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Monique Frize, née Aubry (1942 - ), is a Canadian researcher and engineer in the biomedical field. She was the first women to study engineering at the University of Ottawa and graduated with a Bachelor of Applied Science (Electrical Engineering) in 1966. She received an Athlone Fellowship and completed a Master’s in Philosophy in Electrical Engineering (Engineering in Medicine) at the Imperial College of Science and Technology in London (United Kingdom), a Master’s of Business Administration at the University of Moncton (New Brunswick), and a doctorate from Erasmus Universiteit in Rotterdam (The Netherlands).
Monique Frize worked as a clinical engineer for 18 years. She started her career at the Hôpital Notre-Dame in Montreal. In 1979, she was appointed Director of the Regional Clinical Engineering Service in Moncton (New Brunswick) and became the first Chair of the Division of Clinical Engineering for the International Federation of Medical and Biological Engineering (IFMBE) in 1985. In 1989, she was appointed the first holder of the national Northern Telecom/NSERC Chair for women in engineering at the University of New Brunswick, and professor in the Electrical department. In 1990, she was named chair of the Canadian Committee for Women in Engineering (CCWE). In 1997, she joined Carleton University, as a Professor in the Department of Systems and Computer Engineering, and the University of Ottawa, as a Professor in the School of Information Technology and Engineering. She also held the Ontario NSERC/Nortel Chair for women in science and engineering. She is a founding member of International Network of Women Engineers and Scientists (INWES) and was its president between 2002 and 2008. In 2007, she founded INWES Education and Research Institute (ERI) and has been its president since then.
As a biomedical engineer, Monique Frize is knowledgeable in medical instruments and decision support systems. She developed a software program to predict complications in premature babies and perfected a technique that uses an infrared camera to detect the presence of arthritis. Throughout her career, she has been active in promoting women in leadership roles in science and engineering. As a role model for women engineers, she taught, conducted research, and lead campaigns to encourage young women to pursue careers in engineering. She is the author of more than 200 scientific papers in peer reviewed journals and proceedings. She has published several books such as The Bold and the Brave: A history of women in science and engineering (2009), Laura Bassi and Science in 18th Century Europe (2013), Ethics for Bioengineers (2011), and Health Care Engineering Parts I and II (2013). She has received many honours and awards including honorary doctorates from several Canadian Universities. She was inducted as Officer of the Order of Canada in 1993.
Margaret Dwight-Spore was born in the United States but moved in Canada with her husband in 1971. In 1977, she founded Better End All Vicious Erotic Repression (B.E.A.V.E.R), an organization dedicated to decriminalizing prostitution in Canada. Around 1979 BEAVER changed its name to Committee Against Street Harassment (CASH). It offered legal advice, counselling, referrals and support to sex workers and also provided education through public discussion. It was disbanded in the early 1980s. The prostitute's resource office, "Maggie's" founded by sex-workers in the 1980s was name for Dwight-Spore.
Margaret Dwight-Spore also participated in various workshops and conferences. She was the leader of a University of Concordia seminar on prostitution and pornography, a Conference on Human Sexuality and Freedom workshop leader and a National Action Committee on the Status of Women (NAC) conference prostitution workshop panel participant. In addition to her involvement in conferences and activities, she also worked as a resource person at the Toronto Rape Crisis Centre and the Elizabeth Fry Society and she the focus of an interview published in Fireweed in 1978. In 1985, Margaret Dwight-Spore returned to the United States.
Dr. Emanuel Böhm was born on February 1, 1909 in Vrútky, Slovakia. The former professor of chemistry and natural sciences earned his Bachelor's degree in 1928, followed by his Master's Degree in chemistry and natural sciences between 1931 and 1934. In 1934, he received his Doctoral Degree from Charles University in Prague in the areas of chemistry, plant physiology, bacteriology and genetics.
