Crise De Research Articles

O conceito de crise e suas denominações: tipos e causas das variações na terminologia da crise econômica mundial

This paper aims at introducing the concept of crisis in the economic scope, its denominations in Brazilian Portuguese (BP) and European Spanish (ES), concluding with its denominative variants in both languages, such as: economy crisis, 2008 crisis, major crisis and major globalization crisis; crisis economica, crisis de 2008, gran crisis e gran crisis de la globalizacion, respectively, searching to identify the types and causes of these variations. These variants, as fragments, already proposed by Freixa (2014), present the following types: morph syntax variations which are related to an inferior lexicon character, being either by alteration in its syntagmatic structure or by maintenance or change of gender or number; lexicon – may be considered the synonymy itself, since there is total change between both lexical units which will produce the same meaning. Among the causes already proposed by the author (Freixa, 2014), only the following causes will be considered: the functional one, which is constituted by different communicative registers; the stylist icon, which is related to the author’s communicative options and needs. The types and causes of variations will be in traduced, exemplified and analyzed according to the contexts collected from the Brazilian and Spanish corpora, which integrates the Project Valores culturais e didaticos na metafora de especialidade: as multiplas imagens da crise economica mundial na imprensa escrita (Cultural and Didactic Values in the specialty metaphor: multiple images of the world economy crisis in the written midia) – an integrated research Project by USP – University of Sao Paulo, UEM – State University of Maringa, Unesp and University of Vigo, funded by CAPES/DGPU. As a conclusion, it was observed that the search for denominative variants has been relevant to introduce an in vivo terminology because the case of economical crisis concept and its denominations shows that variations found may go beyond the univocality.

La question de confiance en matiire de santt (The Trust Issue in the Health Field)

La question de confiance en matiire de santt (The Trust Issue in the Health Field)

Crise de representação política no Brasil e os protestos de junho de 2013 │ Crisis of political representation in Brazil and the protests of June 2013

RESUMO Este artigo procura, sob o olhar da ciência política, traçar algumas explicações para os protestos de junho de 2013. As manifestações ocorridas naquele período se tornaram um interessante fenômeno para análise política por seu acentuado simbolismo, em que pese o pouco efeito prático que trouxe para a efetivação de mudanças sociais. Ao longo desse ensaio, será feita uma breve descrição dos protestos, a análise de possíveis relações com o ciclo de atividade política brasileira, a avaliação do que as manifestações trouxeram de novo ao repertório sócio-político e a interpretação do que foi o movimento iniciado nas ruas das grandes metrópoles.

The Horrors of Slavery and Crisis of Humanity in Amistad and 12 Years a Slave

Solomon Northup’s testimonial 12 Years a Slave (1853) tells the heart-wrenching story of how a free black man living in New York was captured by slave traders and forced to live as a slave on southern plantations in the 1840s under inhuman and oppressive conditions. Writing up and publishing his experiences, Northup presents a searing portrayal of the evils of slavery that influenced abolitionist arguments and movements in the pre-Civil War period as debates over slavery intensified, leading to the bloodiest war in American history. The horrors of slavery created a crisis of humanity in the United States in which a class of Americans participated in slave-holding, a practice that was seen in some parts of the country as causing a crisis of humanity in which millions were subjected to inhuman living working and living conditions. While the U.S. constitution and American revolution had produced “liberty and justice for all,” and proclaimed equal rights before the law obviously the system of slavery created a crisis for U.S. constitutional democracy that led to a Civil War that almost tore the country apart. Hollywood cinema has traditionally been reluctant to portray the horrors of slavery, providing idealizations of slavery in films like Birth of a Nation (1915) and Gone with the Wind (1939), and tending to ignore it during the highly charged post-World War II period that featured an intensifying powerful Civil Rights movement. Steve McQueen’s 2013 film provides a powerful cinematic rendition of Northup’s 12 Years a Slave and has been affirmed as one of the one most powerful films on slavery ever produced, a film being nominated for and winning multiple awards as I write in winter 2014. In this article, I will contrast Gordon Parks’ relatively unknown PBS “American Experience” film of 1984 Solomon Northup’s Odyssey with McQueen’s film, although I open with a look back at Steven Spielberg’s Amistad (1997), which presents a 1839 slave revolt on a ship bound to the Americas and the subsequent trial of the rebels. The Amistad rebellion and trial, like Northup’s book, influenced the abolitionist movement and is a significant, although often forgotten moment in U.S. history. Hence, the current discussions of McQueen’s highly acclaimed film provide the opportunity for a look backwards at a painful moment in U.S. history and for discussion of different modes of cinematic representation of slavery and how a crisis of humanity in the U.S. has received different modes of cinematic representation. Accordingly, I will contrast Spielberg’s film with Parks’ and McQueen’s presentations of slavery in their versions of Northup’s 12 Years a Slave. Although Spielberg’s Amistad contains many features of dominant American ideology and an individualist Hollywood narrative which informs Spielberg’s liberal cinema, it is perhaps the most modernist and one of the most compelling of Spielberg’s films that deserves a second look and comparison with Park and McQueen’s 12 Years a Slave. I will, however, first examine Amistad which provides a broader panorama of the system and complex effects of slavery in U.S. life and history than Parks’ powerful narrative of Northup’s book and McQueen’s more concentrated and intense focus on the horrors of slavery in 12 Years a Slave. I contrast Parks’ use of classical realist modes of representation with McQueen’s aestheticized and modernist version. Juxtaposing different cinematic representations of slavery and cinematic renditions of Northup’s slave testimony, I show how McQueen’s film provides a modernist version of Northup’s text that forces the audience to experience the horrors of slavery and crisis of humanity, while Parks uses a conventional realist narrative to tell Northup’s story and depict the institutions of slavery. These films, I believe, are among the best English-language cinematic efforts to engage the “peculiar” and arguably monstrous American institution of slavery that continues to shape our history today into the Obama era.Palabras clave: Esclavitud; Crisis de la humanidad; Narrativas de la crisis; Hollywood; Steven Spielberg; Steve McQueen Keywords: Slavery; Crisis of Humanity; Narratives of Crisis; Hollywood; Steven Spielberg; Steve McQueen

