Images of myself being Napoleon can scarcely merely be images of the physical figure of Napoleon.... They will rather be images of, for instance, the desolation at Austerlitz as viewed by me vaguely aware of my short stature and my cockaded hat, my hand in my tunic.

The recent genome sequencing of a non‐vertebrate deuterostome, the ascidian tunicate Ciona intestinalis, makes a substantial contribution to the fields of evolutionary and developmental biology.1 Tunicates have some of the smallest bilaterian genomes, embryos with relatively few cells, fixed lineages and early determination of cell fates. Initial analyses of the C. intestinalis genome indicate that it has been evolving rapidly. Comparisons with other bilaterians show that C. intestinalis has lost a number of genes, and that many genes linked together in (...) most other bilaterians have become uncoupled. In addition, a number of independent, lineage‐specific gene duplications have been detected. These new results, although interesting in themselves, will take on a deeper significance once the genomes of additional invertebrate deuterostomes (e.g. echinoderms, hemichordates and amphioxus) have been sequenced. With such a broadened database, comparative genomics can begin to ask pointed questions about the relationship between the evolution of genomes and the evolution of body plans. BioEssays 25:529–532, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

In the so-called ‘Iliadic’Aeneid, Dido is scarcely mentioned. At first sight, Aeneas’ dalliance at Carthage is forgotten when he gets down to the serious business of establishing the Trojans in Italy. But the poem's last mention of Dido is enmeshed in a network of parallel passages elsewhere in theAeneidrelating to tunics and adoption. In the light of similarities between Aeneas and the superficially unimportant Trojan warrior Nisus, these passages bear crucially on the contrast between Aeneas’ public and privatepietas: his (...) obedience to imposed commitments and to chosen ones. In this way, Virgil provides guidance on what motivates Aeneas’ fury in Books 10 and 12. (shrink)

The much-commented prologue of Jean Renart's Roman de la Rose is a rich source for literary speculation, and it is unlikely that successive generations of critics will ever exhaust its many interpretive possibilities. Jean himself, active in the first two decades of the thirteenth century, remains an enigmatic figure: critical agreement makes him the author of three works, the Lai de l'Ombre, in which he names himself ; the Roman de l'Escoufle, attributed to him on account of allusions to the (...) first work and stylistic similarities; and, lastly, what is now most commonly called the Roman de la Rose. Jean emerges playfully from within the lines of his works: humor and ingenuity appear as his trademarks, and are more revealing of his character than the one extant reference to his name. The following analysis explores but one small aspect of Jean's creativity and narrative engin. Beginning with a reading of the prologue, and a consideration of the status of lyric insertions in the romance, I will contend that the amount of clothing exchanged in the Roman de la Rose and the extraordinary concentration on it render this work highly unusual and that it has potential as a metaphor for the intricate textual exchange inherent in the circulation of poetry. In short, a matrix of imagery concerned with fabric and clothing highlights the status of lyric insertions in the text. The argument will be that the exchange of clothing in the romance echoes the circulation of song: robes, mantels, and tunics are the material correlatives of the various kinds of song that adorn the text aurally as the clothes do visually. While it might seem improbable at first, Jean's prologue plants the idea with his analogy of textual composition to cloth production. (shrink)

A recent paper by Shu et al.(1) reinterprets the fossil Vetulicola and related forms, all from the Lower Cambrian, as basal deuterostomes, assigning them their own phylum, Vetulicolia. Their conclusion is based on the presence of structures resembling gill slits and a trunk‐like region that shows evidence of segmentation. This report summarizes the fossil evidence for their interpretation and evaluates a possible alternative, that vetulicolians may instead be tunicate‐like chordates. Implications for our understanding of the nature of the primitive deuterostome (...) (and chordate) body plan are discussed. BioEssays 24:208–211, 2002. © 2002 Wiley Periodicals, Inc.; DOI 10.1002/bies.10064. (shrink)

The questions raised for the study of marine invertebrate larvae have implications for the evolution of development, the life histories of animals, and life in the sea more generally. These questions began to coalesce in the 19th century around two main factors. The first was the discovery of marine larvae. Through careful observation, investigators detected and confirmed that the development of animals exhibited stages surprisingly different from the previously known adults and adult-like juveniles. Famous examples include the demonstration that barnacles (...) were arthropods because of a shared larval form (Thompson 1830), the characterization of bilateral echinoderm larvae by Johannes Müller (summarized in Huxley 1851), and the unexpected chordate affinities of tunicates. Subsequent studies also demonstrated that adults with similar morphological features could have radically different larval forms and life histories. (shrink)

Heroides9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby (...) disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony, but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart. (shrink)