Between 1934 and 1936, Dr. Böhm served as a Lieutenant of Heavy Artillery in the Czechoslovak Army. From 1936 to 1939 he taught in various colleges and technical high schools. In September 1939, after the annexation of southern Slovakia by Hungary, the Royal Hungarian Ministry of Education dismissed Dr. Böhm from his post for proclaiming the national and human rights of his people. Dr. Böhm as President of the Slovak National Unity served as spokesman for the 750,000 Slovaks residing in Magyarország during the occupation. During the war years, he worked in journalism and editing. He was the founder and editor of the Slovak language daily, Slovak Unity - Slovenská Jednota in Budapest while being editor of a newly established book publishing affiliate, Edicia Slovenskej Jednoty/Editions of Slovak Unity. Editor of 24 books published by the Guild of Slovak Unity, he was also a member of the Magyar Press Agency.
Following the war, Dr. Böhm resumed his teaching duties in Bratislava. In May 1946, he was elected to the Czechoslovak Parliament as a representative from Eastern Slovakia for the Democratic Party. He eventually served as Deputy Speaker of the Parliament in Prague, later serving as Health Commissioner in Bratislava.
Dr. Böhm and his wife Dr. Mária Dziaková, whom he married in 1941, went into exile in London in 1948 where he became chief chemist at Newlands and Rutherford Brothers. In 1952, the Böhms immigrated to the United States where he worked as Director of Research and Development with the Hoffman Company and later with Corn Products Corporation International. He was honored for his contribution to the food and beverage industries as well as for his research in chemistry. He held a patent on a machine he invented to analyze the contents of beverages. Dr. Böhm was a prolific scientific writer having published 35 articles on flavor and sweetener chemistry.
His life-long love for Slovakia and its culture became even stronger in exile. He served as Vice-President of the Slovenská Národná Rada v Zahranií /Slovak National Council Abroad. Active in Slovak cultural and political affairs, Dr. Böhm was awarded the Stefanik Medal by the Slovak American Cultural Center in New York for his work on behalf of his homeland. He and his wife were co-founders of Múza Tatier (Muse of the Tatras), an award that honors the cultural, scientific and artistic accomplishments of Slovaks and Slovak-Americans. He directed Slovak plays, was the creator of a Slovak Puppet Theater for Slovak children, and was an expert on Slovak folklore and its heritage. He published numerous articles in the Slovak press (both in English and in Slovak) at home and abroad. Dr. Böhm passed away on December 24, 1990 at the age of 81.
Judith Lermer Crawley was also part of the Montreal Health Press Collective/Les Presses de la Santé de Montréal, a collective that produced and distributed handbooks on issues of health and sexuality. She was the photography coordinator for the collective but also participated also in the entire process of revising, publishing and distributing the publications.
As a photographer, most of Judith’s work was based in Montreal, where she lived, worked and raised her two children on her own. Her photographic work took the point of view of the women’s community. Her main subject was women’s “private” daily life, which often showed a network of relationships. She placed intimate images within a cultural, political context and used her photography as part of a process of reflecting on and understanding her life as a woman. For Judith Lermer Crawley, photography was also a collaborative process between artist and subject, artist and community, and involved place, culture and voice: “My camera shoots not up, not down, but around.” The starting point of her image-making was the social reality of women’s experience and the need to challenge predominant stereotypes of women as either passive/subordinate (and in middle years, also invisible) or active/sexually provocative. She wanted to reflect her feminism in her engagement with art.
Judith Lermer Crawley exhibited and published her photographs widely in Canada and the United States. She created her own exhibitions and also participated in group shows, the first held in Little Shop Gallery in 1980. In March 1982, she mounted a photographic exhibit entitled “Relations” at Galerie Dazibao in Montreal. In 1985, she realized the project titled “Giving Birth is just the beginnings: Women speak about mothering”. In this project, Judith Crawley presented black and white photographs of women with their children, co-parents and friends. The photographs were integrated with text, in English and French, drawn from conversations about mothering with the women she has been photographing for years. A book version of the project was produced.
