Century Paris Research Articles

A Paper City: On History, Maps, and Map Collections in 18th and 19th Century Paris

ABSTRACTThis essay considers how maps became implicated in historical inquiry, with particular reference to the city of Paris. Three interrelated episodes are discussed, from the early eighteenth century to the mid-nineteenth century, each associated with specific mapmakers and collectors whose activities shaped the early development of map history. These episodes reveal how maps were historicized in different ways in this period, initially as images created in the present to reveal the past and eventually as objects of historical interest in their own right. It is further argued that this intellectual shift was associated with a growing awareness, especially among state officials, that the study and collection of historic maps had important geopolitical implications. In tracing this story across three episodes in a single urban setting, the essay seeks to make larger observations about the relationship between the map as a visual representation, the map collection as an urban ‘assemblage’ of geographical information, and the city as a physical environment.

LB0001 The Emergence of Seropositive Rheumatoid Arthritis: Why 19Th Century Paris?

BackgroundRheumatoid arthritis (RA) was first described by Landré-Beauvais in Paris in 1800. Fifty years later 5% of all long-terms patients treated at the celebrated Paris teaching hospital Pitie-Salpetriere are documented...

Hysteria Manifest: Cultural Lives of a Great Disorder

HYSTERICAL writes Cecily Devereux in this issue's opening essay, back (41). Indeed, past five years alone have provided us with peculiarly frequent cultural manifestations of great disorder (1): a pathology famously invented in late nineteenth century Paris by Jean-Martin Charcot at Salpetriere Hospital (Didi-Huberman), amorphous illness that became, through Sigmund Freud and Josef Breuer's Studies in Hysteria (1895), the embryonic moment of psychoanalysis (Bowlby xvi). Recently, hysteria has surfaced onscreen in films including Alice Winocour's Augustine (2012), David Cronenberg's A Dangerous Method (2011), and Tanya Wexler's Hysteria (2011); onstage in Sarah Ruhl's 2009 Pulitzer-nominated In Next Room (or The Vibrator Play) and a 2013 London revival of Terry Johnson's Hysteria, first produced in 1993 (Spencer); in widespread media coverage of a late 2012 outbreak of mass disorder among female high school students in Le Roy, New York (Dominus); and in an Amazon-produced television series inspired by Le Roy case--Hysteria (2014)--which premiered, auspiciously, as editors were compiling this issue. (2) appears to be a sudden cultural reinvestment in hysteria coupled with a puzzling instance of corporeal materializations invites broad, provocative question, as posed by Devereux in her essay: What does mean when hysteria erupts into cultural space (21)? Recognizing that we cannot wholly pin down a concept that circulates in defiant resistance to definition, this issue understands hysteria as a diagnostic trope assigned to a series of symptoms--performed, manifested, and/or expressed at level of body--and functioning in every case as an index of cultural norms that hysteria always exceeds and sometimes resists. Today, hysteria commonly circulates with reference to collective and individual social performances of excessive behaviour, and although has been by and large disarticulated from gender and medical discourse hysteria remains haunted by its history and etymology. (3) In fifth edition of Diagnostic and Statistical Manual of Mental Disorders (2013), hysteria is housed as Conversion Disorder (Functional Neurological Symptom Disorder), which encompasses symptoms including weakness or paralysis, abnormal movement, swallowing symptoms, speech symptoms, attacks or seizures, anesthesia or sensory loss, special sensory symptoms, and mixed symptoms. The DSM estimates that persistent symptoms occur in two to five people per one hundred thousand per year and that disorder is two to three times more common amongst women. Interestingly, hysteria has had a tenacious if not consistently named presence in DSM's history; four of five DSM editions use language of conversion to depict hysteria (DSM I in 1952, DSM III in 1980, DSM IV in 1994, DSM IV-TR in 2000, DSM V in 2013) with exception to this pattern being DSM II (1968) which uses language of hysterical neurosis It is as though we have never quite done with hysteria, Rachel Bowlby points out in her introduction to 2004 edition of Freud and Breuer's Studies in Hysteria; it is always, repeatedly, necessary to return to it, to see what lacked or promised, to try to understand what is going on in its own apparently unprompted return in present time (xviii). In 2012, inspired by our shared experience two years prior in Cecily Devereux's graduate seminar, Hysteria: Cultural Texts at University of Alberta, we--the editors--found ourselves intrigued and perplexed by what seemed to be a renewed fascination with hysteria on behalf of our popular imaginary. We sought to perform task Bowlby describes: to probe, through lens of hysteria's contemporary materializations, cultural desires and anxieties that great disorder's returns and resurfacings seem to index. In our call for papers, we declared that issue aims to read hysteria's present--its current representations, manifestations, embodiments, deployments, and iterations--while drawing on its diverse genealogies and violent, tangled past; we aspired to challenge hysteria's grand histories and unearth its minor ones, defy myths of hysteria's origins, teleology, progress, and its ties to medico-scientific objectivity, while emphasizing its present-day potency (Hysteria Manifest). …