πέπλους τε νῆσαι λινογενεῖς τ’ ἐπενδύταςτε νῆσαιCanter: τε νίσαιPoll.A: τάνυσαιPoll.FSnêsaimantles and outer garments born of flaxGreek has three verbs νέω: ‘swim’, ‘spin’ and ‘heap up, pile’. The aorist infinitive of both and is νῆσαι. LSJ takes Sophocles, fr. 439 R. to be an instance of νέω. Pearson comments: ‘νῆσαι is loosely used for ὑϕαίνειν. The process of spinning, being preparatory to that of weaving, was apt to be regarded as part of the same operation rather than as a distinct art (...) … Soph. probably had in mind η 96 πέπλοι | λεπτοὶ ἐΰννητοι βεβλήατο, ἔργα γυναικῶν’. Lloyd-Jones accordingly translates the fragment ‘to weave robes and tunics made of linen’. (shrink)

In vertebrate development, the HOX genes act to specify cell identity along much of the anterior‐posterior axis of the embryonic central nervous system. In all vertebrates examined to date, the vitamin A metabolite retinoic acid is implicated in the patterning of the anterior posterior axis and the induction of HOX gene expression. Two recent papers have extended the study of retinoic acid induction of HOX genes to the closest relatives of the vertebrates, amphioxus and tunicates(1,2). In both these species, exogenous (...) retinoic acid is able to induce ectopic expression of HOX 1 genes in the anterior central nervous system. This suggests that retinoic acid control of anterior‐posterior axis formation and HOX induction is not specific to vertebrates. However, in the more distantly related echinoderms and arthropods, retinoic acid does not seem to act in the same way. Thus the role of retinoic acid in anterior‐posterior axis specification may be a chordate innovation, perhaps linked to the evolution of another chordate character, the dorsal neural tube. (shrink)

The Hermopolis letters showcase the personal concerns of those writing Aramaic letters in the era of Persian Egypt. One individual named Nabuša is particularly interesting because of his familial correspondence and emotional tone. This study will examine what can be known about this writer and his complaints about an unwanted tunic and a snakebite. There have been several notable disagreements about the Aramaic translation of Nabuša’s concerns, whose discussion will help heighten our understanding of his passion.

Two embryonic tissues—the neural crest and the cranial placodes—give rise to most evolutionary novelties of the vertebrate head. These two tissues develop similarly in several respects: they originate from ectoderm at the neural plate border, give rise to migratory cells and develop into multiple cell fates including sensory neurons. These similarities, and the joint appearance of both tissues in the vertebrate lineage, may point to a common evolutionary origin of neural crest and placodes from a specialized population of neural plate (...) border cells. However, a review of the developmental mechanisms underlying the induction, specification, migration and cytodifferentiation of neural crest and placodes reveals fundamental differences between the tissues. Taken together with insights from recent studies in tunicates and amphioxus, this suggests that neural crest and placodes have an independent evolutionary origin and that they evolved from the neural and non‐neural side of the neural plate border, respectively. BioEssays 30:659–672, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

One would expect venditabat to imply that the rustic is attempting to sell the tunic in a fairly aggressive manner: he is not merely ‘offering it for sale’ , but ‘crying it up’. Yet he is doing so fastidiose and tamquam mendici spolium. These two latter notions do not cohere at all well with the former; and in any case, we are not particularly concerned with the vehemence of the rustic's salesmanship, but rather with how much he has manhandled the (...) tunic. I therefore propose to read ventilabat for venditabat: ‘was waving it about’, an expression which gives an intelligible picture of the scene. The corruption, which is easy enough in itself, may have received an additional stimulus from vendentis two lines below. (shrink)

Si les textes juridiques et les usages de la Rome républicaine et impériale établissent un classement entre les vêtements selon le statut (libre/non libre), le sexe et l’âge, certains vêtements apparaissent comme unisexes et, surtout, ce sont la façon de les porter (habitus), les gestes (gestus) et la démarche (incessus) qui leur donnent les connotations masculines ou féminines. Le sens du vêtement est construit par un système d’oppositions (toga pura VS toga praetexta ; toga VS stola, etc.) qui ne fonctionnent (...) qu’en contexte. Ainsi, le vêtement peut caractériser à la fois un statut, un rang (magistrat/non magistrat) et un état (citoyen en deuil, adolescent faisant son apprentissage oratoire, jeune mariée…), plus qu’il n’est l’apanage d’un sexe. En outre, les vêtements et la façon de les porter étant très codifiés, les transgressions ou variations par rapport à ce code sont toujours signifiantes et elles sont l’objet du regard et des commentaires des membres de la société. (shrink)

La question du sexe des résidents du site de Qumrân a longtemps été ignorée, comme s’il allait de soi qu’une telle communauté ne pouvait compter que des hommes. Longtemps aussi les spécialistes ont raisonné en utilisant uniquement les textes des manuscrits trouvés dans les grottes de la mer Morte comme si les données matérielles fournies par les fouilles du site archéologique de Qumrân ne pouvaient leur être associées. Cet article entend analyser les raisons pour lesquelles les chercheurs ont pu affirmer (...) que les femmes étaient a priori exclues de Qumran. Il entend également montrer comment les objets produits par les fouilles prouvent, au contraire, une présence de femmes sur le site. (shrink)