"La famille est une horrible blague": familles en crise dans les romans d'Elisa Brune

Belgian writer and journalist Elisa Brune (b. 1966) has often taken crisis as a starting point for her narratives, whether it is ‘la crise de quelqu’un qui n’a pas de problemes’ in Petite revision du ciel or significant ones in the two novels we propose to study in this article. According to Elisa Brune, ‘la famille [est] une horrible blague’ and ‘une prison volontaire’ and we contend that her negative perspective on this topic, central to several of her novels, influences the representation she makes of it in her work. Whether Brune chooses to depict a nuclear, a recomposed or a single-parent family, she tends to put its flaws to the fore and to highlight the various conflicts which arise between its members. This article proposes to look at the representations of family crises in Brune’s Blanche casse and La Tournante and show how both novels can be seen as providing the readership with a faithful, yet partial reflection of some family patterns and crises found in Belgium or France for instance. Although there is no outright judgment, Brune’s view is clear and these two novels can be understood as a criticism of the concept of family that Elisa Brune considers to be a mirage.

CRISIS DE LOS MODELOS URBANOS. UNA MIRADA HACIA EL FUTURO

CRISIS DE LOS MODELOS URBANOS. UNA MIRADA HACIA EL FUTURO

Crise de plume et souveraineté du pinceau. Écrire la peinture de Diderot à Proust by Nicolas Valazza (review)

Reviewed by: Crise de plume et souveraineté du pinceau. Écrire la peinture de Diderot à Proust by Nicolas Valazza William J. Berg Valazza, Nicolas. Crise de plume et souveraineté du pinceau. Écrire la peinture de Diderot à Proust. Paris: Classiques Garnier, 2013. Études romantiques et dix-neuviémistes 35. Pp. 357. isbn: 978-2-8124-0863-2 This far-reaching and thought-provoking study focuses on art criticism to elucidate developments in both painting and writing in nineteenth-century France. Valazza’s primary contention is that various literary trends are inextricably bound to a certain [End Page 147] sovereignty achieved by painting—as it frees itself from the constraints of ut pictura poesis—a status admired and questioned by a long line of critics who then sought a similar effect in their own literary endeavors. This initial contention is accompanied by a series of secondary points common to many of the writers: emphasizing color and light rather than line; seeing the incarnation of flesh as the ultimate test of the painter’s craft; finding great art capable of evoking other senses; experiencing frustration at the inadequacy of verbal language to express the uniqueness of modern painting; incorporating into literature not only visual effects but also painters, paintings and theories of art. Rather than focus on analogies between literature and painting, however, as do most recent interdisciplinary studies, Valazza concentrates on the lines of tension and points of friction and fracture between them. Despite such common points, major differences emerge as Valazza’s study makes its way across the nineteenth century, extending beyond art criticism to a variety of literary genres. After a short introduction initiated by an excellent analysis of Manet’s portrait of Zola, the first chapter concentrates on the Salons of Diderot, the first writer to be dumbstruck by the sublime power of Chardin’s still lives and the enviable though enigmatic effect of self-containment achieved by painting. Valazza then enters the nineteenth century via Balzac’s short story, Le chef d’œuvre inconnu, in which the painters Porbus and Poussin fail to understand their master Frenhofer’s final masterpiece, though intuiting the presence of an actual being on the canvas beneath the wall of paint on the surface. Whereas the scene is telling in terms of the sovereignty of modern art, Valazza recognizes that extending it to Balzac’s writing is problematic. Despite Baudelaire’s admiration for Delacroix, Valazza convincingly contends that the real “painter of modern life” is the poet, who alone can seize the eternal in the transitory, the spiritual in the visual. The Goncourt brothers were, like Diderot, struck by the imminence attained by Chardin’s still lives as well as by modern landscape art through the “materiality” of color, which they then sought to achieve in their own “écriture artiste.” In his excellent analysis of a passage from Manette Salomon in which the model poses before a mirror, Valazza finds a striking emblem of both painting and literature. In Zola’s L’œuvre, where the painter Claude Lantier hangs himself in front of his “masterpiece,” Valazza aptly identifies a sovereignty of art as in Balzac’s tale, but again, given Zola’s productivity, has trouble extending it to a “crisis” in writing (in my view the term “mise en question” might have worked better). More exemplary is the case of Huysmans, whose fascination for Gustave Moreau led him to reject Naturalism and Modernism in pursuit of a stand-alone universe, first in Symbolism, then in Christianity. It is, however, in Proust’s À la recherche du temps perdu that Valazza’s argument becomes the most compelling, in part because so many of the previous painters and writers discussed in the book are incorporated into the monumental novel. Among the highlights of this superb chapter are discussions of Vermeer, Chardin, the Goncourts and the fictional painter Elstir, all of whom teach the [End Page 148] narrator the value of esthetic experience. He also learns the danger of fragmentation and the potential for transcendence of the metaphor which, synthesizes disparate elements over Time, thus achieving literature’s own sovereignty. Valazza reasons with depth and clarity and writes with confidence and conviction; his book is a must read...