The Causes of the Balkan Wars 1912-1913 and their Impact on the International Relations on the Eve of the First World War

The Balkan Wars of the 1912-1913 are the most important event in the history of the Balkan people and beyond. They are composed of a series sharp and bloody conflicts that swept Eastern Europe in the recent years. During the First Balkan War, the Ottoman Empire fought the united alliance of the Balkan states which included Bulgaria, Greece, Montenegro and Serbia. During the Second Balkan War, Bulgaria fought the coalition of Greece, Montenegro, Serbia, Romania and the Ottoman Empire. If we talk about the origins of the war, we must emphasize that the situation of the Balkan wars at the time and especially the situation that followed, was very alike to the conditions that existed before the Turks came to Europe. At that time, both during and after the Balkan Wars, the Christian states constantly fought against each other for hegemony in the peninsula. But in terms of international relations of the time it should be noted that since the end of XVIIIth century Paris, London, Vienna and St. Petersburg had a special operational plan for dealing with the problems in the East. For the more serious and real judgment we should also see the impact and performance of the situations and events in the Balkans, with the new changes in the geopolitics of the European continent, at least since the early nineteenth century and the credit for this goes to the European Concert (1815). DOI: 10.5901/mjss.2013.v4n9p115

Illuminating the Path to Grand Pari(s): Architecture and Urban Transformation in an Era of Neoliberalization

This article examines the architectural exhibition associated with the large-scale Grand Paris urban development project initiated in 2007 by French President Nicolas Sarkozy. Through a close examination of the exhibition, I argue that imaginative representation is crucial to urban transformation, here acting to justify and naturalize neoliberal reforms. While the ten international teams of architects tasked with imagining twenty-first century Paris presented sometimes radical scenarios, the architectural proposals are also used by the state to secure a sense of regional coherence, to reaffirm the imperative of economic growth, and to deny broad sociospatial conflict. The futural aspect of speculative regional development is redoubled in the prospective architectural visions, thus solidifying the dominance of a marketized mode of urbanization. While this cooption of architectural designs emerges from the unique circumstances of contemporary Paris, it also speaks to the broader promise and limits of imaginative urbanism and large-scale architectural intervention.

