SNPs and MALDI-TOF MS: tools for DNA typing in forensic paternity testing and anthropology

DNA markers used for individual identification in forensic sciences are based on repeat sequences in nuclear DNA and the mitochondrial DNA hypervariable regions 1 and 2. An alternative to these markers is the use of single nucleotide polymorphisms (SNPs). These have a particular advantage in the analysis of degraded or poor samples, which are often all that is available in forensics or anthropology. In order to study the potential of SNP analysis in these fields, 41 SNPs were selected on the basis of following criteria: conservation, lack of phenotypic expression, and frequency of occurrence in populations. Thirty-six autosomal SNPs were used for genotyping 21 inclusionary and 3 exclusionary paternity cases. The behavior of 5 X-chromosome SNPs was analyzed in a French representative population. Our approach to SNP typing is a multiplex PCR based amplification followed by simultaneous detection by primer extension (PEX) analyzed by Matrix Assisted Laser Desorption Ionization Time-of-Flight Mass Spectrometry (MALDI-TOF MS). The selected autosomal SNPs showed independent inheritance and gave clear results in paternity investigation. All X-SNPs were useful as both paternity and identification markers. PEX and MALDI-TOF MS, with their high sensitivity, precision and speed, gave a powerful method for forensic and anthropological exploitation of biallelic markers.     

STR-genotyping from human medieval tooth and bone samples

We extracted the DNA contained in samples of bones and teeth from 10 skeletons excavated from the Gravette site (400-1000 AD, south of France). Ancient DNA was analysed by autosomal short tandem repeats (STRs). The DNA present in these ancient remains appeared very degraded, but nevertheless, better conserved in tooth than in bone samples. Moreover, we showed that the DNA extracted from ancient dental pulp was not exempt from polymerase chain reaction (PCR) inhibitors, which could result from extreme DNA fragmentation. An adapted protocol with a supplementary step of purification removed this inhibition.     

Ada's Piano Playing in Jane Campion's The Piano

Since the late eighteenth century, when the piano first became available for the private home, numerous female characters in literature have demonstrated their skill on the instrument. In nineteenth-century British novels, the prevalence of piano-playing women reflected the contemporary social expectation that middle-class women display some level of competence on the instrument. Yet representations of women pianists in twentieth-century films such as Jane Campion's The Piano (1992 Campion. Jane, dir . The Piano . Australian Film Commission/CiBy 2000/New South Wales Film and Television Office , 1992 .  [Google Scholar]) reflect a persistent Romantic fascination with women's piano playing as a means of expressing authentic inner emotion, especially sexual passion. In this paper I provide an overview of existing historical scholarship on the significance of the piano in nineteenth-century British and colonial culture. In light of this cultural history, I examine Campion's feminist reworking of the Romantic ideal of the artist. Judith Butler's model of performative subjectivity enables us to see the constructed nature of the Romantic ideal of individual self-expression as deployed in The Piano. In Campion's film, Ada's pianistic performance functions as a literal metaphor for the constitution of her subjectivity in the Butlerian sense. Moving beyond a critique of the Romantic model of artistic self-expression, however, I read the central violent conflict of the film as a specifically Victorian collision between genteel feminine and Romantic models of musical performance, the locus of which is the body of the piano-playing woman—Ada.