A Year in Rewind, and Five Centuries of Continuity: El año del desierto 's Dialectical Image

A Year in Rewind, and Five Centuries of Continuity:El año del desierto's Dialectical Image Zac Zimmer In the decade since Argentina's default on its international debt (and the subsequent economic and political crisis birthed by that default), we have seen too big to fail become the United States' explicit economic policy (and the implicit assumption driving its international diplomacy), we have seen European nations default on their own debt, we have learned a new vocabulary of global dissent (los indignados, the 99%, etc.), and we have felt the fissures splitting apart the European Economic Community and its unitary currency, the Euro. That is to say: in light of current developments, some very particular narratives from Argentina are newly capable of resonating with contemporary global experiences. That is not because any of these narratives sacrifice specificity or particularity, but rather because in embracing those things, each one paints a specific local engagement with the ubiquitous reality of global capital and its whims. The events surrounding the December 20, 2001 resignation of Argentine president Fernando de la Rúa have taken many names: the crisis de diciembre, el Argentinazo, el 19 y 20 de diciembre, el corralito; it has become best known globally, perhaps, by its anthem of uncompromising populist dissent, ¡Que se vayan todos! (figuratively: "Kick all the bums out!"). After the IMF refused to renegotiate Argentina's foreign debt in November 2001, the Argentine government, led by finance minister Domingo Cavallo, imposed withdraw limits on all national bank accounts. These limits, called the corralito, infuriated the population [End Page 373] and led to a series of massive protests across the country. The protests overwhelmed the capital on December 19, causing President De la Rúa to at first declare a state of emergency, and ultimately to resign the presidency. In the aftermath, Argentina defaulted on its foreign debt, devalued its currency, and experienced a series of political and economic leaders, each one rebuffed by popular dissent and direct action. Even today, the Argentinazo remains the primary reference point for the worst-case what if scenarios when discussing the possibility of default and currency devaluation in Europe. It is not surprising, then, that the events of December 2001 and their aftermath have proved to be fertile imaginative ground for contemporary Argentine fiction. Some of those narratives, such as Claudia Piñeiro's 2005 Las viudas de los jueves, have even seen big-screen adaptations with international distribution. Yet none of these post-2001 works has adopted a broader historical canvas than Pedro Mairal's 2005 post-apocalyptic novel El año del desierto (The Year of the Desert). Mairal uses the events of 19-20 December as concrete references from which to depart, but his departure is dual, and the narrative spins out two distinct trajectories. The first is a reductio ad absurdum of the Argentinazo: the fictionalized events set into motion on December 19 cascade through ever-increasing levels of infernal disaster until the very fabric of Argentine society is torn asunder and all that remains is a post-apocalyptic scene of barbarism. As that narrative line advances, however, there is another temporal logic at work. María, the novel's twenty-three-year-old protagonist, lives through a sort of 'historical rewind' that condenses five centuries of events in the span of one year. In other words: the descent into post-apocalyptic barbarism is also a return journey through Argentina's history, told in reverse chronological order. This narrative device does not, however improbably, appear heavy-handed; the rewind is an integral part of the novel and it is intimately connected to María's life and actions. Thus, if the historical rewind is the novel's backdrop, María's personal story—the most pressing aspect of the novel—becomes a rewound bildungsroman. Mairal, in turn, becomes an archeologist who begins his excavation too early, a coroner who starts the autopsy on a still-living body. It is precisely this anticipation—this untimeliness—that allows the author to reanimate the past and bring it to bear on the present. The novel culminates in an image that can serve as an emblem not only for...