Chameleons between Science and Literature: Observation, Writing, and the Early Parisian Academy of Sciences in the Literary Field

INTRODUCTIONThe foundation of the French Royal Academy of Sciences in 1666 is often seen as one of the landmarks of the so-called Scientific Revolution. The Academy, together with the Royal Society of London, gave the 'new philosophy' of the seventeenth century a state-sponsored framework, providing experimental philosophy with a stable setting and with the prestige stemming from royal patronage. This move supplanted the previous less-than-formal relations of patronage between nobles and natural philosophers and created a new home for a form of philosophy that had yet no clear place on the university curriculum.1 The new academies made possible what French author and philosopher Bernard le Bovier de Fontenelle described as the crowning achievement of a long process leading to the founding of the Academy of Sciences: have left behind sterile physics, which hasn't developed in centuries. The reign of words and terms has come to an end. We want things.2 Historians of science, eager to examine the roots of modern experimental practice, have been lured by the siren's call of Fontenelle's history. They have produced groundbreaking works on laboratory experiments and the ways early modern Europeans started paying attention to things and not to mere words.3 But this focus on 'things' has, at times, carried scholars away from the wider context Fontenelle himself used for describing the developments in the study of nature: the world of letters. And he was quite explicit: we can date the renewal of mathematics and physics only to this era. Descartes and other great men worked on it so successfully, that everything changed in this genre of literature.4This article proposes to take Fontenelle seriously, by examining the emergence of the Academy of Sciences as a group of experts within the confines of the literary field.5 It argues that the Academy was obliged to draw on the world of letters in order to promote its philosophical programme and to serve Louis XTV and the powerful minister Jean-Baptiste Colbert, its founder. Moreover, the literary opportunities and constraints created by the Academy's relation to the monarchy and to literary circles in Paris shaped the nature of the cutting-edge scientific work in natural history done in mid-seventeenth century Paris. This article thus asks how the academy functioned within the wider literary field, and how the intellectual work of the academicians may be viewed as a response to their social position in the world of letters.A portrait of the Academy of Sciences as an institution deeply engaged with the world of letters, enriches the discussions on the institutional nature of scientific academies, since this discussion often stresses secrecy and the boundaries - based on considerations of status or on codes of civility - separating the academicians from other practitioners or literati. These boundaries, in turn, led to greater professionalism and autonomy for the 'new philosophy'.6 This article suggests, however, that the change in the character of early modern scientific institutions stemmed from the academicians' need to adopt practices of writing and publication shared with the world of letters. While university professors, the predecessors of the academicians as the producers of socially-legitimate philosophical discourse, acted within a clearly-defined institutional and pedagogical context, the academicians had to establish their institution within the literary field, in order to develop their research programmes within Louis XIV's system of patronage.7 Therefore, by clarifying what the Academy shared with the 'salon', as well as what was unique to it, this argument mitigates against the tendency to see scientific academies as embodying the process of 'autonomization' or 'professionalization' of natural philosophy.The fortunes and misfortunes of three chameleons, which arrived in Paris from Egypt in 1668 and 1672, He at the heart of this story. The first chameleon made its way to the Academy of Sciences, where the king's savants studied it, dissected it after its death, and published the results along with luxurious engravings (see Figure 1). …

L’Annonciation dans l’espace ecclésial parisien au XVIIIe siècle : liturgie française et modèle italien

The Annunciation in the Ecclesial Settings of 18th century Paris : French Liturgy and the Italian Model. In the late 17th century and throughout the 18th century, the Annunciation was one of the most popular subject matters for Parisian altarpieces. Adopted for specific liturgical purposes following the revocation of the Edict of Nantes, it also served as the basis for a new aesthetic in ecclesial decoration. The Annunciation played a key role in 18th-century theological writings as well as in the theoretical debates of the 1750s on the Italian model, and thus occupies an unprecedented place at that period. In order to grasp fully their importance during the Enlightenment, this article sheds new light on representations of the Annunciation, using a renewed iconographical approach grounded in the cultural history of art and the history of religious thought.

