Continental Drift: Negotiating Male Performance in Canadian and American Cinema from the Late Sixties

Michel Brault's Entre la mer et l'eau douce (1967), one of the most accomplished feature films of the Quiet Revolution period, follows the journey of singer-songwriter Claude Fournier from the Charlevoix region to Montreal, where he drifts through a series of marginal jobs and love relationships before returning, disappointed, to his rural village. A portrait of “in-betweenness” in terms of identity, space and time, Brault's film tells the story of Quebec's increasing urbanization and of a people's collective entry into modernity, yet has received much less critical attention than other Quiet Revolution classics such as [Agrave] tout prendre and Le chat dans le sac. This article proposes a reading of this film that recognizes its importance as a key cinematic stepping stone in the Quebec national project, but also places it within a larger context of “coming-to-the-city” narratives. How does comparing Entre la mer et l'eau douce to English-Canadian and American classics which tackle similar themes (i.e., Goin' Down the Road, 1970; Midnight Cowboy, 1969) enable a larger discussion of the representation and appropriation of space, place and movement in the North America imaginary and Quebec's place therein?     

Self-reflection,Egyptian Beliefs,Scythians and “Greek Ideas”: Reconsidering Greeks and Barbarians in Herodotus1

This article addresses the debate between Afrocentrists like Martin Bernal and classical scholars such as Mary Lefkowitz and Robert Palter concerning the origins of ancient Greek civilization. Focusing on the first half of Herodotus’ Histories, I argue that, although Greek cultural developments can be attributed to the Greeks themselves, Herodotus indicates that the conditions that made these developments possible were due to the prior Greek absorption of important aspects of Egyptian religion. Herodotus shows that the Greeks learned from the Egyptians to individualize their gods and to appreciate the humanity of women. This Egyptian influence, Herodotus suggests, is what allowed the Greeks, in contrast to the Scythians, to become an object to themselves within the context of stable city life. I conclude that this habit of self-reflection is the source of the uniquely Greek contribution to the art, philosophy, science and politics of the West.     

Prouille,Madrid, Rome: the evolution of the earliest Dominican Instituta for nuns

The lifestyles of the three earliest Dominican women's communities were formulated according to their specific historical conditions and exigencies during the years 1206–21. Initially, the women associated with the preaching mission of Diego of Osma and Dominic Guzman were based at Prouille in the Languedoc and followed the Augustinian Rule. The development of the first instituta for Dominican nuns was the result of 15 years of overseeing the lives of the sisters. However, enclosure, and the institutional requirement for its observance, only came about in 1220 with the establishment of San Sisto, when St Dominic wrote an instituta specifically intended for a cloistered nunnery. This paper retraces and elucidates the historical development of the first Dominican instituta for women, and considers the remarkable choice of the Augustinian Rule as the basis for an enclosed women's order.     

Wild or domesticated? An ancient DNA approach to canid species identification in South Africa's Western Cape Province

The fragmentary remains typical of archaeological fauna can prove impossible to identify when confronted with closely related sympatric species. In southern Africa domesticated dogs (Canis familiaris) and black-backed jackals (Canis mesomelas) pose just such a problem, rendering difficult an accurate assessment of the timing of arrival of domesticated dogs in the region. Contextual evidence has suggested that canid remains from four Later Stone Age archaeological sites were likely to be domesticated dogs rather than jackals, and were subjected to ancient DNA analyses to determine species. Every tested specimen proved to derive from black-backed jackals. These data provide not only an unexpected window on southern African prehistory, but also highlight the value in applying ancient DNA techniques to archaeological species identification.     

Painted plaster from Bronze Age Thebes, Boeotia (Greece): a technological study

From the rather difficult excavations that have taken place in Thebes since the beginning of the last century, many fragmentary but often well-preserved paintings on plaster have been unearthed. These belong to several contexts and periods: House of Kadmos (Late Helladic IIIA), Treasury Room (Late Helladic IIIB1) and Oikopedon Spourli (Late Helladic III). Their iconography, style and technology fit well with other paintings from the Late Bronze Age sites found in the vicinity of Thebes (e.g. Gla and Orchomenos). This paper presents a technological study of the Bronze Age painted plaster from Thebes, Greece. The paintings were investigated by means of X-ray diffraction; stereo, reflected light and scanning electron microscopy; some by laser-induced breakdown spectrometry and by micro-Raman spectroscopy, in order to identify the pigments and the composition of the plaster layers, and to determine the painting technique(s) that the artisans may have employed. The plaster layer onto which the paint layer was applied was often the only layer and consisted mainly of calcite, while a clay plaster formed the backing between the lime plaster coat and the actual wall surface. The pigments identified were: yellow ochre, haematite (red), cuprorivaite (Egyptian blue), indigo and possibly riebeckite for blue, charcoal (black), calcite (white), and a combination of black and red for purple. A detailed macroscopic study of the painted surface revealed several features, which indicated that the technique of al fresco painting was employed extensively, a technique already in use since the start of the Late Minoan I phase on Crete. A generally lower level of quality in the appearance of the later paintings (Treasury Room and Oikopedon Spourli) was also noted, but this was not reflected in the materials used or in their overall manipulation.