The Curricular Policies and How they are Translated in Secondary Education:: An Analysis Based on Post-critical Theories

Our starting point is understanding the curriculum as a complicated conversation (Pinar, 2011) which connects past, present and future experiences. Since it is a symbolic construct, it should be historically, socially and autobiographically defined in order to be studied. In this sense, the curriculum-society relationship is inherent to the curricular investigation. We place this relationship in the context of the Generalized Structural Crisis (De Alba, 2007), which is presented as a “melting pot of unprecedented opportunities to contribute in different ways to the task of transforming reality towards a better world” (De Alba, 2007, p. 104). From a post-critical perspective, we study the institutional development of the curriculum in the secondary school in connection with the different curricular policies’ decision levels and what this translates into (Casimiro Lopes, et. al., 2013). To achieve this, we intend to investigate which are the inclusion discourses and the meanings of secondary education that are present in the curricular policies from the supra level to the nano level (Stirling Network for Curriculum Studies, 2016) and how are these translated focusing the analysis on the local/global tension (Ball, 2001). Based on a first approach to the field, it is possible to discern that the interdisciplinarity in teaching and its connection with local social issues constitute one way of approaching the mentioned dislocation. Its relevance lies in retrieving dimensions satanized by positivism: imagination, creativity, intuition, uncertainty (Torres Santome, 1994). Key-words: Curriculum as complicated conversation; Translation, Secondary education; Curricular policies.

Mallarmés skriftpraktik

Mallarmé’s Writing Practice. Meta- and Mythopoetical Dimensions
 This article investigates Stéphane Mallarmé’s relation to the practice of writing through three of his most important prose texts, ”Villiers de l’Isle Adam”, ”Le Mystère dans les lettres” and ”Crise de vers”, called ”critical poems” by the poet himself. Mallarmé’s concerns with religion and mythology are here coupled with his understanding of the material act of writing on paper. The analysis reveals that Mallarmé’s poetics are deeply concerned with the self-reflexivity of language and the materiality of communication, through which poetry may expose the essential qualities of language that otherwise remain hidden. These aspects should be understood in their media historical context, and taken into account when reading Mallarmé’s oeuvre.

Public Support for the European Car Industry: An Integrated Analysis

We provide an overview of public support for the European car industry during the past decade. First, we identify the most relevant instruments of public support, and review their economic assessment. The European Commission increasingly recognizes the role of economic analysis in controlling public aid to the car industry, although the degree of economic assessment varies across dierent instruments of public support and individual state aid cases. Moreover, the state aid legislative framework is open to derogations and interpretations. In particular, the Temporary Framework, approved by the Commission to tackle the last …nancial and economic crisis de facto implied a relaxation of the state aid rules and foresaw no formal control of individual state aids. Second, we aim to estimate the amount of public support for European car manu- facturers. Three factors complicate the overall quanti…cation of public support for each instrument: (i) the Commission does not scrutinize, and hence does not quantify all public support measures; (ii) the available information depends on whether the state aid is granted to individual companies or in the form of general schemes; and (iii) the available information depends on whether the aid is granted in the form of a grant, soft loan or guarantee. Our lower bound estimate of state aid suggests that the aid

Debt-for-development exchanges in Australia: past, present and future

Debt-for-development exchanges are one technique through which to address the ongoing debt crisis in the less-developed world. This paper discusses how Australia's first debt-for-development exchange, with Indonesia, came into being, and explores future possibilities for Australian debt exchanges. It is an interesting example of how activists and advocates can successfully pursue innovative public policy solutions to development problems. More importantly, however, this paper explores the link between debt accumulation in less-developed countries and trade policies of industrialised countries like Australia. Debt-for-development exchanges in Australia: past, present and future Échanges dette contre développement en Australie : passé, présent et futur Les échanges dettes contre développement constituent une technique au moyen de laquelle aborder la crise de la dette qui se poursuit dans les pays les moins avancés. Cet article traite de la manière dont le premier échange dette contre développement de l'Australie, mené avec l'Indonésie, a pris forme, et il examine les possibilités futures pour les échanges de dette australiens. Il s'agit d'un exemple intéressant de la manière dont les activistes et les défenseurs peuvent appliquer efficacement des solutions innovantes de politiques publiques pour répondre à des problèmes de développement. Toutefois, un aspect plus important dont traite cet article est le lien qui existe entre l'accumulation de dettes dans les pays les moins avancés et les politiques commerciales de pays industrialisés comme l'Australie. As permutas de dívida por desenvolvimento na Austrália: passado, presente e futuro As permutas de dívida por desenvolvimento são uma técnica utilizada para lidar com a crise da dívida atual em países menos desenvolvidos. Este artigo discute como se deu a primeira permuta de dívida por desenvolvimento da Austrália com a Indonésia, e examina as possibilidades futuras para as trocas de dívida australianas. Esse é um exemplo interessante de como ativistas e defensores podem buscar de maneira bem-sucedida soluções de políticas públicas inovadoras para os problemas de desenvolvimento. Mais importante, porém, este artigo examina a conexão entre a acumulação de dívida em países menos desenvolvidos e políticas comerciais de países industrializados como a Austrália. Intercambios de deuda por desarrollo en Australia: pasado, presente y futuro Los intercambios de deuda por desarrollo son una manera de afrontar la crisis de la deuda que existe actualmente en los países menos desarrollados. Este ensayo analiza cómo Australia llevó a cabo el primer intercambio de deuda por desarrollo con Indonesia y explora futuras posibilidades para que Australia intercambie deuda. Esta experiencia es un ejemplo interesante de cómo los activistas y quienes realizan incidencia pueden alcanzar soluciones innovadoras en políticas públicas para solucionar los problemas del desarrollo. Sin embargo, lo más importante de este ensayo es que examina el vínculo entre la acumulación de deuda en países menos desarrollados y las políticas comerciales de países industrializados como Australia.