« La France de Chypre » de Louis de Mas Latrie

In publishing his monograph on the France de Chypre (1931), Iorga presented it as the achievement of a lifetime’s reflection on a topic discovered as a young student in the late 19th century Paris while studying the crusades. Using the key provided by the author himself, we will follow the intellectual quest which prompted him to entirely revisit the historical role of Latin presence in the Eastern Mediterranean during later crusades. We will contextualize firstly the French intellectual milieu where he was formed and which ignited Iorga’s interest on Cyprus. An analysis and an evaluation of the content of his book will afterwards be attempted. We endeavour finally to locate this book within the framework of his wider ambition to achieve a synthesis of world history. Looked at as mere curiosity in his time, yet consonant with present-day conception, Iorga argued than any subject of local history can only receive its full meaning when considered within the mainstream of global history.

Tell-tale Landscapes and Mythical Chronotopes in Urban Designs for Twenty-first Century Paris

In their article "Tell-tale Landscapes and Mythical Chronotopes in Urban Designs for Twenty-first Century Paris" Bart Keunen and Sofie Verraest outline a methodology for the examination of narrative structures projected onto landscapes and exemplify it by analyzing four urbanist projects submitted for the international workshop for Greater Paris launched by President of France Nicholas Sarkozy in 2009. Keunen and Verraest focus on phantasmagorical urban spaces considered to be profane remnants of what Ernst Cassirer referred to as "mythical thought." Since the spatiotemporal structure of these phantasmagorical places is understood as fundamental to their affective appeal and seductiveness, they are treated as Bakhtinian "chronotopes." Four chronotopes — the oasis, the capsule, the hub, and the bazaar — are thus exposed as the cornerstones of urbanists' rhetoric strategies.

The epileptic singers of belle époque Paris

In late 19th century Paris, people with epilepsy were treated alongside those with hysteria in the now famous Salpêtrière Hospital, where both conditions were deemed to have a neurological basis....

1042 SOUNDS AND CHARRIÈRE THE REST OF THE STORY

You have accessJournal of UrologyMale Voiding Dysfunction (BPH & Incontinence) & Infection1 Apr 20121042 SOUNDS AND CHARRIÈRE THE REST OF THE STORY Diana K. Bowen, David A. Bloom, Julian Wan, and Richard P. Lyon Diana K. BowenDiana K. Bowen Chicago, IL More articles by this author , David A. BloomDavid A. Bloom Ann Arbor, MI More articles by this author , Julian WanJulian Wan Ann Arbor, MI More articles by this author , and Richard P. LyonRichard P. Lyon Ann Arbor, MI More articles by this author View All Author Informationhttps://doi.org/10.1016/j.juro.2012.02.1147AboutPDF ToolsAdd to favoritesDownload CitationsTrack CitationsPermissionsReprints ShareFacebookTwitterLinked InEmail INTRODUCTION AND OBJECTIVES Parisian cutler Joseph-Frédéric-Benoı̂t Charrière (1803-1876) contributed greatly to surgical disciplines with innovative tools, but his legacy is the gauge system he developed in 1842 that is still used for catheters, probes, and dilators. METHODS Historical documents, scientific publications, personal interviews, editorials, and texts were reviewed. RESULTS Sounding devices have been documented in the surgical armamentarium since 3000 BC, with practitioners Hippocrates, Galen, Celsus, and Al-Zahrawi espousing theories on sounding and the related topics of stones and urinary obstruction. The medical revolution in 19th century Paris propelled technology and one of the most influential men involved was Charrière, who pioneered diverse technical processes in the manufacturing of surgical instruments, led one of the largest instrument manufacturing companies, and improved upon tools introduced by predecessors including his mentor Guillaume Dupuytren. Most importantly he created the catheter scale that despite not being favored in its country of origin became an international standard and is known today as the French system. CONCLUSIONS The classification of sounds, catheters, and bougies has undergone many variations throughout the years, but the French scale still holds in current medical practice as an accurate and nearly universal sizing tool. © 2012 by American Urological Association Education and Research, Inc.FiguresReferencesRelatedDetails Volume 187Issue 4SApril 2012Page: e423 Advertisement Copyright & Permissions© 2012 by American Urological Association Education and Research, Inc.MetricsAuthor Information Diana K. Bowen Chicago, IL More articles by this author David A. Bloom Ann Arbor, MI More articles by this author Julian Wan Ann Arbor, MI More articles by this author Richard P. Lyon Ann Arbor, MI More articles by this author Expand All Advertisement Advertisement PDF downloadLoading ...

