The symbolic value of grafting in ancient Rome

Some scholars have read Virgil’s grafted tree (G. 2.78–82) as a sinister image, symptomatic of man’s perversion of nature. However, when it is placed within the long tradition of Roman accounts of grafting (in both prose and verse), it seems to reinforce a consistently positive view of the technique, its results, and its possibilities. Virgil’s treatment does represent a significant change from Republican to Imperial literature, whereby grafting went from mundane reality to utopian fantasy. This is reflected in responses to Virgil from Ovid, Columella, Calpurnius, Pliny the Elder, and Palladius (with Republican context from Cato, Varro, and Lucretius), and even in the postclassical transformation of Virgil’s biography into a magical folktale.

Serpa cheese: technological, biochemical and microbiological characterisation of a PDO ewe's milk cheese coagulated with Cynara cardunculus L

Portugal has a strong tradition of cheesemaking from raw ewe's milk; most of these cheeses are still made on a traditional farmhouse scale. Their production is protected by Protected Designation of Origin (PDO) but the specific biochemical aspects of the majority still need to be characterised. Two different cheesemaking procedures, traditional and semi-industrial, were compared technologically, biochemically and microbiologically. It was observed that, despite the highly significant difference between artisanal and semi-industrial cheeses (P < 0.001), both products were within the limits of national regulations for most parameters except maturation temperature, humidity and the value for the maturation index. Although the present study was not fully representative of the region, the results obtained suggest that the specific regulations for Serpa cheese should be revised and that other parameters, such as moisture and salt-in-moisture content, which are very much dependent on the cheesemaking process, should be included in order to characterise better this traditional cheese.

Private investment in the countryside: an assessment of the role of new houses and estates in sustaining the rural economy and environment

The British countryside has been shaped and sustained over the years by the establishment of landed estates. Some of our best known, and now most protected, landmarks derive from this tradition by which money, that was often sourced from outside the rural economy, was invested in land. Whilst there was some reversal in this trend during the last century, there is again a widespread desire among people of means to invest in new country property. Paragraph 3.21 of Planning Policy Guidance Note 7: The Countryside - Environmental Quality and Economic and Social Development was introduced in 1997 as a means of perpetuating the historic tradition of innovation in the countryside through the construction of fine individual houses in landscaped grounds. That it was considered necessary to use a special provision of this kind reflects the prevailing presumption of planning authorities against allowing private residential development in open countryside. The Government is currently reviewing rural planning policy and is focusing on higher density housing, affordable homes and the use of brownfield sites. There is an underlying conception that individual private house developments contribute nothing and are seen as the least attractive option for most development sites. The purpose of paragraph 3.21 lies outside the government’s priorities and its particular provisions may therefore be excluded in forthcoming ‘policy statements’. This paper seeks to examine the role of private investors wishing to build new houses in the countryside, and the impact that that might have on local economies. It explores the interpretation placed on PPG7 through an investigation of appeal sites, and concludes by making recommendations for the review process, including the retention of some form of exceptions policy for new build houses.

Inverting the lives of 'others': retelling the Nazi past in 'Ehe im Schatten' and 'Das Leben der Anderen'

The article compares Florian Henckel von Donnersmarck's film Das Leben der Anderen (2006) with Kurt Maetzig's early post-war film Ehe im Schatten (1947). The comparison is based on significant narrative and thematic elements which the films share: They both have a ‘theatre couple’, representatives of the ‘Bildungsbürgertum’, at the centre of the story; in both cases the couple faces a crisis caused by the first and second German dictatorship respectively and then both try to solve the crisis by relying on the classical ‘bürgerliches Erbe’, particularly the ‘bürgerliches Trauerspiel’. The extensive use of the ‘bürgerliches Erbe’ in the films activates the function this heritage had for the definition of the German nation in the nineteenth century. However, while Maetzig's film shows how the ‘heritage’ and its representatives fail in the face of National Socialism, von Donnersmarck's film claims the effectiveness of this ‘heritage’ in the fight against the East German dictatorship. Von Donnersmarck thus inverts a critical film tradition of which Ehe im Schatten is an example; furthermore, as this tradition emerged from dealing with the Third Reich, von Donnersmarck's film, it will be argued, is more interested in the redemption of the Nazi past than the East German past.