La crisis de la familia

En la familia se han dado cambios no solo en su composición sino también de roles, esto ha ocasionado el fraccionamiento de la misma, a causa de los cambios del sistema capitalista y la carrera individualista. La familia brinda la primera oportunidad de adquirir potencia ante lo humano, de adquirir los primeros principios para vivir en sociedad, y de transmitir los cánones propios de cada sociedad para la conservación de su identidad, a partir del acontecimiento lingüístico de la comunicación. Estos preceptos que son transmitidos por medio del ejercicio educativo que tanto en la familia como en la escuela, deben ser asumidos como una forma de generar pensamiento a través de la reflexión.

In Defense of Books: Literature, Publishing, and Reading in Contemporary Women’s Writing in French

In Defense of Books: Literature, Publishing, and Reading in Contemporary Women’s Writing in French Gill Rye (bio) At the beginning of the twenty-first century, France, in common with many other nations, is caught up in economic crisis, high unemployment, the erosion of working conditions and of personal liberty, as well as in the contradictory effects of a new Europe, globalization, and the technological revolution. The world of literature is not immune to these factors, of course. Independent publishers are being taken over by major publishing houses; small bookshops are losing out to large chains; the materiality of books is being challenged by the ease of access to, and mobility of, digitization, of e-books and downloads; and the reading public is changing. This article identifies and explores what is potentially an emerging trend in recent women’s writing in France, in which a group of authors are responding to these challenges and transformations in publishing. The analysis focuses on Lydie Salvayre’s BW (2009), Isabelle Desesquelles’s Fahrenheit 2010 (2010), and Blandine Le Callet’s La Ballade de Lila K (2010), making reference also, in the conclusion, to Chloé Delaume’s Dans ma maison sous terre (2009).1 These works amount to a defense of literature, books, and reading. If much women’s writing over recent decades is intertextual, bearing witness to the author’s own reading (for example, the work of Hélène Cixous, Camille Laurens, Christine Angot, Anne Garréta), and if many texts incorporate writers and writing (the work of Marie Darrieussecq, Annie Ernaux, Cixous, Angot, and Amélie Nothomb, to name just a few), my corpus here engages, rather, with the relationships between publishing and literature, and between books and readers. In the tradition of Aldous Huxley’s Brave New World (1932), George Orwell’s 1984 (1949), and Ray Bradbury’s Fahrenheit 451 (1953), at the end of the first decade of the twenty-first century these contemporary French female authors appear to be warning of attacks on literature as we know it, and defending it against a modern and globalized world that is threatening its [End Page 298] future. Their texts critique changes in publishing and bookselling, and address the proliferation of e-publishing and e-readers. The aim of the article is to investigate what is at stake in these accounts. Do they simply privilege books over digital media? Are they defending literature against modern publishing procedures and marketing or popular culture and the rise of visual and new media? Is this new current simply steeped in nostalgia for the traditional and the refusal of progress, the modern, and the new? And what value do these texts give literature and its role in society? Finally, where does this scenario leave “les femmes et la lecture?” In engaging with these questions, I consider how these authors and texts intervene into current debates on literature in the twenty-first century, what points they are making and what strategies and literary techniques they use to do so. Before addressing each text in turn, I first outline the key debates to which they are responding. French literature suffers from perennial crises, or so it would seem from the ongoing discourse of crisis in French letters, and especially in relation to the novel.2 The second millennium is no different. Laurent Dandrieu, for example, considers literature as a “vecteur de civilisation,” and relates crises in literature to those in society. His perspective is that contemporary literature is in crisis for several reasons: (i) contemporary media and the dominance of audiovisual culture encourages mediocrity; (ii) publishing has become an industry and is run by bankers rather than literary specialists; (iii) small publishers, who support interesting and demanding work, are in decline; (iv) it is increasingly difficult for authors to live from their writing and they now have to fit it around paid employment; and (v) fewer readers can appreciate complex literary works and so the demand for quality literature is waning. His negative view of the state of French literature is symptomatic of nothing less than “une crise globale, une crise de la société y compris de la société politique, une crise spirituelle, une crise...