Excellence in clinical practice through the evidence-based medicine.

“There is within medicine, somewhere beneath the pessimism and discouragement resulting from the disarray of the health care system and its stupendous cost, an undercurrent of almost outrageous optimism about what may lie ahead for the treatment of human disease if only we can keep learning” - Lewis Thomas (1) Traditionally, clinicians have been credited with clinical wisdom according to their skills in making a diagnosis and prescribing a treatment. The advent of major investments in biomedical research, leading to new and better tests and treatments, has spurred the development of critical appraisal of the medical literature and evidence-based medicine (2), and application of current best evidence from healthcare research is now an expected adjunct to clinical wisdom. Evidence-based medicine, whose philosophical origins extend back to mid-19th century Paris and earlier, is the conscientious, explicit and judicious use of current best evidence in making decisions about the care of individual patients (3). The practice of evidence-based medicine means integrating individual clinical expertise with the best available external clinical evidence from systematic research. Increased expertise is reflected in many ways, but especially in more effective and efficient diagnosis and in the more thoughtful identification and compassionate use of individual patients' predicaments, rights, and preferences in making clinical decisions about their care. By best available external clinical evidence we mean clinically relevant research, often from the basic sciences of medicine, but especially from patient centered clinical research into the accuracy and precision of diagnostic tests (including the clinical examination), the power of prognostic markers, and the efficacy and safety of therapeutic, rehabilitative, and preventive regimens. Evidence-based medicine initially focused mainly on determining the best research evidence relevant to a clinical problem or decision and applying that evidence to resolve the issue. Subsequent versions of evidence-based decision making have emphasized that research evidence alone is not an adequate guide to action. Rather, clinicians must apply their expertise to assess the patient's problem and must also incorporate the research evidence and the patient's preferences or values before making a management recommendation (4). Similar to other fields, specialists in the field of cardiovascular medicine are faced with the dilemma that many clinical questions in their daily practice to do not have universally agreed answers, but patients increasingly demand the ‘best practice’ from their doctors. In addition time pressures mean that clinicians are unable to keep up with the full spectrum of published research and current resources that collate evidence for clinicians. In our scrupulous scrutiny to provide up-to-date and practical data, our fully online and peer-reviewed journal, Research in Cardiovascular Medicine (RCVM), was founded in 2011. RCVM, the official journal of Rajaie Cardiovascular Medical and Research Center, is dedicated to the clinical and basic researches in the field of cardiovascular medicine. This authoritative medical journal publishes peer-reviewed articles on all aspects of cardiovascular disease, including original articles, systematic reviews, meta-analyses, narrative reviews, short articles, letters, case reports, and interesting images. This journal accepts the articles only from an online submission system. This online editorial system is prepared for manuscript submission, peer reviewing and tracking replications. Our system is customized with training and step-by-step tips in order to provide a very convenient service for authors, reviewers and editors. By available tracking service, authors can track the review process of their submitted manuscript. RCVM is an open-access journal, in order to provide appropriate updated scientific information in the field of cardiovascular medicine for the relevant readers, all around the world and is published in co-operation with Tehran University of Medical Sciences. I hope RCVM meet the high expectations of our readers by providing evidence based data in the field of cardiovascular medicine.

