Grain legumes and human health

Since early civilisation in different continents, grain legumes have been a part of balanced diets together with cereals. In general the seeds from those two plant families give together a good source of essential amino acids and may have given an evolutionary advantage. A sustainable diet for vegetarians may not be possible without the protein-rich legumes. Consumed alone, legumes can be a mixed blessing because of their deficiency of some essential amino acids. This deficiency can be balanced in a varied diet containing components richer in tryptophan and the sulphur amino acid methionine and cysteine. Many legume species are exceptionally rich in secondary metabolites, some of which are beneficial to human health while without adequate processing through heating or leaching many can be detrimental to the health of the consumer. Soybean (Glycine max) is one of the most popular and also one of the more healthy species. The presence of genistein and other isoflavones makes it famous as an anti-cancer nutraceutical. Isoflavones and other phytoestrogens, occurring mainly in legumes, might be a factor promoting longevity. Other beneficial secondary metabolites are found among the non-protein amino acids. Legumes are very rich in an enormous variety of non-protein amino acids that can be beneficial or toxic. A beneficial non-protein amino acid occurs in high concentration in fenugreek seeds (Trigonella foenum-graecum), a component of curry, while a variety of toxic amino acids occurs in the genera Lathyrus and Vicia. Legume seeds also contain a variety of anti-nutritional factors that can be reduced by post-harvest processing such as fermentation or germination. Fermentation also improves the balance of essential amino acids. Numerous dietary products such as soy sauce or tempeh are traditional food ingredients derived from legumes

We Are French. Et Anglais Nous Restons.

French Canadian playwright Joseph Armand Leclaire (1888-1931) was very well known and respected in his time. Although he wrote over thirty plays, lyrics to several songs and an abundance of political poems, most of his work has been lost and Leclaire himself seems to have been forgotten. Several of his plays were produced at the time they were written, including his 1916 play La petite maîtresse de l\u27école (later published in 1929 as Le petit maître d\u27école), but none have been presented postumously nor have any been translated. This M. F. A. thesis presents the first ever translation and adpatation of Leclaire\u27s play, titled in English as The Little Schoolmaster. The first half of the thesis provide historical context for the play\u27s significance, as well as information about Armand Leclaire and the changes he made to his own work between the original 1916 version and the 1929 published version. The thesis then analyses the creative acts of translation and adaptation, proposing a new model of translation for a linguistically rich audience. Through this new model of translation-adaptation for a bilingual spectrum, the thesis concludes by demonstrating that dramaturgy can serve as a dynamic instrument for communities to engage in the exploration of bilingual and bicultural identity

La Chanson comme discours

La chanson que Paul Zumthor appelle « poésie orale sonorisée » est un héritage de la poésie lyrique à forme fixe. D'ailleurs, chez Gilles Vigneault, le plus médiéval des chansonniers du Québec, on trouve encore la villanelle, la ballade avec envoi. À ce titre, la chanson, comme genre, emprunte beaucoup aux figures de la rhétorique, énumération, répétition, chiasme, opposition, anaphore, etc. Elle garde surtout de la forme fixe une sorte de concision qui la rend lapidaire. Appartenant à la poésie lyrique, la chanson joue sur le rythme, sur la musicalité et, sur la tropation tout particulièrement. Elle réconcilie texte musical et texte littéraire, les marie, les oppose, assure leur efficacité réciproque par leur rencontre mesurée, ponctuée, valorisée. En ce sens, et l'évolution de la chanson d'un siècle à l'autre est allée vers cela, la chanson appartient au(x) discours et possède un pouvoir rhétorique tel qu'elle est devenue un haut lieu de la poésie chantée en même temps qu'une tribune idéologique plurielle. Le présent article a voulu illustrer cela à partir d'une chanson de Jacques Brel.Song (what Paul Zumthor calls « oral poetry set to music») is an offspring of the medieval fixed form lyric. No wonder, indeed, that we still find the villanelle and the ballade with envoy among the works of Gilles Vigneault,the most medieval of Quebec's singers. This being so, it is not surprising that the song as genre should borrow a good deal from the figures of rhetoric: enumeration, repetition, chiasmus, opposition, anaphora, and so forth; above all, that it should retain the lapidary succinctness of its origin. As a form, of lyrical poetry, the song exploits rhythm, musicality and above all figuration. It reconciles the musical with the literary text, uniting them and bringing them into fertile opposition to ensure their reciprocal efficacy and power. In this sense, as the evolution of the song across the centuries demonstrates, it is discourse and possesses a rhetorical power sufficient to fit it for its role both as sung poetry and as a vehicle for ideological argument.The present article examines these aspects of the song with special reference to a composition by Jacques Brel

Quel avenir pour la théologie ?

