University of New Brunswick: Centre for Digital Scholarship Journals

Garancher, Michaël

Book Reviews / Comptes rendus de livres 309 Undaunted, he then proceeds to suggest a comprehensive plan for a revitalized music history pedagogy in Brazil from primary to university levels. Unfortunately, however, he notes that the prospect of any improve-ment in the situation is likely doomed by the neoliberal privatization of Brazilian universities by the current federal govern-ment: “the elimination of music history from music curricula in higher education can be expected” (132).Bad though the situation is in Brazil, it is exponentially worse in South Africa. Madimabe Geoff Mapaya scathingly notes that the curriculum remains “unashamedly Western and still colonial in that it privi-leges Western classical music” (151) and that “music education in South African universities is unequivocally inappropriate for the African situation” as it is “mis-aligned with the dominant South African musical praxis” (152). A focus on music notation literacy and sight-reading skills is of little use for music students wishing to excel in repertoires where those practices are irrelevant. Of necessity, African music students wishing to educate themselves in genres other than WAM or jazz turn to community music schools or online music instruction. Mapaya laments the waste of South African taxpayer funds on university music programs that are outdated relics of the apartheid era. He writes with passion and conviction, and his essay concludes the volume on a singularly sobering note.Listening Across Borders is available in paperback and hardback formats, and as an eBook on VitalSource’s excellent Book-shelf digital platform. It is the first offering in a new series from Routledge, titled “Modern Musicology and the College Classroom,” under the general editorship of James A. Davis, the co-editor of the present volume. Despite the reservations expressed here, the book is an important contribution to the proliferating music history pedagogy literature and will be of interest to anyone curious about interna-tional trends in the field.  REFERENCESIngraham, Mary. 2017. Deterritorializing Spirituality: Intercultural Encounters in Chan’s Iron Road. In China and the West: Music, Representation, and Reception, 137–160. Ed. Michael Saffle and Hon-Lun Yang. Ann Arbor: University of Michigan Press.Stokes, Martin. 2018. Notes and Queries on “Global Music History.” Studies on a Global History of Music: A Balzan Musicology Project, 3–17. Ed. Reinhard Strohm. London and New York: Routledge.Trottier, Danick. 2021. Le classique fait pop ! Pluralité musicale et décloisonnement des genres. Gatineau, Québec : XYZ, 264 p.MICHAËL GARANCHERUniversité LavalComment appréhender et déconstruire les frontières érigées par des siècles d’idéo-logies, de préjugés et d’habitudes entre musiques classiques et populaires ?Depuis l’émergence du numérique, notamment, notre manière de consommer et de créer s’est transformée en favorisant le métissage et l’omnivorité. Toutefois, aussi paradoxal que cela puisse paraître, l’efface-ment de la frontière entre le classique et le 310 MUSICultures 49populaire a eu pour conséquence non seu-lement l’émergence de nouvelles catégories aux propriétés analogues, mais également un renversement de la classification tradi-tionnelle. Dans cet essai, Danick Trottier entreprend d’examiner ces transformations afin de réfléchir aux possibilités ouvertes par le pluralisme et le décloisonnement des genres. Il poursuit ainsi le travail entrepris autour des enjeux de l’accès à la musique (2016), du régime d’historicité dans lequel est pensé l’acte de création (2017), de la fonction du partage des significations musicales (2018), ou encore du dialogue ouvert entre la pratique musicologique et la philosophie de Rancière (2020).L’ouvrage est organisé en deux sec-tions de cinq chapitres. La première se déploie à travers l’analyse de notions explicatives des rapports entre classique et populaire dans la musique occidentale selon une perspective chronologique, de manière à souligner les façons dont ces dis-tinctions nous en apprennent tout autant sur ces musiques que sur les rapports que nous entretenons avec elles. Dans la seconde partie, l’auteur examine les formes contemporaines du dépassement de ces hiérarchies traditionnelles afin d’attirer, dans une perspective « rancérienne », notre attention sur la dimension politique du partage de l’expérience sensible en contexte de pluralisme musical : bien que l’opposi-tion entre classique et pop se soit atténuée au profit de nouvelles réalités de notre époque, les discours et les comportements que nous produisons intentionnellement ou non dans notre rapport à la musique engendrent de nouvelles formes d’inclu-sion et d’exclusion structurant notre participation à une vie commune.La première section est intitulée « Les grandes dichotomies musicales des siècles passés ». Si le terme « classique » désigne ce qui a passé l’épreuve du temps, c’est d’abord la mise en place des systèmes de notation musicale et l’imprimerie qui ont progres-sivement induit une dissymétrie entre l’écriture savante et l’oralité populaire en pérennisant ainsi certains répertoires (cha-pitre 1). Pourtant, la libération progressive des contextes de création et de réception traditionnels de leurs autorités de tutelle a favorisé la circulation des répertoires et la constitution de nouveaux groupes sociaux. La musique contribue ainsi d’une certaine manière à la société (chapitre 2). Dans l’éducation esthétique promue par les Lumières, l’art était vu comme un principe émancipateur. Cette conception a cepen-dant favorisé un clivage entre un Grand Art et les arts populaires. Or, au fond, on ne peut que constater l’instabilité de ces catégories en tant qu’elles sont dépen-dantes des formes de médiations sociales historiquement situées. Ainsi, les intérêts particuliers de certaines classes sociales et canaux institutionnels de diffusion ont joué, notamment au XIXe siècle, un rôle dans la reproduction du clivage, même si cette opposition résistait mal à la récep-tion enthousiaste de l’art populaire. La notion de « musique classique » s’est donc construite à travers les valeurs idéalisées d’un domaine esthétique et de son champ d’action (chapitre 3). La création musicale n’échappe pas à son appropriation par un discours qui lui attribue des significations et en explicite les valeurs. Il est alors néces-saire de comprendre comment certaines réalités matérielles et morales historique-ment situées enroulent les plis esthétiques du classique et du populaire. Au cours du XXe siècle, notamment, le développe-ment technologique, la rationalisation de l’édition musicale et la circulation massive Book Reviews / Comptes rendus de livres 311 des œuvres ont favorisé la segmentation des publics et des habitudes d’écoute, ainsi que la mécanisation du processus de création en vue de répondre à certaines attentes des consommateurs (chapitre 4). À un art sérieux s’est opposée une indus-trie du divertissement. Évidemment, on reconnaît là une thèse bien connue. Mais la consommation massive de biens cultu-rels a également permis à de nouveaux publics de trouver une voix d’expression dans la sphère publique (par exemple le rock’n’roll, le hip hop). D’un autre côté, l’émergence de certains genres populaires peut être comprise comme une tentative de se soustraire à la société de consom-mation en adoptant certains codes de l’élitisme classique. Notamment, au cours des années 1960, l’art-rock revendiquait une forme de recherche artistique à travers le travail en studio, pour concevoir une œuvre originale, complexe, virtuose ou expérimentale, idéalisant le génie. Notre rapport à la musique est ainsi dynamique : nous ne l’intégrons à nos vies qu’en agis-sant sur elle (chapitre 5). Notamment, les habitudes de consommation structurent les lignes de démarcation classique/pop à partir des normes propres à chaque groupe social qui se sont constituées pour encadrer leurs pratiques. À cet effet, les communau-tés de fans sont révélatrices. La seconde partie de l’ouvrage est intitulée « Les modalités du décloisonne-ment des genres musicaux au XXIe siècle ». Internet a bouleversé notre rapport à la musique aussi bien que son industrie (cha-pitre 6). L’omnivorité culturelle favorisée par la