An obscured tradition: the sonnet and its fourteen-line predecessors

The sonnet in English is usually located as a sixteenth-century innovation, firmly linked to Italian influences, and frequently associated with a distinctively modern consciousness. Yet the speed and comfort with which the form settled into English reflects the fact that the sonnet per se was preceded by a longstanding tradition of 14-line poems in English written in forms derived from French. Indeed, in terms of formal features, the earliest sonnets in English frequently fray into earlier forms, sharing more with the roundel than with later sonnets. This article considers a number of features of style and content that various writers on the sonnet have argued to be characteristic, sometimes definitive, of the sonnet. These features include repetition, formal unity/division of octave and sestet, use of the volta, asymmetry, argument and development, and a preoccupation with contradictions and the self. The article shows that, while it is true that these features are characteristic of many sonnets, they are not peculiarly characteristic of sonnets, and they can all be found in earlier 14-line poems. Furthermore, a number of the earliest sonnets in English do not themselves possess these ‘sonnet-like’ characteristics. The otherness and the modernity of the sonnet have thus been overstated.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

The foundations of the rule of law

Formal conceptions of the rule of law are popular among contemporary legal philosophers. Nonetheless, the coherence of accounts of the rule of law committed to these conceptions is sometimes fractured by elements harkening back to substantive conceptions of the rule of law. I suggest that this may be because at its origins the ideal of the rule of law was substantive through and through. I also argue that those origins are older than is generally supposed. Most authors tend to trace the ideas of the rule of law and natural law back to classical Greece, but I show that they are already recognisable and intertwined as far back as Homer. Because the founding moment of the tradition of western intellectual reflection on the rule of law placed concerns about substantive justice at the centre of the rule of law ideal, it may be hard for this ideal to entirely shrug off its substantive content. It may be undesirable, too, given the rhetorical power of appeals to the rule of law. The rule of law means something quite radical in Homer; this meaning may provide a source of normative inspiration for contemporary reflections about the rule of law.

Diet and diversity at later medieval Fishergate: The isotopic evidence

We present the results of stable carbon and nitrogen isotope analysis of bone collagen for 155 individuals buried at the Later Medieval (13th to early 16th century AD) Gilbertine priory of St. Andrew, Fishergate in the city of York (UK). The data show significant variation in the consumption of marine foods between males and females as well as between individuals buried in different areas of the priory. Specifically, individuals from the crossing of the church and the cloister garth had consumed significantly less marine protein than those from other locations. Isotope data for four individuals diagnosed with diffuse idiopathic skeletal hyperostosis (DISH) are consistent with a diet rich in animal protein. We also observe that isotopic signals of individuals with perimortem sharp force trauma are unusual in the context of the Fishergate dataset. We discuss possible explanations for these patterns and suggest that there may have been a specialist hospital or a local tradition of burying victims of violent conflict at the priory. The results demonstrate how the integration of archaeological, osteological, and isotopic data can provide novel information about Medieval burial and society.

The Extras Regina, 2008

Project includes: a large scale live performance and resulting performance video, at Curtain Razors, Regina Queen’s Square, Regina, 2008 Live Performance, 45 mins, incl. 1 actor, 23 extras, 2 live cameras, live video and sound mixing, stage set, video projection. Video 45 mins Video Trailer 7 mins The Extras is a video performance referencing the form of a large live film shoot. The Extras contextualises contemporary Westerns genres within an experimental live tableau. The live performance and resulting 45 mins video make reference 19th century Western Author German Karl May, the tradition of Eastern European Western, (Red Western), Uranium exploitation and entrepreneurial cultures in the Canadian Prairies. Funded by the Canada Council for the Arts, Saskatchewan Arts Board and Curtain Razors, the Extras Regina was staged and performed at Central Plaza in Regina, with a crew of 23 extras, 2 live cameras, live video and sound mixing ad video projection. It involved research in Saskatchewan film and photographic archives. The performance was edited live and mixed with video material which was shot on location, with a further group of extras at historical historical ‘Western’ locations, including Fort Qu' Appelle, 
Castle Butte and Big Muddy. It also involved a collaboration with a local theatre production company, which enacted a dramatised historical incident.

