series entitled Studies and Documents on Cultural Policies. It is the outcome of a Unesco roundtable held in Monaco in 1967. All but one of the eight additional studies consists of a report on a particular country; the series provides useful accounts of practices of governments and voluntary associations with respect to culture in a wide variety of settings.

¹³ Cited by Innis, H.A., “The Strategy of Culture,” in Changing Concepts of Time (Toronto, 1952), 1.Google Scholar

¹⁴ Pasquill and Horsman, Wood Pennies, provide detailed information on the activities of all three levels of government and reveal, surprisingly, that Quebec is by no means the province which is most generous in the nourishment of its cultural life.

¹⁵ Gérard Pelletier, Notes for an Address to the Canadian Conference of the Arts, Mount Orford, September 21, 1972, 9. The federal budget earmarked for cultural activities has nearly tripled since 1968, according to the Secretary of State's address.

¹⁶ The Development of Cultural Policy in Canada. Notes for an address to the Canadian Conference on the Arts, Toronto, September 1970, 9, emphasis added. One could interpret Pelletier's statement as indicating that government recognition has merely been sought, possibly without success. But it is followed by the words “We have also succeeded…” indicating that the sought-after recognition had indeed been granted. But cf. “Even including the more expensive items like parks, libraries and broadcasting, government cultural support was only 2.3 per cent of total consolidated spending in 1970.” Pasquill and Horsman, Wood Pennies, 2.

¹⁷ It is not only governments directly which lend cultural support to various nationalist vehicles. Among the most eloquent and best showcases for Quebec nationalism has for some time been the quarterly Forces published by the public relations department of the Quebec government's public corporation, Hydro Québec, an agency which has also in economic and linguistic terms been an important factor in generating a sense of national pride among Quebecers.

¹⁸ Royal Commission on Radio Broadcasting, Report (Ottawa, 1929).Google Scholar

¹⁹ Rasky, Frank, “Canada's Record Industry is a $130-million Hit,” The Toronto Star (Toronto, 11 May 1974)Google Scholar, H, 1.

²⁰ An analysis of audiences at the Shaw Festival at Niagara-on-the-Lake shows that only between 3 and 4 per cent of the audience were labourers or farmers. A similar study of Stratford, Ontario, audiences did not even list these occupations, suggesting that they comprised less than 1 per cent of the audience. Klopchic, Peter, A Survey of Visitors to the Shaw Festival Theatre (Toronto, 1969), 12Google Scholar and idem, Stratford Visitors Survey (Toronto, 1967). Table xv.

²¹ A Canada Council Report, The Croup of 29, shows that in 1971–2, 29 well-established performing arts companies received $5,393,000 from the Canada Council, more than half its budget for arts support. Cf. Martin, Robert, “Arts Seen Sliding into Public Purse,” The Globe and Mail (Toronto, 12 April 1974).Google Scholar

²² Pasquill and Horsman, Wood Pennies, 57–9.

²³ Mount Orford Address, 8.

²⁴ Fraser, John, “Must the Arts Put Their Hopes in Tin Cup Tactics?” The Globe and Mail (Toronto, 13 April 1974)Google Scholar; Littler, William, “Spectre of Cultural Dictatorship Looms with Government Aid to Orchestras,” The Toronto Star (Toronto, 5 May 1974).Google Scholar

²⁵ John Fraser, “Must the Arts,” 19.

²⁶ Cf. Hodgetts, J.E., The Canadian Public Service (Toronto, 1973), 31–33.Google Scholar

²⁷ Wilson, Ian E., Shortt and Doughty: The Cultural Role of the Public Archives of Canada, 1904 to 1935, unpublished ma thesis, Queen's University, 1973, 56.Google Scholar

²⁸ Ibid., 61, 79.

²⁹ Canada and Its Provinces, ed. Shortt, Adam and Doughty, A.G. (Toronto, 1914–1917).Google Scholar

³⁰ “Presidential Address,” Report of the Annual Meeting of The Canadian Historical Association, 1957.

³¹ Bachynski, M.P., “The host Proposal: A Progress Report on the House of Science,” Science Forum, VII (February, 1974), 28–30.Google Scholar

³² Unaggressive players, even when successful, tend to be booed by the home teams, as Ken Hodge shows. Proudfoot, Jim, “A Likeable Athlete Boston Fans Detest,” The Toronto Star (Toronto, 11 May 1974).Google Scholar

³³ Greer, Harold, “Racism and Amateur Hockey Don't Mix,” The Whig-Standard (Kingston, 6 May 1974).Google Scholar

³⁴ “Manifest and Latent Functions,” in Social Theory and Social Structure, (Glencoe, 1957).