numérimorphose – comme le pair-à-pair (peer2peer) ou la diffusion en continu (streaming) – a provoqué l’effacement des démarcations entre classique et pop chez les jeunes générations des années 1990–2000, obligeant à repenser une médiation entre les genres au sein des programmations. Par ailleurs, de nouvelles logiques de création ont favorisé l’hybridité et la rétrospection. La concaténation des éléments stylis-tiques caractérisant traditionnellement les genres musicaux a ainsi réalisé plusieurs rencontres entre l’orchestre symphonique et la pop (chapitre 7). D’une part, si les pratiques du crossover et l’adaptation du répertoire populaire à l’univers sympho-nique ont pu être assimilées à une stratégie mercantile, elles ont également permis de sortir l’orchestre des sentiers battus. Cette réassignation est allée de pair avec la reconsidération du geste composition-nel « classique moderne » dans lequel tous les genres sont des sources d’inspiration. D’autre part, l’inclusion des cordes ou des bois par les arrangeurs en contexte de studio a notamment transformé le rôle de la voix dans la chanson, et a favorisé ainsi une nouvelle conception de l’interpréta-tion faisant écho au génie artistique. Ces métamorphoses témoignent d’une forme de postmodernité en musique caractéri-sée par la transgression (chapitre 8). Mais celle-ci n’est pas seulement stylistique. Elle revêt une dimension politique  : la déconstruction des normes et la pluralité des trajectoires possibles constituent une revendication publique expliquant l’im-portance des arts médiatiques/numériques et de la collaboration multidisciplinaire. La réception en contexte numérique peut également paraître avoir bouleversé aussi bien nos manières de consommer que de créer et produire de la musique (cha-pitre 9). La dématérialisation du support a certes favorisé la cohabitation des réper-toires en ouvrant l’accès à de nouvelles logiques d’appropriation personnelle de la musique. Mais si la création s’affirme 312 MUSICultures 49également comme une forme d’expres-sion individuelle infinie, comment alors donner à entendre sa différence ? Chaque plateforme de diffusion en continu, par exemple, oriente notre rapport à la musique en utilisant des données de fréquentation pour créer un effet d’entraînement. Aussi, les manières dont on conçoit et nomme la musique influencent notre manière de la créer et de la consommer car ces discours construisent un univers de significations induisant des croyances et des compor-tements (chapitre 10). Ce besoin de classification semble immanent à toute expérience musicale car les étiquettes ne sont pas des réalités autonomes : elles rem-plissent une fonction communicationnelle en introduisant une logique de coréférence à des univers culturels identifiables. L’idée est puissante car elle permet d’appréhen-der à la fois une forme locale de stabilité de ces liens structurels, et d’expliquer leur fluctuation temporelle et contextuelle. L’auteur propose donc de caractériser certaines des relations entre domaine, méta-genre, genre, et style. Si toute hiérarchisation court le risque de reproduire certaines formes d’ouver-ture/fermeture, ce modèle témoigne pour le moins qu’aujourd’hui l’entreprise de classification n’est plus l’identification d’un genre par la négation des attributs d’un autre, mais plutôt une tentative pour décrire la complexité de l’expérience d’écoute. À ce titre, Trottier montre que la réification de l’expérience musicale est contingente au langage d’une époque qui en décrit les composantes, en détermine le sens, et façonne ainsi notre relation à la musique. Les frontières entre les genres sont donc en constante mutation. Or cette historialité ne peut être saisie par une dialectique située entre continuité et rupture : quels types de relations voulons-nous entretenir à la musique ? « Chacun·e a responsabilité dans la manière dont la musique se distribue au sein de nos socié-tés et parvient à créer du sens dans nos vies  » (p.  228). Trottier envisage ainsi, contre l’uniformisation de la création due à la massification, de ménager une place à la pluralité musicale dans notre quoti-dien pour s’en laisser pénétrer, comme une invitation au partage du sensible car la musique, contrairement au langage, ne suppose qu’une disposition d’écoute. Plutôt que d’opposer ce que l’on pourrait appeler un régime esthétique et un régime sociopolitique de la musique, Trottier les fait donc jouer avantageusement l’un avec l’autre en évitant ainsi de suspendre toute quête d’appartenance identitaire pour accéder à une dignité émancipatrice. La méthode se charge de nuancer les aspi-rations soulignant l’écart qui peut exister entre l’intention et l’efficacité réelle des catégories. On peut en effet s’interroger sur le fonctionnement de ce régime sociopoli-tique de l’art dont les effets émancipateurs agissent indépendamment des souhaits que peuvent avoir les artistes, des audi-teurs ou des institutions de servir tel ou tel intérêt. Il est vrai que ce sont toujours des œuvres ou des comportements qui sont évalués et non des intentions. Mais cela signifie-t-il pour autant leur impuis-sance  ? Le projet de l’auteur, semble-t-il, est ainsi d’affirmer l’égalité des individus et des formes d’expérience par les moyens propres de la musique. Enfin, l’une des forces de ce travail tient, à mon avis, tout autant à la rigueur et la finesse avec laquelle le propos est déployé, qu’à l’acribie avec laquelle Trottier l’inscrit dans le paysage culturel québécois. Certes, le lecteur ou la lectrice ayant déjà Book Reviews / Comptes rendus de livres 313 une bonne connaissance des enjeux discu-tés dans l’ouvrage pourrait ne pas trouver son compte dans la première section. Tou-tefois, la réflexion menée dans la seconde pourvoira à leur contentement.  RÉFÉRENCESTrottier, Danick. 2016. Enjeux de connectivité et d’accès à la musique chez les publics de deux festivals de musique classique au Québec. Kinephanos. Revue d’études des médias et de culture populaire 6 (1) : 7–35.Trottier, Danick. 2017. Les compositeurs face au passé musical. L’attrait pour l’écriture orchestrale dans la trajectoire de quelques compositeurs québécois. Circuit. Musiques contemporaines 27 (1) : 25–39.Trottier, Danick. 2018. Repetition and musical meaning: Anaphonic perspective in connection with the sonic experience of everyday life. Dans Over and Over: Exploring Repetition in Popular Music, 89–104. Dir. Christophe Levaux et Olivier Julien. Londres : Bloomsbury.Trottier, Danick. 2020. Roll Over the Musical Boundaries: A Few Milestones for the Implementation of an Equal Method in Musicology. Dans The Emancipated Listener: Essays on Rancière and Music, 334–349. Dir. João Pedro Cachopo, Patrick Nickleson et Chris Stover. Édimbourg : Edinburgh University Press.Harrison, Klisala. 2020. Music Downtown Eastside: Human Rights and Capability Development through Music in Urban Poverty. New York: Oxford University Press. 232 pp.GOLAM RABBANIQueen’s University, Kingston, CanadaWhile ethnomusicologists have long questioned the pattern of unidirectional knowledge extraction from their commu-nities of study, solutions have been slow to emerge. In Music Downtown Eastside, Klisala Harrison offers community-based research as a means to address the ongoing question of how ethnomusicologists can meaningfully and ethically support the communities in which, and with whom, they study. Harrison was involved in music-making with poor urban commu-nities in Vancouver’s Downtown Eastside popular music scene as a violinist for over two decades. In her book, she critically analyzes her experiences as researcher, musician, mentor, and policy developer to illuminate how music-making develops the lives, and enhances the capabilities, of Canada’s urban poor. Her innovative approach to examining human rights in musical practices allows her to address the nuances of human rights in musical per-formances by the urban poor; ultimately, she positions their musical interven-tions as means by which they establish agency. Her research contributes to the field of applied ethnomusicology as she puts “ethnomusicology to use,” utilizing it as a “toolkit” to “broaden and deepen the knowledge and understanding toward solving concrete local problems” (10). The book thus points out new ways to identify and resolve human rights and improve the 