Start where you are: Graphic ordering influences improvisational dance

This article is an analysis and reflection on the role of lists and diagrams in Start where you are, a multimedia improvisational piece performed as part of square zero independent dance festival: the second edition/la deuxième édition. This interdisciplinary festival was organised by collective (gulp) dance projects and took place in Ottawa, Canada, in August 2005. Start where you are was the result of a collaboration between the authors: two dance artists (Andrew and MacKinnon, the principals of (gulp)) and a visual communication designer (Gillieson). A sound artist and a lighting technician also participated in the work. This is a post-performance retrospective meant to analyze more closely the experience that meshed the evidentiary weight of words and graphics with the ephemerality and subjectivity of movement-based live performance. It contextualizes some of the work of collective (gulp) within a larger tradition of improvisation in modern dance. It also looks at how choice-making processes are central to improvisation, how they relate to Start, and how linguistic material can intersect with and support improvisational performance. Lastly, it examines some characteristics of lists and diagrams, unique forms of visual language that are potentially rich sources of material for improvisation.

Nuclear Mentalities? Strategies and Beliefs in Britain, France and the FRG

This is volume II of my two-volume study of the nuclear strategies/strategy preferences of Britain, France and West Germany in the Cold War. It shows that the great variable is the mentalities, culture, and particular interpretations of particular historical experiences of these three countries. These mental frameworks are reconstructed, in the tradition of the French Annales/Mentalite schools (that in turn is rooted in anthropology) by looking at a very large nunber of public texts in the context of the public discourse about nuclear strategy in each country.

Camera and performer: energetic engagement with the shield

The stylistic strategies, in particular those concerning camera placement and movement, of The Shield (FX, 2002-08) seem to directly fit into an aesthetic tradition developed by US cop dramas like Hill Street Blues (NBC, 1981-87), Homicide: Life on the Street (NBC, 1993-99) and NYPD Blue (ABC, 1993-2005). In these precinct dramas, decisions concerning spatial arrangements of camera and performer foreground a desire to present and react to action while it is happening, and with a minimum of apparent construction. As Jonathan Bignell (2009) has argued, the intimacy and immediacy of this stylistic approach, which has at its core an attempt at a documentary-like realism, is important to the police drama as a genre, while also being tendencies that have been taken as specific characteristics of television more generally. I explore how The Shield develops this tradition of a reactive camera style in its strategy of shooting with two cameras rather than one, with specific attention to how this shapes the presentation of performance. Through a detailed examination of the relationship between performer and camera(s) the chapter considers the way the series establishes access to the fictional world, which is crucial to the manner of police investigation central to its drama, and the impact of this on how we engage with performance. The cameras’ placement appears to balance various impulses, including: the demands of attending to an ensemble cast, spontaneous performance style, and action that is physically dynamic and involving. In a series that makes stylistic decisions around presentation of the body on-screen deliberately close yet obstructive, involving yet fleeting, the chapter explores the affect of this on the watching experience.

Botrytis species: relentless necrotrophic thugs or endophytes gone rogue?

Plant pathology has a long-standing tradition of classifying microbes as pathogens, endophytes or saprophytes. Lifestyles of pathogens are categorized as biotrophic, necrotrophic or hemibiotrophic. Botrytis species are considered by many to be archetypal examples of necrotrophic fungi, with B. cinerea being the most extensively studied species because of its broad host range and economic impact. In this review, we discuss recent work which illustrates that B. cinerea is capable of colonizing plants internally, presumably as an endophyte, without causing any disease or stress symptoms. The extent of the facultative endophytic behaviour of B. cinerea and its relevance in the ecology and disease epidemiology may be vastly underestimated. Moreover, we discuss the recent discovery of a novel Botrytis species, B. deweyae, which normally grows as an endophyte in ornamental daylilies (Hemerocallis), but displays facultative pathogenic behaviour, and is increasingly causing economic damage. We propose that the emergence of endophytes ‘gone rogue’ as novel diseases may be related to increased inbreeding of hybrid lines and reduced genetic diversity. These observations lead us to argue that the sometimes inflexible classification of pathogenic microbes by their lifestyles requires serious reconsideration. There is much more variety to the interactions of Botrytis with its hosts than the eye (or the plant pathologist) can see, and this may be true for other microbes interacting with plants.