How to be wrong but useful

Not long after roulette first appeared in the casinos of 18th century Paris, a new betting system emerged. Known as the 'martingale', it was adapted from a strategy used in bar games, and was supposedly foolproof. As a result, it soon became extremely popular among French players. The martingale involved betting on black or red. The choice of color didn't matter, only the stake: rather than putting down a fixed amount each time, a player would instead double their bet after each loss. When the player eventually won, they would therefore recoup all previous losses as well as gaining their initial stake. Mathematically, the system seemed perfect. However, it had one crucial flaw: occasionally the required bets would increase beyond the size of the gambler's - or even the casino's - wallet. Although people might make small profits in the short term, eventually solvency would get in the way of strategy. Despite its popularity, the martingale was a system that no one could afford to pull off successfully. At the start of the 21st century, another flawed strategy became fashionable. The mathematics was more complicated, and the name less elegant, but the problem was fundamentally the same. 'Collateralized debt obligations' clumped together outstanding loans such as mortgages and allowed investors to earn money by taking on some of the lenders' risk. They were based on the assumption that although one person might have a high chance of defaulting on a loan, it was extremely unlikely that everyone would default at the same time. Like the French gamblers, investors had assumed a rare event wouldn't happen, and bet the bank on that assumption. They turned out to be wrong. As financial markets descended into chaos in 2008, and economies sank into recession the following year, it became clear that too much faith had been placed in the predictions from mathematical models. 'Wall Street's Math Wizards Forgot a Few Variables', read one headline in the New York Times. 'Recipe for Disaster: The Formula That Killed Wall Street', was another in Wired. Before 2008, many people had been in awe of the mathematical tools in finance, happy to believe that hard science could tame the markets; in 2009 these same ideas were met with skepticism and anger. Seeing the problems created by their field, two prominent financial mathematicians published a 'Financial Modelers' Manifesto'. Emanuel Derman and Paul Wilmott had warned about the limitations of models for years, and wanted to summarize these dangers in the wake of the crisis. Their analysis was followed by a sort of Hippocratic Oath, which began: 'I will remember that I didn't make the world, and it doesn't satisfy my equations'.

Seeing Double: Baudelaire's Modernity (review)

Reviewed by: Seeing Double: Baudelaire's Modernity Rebecca Pekron Françoise Meltzer. Seeing Double: Baudelaire's Modernity. Chicago: U of Chicago P, 2011. 280 pages. Print. Françoise Meltzer's Seeing Double: Baudelaire's Modernity envisions a new perspective from which to understand the poet Charles Baudelaire's relationship to modern life. Challenging the interpretations and accepted wisdom of some of Baudelaire's most distinguished readers, Meltzer's arguments focus on Baudelaire's engagement with the radical transformations in society, philosophy, and aesthetics in mid-nineteenth century Paris. Meltzer characterizes Baudelaire's response to nascent modernity as a kind of double vision. Seeing Double asserts that the irreconcilable tensions that critics have so often observed in Baudelaire's work are the result of the poet's [End Page 1154] inability to integrate his vision of the old world of the ancien régime with the new Paris (still under construction) and France's budding democracy. Baudelaire's dilemma, as it emerges in Meltzer's book, crystallizes around issues of time and mortality. For the poet, language still has the power to convey, though his work gestures toward, and indeed lays the groundwork for, the crisis of language that will consume later writers, such as Stéphane Mallarmé. Similarly, though Baudelaire's work may describe “the erosion of the subject” (227), he does not yet have the distance to understand this phenomenon historically, as attached to modernity. Meltzer contends that Baudelaire “does not actually understand what he is seeing, even as he records it” (5). Baudelaire's genius is rather that “he puts the reader into the same maelstrom as himself” (248). Meltzer organizes Seeing Double's four chapters according to “four major aspects of Baudelaire's thinking . . . beliefs, seeing, money, and time” (9). Each chapter includes a reading of a poem that serves to illustrate the pervasive double vision Meltzer perceives as crucial to an understanding of Baudelaire's modernity. Meltzer couples her close readings of “Assommons les pauvres!,” “À une passante,” “La chambre double,” and “Harmonie du soir” with discussions of Baudelaire's journals, art criticism, essays, and correspondence. Meltzer's interpretations, which place Baudelaire's oeuvre in dialogue with a wide array of texts and thinkers (including biographical, historical, philosophical, socio-political, literary and literary critical perspectives), make Seeing Double a comparative and broadly relevant text. The contradictory influences of two such thinkers, Joseph de Maistre and Pierre-Joseph Proudhon, form the basis for Meltzer's reading of “Assommons les pauvres!” in the first chapter. “In ‘Assommons,'” Meltzer writes, “we are witness to a theological and political strabismus as if the poet were remembering Proudhon's social theories with one eye and reading Maistre on original sin with the other” (17). This strange (and often overlooked) alliance marks the first instance of Baudelaire's double vision. Meltzer analyzes the ramifications of these two irreconcilable postulations, demonstrating how Baudelaire's commitment to the doctrine of original sin interferes with his socialist tendencies. Meltzer contends that the strabismic perspective in “Assommons les pauvres!” typifies the contradictions and ambivalences that a reader encounters in Baudelaire's writing. Her argument casts these ambivalences as “symptoms of the larger issue, which has to do with the birth of modernity” (70). Meltzer's second chapter, heavily informed by Baudelaire's art criticism, focuses on a different type of modern clash: the meeting of gazes captured in “À une passante.” Meltzer's reading of this poem elucidates the logic of the image as it works in Baudelaire's poetry more generally. The double vision Meltzer outlines in this section underscores the role of memory in the creation of the work of art. Baudelaire, according to Meltzer, imagines the work of art (or poetry) as “twice removed” from the event or experience it portrays. “Twice removed” because a painting or a poem is a representation of a memory, which is always already the representation of an original fleeting perception or experience. [End Page 1155] Meltzer's observations regarding Baudelaire's fascination with certain optical devices, including the phenakistiscope, the kaleidoscope, and the stereoscope, provide a novel approach to vision in Baudelaire's poetics. These devices created an awareness of a subjectivity of vision for Baudelaire, making visual play...