English

Trottier, Danick. 2021. Le classique fait pop ! Pluralité musicale et décloisonnement des genres

Quader, Shams Bin

Equity, Diversity, Inclusion, and Accessibility in Music: Strategies for Justice

Sverdrup, H. U.

SOME OCEANOGRAPHIC RESULTS OF THE CARNEGIE'SWORK IN THE PACIFIC. THE PERUVIAN CURRENT.byH. U. SVERDRUP.(Extract from the Transactions of the American Geophysical Union, published by the National Research Council - Washington. D.C. - June 1930.)The surface-currents of the Pacific are fairly well known, and are represented sche­matically in figure 1. It is seen that the surface circulation is approximately symmetri­cal on both sides of the thermal equator, which is found in latitude 6° to 8° North. The equatorial counter-current runs towards the east along the thermal equator and North and South of this line we find two enormous vortices. The southern part of the vortex on the Southern hemisphere is formed by the West wind-drift, which when stri­king the coast of South America is deflected to the North following the coast as the conspicuous Peruvian Current.The Peruvian Current carries cold water of low salinity along the coasts of Chile and Peru and is the most outstanding current on the Southern hemisphere. The relation of this current to the surface-currents has been recognized a long time ago, but the relation of this current to the sub-surface circulation has not been established. However, it is generally assumed that the low salinity and low temperature of the surface-waters off the coast of Peru are due to upwelling of the deep water, but nothing has been known definitely as to the depth from which the water comes. The observations of theCarnegie show clearly that the possible vertical upward motion is a relatively small- scale phenomenon within the Peruvian Current and is limited to the upper 200 to 300 metres.Before treating the Carnegie observations from the Peruvian Current, it is necessary to draw attention to the general character of the sub-surface circulation in the Pacific which recently has been disclosed by the investigations of M e r z , W ü s t , and D e f a n t . who principally used the salinity observations of the Challenger Expedition of 1874-1875. In the distribution of the salinity in a vertical section through the central part of the Pacific, it is seen that the distribution is fairly symmetrical around the thermal equator; indicating a symmetrical sub-surface circulation within both hemispheres. We are here not concerned with the currents near the surface, but shall fix attention at the conspi­cuous salinity-minimum which can be followed in both hemispheres from high latitudes towards the equator. In high latitudes the low-salinity values are found at the surface, but approaching the equator they are met at a depth of about 700 metres. The two tongues of water of low salinity indicate beyond doubt that water, which has been at the surface in the sub-arctic or sub-antarctic regions where the salinity has been reduced on account of excessive precipitation, is carried back to the equator at a depth of 600 to 1,000 metres. The salinity within this current increases when approaching the equator on account of admixture of saltier water from above.It has not been possible to arrive at any results as to the character of the deep-sea currents in the Pacific because of lack of observations from the great depths. We shall confine ourselves to a study of the relation between the Peruvian Current and the intermediate Antarctic Current which evidently is characteristic of the entire Southern Pacific.The Carnegie crossed the Peruvian Current several times in the course of its oceano­graphic stations. Stations 40 to 80 are located within or in the neighbourhood of the Peruvian Current. On the basis of the observations from these stations it is possible to construct five sections, showing the vertical distribution of the salinity. Three of these sections, from stations 40 to 45, 70 to 80, and 60 to 50, run approximately at right- angles to the Peruvian Current and may be termed cross-sections, while two, from 50 to 45 and from 60 to 70, are almost parallel to the Current and may be called longitudinal sections.Let us first examine the cross-sections; beginning with the most northerly (fig. 2). In this section we immediately recognize the intermediate layer with low salinity, repre­senting the intermediate Antarctic Current. It is of interest to note that the axis of this body of water is horizontal.A t the surface we find an increasing salinity when departing from the coast. A t the coast the lowest salinity is met with at the surface, where values below 34.5 °/°° occur. The water of this low salinity must originate from the Gulf of Panama where the surface salinities are small on account of excessive precipitation. A t some distance from the coast we find the highest salinity below the surface, but it can not be decided whether the high values indicate a transport of water towards the coast or is related to seasonal variations.The second cross-section (fig. 3) in about 150 South reveals principally the same features. The intermediate Antarctic Current can be followed across the whole section and the salinity within this body of water is now slightly smaller, areas with salinities smaller than 34.5 °/°° occuring. The axis of the Antarctic Current is again horizontal. At the surface we find a great increase of the salinity when departing from the coast.In the third cross-section (fig. 4) which runs from Southeast to Northwest between latitudes 40o and 28o we find the intermediate Antarctic Current still more strongly developed and still horizontal. The salinity has now values around 34.3 and values as low as 34.1 occur. A t the right-hand side of the section we recognize the Peruvian Current at the surface where the salinity is about 34.0.Turning next to the longitudinal sections we shall first examine the westerly section between longitudes 1150 and 105o West and latitudes 250 and 50 South (fig. 5). In this section we can follow the intermediate Antarctic Current as a horizontal flow. The decrease in salinity towards the North is plainly seen and it can hardly be doubted that this increase is due to admixture from above because the salinity of deep water remains unaltered, the curve of 34.6 °/°° running horizontal.In the last section (fig. 6) which runs from about 98° West longitude and 40° South latitude to Callao and cuts the Peruvian Current at a very small angle we find again the intermediate Antarctic Current very well developed with a minimum of salinity at about 700 metres. The salinity increases towards the North but the depth of the mini­mum values remains constant. It is furthermore evident that the increase is due to admixture from above because the salinity at 700 metres remains constant until the salinity of the water-layers above is appreciably greater, and does not increase as long as only the underlying layers have a higher salinity.Within the surface-current the salinity increases towards the North on account of the evaporation of the surface, but it remains much lower than the salinity at greater distances from the coast, evidently because of a constant transport of water of low salinity from the South. The Peruvian Current appears thus as a surface-current which is independent of the intermediate Antarctic Current, with a lower salinity than the intermediate Current in the most southern part of our section but a higher one in the northern’ part.The low salinity and low temperature of the surface-waters off the Peruvian coast, as already mentioned, frequently has been regarded as evidence for the presence of an upwelling of the deep water. However, in our sections we find no feature which sup­ports this assumption. If an upwelling from depths greater than r,ooo metres took place, we should expect the intermediate Antarctic Current to disappear close at the coast, but we find it just as well developed here as at greater distances. The horizontal distribution of the salinity at a depth of 700 metres (fig. 7) shows a regular increase towards the North of the salinity of the intermediate current, indicating that this current is independent of the distance from the coast and effectively shuts off any communica­tion between the deep-water and the surface-layers.The possibility exists that an upward motion is found within the surface-current itself, when this approaches the coast. Such an upward motion would bring water of low temperature and low salinity to the surface because only the uppermost layers of the Peruvian Current have high temperatures and high salinities. An examination of a temperature-section from stations 60 to 70 (fig. 8) indicates that such vertical motion is present within the Peruvian Current in the immediate vicinity of the coast. We find that the isotherm of 150 rises when approaching the coast, but all the isotherms from io° down drop. This trend of the isotherms in my opinion must be regarded as con­clusive evidence that the upwelling off the coast of Peru is a relatively small-scale phenomenon which is characteristic of the surface-current and that the water which is brought to the surface comes from depths less than 300 metres.D e p a r t m e n t  o f  T e r r e s t r i a l  M a g n e t i s m , Ca r n e g i e  I n s t it u t i o n  o f  W a s h i n g t o n , W a s h in g t o n , D .C .

