“Let no man write my epitaph”: the contributions of Percy Shelley,Thomas Moore and Robert Southey to the memorialisation of Robert Emmet

For centuries elegy has been instrumental to Irish culture and its self-expression. This essay considers the elegies both by and about Robert Emmet written by Thomas Moore, Robert Southey and Percy Bysshe Shelley as well those written by anonymous balladeers. Central to this essay is the examination of the topoi of Irish elegiac verse and song shared by these poems and the way in which they contribute to the evolution of this genre and the radical nationalism associated with it. Their shared discourse is born out of Ireland's colonial experience and contributes to the establishment of Irish national identity, whilst their differing authors and audiences signal the complexities inherent within a colonial textual framework. In particular this essay draws attention to Shelley's neglected Irish poems which reflect the discomfort of a poet and idealist attempting to find his own voice whilst striving to escape the dominant ideology of his own culture.     

Asian Crop Dispersal in Africa and Late Holocene Human Adaptation to Tropical Environments

Journal of World Prehistory - Occupation of the humid tropics by Late Holocene food producers depended on the use of vegetative agricultural systems. A small number of vegetative crops from the...     

Female artistic identity in place: the studio

In this paper I examine the role of the studio as a central site of artistic identity construction and maintenance. Using ten case studies drawn from interviews with contemporary women visual artists from Toronto, Canada, I argue that women artists value studio space because it powerfully reinforces their sense of commitment and belonging to a predominantly male‐dominated profession. I consider how women cope with the demands of artistic practice when they are unable to establish a spatially separate workspace by addressing the experiences of artists who are parents. I demonstrate how women artists who are primary care‐givers are rarely adequately protected from the interruptions of daily life and have grown accustomed to working in fragments of time and space. While these women may appear willing to concede space to others, when space is crucial to their artistic practice, they have a remarkably strong influence on the form of their creative environment. I maintain, then, that the studio as a fixed physical space continues to be a very real necessity for women artists in all stages of their careers.     

Ishango revisited: new age determinations and cultural interpretations

The lakeshore site of Ishango in Zaïre has been interpreted as an early locus of a generalized fishing adaptation or aquatic civilization which spread rapidly across eastern and northern Africa during the wetter climatic conditions of the early to mid-Holocene. New evidence from Ishango implies that this adaptation may have developed in the late Pleistocene and that its technology subsequently diffused to other regions where it was associated with a range of lithic styles, varying economies, and occasional ceramics.

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Résumé Le gisement lacustre d'Ishango au Zaïre a été interprété comme l'ancien locus d'une adaptation généralisée à la pêche ou d'une civilisation aquatique qui s'est étendue rapidement dans l'Afrique orientale et septentrionale au cours des conditions climatiques plus humides de la première moitié de l'Holocène. De nouveaux indices à Ishango impliquent que cette adaptation a pu se développer au cours du Pléistocène tardif, et que sa technologie s'est diffusée ultérieurement dans d'autres régions où elle était associée à toute une série de styles lithiques, à des économies variées, et de temps en temps à des céramiques.

     

Field survey in the tumulus zone of Senegal

Thousands of earthen mounds of varying sizes, presumed to be funerary monuments, occur throughout a 32,000 km² area of western Senegal. Previous inventory work and extremely limited excavation have not adequately addressed basic questions such as the relation of tumulus sites to habitation sites, the relative chronology and cultural affinities of the tumulus phenomenon in the northern and southern parts of the tumulus zone, and the temporal and cultural relationship of the southern tumuli to the megalithic monuments whose distribution they partially overlap. We describe here the results of a field survey designed to provide preliminary data relevant to these questions. In addition to locating previously unreported habitation sites in several sectors, analysis of surface pottery has permitted recognition of several temporally differentiated assemblages associated with different types of sites encountered during the survey. The distinctive assemblages of the northern and southern tumulus zones indicate that mound construction should not be considered a unitary, homogeneous phenomenon in Senegal.

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Résumé Des milliers de monticules de terre de dimensions variées, que l'on suppose être des monuments funéraires, sont éparpillés dans une zone de 32.000 km² à l'ouest du Sénégal. Auparavant, des travaux d'inventaire et d'excavation extrêmement limités n'avaient pas suffisamment tenté de répondre aux questions fondamentales telles que le rapport des sites de tumulus aux sites d'habitation, la chronologie relative et les affinités culturelles du phénomène des tumulus au nord et au sud de la zone des tumulus, et le rapport temporel et culturel des tumulus du sud avec les monuments mégalithiques dont ils recouvrent partiellement la zone de répartition. Nous décrivons ici les résultats d'une étude sur le terrain conçue pour fournir des données préliminaires ayant trait à ces questions. En plus de déterminer des sites d'habitation non-signalés auparavant dans plusieurs secteurs, l'analyse d'objets en terre cuite trouvés en surface a permis de reconnaître plusieurs assemblages temporellement différenciés, associés à différents types de sites rencontrés au cours de cette étude. Les assemblages distinctifs des zones de tumulus au nord et au sud indiquent que la construction de monticules ne doit pas être considérée comme un phénomène unitaire et homogène au Sénégal.