Getting Together and Falling Apart: Applauding audiences

Looking at recent and historic audiences, this article investigates the possibilities of participation in theatres which are provided by the synchronizing potential of applause. Applause is a negotiation of acknowledging and estimating a performance (in the sense of its success), and it is being produced by and authenticated through gestures. It is aimed at an object, an accomplishment, a performance, and at the same time at all the others who constitute an audience in that very moment of acclamation or disapproval. The article asks about the individual and/or collective quality of this action, being an expression of enthusiasm and a way of collective recognition with a collectivizing effect, especially effective in an organized form of clapping in 19th century Paris: the claque. Doing so, it becomes clear in how far the work spectators and listeners do is being subjected to a similar process of differentiation and refinement as the one the performers go through. Proposing to investigate a historically established, rather non emphatic concept of participation allows to put under scrutiny the ways in which participation is informed by synchronization and rhythmic differentiation. The idea of action (within the audience) at the intersection of moving and being moved is of central interest for this article's argument. Taking a closer look at the dynamics of (historical) audiences reveals the manifold options beyond passivity or activity which turns this odd singular into some sort of plurality, a collective divided many times in itself, constituting engagement with a performance between affirmation and difference, pleasure and critique. Thus, it becomes increasingly difficult to decide whether ‘progressive’, participatory performances are in fact enabling, while ‘conventional’ performances have the effect of something like a sedative.