Some oceanographic results of the Carnegie's work in the Pacific: The Peruvian Current

Dubois, Raymond

Laboureur, Louis

NOTE CONCERNING A DIRECT READING ELECTRICAL CHRONOGRAPH FOR ACCURATE READING OF VERY SHORT INTERVALS OF TIMEN o t e  b y  MM. R a y m o n d  DUBOIS a n d  L o u is  LABOUREUR.(Extract from the Comptes Rendus des Séances de VAcadémie des Sciences, Paris, gth. May, 1932).If a previously discharged electrical condenser be connected to a source of constant tension through a resistance, the tension at the terminals of the condenser starts from o, at the instant t =  o, and increases in accordance with an exponential law as a function of the time. The measurement of the charge acquired during an unknown interval of time allows the duration of the charge to be determined. Earlier methods used for this purpose entailed the use of an electrometer which was too delicate for industrial purposes, or the use of a galvanometer with the same failing, besides it caused the quantity to be measured to disappear, which does not allow prolonged registration of the result of the observation.In the present device the problem was solved by the use of a high insulation triode valve, to the grid of which the tension reached by the condenser is applied to the negative extremity of the filament in the direction which renders the potential of the grid yet more negative. In these conditions, the valve acts as an electrometer which does not shunt any current and does not alter the charge of the condenser, though it produces an anode current of several milliamperes, which is easily measured by pivotal appliances. The variations of this current are quite definite and stable as a function of the tension reached by the condenser while being charged.At the very earliest stages an improvement of great importance was introduced in the chronograph by suppressing the relays and making use of a neon lamp as a make- and-break free of inertia and possible bad contact. Further, by using the one-directional conductivity of the filament-grid space the charging of the condenser can be carried out very easily leaving it permanently connected both to the filament and to the grid in its position for measuring the charge, whilst retaining its perfect insulation, thus permitting permanent readings to be obtained. In this new apparatus the interval of time to be measured is that during which the neon lamp is alight, the lighting and extinction being caused by the beginning and the end of the phenomenon. Then the plate current assumes a value which corresponds to the charge acquired by the condenser and this value is maintained for several minutes or several hours according to the quality of the insulation. When the reading has been made, the condenser is short-circuited for an instant in order to prepare for the next measurement.The value of this apparatus for aerial and submarine sounding is evident: it allows very short intervals of time to be measured with an accuracy within 1 per 1000, without relays, without coupling and without any movable mechanical organs. Oscillograms show that the phenomena inside the neon lamp do not show any lag in themselves and it has been possible by this method to measure directly the interval of time taken by sound to travel about 100 metres with an accuracy of about 1 decimetre. Further the energy necessary to obtain extinction is very small and during the trials which were made for determining height, in spite of the noise of aeroplane engines, it was possible regularly to read the echo distance from 8 m. to 450 m.For this purpose, the equipment carried by the aeroplane consisted of a compressed air apparatus which gave a shrill note for about i/iooth of a second directed towards the ground by means of a cone in the interior of the craft, the opening of which, which is slightly within the covering of the fuselage, is protected by a light deflector. The receiver is a special electromagnetic microphone which is selective and sensitive to the echo, but the proper period of which does not coincide with the note used in order to avoid that transitory vibrations should have the same frequency as the signal itself. A very highly selective amplifier is tuned to the signal and the out-going current caused by the echo extinguishes the lamp which charges the chronographic condenser. The lighting of this lamp is caused by the actioning of the transmitter.The milliammeter of the chronograph is fitted with two altitude scales, one from5 m. to 70 m. and the other from 20 m. to 500 m. The change of scale is obtained instantaneously by means of a switch which modifies the value of the resistance in series with the condenser and governs the rate of charging. The use of several milliam- meters in series allows the readings of the soundings to be repeated at the various pilot or navigation control stations without any additional device. One of them may consist of an ink recorder which gives the profile of the course in linear co-ordinates, for the speed of unrolling of the paper may be made proportional to that of the plane.In the same way submarine soundings may be taken by using a transmitting appa­ratus which transmits to the water short musical vibrations, using a microphonic receiver similar to that used for aircraft connected with the same chronograph.

Note concerning a direct reading electrical chronograph for accurate reading of very short intervals of time

THE WILLIS NAVIGATING MACHINE(From information kindly supplied to the Bureau by Messrs. B r o w n , Son &  F e r g u s o n , Ltd., 52-58, Damley Street, Glasgow S. 1.)A m o n g the numerous ingenious instruments recently invented and destined to facilitate air and marine navigation, one, namely the Navigating Machine designed by Edward W i l l i s , an American engineer, is of special interest. It is constructed by Messrs. H e a t h  & C°, New Eltham, London, and was shown at the recent Shipping Exhibition, Olympia.Fixing a ship’s position at sea involves a complicated solution by spheri­cal trigonometry; the W i l l i s  machine gives the required results in less than one minute as it is, in reality, a calculating machine. The accompanying illustration gives some idea of the instrument and method of operation.The inventor has improved the construction of the machine since its first appearance and may in future see his way clear to constructing it at the cost price of £60, although this is not definite.Two 'types of the machine have been presented, one for the use of sea­men, the other for aviation purposes. The length is 11 inches; weight of marine type : about 27 lbs. ; weight of aviation type : 7 to 8 lbs. ; the former is graduated to read to i ’ of arc, the latter to 5’ of arc.The instrument should be regarded as a combination of five protractors designed to read simultaneously the five angles of Nautical Astronomy, viz. : Latitude, Declination, Hour Angle, Altitude and Azimuth. In brief, it will solve the well-known spherical triangle P Z X  under all conditions.The accompanying diagram gives some idea of the construction :—Arc A  is the Declination Circle;Arc B  is the Latitude Circle;Arc C C  is the Hour Angle Circle, the outer rim of which is graduated to degrees and the inner one to time ;Arc D  D ’ is the Altitude Circle;Arc E  E ’ is the Azimuth Circle.Each arc is supplied with reader and vernier suitably graduated.The machine is very easy to handle and the students at the School of Navigation, Royal Technical College, Glasgow, were able by its use to work out a great number of problems without difficulty. It was also shown to the Navigation Instructors of the Royal Naval College, who examined it with great interest.B B S

The WILLIS navigating machine

Gougenheim, M. A.