Public Support for the European Car Industry: An Integrated Analysis

We provide an overview of public support for the European car industry during the past decade. First, we identify the most relevant instruments of public support, and review their economic assessment. The European Commission increasingly recognizes the role of economic analysis in controlling public aid to the car industry, although the degree of economic assessment varies across different instruments of public support and individual state aid cases. Moreover, the state aid legislative framework is open to derogations and interpretations. In particular, the Temporary Framework, approved by the Commission to tackle the last fi;nancial and economic crisis de facto implied a relaxation of the state aid rules and foresaw no formal control of individual state aids. Second, we aim to estimate the amount of public support for European car manufacturers. Three factors complicate the overall quantification of public support for each instrument: (i) the Commission does not scrutinize, and hence does not quantify all public support measures; (ii) the available information depends on whether the state aid is granted to individual companies or in the form of general schemes; and (iii) the available information depends on whether the aid is granted in the form of a grant, soft loan or guarantee. Our lower bound estimate of state aid suggests that the aid declined over the pre-crisis period, but peaked at €1.2 billion as a response to the last financial and economic crisis in 2009. Perhaps even more strikingly, this state aid was combined with an unprecedented amount of public support granted through scrapping schemes of at least €4.0 billion, and loans from the European Investment Bank of €2.8 billion, or an equivalent of €400 million of aid element. In conclusion, the existence of multiple public support instruments at different levels may create coordination problems and a lack of transparency, in spite of the Commission's efforts. The lack of transparency in turn poses a challenge for the quantification of state aid and non-state aid support to any industry or sector. This paper provides a first step towards informing the policy debate on the effects of public support to the car sector, and also stimulates the academic interest in the subject of state aid, and - more generally - public transfers to companies.

Crise de vers : Adonis’s Dīwān and the Institution of Modernism

Crise de vers: Adonis’s Dīwān and the Institution of Modernism Robyn Creswell (bio) Modernism and Memory Crisis Speaking at a conference in Rome in 1961, the Syrian modernist poet Adonis launched a famous and famously intemperate attack on traditionalism in Arabic poetry and poetry criticism. His talk, entitled “al-Shi‘r al-‘arabī wa mushkilat al-tajdīd” [Arabic Poetry and the Problem of Renewal], began by reviewing the classical tradition of literary criticism. Critics of the ‘Abbasid era (c.750–1250), Adonis argued, had only ever sought to inhibit poetic creativity, setting themselves up as guardians of tradition and obstacles to renewal: “The critics defended inherited values [qiyam mawrūtha] and clung to the ancient, exalting it because it was ancient, even when it was ridiculous.”1 Adonis went on to assert that the traditionalism espoused by these critics had not diminished with the passage of centuries, but rather had become stronger: “The understanding of poetry that dominated our past with all the force of tradition [al-taqlīd] continues into our present with the same force. Indeed, it has grown in acuteness and complexity.”2 For modern poets to free themselves from this powerful and creeping sclerosis, they would have to undertake radical measures. It was in this spirit that Adonis announced a “revolt against the traditionalist mentality.” Renewal cannot be accomplished by reverting to tradition or by adapting to its poetic conventions, for such a reversion would mean a separation from the present, a shackling of sensibility, a betrayal of reality.3 [End Page 877] Poetry, he declared at the end of his talk, reaching for the rhetorical heights, was “an act of salvation and liberation” [khalāṣ wa taḥarrur].4 Stephen Spender, one of the respondents to Adonis’s paper, must have heard echoes of his youth in all this (translated echoes, so to speak). But he wondered if Adonis hadn’t overstated the case. T. S. Eliot, Spender reminded the audience, had been both a modernist and a traditionalist. Perhaps the Syrian poet, with all his talk of “revolt,” had been reading too much Rimbaud? Spender ended his brief remarks—according to the Arabic transcription, which is the only one that survives—by reproaching Adonis for his “complete disregard of the ancient heritage [turāth] of Arabic poetry,” and calling his paper “extremist in its demolition of poetic traditions [mutaṭarrifa fī taḥṭīm al-taqālīd al-shi‘rīya].”5 The exchange between Adonis and Spender evokes several of modernism’s familiar and apparently insoluble contradictions: heritage versus modernity, rupture versus continuity, the revolutionary Jetzseit versus the long durée of tradition. While Adonis argues that a reversion to the classical heritage would entail “a separation from the present,” Spender counters that a dismissal of this heritage leads to a separation from one’s own cultural past. Backwardness or inauthenticity, here are the two equally intolerable options that confront so many modernisms of underdevelopment, which experience these contradictions with especial sharpness.6 It is perhaps because their choice is an impossible one—a choice between two kinds of alienation, we might say—that these modernisms so often employ a rhetoric of crisis, a mode of self-articulation that is frequently extravagant and even melodramatic.7 It is this excessiveness or “extremism” that Spender objects to explicitly. But while Spender accuses Adonis of chasing after the new and foreign at the expense of the inherited past, other readers have accused him of doing precisely the opposite, claiming that his version of modernism is only a kind of covert pastism, a classicizing movement that calls itself revolutionary. So the Moroccan critic, Abdullah Laroui, in his seminal essay, The Crisis of the Arab Intellectual (1974), lumps Arab modernists together with their European confreres—he mentions Eliot, Pound, and St. John Perse—“all of whom are exponents of tradition and order, and who take as models and foundations of the ‘poetic’ the attitudes and works of the classicizing periods.” Laroui argues that the modernity of these poets merely “consists in their recombining of transmitted culture according to a conscious and unvarying code (poetic technique).” “Now,” he asks rhetorically, “have all the...

