Studio portrait of Josef Molling's fraternity; Heidelberg, Germany.

Josef Molling is sitting on the left

Studio portrait of Josef Molling's fraternity; Heidelberg, Germany.

Josef Molling is sitting on the left

Kartel Convent (KC) Jewish fraternity at the University of Heidelberg; Heidelberg, Germany.

Thomas Krakauer's father, Hans Krakauer is second from left in the rear row.

Studio portrait of Josef Molling's fraternity; Heidelberg, Germany.

Josef Molling is sitting on the left

Studio portrait of Josef Molling's fraternity; Heidelberg, Germany.

Josef Molling is sitting on the left

Kartel Convent (KC) Jewish fraternity at the University of Heidelberg; Heidelberg, Germany.

Thomas Krakauer's father, Hans Krakauer is second from left in the rear row.

The Fraternity of Metaphors: Jean-Luc Godard's Film Socialisme

Since the 'completion' of Histoire(s) du cinema (1988-1998), Jean-Luc Godard's work has become increasingly mosaic-like in its forms and configurations, and markedly elegiac in its ruminations on history, cinema, art, and thought. While his associative aesthetic and citational method –including his choice of ‘actors’, and the fragmentariness of his ‘soundtracks’ – can combine to create a distinctive cinematic event, the films themselves refuse to cohere around a unifying concern, or yield to a thematic schema. Not surprisingly, Film Socialisme does not offer us the illusion of narrative or structural integrity anymore than it contributes to the quotidian rhetoric of political and moral argument. It is, however, a political film in the sense that it alters something more fundamental than opinions and points of view. It transforms a way of seeing and understanding reality and history, fiction and documentary, images, and images of images. If anything, it belongs to that dissident or ‘dissensual’ category of artwork capable of ‘emancipating the spectator’ by disturbing what Jacques Rancière terms ‘the distribution of the sensible’ in that it generates gaps, openings, and spaces, poses questions, invites associations without positing a fixed position, imposing an interpretation, or allowing itself to invest in the illusion of expressive objectivity and the stability of meaning. The myriad citations and fragments that comprise the film are never intended to culminate into anything cohesive, never mind conclusive. In one sense, they have no source and no context beyond their moment in the film itself, and what we make of that moment. This article studies the degree to which Godard allows these images and sounds to combine and collide, associate and dissolve in this film, arguing that Film Socialisme is both an important intervention in the history of contemporary cinema, and necessary point of reference in any serious discussion of the relations between that cinema and political reality.

Dictionary of the Zeta Psi Fraternity of North America

A hardcover Dictionary of the Zeta Psi Fraternity, edited by Arthur H. Motley and Harry B. Carpenter. An excerpt from the forward reads: "Having the sincere purpose of placing in the hands of all Brothers of the Fraternity a Directory of the full membership of our order, with addresses as perfectly correct as time and equipment would permit, supplemented with such alphabetical and geographical indices as will make the volume a handy and accurate cross-reference to our membership...". Included with this book is a typewritten letter from Gordon Waldie, treasurer of the Toronto Chapter of the Zeta Psi Fraternity thanking Mrs. Percy Band for the gift of the original initiation certificate of the late Hamilton K. Woodruff. Mr. Woodruff was one of the Charter members of the Fraternity and he was the 7th man initiated into this, the first Canadian chapter of any fraternity. The letter is dated Nov. 21, 1949. The full text is available in the Brock University Special Collections and Archives.

ATO Fraternity Pin

An ATO fraternity pin which belonged to P.C. Band

OZO Fraternity Pin

OZO fraternity pin of H.K. Woodruff, University of Toronto. He was one of the founding members.

"A Most Weird Dialectic of Inversion" : revolutionary fraternity, sexuality and translation in Pierre Vallières and Eldridge Cleaver

Dans ce mémoire de maîtrise, il s'agit d'examiner le rôle du genre, de la sexualité et de la traduction dans les rapports entre deux mouvements nationalistes. D'abord, nous examinerons les représentations de la famille véchiulées dans l'autobiographie du membre du Front de libération du Québec Pierre Vallières (1938-1998), Les Nègres blancs d'Amérique. Ensuite, nous nous pencherons sur l'analyse du genre et de la sexualité contenue dans Soul on Ice, un recueil de textes écrits par le nationaliste noir Eldridge Cleaver (1933-1998). Dans les deux cas, la question de la violence révolutionnaire tiendra lieu de fil conducteur. Enfin, dans le troisième chapitre, nous relirons la traduction anglaise de Vallières, White Niggers of America, signée par Joan Pinkham. Cette relecture nous fournira l'occasion à la fois de comprendre et de critiquer, à partir de la perspective établie par la pensée de Cleaver au sujet de la masculinité noire dans une société régie par la suprématie blanche, comment Vallières essaie de bâtir des réseaux de solidarité internationaux et interraciaux entre les hommes. Dans notre conclusion, nous réunirons ces trois textes par le biais du sujet de l'internationalisme, en nous servant de la théorie queer, de la traductologie et des données biographiques pour résumer les résultats de nos recherches.