NOMOGRAPHIC DETERMINATION OF THE INCLINATION CORRECTION OF SOUNDINGS TAKEN BY MEANS OF A FISH LEAD (PLOMB POISSON) (1)byM. A. G O U G E N H E IM , In g é n ie u r  H ydr og raph e  P r in c ip a l , F ren ch  N a v y .i) In an article entitled “On the Curvature of the I e^ad Iyine & the Correction for its Inclination” (Hydrographic Review, Vol, IV, N° 2) Captain T onta  compared the corrections for inclination obtained theoretically by him, by M. Co u r tie r , Ingénieur Hydrographe en Chef, and by Professor d e  Marchi and showed that, in the three hypotheses considered, the correction for inclination k may be reduced to a single formula :(1) k = l  [i-<p (a) ] + C 0£ (co) [ (co)-<J> (a) ] in which I represents the length of the submerged line,a its angle from the vertical at the point at which it enters the water,co its angle from the vertical at the point at which the lead is attached,and C0 a constant of the lead and wire system, approximately measuring the length of the arc of the curve of the sounding line produced from the lead to the apex of this curve (with a horizontal axis).Besides the angle co is related to the measurable quantities a  and I by the following formula :(2) / (co) = A  f  (a) by taking A  =  <"° .Cq +  IThe constant C0 is determined by measuring, at the same speed of the vessel, the inclinations of the line co, ax and a 2 corresponding to the lengths of line submerged o (lead awash), lx and l 2-Then C„ = ----/ (« ¿ -/ (o c . lB U o )(1) This note m ay be considered as a generalisation of the results of an investigation of the problem which we have made, in the particular case where the lead line is assumed to take the form of an arc of a circle. This first examination, made with a purely practical object, will appear in the Annales Hydrographiques issued b y  the Hydrographic Service of the French N avy.2) By formula (1), the correction is not determinable nomographically, but as the second term of k is small relative to the first, and as co is smaller than a, which itself very rarely exceeds 30 degrees, and if the func­tions of <|/, / and B  be taken as a basis, formula (1) may be simplified and can be expressed at first thus:(1 bis) A -  [i -  + (a) ] [z +  C. B  (« )( i  -  •By developing the functions of / and B  relative to a  and co, in series, and limiting ourselves to the a 4 terms for ^ (a), the a 3 terms for / (a) and the co2 terms for B  (co):(a)=  1 -ac/L2 (1 +  6a2), in which a is always equal to - i - ;/ (a) =  a  (1 +  coc2) ;B  (co) =  I  + m  co2.Eliminate co between (2) and (1 bis) by means of these developments.Then:(3) k =  [1 -t j i(a)]  [* +  C0 (1 -^4*) [1 +  (b +  m -2 c )A * « * \ \Find the order of importance of the term(4) [1 -  4» (a) ] C0 (1 -  A*) A 2 {b +  m -  2 c) a 2.C  • 1A =  — — being between o and 1, the maximum of A 2 (1 -  A 2) is —C0-H 4a 2On the other hand, 1 -  (a) is of the order ofConsequently, an upper limit of ^  — 21^  a  must be found.If a does not exceed 30 degrees, a 4, expressed in radians, will attain ~  at most.C0 theoretically may be infinite, with an infinitely heavy lead or an infinitely thin sounding line; but in this case, a  is always very small and C0 a 4 is of the order of one metre.In practice C0 is less than 20 metres, which is the maximum which we shall consider.The quantity b m — 2c is, at most, equal to — in absolute value (i).If all these maxima be included in the term (4), it will be found that it is still less than 3 centimetres. It is, however, considerably smaller in the hypo­theses of T o n ta  and Co u r tie r , even when a  exceeds 30 degrees.(1) The values of b +  vn —  2 c in various cases are :(a) Tonta Hypothesis :*(«) = -------- & = X3tan a 6 360 60B  (a>) =  sec 0 =  1-)------2/ (a )= ta n  a =  a ^ 1  +whence b +  m —  2c =  —201m —  —2(b) Courtier Hypothesis :1 , N a  a '5 a4 1(«) = ---------->-----------x - =  1 —  --------- b =  —Log tan ( ^ + | )  72Log tan ( —  +  ~ )B ( « ) = ---------L i ----- =  m = ±sm (ù 3  3/ (a) =  Log tan (^~  +  =  a ( r +whence b +  m —  2 c =  — 12(c) de Marchi Hypothesis :Let y (a) =  tan a sec a. +  Log tan ( t  +  t ), 2 tana. a2 7 a4 74» («) - ----- j —r  —  I -------~7 —  ------- b  =  —T (a) 6 120 20It can, then, be neglected (i) without introducing any appreciable error in k which thus becomes :(5) * = [i-<J/(a)] p + C „ ( i - 4*)].3) In this simple form, the product of a function of a  by a function of I, the correction for inclination may be determined readily by means of a slide rule or of a transversal straight-line nomogram.1 — A  3The calculation of the graduation I +  C0 (i -  A 2) — C0 — -—  of the scale (I)Ais fairly long. Further, if the sounding gear be modified, the constant C0 will vary and this graduation will have to be recalculated.This may be avoided by using a diagram constructed as follows :-Take I =  C0 u , u being a variable auxiliary, which gives :.,3  +  3u u 2(6) k = l [  i-^P(oc)]3 3(1 +  u)2On a fixed plane P , construct the curves(a) j *  =  —  /og 10 [1 -  <J; (a) ]y  =  o divided scale a,and (u)1 3 “H 3U H“  ^x  — log1 +  UYy  =  — log u auxiliary curve, not divided.On a transparent movable sheet P ’ , draw the straight line (D) x ’ — y’ the first bisector, and make the graduations(I) y =  log I according to I along the y’ axis, and (k) x =  log 10 k according to k on the ordinate straight line y’ =  log C0.(1) The formula (2) / (<o) = A  f  (a) is approximate only, the accurate relation between <0 and a beingCnB (a)(2 bis) f («>)= t+CoB{a) /(«)•The elimination of co between (1 bis) and (2 bis) gives the following expression for the correction(3 bis) h =  [1 1^1 (a)] | j  +  C0 (1 —  A 2) 2C~  7 ^ 4 " )  A% “ 2]A 2 1A  lying between o and 1, x ^  1S between o and — •T o find the upper limit of the a 2 term, the greatest of the two numbers b +  rn — 2c and 6 — 2c at their absolute values must be considered.9 3 1 3In the three hypotheses under consideration, b -  2c is equal to -  — , -  —  , -  —  respec­tively. Its absolute value exceeds —  once only and then but little. Thus our conclu­sion remains valid.To obtain any correction for inclination, place the transparent sheet P ’ on the plane P  keeping the axes of the coordinates parallel and making:1) the scale (a) pass through the given value l0 on the scale (I),2) the straight line (D) pass through the given value a0 on the scale (a).Then k0 is read off at the intersection of the auxiliary curve (u) and the graduation (k).When thus set, the differences of the coordinates of the origins of the two systems are :X -  x' =  -  log 10 [1 -  ^ (a0) ] -  log l0 =  log 3 -  log 10 k9,(1 +  u fy — y’ — o — log Iq — — log u — log C0,from which we deducer 7 r I / \ 1 3 "f" 3U “i" ^K  =  Iq [l -  (ao) ] ---:--- ;— —---  with Iq =  C0 U.(I +w)2Thus k0 corresponds exactly to the correction given by formula (6).Plates I and I bis represent this nomogram in Captain T o n t a ’s  hypothesis:Log tan f —  +  — ^(I, (qA — _____ ____ —L  and in the case where C0 =  io metres. ^ tan aThe graduation (I) has been repeated on three parallels to o’y’ * so that the parallelism of the axes of coordinates may be obtained by making the scale (a) pass through corresponding points of the markings of two of these gra­duated lines.The only calculation necessary for marking this diagram is that for the division of the scale (a), the scales (I) and (k) being simply logarithmic. The (u) curve is then drawn by means of the table below which gives the coordi­nates x  and y in millimetres, for a certain number of points on the curve, calculated with the modulus of 100 mm. adopted in constructing Plates I and I bis**u X y u X y u X y u X y0.10 +  43-7 +  100.0 0.60 +  30-45 +22.2 1.60 + 18 .5 -20.4 6.00 +  6.6 -77.80.15 41.9 82.4 0.70 28.65 15-5 1.80 17.2 25-5 7.00 5-7 84-50.20 40-3 69.9 0.80 27.05 9-7 2.00 16.0 30-1 8.00 5-i 90-3O.25 38-7 60.2 0.90 25.6 +  4-6 2.50 13.6 39-8 10.00 4.1 100.00.30 37-3 52.3 1.00 24-3 0.0 3.00 x i.8 47-7 12.00 3-5 107.90.40 34-7 39-8 1.20 22.0 —  7-9 4.00 9-3 60.2 15.00 2.8 117.60.50 32.45 30.1 1.40 20.x — 14.6 5.00 7-7 69.9 20.00 2.1 i 3° - i* One of the three graduations has been suppressed on Plate 1 b is  to suit the paging ( N o te  o f  t h e  E d it o r ) .