“It takes a village … ” : Transgressing Rural Geographies in Sinapi's Camping à la ferme

Click to increase image sizeClick to decrease image size Notes Notes 1 Sully reportedly claimed: “Labourage et paturage sont les mamelles de la France.” Pétain's June 25, 1940 radio address states: “La terre, elle, ne ment pas … Elle est la patrie elle-même. Un champ qui tombe en friche, c’est une portion de France qui meurt. Une jachère à nouveau emblavée, c’est une portion de France qui renaît.” See Barbas 66. 2 For a comparative study of citizenship and a history of jus soli, see Brubaker. 3 For the impact of Yves Robert's films on audience figures, see Powrie, French Cinema in the 1990s, 3. For an analysis of Claude Berri's films as “nostalgia for rural communities,” see Powrie, French Cinema in the 1980s, 50–61. 4 Even TF1's TV reality show “La Ferme des célébrités” presented rural France as a tough, wild place for city-dwellers to survive. 5 Other critically acclaimed documentaries addressing this malaise include: Depardon's Profils Paysans (2000, 2004), La vie moderne (2008), and Meunier's La vie comme elle va (2004), followed by Ici Najac, à vous la terre (2006). 6 Their portrayal of men and farmers, in particular, signals a crisis in the patriarchal order traditionally associated with the land in France. Philibert evokes a dying father and Meunier interviews an inconsolable widower. Depardon's aging farmers can’t find wives and die single and childless. Such documentaries present French audiences with a disappearing breed inhabiting increasingly deserted rural areas. 7 In his television address in November of 2005, President Chirac said : “C’est une crise de sens, une crise de repères, c’est une crise d’identité.” See Chirac. 8 Director Jean-Pierre Sinapi focused on various minorities in his previous films Vivre me tue (2003) and Nationale 7 (2000). 9 For his personal discussion of his experience within the Villepin government and acrimonious relationship with then Minister Sarkozy, see Begag's Un mouton dans la baignoire. The title itself alludes to Sarkozy's words about the killing of a sheep for the Muslim celebration of Aïd-el-Kebir. 10 The TIG (Travail d’Intérêt Général) was instituted in the mid 1980s and aimed at substituting community work for a jail sentence and at involving the community at large in the social rehabilitation of the delinquent. Only public organizations can offer TIG and the benefits are meant to be mutual (for the community and for the individual). Concrete examples of TIG include maintaining and keeping up public spaces (lawns, beaches) and fixing up “national” buildings (“patrimoine”). For a fuller description, see Ministère de la Justice. 11 The term was actually used by Begag in an interview with Marc Cheb Sun and Hélène Ganzman: “Et bien oui, il faut traverser le périphérique, aller chez les indigènes là-bas, les descendants de Vercingétorix … C’est risqué, parce qu’on s’en prend plein la gueule, surtout lorsqu’on est basané …” See Begag “La diversité, c’est mon pays !” 12 On RTL's “Chronique de Denis Girolami,” Girolami comments, “du fermier poivrot à la mairesse opportuniste en passant par l’agriculteur facho sans oublier la bouchère nymphomane.” 13 The Politique Agricole Commune was criticized for encouraging farmers not to plant for fear of losing subsidies. 14 To describe the same idea of a mobile frontier, but in a different context (Duvivier's Maria Chapdelaine about French settlers in Canada), Winifred Woodhull contrasts the pioneering défricheurs who “push back the frontiers of the wilderness” with the sedentary settlers. See Woodhull's “France in the Wilderness” in Stovall 61. 15 See “Dossier Presse Camping” 7.

Masculinidades en obras: el drama de la hombría en la España imperial (review)