In 1986, she exhibited “You can’t hug kids with nuclear arms”. The photographs and texts in this exhibition questioned “how children can be raised in the face of a possible nuclear holocaust. It ended with a list of the names and phone numbers of disarmament groups in Montreal. In 1988, she participated in “Mexico/Canada: A photographic Exchange” and in 1993, she exhibited the project “One in Five…” which combined photographs of her children taken after the death of their father with their comments and her memories as a single parent. In 1997, she worked on the exhibition “The 50s/La Cinquantaine”. The project focused on issues that the women of her community faced in their middle years - as individuals, with partners, friends, colleagues, family and adult children. In 2001, she participated in the group exhibition “Urbanité” shown at the Centre de Creativité du Gesu. In 2002, Judith Lermer Crawley travelled to Poland with one of her friends and her brother, and a project based on this trip resulted. The project was shown for the first time at Vanier College in Montreal in 2003. In 2006, another exhibition “Women’s Daybook Series" was also hosted at Vanier College.
Née au Canada en 1945, de parents juifs-polonais ayant survécu à la Seconde Guerre mondiale, Judith Lemer Crawley a grandi et a été scolarisée à Montréal. Elle obtient une maîtrise en littérature anglaise et enseigne ensuite la littérature anglaise. Elle achète son premier appareil photo durant l'été 1968. Elle passe la plus grande partie de l'été à San Francisco utilisant une chambre noire mise à disposition du public et financée par l'État. Elle y fait ses premières expériences en matière de photographie. Son apprentissage de la photographie est autodidacte. À son retour à Montréal, elle met en place sa propre chambre noire et continue d'explorer la photographie tout en enseignant la littérature anglaise au Collège Loyola. Lors de l’ouverture du Collège Vanier (CEGEP) à Montréal en 1970, elle se joint à la faculté en tant que professeure d'anglais et de photographie. Greta Nemiroff a joué un rôle déterminant dans l'embauche de Judith Lemer Crawley en tant qu’enseignante au collège. Leurs conceptions de l’éducation se rejoignent. Judith Lemer Crawley enseigne le cours "Images : photographique et poétique" qui est devenu la base du volet « Photographie » du programme d’Arts créatifs. Elle travaille en collaboration avec Alanna Stalker dont elle partage la philosophie, et les visions féministes. Elles contribuent au développement du programme d'études sur les femmes du Collège Vanier. Judith Lemer Crawley fait partie de l'exécutif du Syndicat des enseignantes et des enseignants. Elle est également membre du département d'études des femmes à Vanier. Inquiète de l’orientation conservatrice prise par l'État en matière d'éducation, elle participe aux grèves de 1983. Elle rédige le bulletin de sa section locale et collabore avec Alanna Stalker sur divers projets pendant cette période de grèves. Judith Lemer Crawley a fait partie du collectif Les Presses de la Santé de Montréal / Montreal Health Press Collective, un collectif qui a produit et distribué des manuels traitant de questions de santé et de sexualité. Elle a été photographe-coordonnatrice du collectif, et a également participé à l'ensemble du processus de révision, de publication et de distribution.
La plupart de ses travaux photographiques se déroulent à Montréal, où elle a vécu, travaillé et a élevé seule ses deux enfants. Elle a travaillé à partir du point de vue de la communauté des femmes. Son sujet principal est la vie quotidienne et ""privée"" des femmes, souvent présentée comme un réseau de relations. Elle place ces images intimes dans un contexte social et politique qu’elle question. Elle utilise la photographie dans le cadre de son processus de réflexion et de compréhension de sa vie de femme. Pour Judith Lemer Crawley, la photographie est aussi un processus de collaboration entre l'artiste et le sujet, l'artiste et la communauté, impliquant le lieu, la culture et la vision du photographe. "" My camera shoots not up, not down, but around. "Le point de départ de sa création d'image est la réalité sociale de l'expérience des femmes et la nécessité de remettre en question les stéréotypes prédominants selon lesquels les femmes sont soit passives/subordonnées (voir invisibles) ou actives/sexuellement provocatrices. Elle utilise le médium photographique pour refléter ses perceptions et préoccupations concernant la place des femmes dans la société.
Elle a exposé et publié ses photographies au Canada et aux États-Unis. Elle développe ses propres expositions et a également participé à d'autres expositions de groupe. Sa première participation à une exposition de groupe a eu lieu à la Little Shop Gallery en 1980. En mars 1982, elle monte une exposition photographique intitulée ""Relations"" qui est exposée pour la première fois à la Galerie Dazibao à Montréal. En 1985, elle réalise le projet intitulé "Donner naissance n'est qu'un début : Les femmes parlent de maternité’’. Dans ce projet, Judith Crawley présente des photographies en noir et blanc de femmes avec leurs enfants, issues de sa parenté ou de son cercle d’amis. Les prises de vue sont accompagnées de textes, en anglais et en français, tirés d’entrevues menées avec ses sujets abordant des questions relatives à la vie des femmes en tant que mères. Ce projet donna naissance à un ouvrage, pour la publication duquel elle recueilli des fonds et travailla en collaboration avec son proche entourage.