**  The scale of Plates I and I b is  has been arbitrarily modified to suit the paging ( N o te  o f  t h e  E d it o r ) .Plate 1 bis. - Planche 1 bis.For a different value of C0 , it is sufficient to draw from the division I — CQ on the scale (I), a parallel to o' x ’ which is then graduated exactly as is the straight line C0 itself, either by transferring the divisions by tracing, or by means of a table of logarithms.If another hypothesis as to the form of the curve be adopted, the scale (a) only need be altered. The alteration is not appreciable except in the larger values of the inclination, the function i  -  ^ (a) being of the form OL2-jr- (1 +  b a 2 + ...)  in the case of a parabola, a catenary and an arc of a circle.As an example, the following are the abscissae (modulus 100 mm.) of the points corresponding to 30° and 450 in the various hypotheses :a =  30° a =  450T o n t a  hypothesis......................................................................... +  31.4 mm. +  33-o +  29.8+  34-6—  7.4 mm.—  3-7—  4-3+  0.1C o u r t i e r  hypothesis..................................................................d e  M a r c h i hypothesis................................................................* , v sin<xArc of Circle <{> (a) =  ■....... .........................................................Thus a change in the law for the correction involves a relative displace­ment of the scale (a), which, in this part of the scale, corresponds to a change of 2 to 3 degrees in a , which is not very much in view of the relative inaccuracy with which the inclination is measured.4) The correction for inclination as in form (3) can be solved nomogra- phically by an analogous procedure, without neglecting term (4), as we have.But this solution has the disadvantage, when the value of C0 is altered, of necessitating the calculation of fairly complex functions for making the new divisions.Therefore it will be but briefly referred to here.Taking:S (a) =  10 [1 -  ^ (a) ] ( P ( l ) = l +  C0 (1 - A 2)h (a) =  a 29 (1)__ C0 ( i - A 2) A 2 (b +  m - 2 c )/ +  C0 (1 -  A 2) the correction would b e :i o k  =  g{cc)p {I) [ i + h { c x . ) q { l ) ] = v g  (a) p {I),the auxiliary variable v =  1 +  h (a) q (I) being introduced.On a fixed plane P  the curve: x =  log g (a)y = - l o g h  (a) divided according to a,and the scale:x  =  log 10 ky — 0 divided according to k,(a)(k)are drawn.On a free transparent sheet P ’ the curves x ’ =  -  log p (I)y’ — log q (I) divided according to I,and (v) \ X' , = l .°SV(I)y’ — log (v -  i) the auxiliary curve, undivided,are drawn.To obtain the inclination correction, whilst maintaining the axes of the two planes parallel, the given point on the curve (I) is made to coincide with the given point on the curve (a). The correction k is determined by the intersection of the scale (k) and the auxiliary curve (v).No example of this nomogram will be given, as it is tedious to make and is of little interest in view of the smallness of the retained term (4).5) Formula (5) giving the inclination correction may also be written:(7) k =  [1 -  <J/ (a) ] (C0 +  I)If soundings are to be taken in depths at least equal to C0, A = C0Cq -{-Iis less than -  and A z than  ^ , consequently A 3 may be neglected with refe­rence to 1, a relative error not exceeding  ^ being made in the correction,8which error decreases rapidly as I increases.The absolute error remains small, for, in small depths, the inclination isC a 2never great; when I =  C0 this absolute error is about — —  •24If C0 =  20 metres and a  =  30 degrees (which assumes a fairly conside­rable speed for the sounding vessel), this term scarcely exceeds 20 centimetres. In practice, the neglected term will always be less than this quantity.Further, the fact of not taking this term in A 3 into account increases the correction for inclination and consequently diminishes the depth according to the lead. From an hydrographic point of view, this is a less serious disadvan­tage than an error in the opposite direction, for, when it is impossible to obtain accurate soundings, it is preferable to show the depth as being less than it really is.It will be seen therefore that in most cases, in practice, the formula for the correction(8) k —  [1 -  (]/ (a) ] (C0 +  I) is sufficient.It is this formula that we have studied, more particularly in the case of the arc of circle, in an article which will appear in the Annales Hydro gra- phiques.The following is the nomographic solution which we have reached :On a straight line uu ’ (Fig. 1) from a point Ca metric scale (I) is graduated in values of I towards u, a metric scale (C0) is graduated in values of C0 towards u ’ .On a parallel vv’ at a distance D  from uu the metric scale (10 k) is graduated in values of k from a point B  towards v .Then a system (a) of parallels to uu’ is drawn at a distance x  from this straight line, *  being = I0 (l _ ^ (a) ] +  j  'BHe*o«10»  ^s *Co £Fig. 1.For a given value of C0 , B  is joined to the graduation C0 on the scale (C0) and this straight line is divided into a  by means of its intersections with the system (a). Thus a scale (C0, a) graduated according to a  is obtained.To obtain a correction, a thread is stretched through the given graduation points lQ and a0 on the scales (I) and (C0, a) and k0 is read off at the intersection of the thread and the scale (io k).s”h+r£ct/vc (mmatrts) - Correction soustract/veThis diagram, composed of transversal straight lines, is very easy to construct with metric scales, and is equally easy to use.Plate II gives an example on the supposition that tjj (a) = sm  a a6) Conclusion.As Captain T o n ta  has remarked, the various hypotheses put forward for determining the law of correction for soundings give results, in practice, which differ but little (as long as the inclination does not exceed 30 degrees).It may be said even that they are equivalent, in view of the inaccuracy with which the inclination of the line is measured at present.It has been seen that, in neglecting the term (4), as may legitimately be done, the functions / (a) and B  (o) do not enter except in the calculation of C0. The results depend very little upon the method employed. As an example, the following results were obtained in the same experiment:T on ta  hypothesis C0 = 1 1 .0 3  metresCou rtier  » C0 =  11.28 »d e  Marchi » C0 =  10.27 »Arc of circle C0 =  11,84 »Once C0 is determined, the correction for inclination depends on ^ (a) only; here also the hypothesis adopted has little influence.Practically, when a  <  300, any of the above hypotheses may be employed.The diagrams which we have constructed allow the correction for incli­nation to be obtained within a much greater approximation than that due to the uncertainty as to a.As long as the determination of this angle is not improved, we would advise, if the nomographic method be used for obtaining the correction k , that the transversal straight line nomogram described in paragraph (5) be employed, on the sole condition that I is greater than C0.B S E