Cartagena calderon, josE R. Masculinidades en obras: el drama de hombria en Espana imperial. Newark, DE: Juan de Cuesta, 2008. 382 pp.Jose R. Cartagena Calderon's MascuHnidades en obras: el drama de hombria en Espana imperial is simply a beautiful book. Such lavish praise at the start of a book review may strike readers as excessive, yet they would be wrong. What makes this book beautiful is the conjunction of traits that rarely come together in scholarly works. Cartagena's Spanish academic prose is exactingly devoid of rhetorical malformations, pedantic obfuscations, or imprecisions. MascuHnidades reads like one wishes all articles and books would. It is clear, engaging, reassuring, yet challenging in the complexity of its argumentation. This is a rare case in scholarly monographs written in Spanish. MascuHnidades is also a straightforward book. Cartagena's thesis regarding the crisis of masculinity that he and others have identified in countless cultural products in Imperial Spain cuts right to the point. [A]l hablar sobre 'crisis de masculinidad' en el siglo XVII no queremos dar a entender que en otra epoca hubo 'estabilidad' (10 n. 1), he states; however, we should dare to read canonical and noncanonical Spanish literary texts against the profusion of pamphlets, books, and legal proclamations in this period in which the decadence of Spain is directly attributed to the relentless feminization of the Spanish male ruling elite. Doing so, of course yields exciting new perspectives on the texts themselves as well as on the scholarship of the period, and the period itself. In addition, Masculinadades is profusely documented, skillfully constructed, and methodically laid out. Intersecting fields such as masculinity studies, queer studies, early modern Spanish theater, and cultural studies, Masculinidades stands as a remarkably mature example of scholarship and a model for all those Hispanists working in these fields.In the introduction to Masculinidades, Cartagena traces a thoughtful and highly complete overview of the principal arguments starting with the contributions made by Simone de Beauvoir and, later, second wave feminists, through Judith Butler's performative theory of gender on to current scholarship in masculinity studies. These theorists enable Cartagena to explore texts in which the masculinity of its protagonists appears to be questioned. [L]ejos de ser una constante universal que desafia tiempo y espacio, Cartagena reminds us, la masculinidad podria entenderse como una construccion social inestable y por ende ansiosa e insegura (Breitenberg) o fragil y vulnerable (Kaufman) que varia tanto historica como culturalmente (19). The masculinity crisis in sixteenth- and seventeenth- century Spanish culture that Cartagena and others help us understand is by no means a unique point in the history of Iberian masculinities; however, it is an undoubtedly fruitful space for critical inquiry. What emerges from studies such as this one is a salutary and long overdue antidote against traditional scholarship on Golden Age studies which has been for so long mired in debates surrounding honor and honra and philologically obsessed with polishing and preserving the texts. …

Unamuno, Epistolarity, and the Rhetoric of Transatlantic Hispanism

Twelve years after the loss of Spain's last American colonies in Cuba and Puerto Rico, Miguel de Unamuno wrote in a letter to Chilean poet Ernesto Guzman that ahora lo que es cierto es que nuestro yo, el propio nuestro, lo descubrimos al contacto de otros vos (Epistolario americano 350). This general statement could summarize Unamuno's approach to the intricacies of individual subjectivity and the dilemmas of national identity in post-colonial Spain. The vexing relationship between self and other permeates Unamuno's interest in the mysteries of personality as much as his concern with the national self, especially at a time when Spain was experiencing una de las m?s graves crisis de su existencia pol?tica y vida espiritual and needed to open up to Europe and its former colonies to rediscover itself (Epistolario ameri? cano 351). However, the opening quote can also be read as a succinct comment on the form that frames the Spanish writer's words, namely a letter. Indeed, a fundamental function of epistolary writing is to express a reciprocal relationship between self and other?between the letter writer and the addressee?while at the same time overcoming

Letter to the Editor: Recognizing and Preventing Burnout among Orthopaedic Leaders

Dear Sir: The article by Saleh et al. regarding surgeon burnout is particularly interesting during this time of managed care [1]. In the past, surgeons experienced pressures primarily from issues related to quality of care, quality of their surgery, and results obtained. Managed care introduced increasing pressure from hospital managers, the financial industry including insurance companies, marketing from material producers, and lawyers and litigation. The managed care system that gained popularity in the 1980s in the United States was slowly introduced in France. As in the US, it has had similar consequences on decreasing resources for care, increasing expenses in public health, new regulations for quality control, requirements for expertise, and administrative empowerment. It also has increased surgeon stress leading to burnout. Saleh et al. have presented important data on this phenomenon [1] and have suggested different preventive and therapeutic ways to deal with managed care and decrease surgeon burnout, including increasing productivity, increasing numbers of surgeons in groups, and efficacy. May I suggest another method to decrease stress? Other than seeing an analyst, it is to write a book. I recently wrote a book titled, “Chirurgien au bord de la crise de nerfs” [2], which could be translated into English as “Surgeon close to burnout”. I attempted to explain the details and difficulties of our profession to the general public. I described in lay terms some surgical procedures. I explained how the fear of judges progressively replaces the fear of malpractice. In each chapter, I concentrated on a subject that contributes to our stress, such as quality control systems, cost containment programs, debates regarding nosocomial infection, and increasing litigation, and for each of these subjects, I explained how they are beneficial for insurance companies, lawyers, for-profit companies that own hospitals, and manufacturers of supplies, but in no way are beneficial to quality control, cost containment, or surgeon efficacy. I recently underwent a liver transplant and I used this difficult episode in my life to increase empathy with potential readers, to show them I am not an arrogant surgeon as many frequently imagine, but a regular patient who also has suffered with this system of managed care as everyone else has.