Comme le notait Karl Rahner, de l’avenir de la théologie «nous ne savons pas grand’chose, en fait presque rien». Des indices nombreux, dont témoignent un nombre important d’ouvrages récents, nous rappellent toutefois que depuis quelques années la théologie se trouve en situation de crise qui ne laisse intact aucun de ses champs traditionnels et qui remet en question son identité. Devant l’ampleur de la tâche, la tentation est grande de se replier à l’intérieur du bastion ecclésial et de se retirer de l’espace public, pluraliste et séculier, ou, à l’autre extrême, de céder aux chantres d’une transformation de la théologie en «science religieuse», apparemment plus adaptée aux exigences contemporaines de l’objectivité et de la rigueur scientifiques. Il faut récuser vigoureusement ces deux scénarios. L’avenir de la théologie ne peut être assuré que si elle accepte d’inscrire clairement et vigoureusement son travail non sur un horizon ecclésial, mais sur l’horizon du monde et de faire vraiment de la question de Dieu sa question directrice, c’est-à-dire de l’accepter vraiment comme question.When addressing the issue of the future of theology, Karl Rahner once observed, «We don’t know very much, and in fact, almost nothing at all.» Recent works are reminding us that theology has been in a crisis situation for the past few years; none of its traditional fields have been kept intact, and this crisis causes one to question the very core of theology’s identity. In facing this enormous task, the temptation is to retreat to the confines of ecclesiastical security and to retire from the public sphere (be it pluralist or secular) or, at the other extreme, to turn theology into «religious science», which would be apparently more adapted to the contemporary standards of objectivity and scientific rigour. We must vigorously refute either one of these approaches. The future of theology depends on two things: firstly, on whether or not this field will accept to insert its work not into the horizon of ecclesiology, but rather into the horizon of the world. Secondly, whether or not it will have the question of God become its real directional question, meaning it will accept this as being truely a question

Une muséologie volontariste en Provence: la galerie du costume au Museon arlaten (Arles) à l'épreuve de l'enquête ethnologique

In 1896, a time when women dressed conservatively, the women of a regional movement in Provence (le Félibrigej started wearing a particular costume, which became a major focus of the collection and exhibits of the Museon arlaten. The exhibit took on even greater importance in 1941 under the Vichy regime, which encouraged the preservation of cultural folklore. Since then, the exhibit has hardly changed. What does the exhibit present and also not present (or not say)? How does the exhibit support the regional cause? To answer these questions, published documents and archives were consulted and a lengthy field study was undertaken. The two-part analysis first examines a linguistic paradox, then discusses the history of clothing developed at the museum, illustrating the manner in which knowledge of the evolution of "fashion" has changed into a sense of duty about conserving costume. The author has studied the exhibit from the point of view of science and of the local population. Résumé Né en 1896 d'un mouvement provençal régio-naliste (le Félibrige) et implanté dans une aire vestimentaire féminine conservatrice, le Museon arlaten fait d'emblée du costume un sujet majeur de collection et d'exposition. Son espace de présentation prend encore plus d'importance en 1941, sous le régime de Vichy favorable au folklore, avec une exposition non significa-tivement modifiée depuis. Que montre-t-elle mais aussi ne montre-t-elle (ou ne dit-elle) pas ? En quoi est-elle au service de la cause régionale défendue ? Pour répondre à ces questions, des documents publiés et archivistiques sont exploités, de même qu'une longue enquête de terrain. L'analyse en deux parties se penche d'abord sur un paradoxe de nature linguistique, puis traite de l'histoire vestimentaire développée au musée, montrant comment la connaissance de l'évolution de la « mode » se transforme ici en devoir de maintien du costume. L'auteure procède à une double évaluation de l'exposition, du point de vue de la science et de celui de la population locale