Nomographic determination of the inclination correction of soundings taken by means of a fish lead (plomb poisson)

Baker, Melvin

Neary, Peter

Governor Sir Humphrey Walwyn on United States Bases in Newfoundland, 15 October 1945

Miall, Andrew D.

A Symposium in Honour of Gerard V. Middleton: GeoConvention, Calgary, June 21, 2022

Fabijančić, Tony

312 newfoundland and labrador studies, 36, 2 (2021)1719-1726book reviewsGeorge Elliott Clarke. The Quest for a “National” Nationalism:  E.J. Pratt’s Epic Ambition, “Race” Consciousness, and the Contradictions of Canadian Identity. St. John’s: Breakwater Books, 2018.  ISBN 978-1-55081-875-8On the occasion of the fiftieth anniversary of the first Pratt Lecture at Memorial University of Newfoundland in 1968, George Elliott Clarke spoke about E.J. Pratt’s epyllia Brébeuf and His Brethren (1940) and Towards the Last Spike (1952) in an effort to dismantle Pratt’s putative epic poetic ambitions. Although Breakwater Books’ promotional letter accompanying this slight but attractively packaged softcover declares Clarke’s essay a “heady and joyful renewal of the Pratt lecture as it enters its second half-century,” Clarke’s analysis of Pratt can be more accurately described, once you start peeling away the veneer of pol-ished writing and the occasional parenthetical jokey interjection, as a hit piece deploying what has become a hegemonic tactic in literary studies over the last few decades, an all-too-predictable disconfirma-tion bias. The motto to which he seems committed is “seek for what ye shall not find.” Clarke’s essay is divided into three chapters: “Pound and Frye,” “Pratt’s Brébeuf,” and “Pratt’s Towards the Last Spike.” In his first chapter, Clarke argues that, for “European-American” poet Ezra Pound, the “effective epic poem cannot focus on minorities — Acadi-an or Ojibway — or even utilize the miscellaneous speech of the var-iegated citizens of the United States of America. Heteroglossia, he sniffs, cannot provide the model for the epic” (Clarke 10). Similarly, argues Clarke, Canadian literary critic Northrop Frye, who presented 313newfoundland and labrador studies, 36, 2 (2021)1719-1726Book Reviewsthe very first Pratt lecture in 1968, and against whom Clarke is clearly trying to position himself, seconds Pound by suggesting that the epic “is the voice of a civilization (or culture), the vocalization of a unity of cultural experience” (13). Frye, says Clarke, follows Pound by dispar-aging the provincial. Given the “existential limitations for Canadian poetry, its provincial and colonial inheritance, and its bifurcated na-tional voice (French and English), it should be difficult for Canada to produce epic poets. But Frye elects one: E.J. Pratt; and one Pratt poem, namely, Brébeuf and His Brethren” (14). Frye, continues Clarke, despite his “arguably noble moral relativism” in reminding readers that the towering black figure at the stake is also a “terrifying devil to the savages” (14), nonetheless imposes the “standard reading of colo-nial history: Indigenous Canadians are doomed savages fated to en-dure as much justified annihilation as will — a few centuries on — the progenitors of Nazism” (14). He adds, “Clearly, both Pound and Frye assess twentieth-century epic as requiring an ethnocentric and/or nationalist poetic through which the epic poet appears as the vatic articulator of the dominant — or administering — ethnicity of a na-tion or imperial homeland” (15). Besides the second-hand basis for the title of national poet that Clarke assigns to Pratt, a more pressing issue for readers of the first chapter might be the use of Pound to cast Pratt’s writing in a negative light. Pound’s fascistic, anti-Semitic rav-ings, mainly in his letters and radio addresses, are used as an implicit backdrop by Clarke to criticize the unitary, non-variegated qualities he sees in Pratt’s long poems; this, despite admitting in a buried foot-note that Pound’s Cantos are “festively heteroglossic.” Clarke’s motive for using Pound isn’t based on expected criteria — a literary affilia-tion with Pratt, or a similarity of poetic subject matter, style, or phi-losophy (for example, there is no modernist “make it new” in Pratt). Instead, Clarke’s reason for inserting Pound into a conversation about Pratt, other than the fact both have written long poems and that they belong (along with Frye) to the same generation, is to sully Pratt ideologically. Frye, says Clarke, declares Brébeuf to be English Canada’s great epic because it represents European Christianity’s displacement 314 newfoundland and labrador studies, 36, 2 (2021)1719-1726Book Reviewson Canadian soil of “Indigenous civilization, cast as regressive barba-rism” (15). This is certainly an interpretation, but the question for read-ers is whether the text itself will fully support Clarke’s charge or rise up against it. A final observation about the first chapter: Clarke oddly inserts into his written text (one assumes he didn’t do so in his lecture) the parenthetical “sic” to point out Pound’s misspellings in his letters when he adopts a jocular (provincial?) voice, which is either an example of pedantic scholarly overreach by Clarke or a ‘colonialist,’ authoritari-an (and thus hypocritical) corrective to wayward writing in its own right and ‘reparation’ for bad politics. In the second chapter, “Pratt’s Brébeuf,” Clarke, following Sandra Djwa, “teases out” an implicit allegory that positions “the barbarians as prototype Nazis and the French martyrs as prototype Allies” (18) in that desperate period before 1940 when German victory in Europe seemed at hand. He goes on to argue that Brébeuf is not a serious at-tempt at a national epic because of the absence of multiple voices as suggested above, the absence of English Canada (the poem focuses on French Jesuits trying to ‘enlighten’ the Natives), and, of course, the negative depiction of Canada’s ‘savages.’ (Astute readers will notice the cover copy of Clarke’s book, which tells us that Pratt can never be the epic poet of the people in part because he is “unable to speak for Fran-cophones”). Clarke claims the poem means to urge “liberal democrat-ic Christians to confront Fascism in its German — and let’s add Ital-ian and Japanese — formations” (19). He says francophone Québécois opposition to conscription in 1917 was behind the writing of the poem and that French-Canadian nationalism between 1920 and 1930 had absorbed a pro-Fascist, anti-Semitic element. Pratt, says Clarke, was prompted to muse on the link between Indigenous “savagery” and Fascist oratory due to the “allegorical ménage à trois conjoining Fas-cism, French-Canadian nationalism, and Indigenous militancy” (23). Here, Clarke speculates interestingly on the conditions that possibly contributed to the creation of Brébeuf. Clarke also, correctly, notes that some of the poem’s language ‘animalizes’ the Natives. Catholic priests see a “swarm/of [sic] hostile Iroquois” (a word, however, that also can 315newfoundland and labrador studies, 36, 2 (2021)1719-1726Book Reviewsmean, more innocuously, “throng” or “multitude”). A better example is Pratt’s use of the word “infesting” to describe the Iroquois in the Ca-nadian wilderness, “a verb that exiles them as outsiders and as disease, as cancers” (24). But then Clarke goes a little astray; he says descrip-tions of the Native mood as “hostile” “could be a nod to the persistent sabre-rattling, throughout the 1930s, of Hitler versus England, and Mussolini versus Ethiopia” (24). So keen is Clarke to persist with his allegorical angle that he ignores the text itself even when it addresses the hostility of the Indigenous. He leaves out Pratt’s acknowledge-ment of their suffering from hunger and disease, which they blame on the Europeans, as well as their suspicions about the frightening Black robes (“Did the Indian not behold/Death following hard upon the offered Host?”), a confluence of experiences that in part explains their dark mood. “On the second week the corn/Was low, a handful each a day. Sickness/Had struck the Huron.” Maybe Clarke ignores Pratt on the Indigenous because the Indigenous have become, in the particular brand of criticism Clarke is practising, a category useful for an ideolog-ical argument. He cites the text when it suits him, ignores it when it doesn’t. An unsavoury side of Clarke shows up when he says that “Caucasians do not need convincing that non-Caucasians are evil (or sinful)” (25), and when he reverts to a Pound-esque epistolary lan-guage he corrected earlier, writing that Pratt’s Brébeuf is “a paean to ye olde Christian missionary slaughter” (27). Sic. This mocking dismissal of the Iroquois torture of the missionaries is a low moment in his essay. Clarke gets more worked up about Pratt’s choice of verbs to describe the Iroquois murderers than he does about the act itself, an interpre-tive insistence that ignores the poem’s main purposes and achieve-ments — its powerful story; its description of the nuanced relationship between Natives and Jesuits; its depiction of Brébeuf ’s hubris, of his honourable (idealistic, foolhardy, suicidal?) single-mindedness ground-ed, yes, in his sense of Christian ‘superiority,’ of his courage. None of this matters to Clarke. If readers adopt his critical approach, then they too can wield the awesome power of abstract, moralistic, selective literary analysis and anachronism to justify the case that the Iroquois 316 newfoundland and labrador studies, 36, 2 (2021)1719-1726Book Reviewswho killed the missionaries ought to have been hauled off to the Inter-national Criminal Court in The Hague for crimes against humanity. Ultimately, Clarke in this chapter performs a ‘tight-roping’ act in which he upholds supposedly enlightened liberal-progressive values of heteroglossia and provincialism, on the one hand, yet imposes an au-thoritarian ‘colonization’ of the text from outside itself, on the other. Clarke’s final chapter, “Pratt’s Towards the Last Spike,” points out shortcomings in Pratt’s unexciting account of the planning and build-ing of the Canadian Pacific Railway by bigshot Canadian politicians and industrialists. Pratt presents the Indigenous, whose lands were simply grabbed from them, as mere bystanders. Clarke also remarks that “Pratt’s Orientalism excretes, as it were, a discrete form of Yellow Peril. Pratt’s remedy for this racial panic is to bleach Chinese from the poem just as they are airbrushed, so to speak, from the historic photo of the last spike being driven” (41). Here, Clarke’s main interest in what is not there in Pratt’s poetry is persuasively hammered home with a single effective sentence. And yet he follows up this success by swooning over the “awesome industrialization” of the People’s Republic of China (PRC), by way of contrast to the mostly Scotch-Canadian industrial-ists who ignored their Chinese labourers, an industrialization process “that would accord the PRC the world’s largest economy by the 2020s” (46) but a process that only began in 1953, a year after Towards was published. For someone who has focused so intently on what is missing or what falls short in Pratt’s poetry, this elision of the human toll of Communist China’s industrialization is highly ironic, a racial stereo-type of the essentialist Chinese character, a staggering leftist bias, and an inadvertent laugh-out-loud moment. As a colleague of mine said, maybe Clarke is a Communist anti-Canadian fifth columnist. Tony FabijančićGrenfell Campus, Memorial University of Newfoundland

George Elliott Clarke. The Quest for a “National” Nationalism:: E.J. Pratt’s Epic Ambition, “Race” Consciousness, and the Contradictions of Canadian Identity.

