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Review of Community Trabslation by Taibi, Mustapha and Uldis Ozolins. Bloomsbury Academic, 2016. 200 pp.

This paper describes a digital project to edit the Old Norse poetic corpus known as skaldic poetry, composed between the ninth and fourteenth centuries. The Skaldic Project started in 1997 with the first editions published in 2007, and 75% of the corpus is now published in print and online. The long-term nature of the project, together with the complexities of the corpus and its manuscript and textual preservation, have meant that the digital resource has had a number of challenges to address. This article focuses on three of these challenges: the need to provide a large amount of material about the context of the poetry to contributors, including manuscript images; the need to provide an integrated editing and publication system capable of simultaneous updates by multiple editors and assistants; and instant digital access, online publication and a streamlined process for export for print publication. This article describes these processes and solutions, which encompass both human workflows as well as technical solutions. It demonstrates how the method adopted and data created has provided a foundation for further research projects based on the digital resource, including a lexicographic resource (Lexicon Poeticum) and an index of the complex diction of the corpus (Kenning Lexicon).

This work explores the importance of renewable resource temporal distribution for solar and wind energy deployment in Arctic communities to meet building and ancillary loads. An analysis of ten years of historic weather data was performed for six locations in the Canadian Arctic to assess renewable resource variation. Simulations of similar capacity solar and wind generation systems were then coupled with the historic data to compare and contrast generation potential. This analysis highlighted the importance of considering hourly, daily, monthly, and year-to-year renewable generation when deploying solar and wind to the Arctic. As many northern communities in Canada have local electricity generation and distribution systems, and no connection to the continental grid, managing grid interactions effectively is crucial to the success of deployment, integration, and operation. The results for the solar energy analysis showed high consistency of production year-to-year. The results for the wind energy analysis showed that the annual outputs have significantly less variation than the year-to-year output of individual months for all the locations under study. For the high latitude locations studied, solar energy can still provide useful electricity generation output, but the more pronounced bias of the annual output to the summer months can leave several months with little or no output. The use of additional renewable sources is crucial in beginning to transition some electricity generating capacity within Arctic communities from being solely reliant on fossil fuels.

"Since at least 1980 Godard’s cinema has been explicitly looking for (its) music, as if for its outside. In Sauve qui peut (la vie) Paul Godard hears, and asks about it, coming through the hotel room wall, and it follows him down to the lobby, but remains “off,” like Marguerite Duras’s voice, in spite of his questions, until the final sequence. At that moment, at the end of the section entitled “Music,” the protagonist is at the same time struck by a car and struck by the entrance of the music into the diegetic present of the film, as the camera pans past an orchestra playing on the sidewalk while Paul fades off under the quizzical gaze of his daughter. By 2004, with Notre musique, it would seem to have taken over the whole text, for the film was announced as being about the collaboration between Godard and German record label ECM. In the context of that film it is difficult to determine both what that music is and who we are, although this discussion will try to advance a hypothesis in that regard. In fact, my main contention will be that music in Godard’s films functions as something like the absent image(s), not those it has lost but rather its cinema to come, what remains to be discovered and live within it, the survival of it. Not a cinema that cannot be seen, rather the image that can perhaps only be heard; and not the romantic or psychedelic dream of a synaesthetic apotheosis either, rather the technological coincidence of sonimage that has also been the precise direction of Godard’s cinematic research for more than thirty years. For the argument I will be making here is inscribed within my own investigation of what I call “technological life,” the means by which, in “prosthetic” symbiosis, or “dorsal” umbrality, a form lives beyond the simplistic opposition of animate and inanimate, or against the reductive presuppositions of autokinetic ipseity..."

This paper examines the Canadian news media’s coverage of the wars in Afghanistan and Iraq. In particular, Canadian newspaper headlines are examined for the way in which an image of the “enemy” is constructed and framed in dominant media discourse. An analysis of the data reveals a pattern of dehumanizing language applied to enemy leaders as well as Arab and Muslim citizens at large in the media’s uncritical reproduction of metaphors that linguistically frame the enemy in particular ways. Particularly, the paper argues that the Canadian media have participated in mediating constructions of Islam and Muslims, mobilizing familiar metaphors in representations that fabricate an enemy-Other who is dehumanized, de-individualized, and ultimately expendable. This dehumanizing language takes the form of animal imagery that equates and reduces human actions with sub-human behaviours. This paper argues that the repeated use of animal metaphors by monopoly media institutions constitute motivated representations that have ideological importance. The consequences of these representations are more than rhetorical, setting the stage for racist backlash, prisoner abuse and even genocide.

Ethnic discrimination has long fuelled violence and displacement within Myanmar, especially in relation to people of Rohingya ethnicity who have been fleeing in their tens of thousands in 2013 alone.

In 2002, Stephen Frears directed Dirty Pretty Things – one of the few mainstream fictional films to highlight the effects of exile, the complexities of refugee status, and the trials of migrant labour in the “Western” world. Thus far, the minimal number of “refugee” films produced is mirrored by the minimal discussion about those films (or their absence). This essay examines Frears’s film with a critical lens that incorporates both theoretical evaluations and aesthetic choices. For instance: how do media representations of refugees and migrants relegate the signification of refugee-ism to visceral, silent, repetitiv,e and subordinated signifiers? Additionally, this essay narrows its interest upon Senay, the female lead of Dirty Pretty Things, to open up a dialogue about fragmented body: missing hands / hyperbolized eyes. Drawing on knowledge of the theoretical implications of those choices, this paper addresses refugees and illegal migrants in film with the hope of initiating conversation about an otherwise relatively silent and untouched cinematic subgenre.

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