Od litanii Gertrudy do litanii Nawojki

W jedenastowiecznym Kodeksie Gertrudy, córki Mieszka II, znajduje się dziesięć modlitw o budowie litanii. Artykuł podejmuje analizę dwu z nich: „Ut me miseram famulam Tuam Gertrudam custodire digneris…” i „Ave Maria gratia plena dominus tecum…”. Stylistyczne cechy pierwszej wskazują, że tekst miał być zaakceptowany przez księżną jako jej modlitwa prywatna, sformułowana z jej punktu widzenia i – być może – zawierająca cytaty z jej własnych wypowiedzi. Dlatego Gertruda może być uważana za autorkę, mimo że sam akt sporządzenia tekstu przypadł komu innemu. Druga litania przypomina tekst wydany przez G. G. Meerssemana z dwunastowiecznego manuskryptu przechowywanego w Paryżu. Mogła ona być podstawą dla późniejszej kopii zachodniej lub oba przekazy pochodziły (bezpośrednio lub pośrednio) z tego samego źródła. Niektóre zdania z obu wersji powtarzają się w XV-wiecznej modlitwie „Zdrowa bądź Maryja, miłości pełna…” z Modlitewnika Nawojki napisanej po polsku.

(Re-)Reading Shanghai’s Futures in Ruins: Through the Legend of an (Extra-)Ordinary Woman in The Song of Everlasting Sorrow: A Novel of Shanghai

This essay is an allegorical reading of Shanghai futures through a fictive woman, Wang Qiyao, in Wang Anyi’s novel, The Song of Everlasting Sorrow: A Novel of Shanghai (1996). The novel is about her life in China from the 1940s to the 1980s. Using Benjamin’s critique of 19th century Paris in relation to Shanghai in the 1930s and 1940s (“the Paris of the Orient”) the essay examines questions of phantasmagoria, nostalgia, memory and awakening and relates these to the possible Shanghai futures to come.

Zeyneb Hanoum: Turkish Traveling Pioneer in 19th Century Paris

Zeyneb Hanoum: Turkish Traveling Pioneer in 19th Century Paris

Reading Manhattan, Reading American Masculinity

This article reintroduces the flâneur, traditionally a figure associated with 19th century Paris, as a methodological tool for investigating literary representations of 21st century American masculinity. Contemporary research on the flâneur has either propagated the disintegrative effect of the modern metropolis on his masculine identity or dismissed the flâneur as a postmodern trope bereft of any specific signified. Conversely, this article will argue, with close readings of E.B. White’s Here is New York and Joshua Ferris’ The Unnamed, that the flâneur returns as the definitive figure of the postmodern age. The flâneur, in making visible the discourses of power that shape masculinity, becomes a counter-hegemonic figure, a self-reflexive analytical agent of subjectivity and masculinity.

Modern Transitions in 19th Century Paris: Baudelaire and Renoir

Modern Transitions in 19th Century Paris: Baudelaire and Renoir 1 Karen Turman University of California, Santa Barbara Le vieux Paris n’est plus (la forme d’une ville change plus vite, helas! que le cœur d’un mortel) 2 Charles Baudelaire “Le Cygne” Charles Baudelaire constructed his poetry through the eye of an observer on the streets of Paris during the mid-19th century, seeking the inherent beauty amongst the transitional urban spaces. The industrialization of urban Paris served as the theater for Baude- laire’s enchanting and controversial verse, redefining poetry in a modern context. Baudelaire depicted images of contemporary Pa- risian life with a sense of urgency and constant renewal, striving to communicate a feeling of change and ephemerality. This subject would later be treated by the Impressionist painters who would em- ploy the same concepts underlining transitional and modern urban spaces in the fixed media of painting. In this paper I compare the poem, “A une passante” from Baudelaire’s “Tableaux parisiens” from Les fleurs du mal (1857) with Les parapluies, a painting by Auguste Renoir, (1881-1886) in order to discover the parallel emer- gence of modernity in Paris through the textual and later the visual. Within the framework of Baudelaire’s definition of modernity in his essay, “Le Peintre de la vie moderne,” and in terms of the industrial landscape and the contrasts of exteriority and interiority, I analyze these works of fixed art forms to explore the dichotomy between conceptions of modernity and its representation. “A Une Passante” A new facade of Paris was the result of sweeping archi- tectural changes: the landscape had become modern. Baron Hauss- © 2010 by Karen Turman.