Beck, Lauren

1  Revue de la culture matérielle volume 94 (l’automne 2022) LAUREN BECK Mount Allison University Introduction to The Social Lives of Maps, Volume 2 As Bill Brown and Arjun Appadurai have observed, the biographical lives of things inform us about not only a thing’s exist-ence, from its creation until its demise, as well as how it has been used, valued, and commoditized. They also inform us about human interaction with things in ways that can allow us to understand the experiences of marginalized and unex-pected interlocutors of a thing’s exist-ence. Maps as documents have complex lives. In some ways, maps might be con-sidered eternal in that they are subject to revision and these updates comprise mo-ments or stages of their life spans as living documents. In others, maps live short lives when inserted into books that get destroyed, deemed out of date, grow rag-ged and decrepit, or end up torn out of the book altogether and introduced into entirely new vertical contexts as wall maps.  Maps are everyday objects, but they are also highly esteemed and valued as an-tiques, rarified and conserved in the spe-cial collections of archives, libraries, and museums who catalogue their lives or provenance. Maps experience in this sense class and privilege much the way that humans do, which gives us pause to consider whether other areas of identity are experienced by maps as well. Contem-porary mapping platforms such as Google Maps offer entanglements with our own lives; they collect data about our movements, desires, and interactions, and attempt to interact with us through these connected nodes. Artificial intelli-gence, machine learning, and responsive software designed to interact with hu-mans increasingly make maps living inter-actions that adapt to and engage directly with us. Finding ourselves on an ana-logue, paper map offers a similar function in that humans consistently consult the map to both find and see themselves through it.   This thematic series of issues of the Ma-terial Culture Review engages with all aspect of the social lives of maps in any way that underlines this material object’s lifespan. The Social Lives of Maps highlights and ex-plores signature areas of a map’s biog-raphy as an object, as a living entity sub-ject to being updated and transformed for new audiences, and as a container of knowledge and wisdom capable of influ-encing human activity.  As the project’s guest editor, I will reserve an analytical introduction for the third and final volume of the series, and take the opportunity here to introduce the five essays contained in The Social Lives of Maps, vol. 2.   The first of this issue’s articles is by Graciela Favelukes (CONICET/Univer-sidad de Buenos Aires, Argentina), titled 2  Material Culture Review Volume 94 (Fall 2022) “Voyages of a 17th Century Map of Bue-nos Aires: From Spies and Sailors to Printers and Scholars.” The author un-dertakes an exploration of the long and rich life span of a city map of Buenos Aires and its changing settings by follow-ing more than 15 versions of Barthelemy de Massiac’s 1669 map of the city pro-duced between 1669 and 1981 while shin-ing light on the map’s different uses and purposes over the centuries. Her analysis makes plain the political and social ideo-logies that influence the map and its con-tents. At the same time, she traces the complex lifespan of a map that, like the cat, has more than 15 lives.   The next article is by Cortney Berg (CUNY, USA), titled “Sanudo’s Vision, Vesconte’s Expertise, and the Ghost Hand: Reception of the Maps in the MS Additional 27376.” In the fourteenth cen-tury, Marino Sanudo authored his lengthy work, The Book of Secrets of the Faithful of the Cross, or Secreta, and commissioned sets of maps to accompany the text, and dozens of copies of this work wound up as gifts that have since come to reside in the na-tional libraries of various countries, in-cluding England and the Vatican. This ar-ticle considers two such copies from the workshop of the influential cartographer, Pietro Vesconte, the MS Additional 27376 in the British Library with the MS Tanner 190 in the Bodleian Library, in or-der to compare the images and maps, and posit what the differences between the two illustrate about Sanudo as an author and a statesman. The author also turns from what the maps tell us about their creators to consider what experiences they have had themselves. Berg works to uncover a ghost hand that has intervened into these manuscripts in order to medi-tate on how medieval maps become rein-scribed as political documents about the state of the world.    The third article is by Heather Rogers and Kelly Chang (McGill University, Canada), titled “Mapping Ecological Imperialism: A Digital Environmental Humanities Ap-proach to Japan’s Colonisation of Tai-wan.” In this article, the authors assess the role of cinchona—a tree whose bark yields quinine alkaloids key to the treat-ment of malaria—in Japan’s imperialist expansion through both historical maps and digital mapping tools. They seek to provide the first detailed historicization of the intertwinement of nature, people, and nation building using maps as a plat-form for this knowledge, showing how historical maps and digital mapping tools can elucidate complex rooted networks within colonial societies.   The penultimate article is by Karen Rose Mathews (University of Miami, USA), ti-tled “Mapping, Materiality, and Merchant Culture in Medieval Italy (12th-14th Cen-tury).” Over the course of the twelfth century, Pisan merchants formulated cognitive skills that fostered a perception and assessment of the world through the lens of cartographic knowledge and in-ventories of commodities, places, and trade routes. The development of a “mapping eye” among the mercantile elite of this maritime republic combined two complementary visual systems. The production and distribution of Mediterra-nean luxury goods encouraged the devel-opment of cartographic tools to facilitate navigation and maritime commerce. In turn, the creation of portolan charts and texts, with their diagrammatic format and conceptualization of space into intercon-nected but distinct ports of call, deter-mined the arrangement of goods acquired 3  Revue de la culture matérielle volume 94 (l’automne 2022) through Mediterranean trade in a series of heterogeneous visual ensembles that jux-taposed material objects of various me-dia, origin, and signification. Maps, then, were products of human ingenuity and necessity that in turn transformed the ways of seeing of those who created and used them, formulating a visual matrix through which information was pro-cessed and defining social relationships between people but also between people and things.  The final article is by Adam McKeown (Tulane University, USA), titled “Map-ping Ideas in the Fortress-Cities of Civi-tates orbis terrarum.” Using maps from the influential sixteenth-century Civitates orbis terrarum series, this article considers how the two-dimensional ichnographic city plan, which emerged in the late fifteenth century, developed rapidly during the military crisis of the sixteenth century when many European cities scrambled to rebuild walls in response to new fire weapons. The two-dimensional city plan was instrumental in this sweeping and costly reconfiguration of the European built environment in that it allowed archi-tects and civic leaders to see the urban complex as a continuous system. The new urban plans also had the effect of transforming the city into militarized space, however, as vectors of gunfire and lines of communication drove planning considerations. The city plans that sur-vive in manuscripts and printed books testify to the enthusiasm for militarizing the human environment throughout the sixteenth and seventeenth centuries, but they also reveal how artists explored and developed aesthetic ideals under the aus-pices of military optimization. The new designs tended to subordinate military considerations to Vitruvian ideals, to the extent that geometric regularity became for no practical reason an ideal of military design. Fortification designs in this way often possessed lives well in advance of any real-world manifestation of the infra-structure itself.  In this issue, we also include exhibition reviews by Trudy Watt and Mohsen Veysi.   

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