En 1986, elle expose "You can’t hug kids with nuclear arms". Les photographies et les textes de cette exposition soulèvent des questionnements sur l’éducation des enfants face "à un éventuel holocauste nucléaire". L’exposition se termine par une liste de noms et de numéros de téléphone de groupes de désarmement présents à Montréal. En 1988, elle participe à ""Mexico/Canada : Un échange photographique"". En 1993 a été exposé pour la première fois le projet "One on Five...". Dans ce projet, des photographies de ses enfants sont accompagnées de leurs commentaires. Certains commentaires sont personnels à l’artiste et reliés à ses souvenirs de mère célibataire. En 1997, elle travaille à l'exposition "The 50s / La Cinquantaine". Le projet met l'accent sur les problèmes auxquels les femmes de sa communauté font face au milieu de leur vie. Il éclaire leur parcours en tant qu’individu, conjointe, mère, amie, collègue, etc. En 2001, elle participe à l'exposition collective "Urbanité" exposée au Centre de Créativité du Gesu. En 2002, Judith Crawley s'est rendue en Pologne avec une de ses amis et son frère. Ce voyage a donné lieu à des prises de vue dont certaines ont été utilisée pour le projet d’exposition "About Auschwitz / A Propos d'Auschwitz", présenté pour la première fois au Collège Vanier en 2003. Judith Lemer Crawley a également réalisé plus récemment l'exposition "Women's Daybook Series" présentée au Collège Vanier à Montréal en 2006.
After his arrival in Canada, Mr. Kandra worked for different employers including Electrohome Limited but he also began to write and publish his work. Most of his fiction work was published under the pen name of Peter Klas. He is the author of two published novels (“Satan proti Bohmu”and “Svetlo pod halenou”), a collection of short stories (“Na strome života) and hundreds of individual short stories published in various almanacs, calendars and newspapers. He became one of the prolific prose writers among Slovak immigrant.
L’udovít Kandra was also an author “on a political mission.” A determined activist, he used his talent as a great communicator to bring forth the horrors of the occupation of Slovakia and the hard life of Slovaks under communism. He published hundreds of articles on these issues in newspapers such as Kanadský Slovák, Slovák v Amerike, Kalendar Kandaskej Slovenskej Ligy, Slovenská Obrana and other Slovak periodicals abroad. In addition to his prose and poetry, L’udovit Kandra maintained an exchange of correspondence with members of the Slovak intelligentsia abroad, among others, Imrich Kružliak (pseudonym: Marian Žiar), Ernest Žatko (pseudonym: Ján E. Bor), Ignác Zelenka (Eugen Vesnin) and Michal Lošonsky (pseudonym: Michal Želiar).
Throughout his writing career, Mr. Kandra was also involved as a lobbyist and political activist in a number of nationalist organizations. Of particular significance were his extensive work and significant influence as vice-president and president of the Slovak National Council Abroad (Slovenská Národná Rada v Zahraniči. SNRvZ).
A devout Lutheran, Mr. Kandra also had a long and generous involvement with the “Ustredna Rada Martina Razus”, where he served as president.
In Slovakia, as well as in Canada, L’udovít Kandra was a very humble citizen. An elementary school teacher by profession, he took on blue-collar work as an immigrant living in Canada. He was not a member of the Slovak “intellegencia,” nor did he hold an elected political office. He lived as a man of limited financial means throughout his life, yet through his prolific work as poet, author and freelance writer, and through his extraordinary personal contribution as a member of the Slovak diaspora, L’udovít Kandra made a significant contribution to Slovak literature and has had a long-lasting impact on the cultural and social conditions of Slovaks living in exile. He died in Belleville, Ontario, in 1993, at the age of 89.