Monday, 14 July 2014
Bento Miso (100-862 Richmond Street West)
While discourse about net neutrality is reaching the mainstream, and some civil society groups are taking part in international fora about citizenship on the Internet, the implications of the corporatization of the Internet on artists has been little explored. In Bangalore, India, there is a thriving network of activists, artists and lawyers who are collaborating on a range of social justice issues that consider the intersection of artists’ practices and Internet policies. As part of this movement, Lawrence Liang, a founder of Alternative Law Forum, has become a prominent voice against concepts such as intellectual property and copyright, while advocating creative commons licensing as a possible legal answer to this privatization of thought.
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Synopsis from Penguin:
Compiled by an unknown scribe in Iceland around 1270, and based on sources dating back centuries earlier, these mythological and heroic poems tell of gods and mortals from an ancient era: the giant-slaying Thor, the doomed Völsung family, the Hel-ride of Brynhild and the cruelty of Atli the Hun. Eclectic, incomplete and fragmented, these verses nevertheless retain their stark beauty and their power to enthrall, opening a window on to the thoughts, beliefs and hopes of the Vikings and their world.
Translator + Editor – Andrew Orchard
From Penguin on new series Legends from the Ancient North:
J.R.R. Tolkien spent much of his life studying, translating and teaching the great epic stories of northern Europe, filled with heroes, dragons, trolls, dwarves and magic. He was hugely influential for his advocacy of Beowulf as a great work of literature and, even if he had never written The Hobbit and The Lord of the Rings, would be recognised today as a significant figure in the rediscovery of these extraordinary tales.
Legends from the Ancient North brings together from Penguin Classics five of the key works behind Tolkien’s fiction. They are startling, brutal, strange pieces of writing, with an elemental power brilliantly preserved in these translations. They plunge the reader into a world of treachery, quests, chivalry, trials of strength. They are the most ancient narratives that exist from northern Europe and bring us as near as we will ever get to the origins of the magical landscape of Middle-earth (Midgard) which Tolkien remade in the 20th century.
Regarding the French language, my listening comprehension skills are non-existent. I possess the basic ear of most anglophone Ontarians with 5-or-so years of rudimentary French courses. Although I knew I would understand almost nothing of Anne-Marie Cadieux’s performance of Molly Bloom’s monologue I craved it with that basic, eager ear.
Entering the theatre in the dark I saw on stage what looked like one of Vito Acconci’s tubular belles, the curvature of a woman’s hips in smooth wood exploding from the floor that was covered in beach sand. There atop laid mme Cadieux as Molly Bloom, waiting for us to file in and take our seats.
I read Ulysses in full three years ago and still dip in intermittently. I know Joyce, but I could not know Jean Marc Dalpé’s translation. So I sat and listened blindly to Cadieux’s cadence and paired it with what I read of that soliloquiy and what I saw in those pages. I had a body and a voice to attach to memory, and that in itself was enjoyable to a certain extent. Sometimes she would sing beautifully a few lines of English and pull me from my strange daze, then it would be back into Québécois and memories of my dusty green Bodley Head.
The lighting and ambient background audio-video accompaniment was hardly noticeable throughout but well played and timed perfectly. Toward the end of the show the lights began to brighten, slowly and steadily. I heard oui and another oui and the backlighting went full bright and she threw back her arms and her body on that belle for the one word I showed up for, the final and emphatic oui.
Then it was dark, and there was a standing ovation, and I was glad to have seen the show.
Brigitte Haentjens’ Molly Bloom runs until May 31 at Théâtre ESPACE GO in Montréal.
This book is another treasure from the University of Toronto. It was published by LEGAS in 2000 and is a record of the proceedings of the St. Michael’s College Symposium of 1999. As the fantastically dated cover image implies, the purpose of the symposium was to discuss medievalism and its progression in academe. From a piece deconstructing medieval imagery in mass media and contemporary advertising to a history of Victorian medievalism and medievalism in McLuhan, the text is both entertaining and illuminating. One essay of particular importance is Mediaevalism in Toronto: Etienne Gilson’s Vision, which recounts how and why Gilson established the Institute of Mediaeval Studies in Toronto. To understand the circumstances surrounding the Institute’s foundation and observe what it has grown to become today is to appreciate the vision and foresight of Gilson and be grateful that this Immortal of the Académie français saw fit to lay these roots at St. Michael’s College. The University of Toronto is now a global leader in medieval studies and in 2014 it is important to remember on what this reputation was built.
The Special Collections and Archives of the Kelly Library at St. Michael’s College has more information and related links here.
“the sacred vessel everyone was seeking”