De Province Research Articles

Imprimerie et pouvoir: Politique, livre et langue à Toulouse de 1475 à 1617 by Pierre Escudé

Reviewed by: Imprimerie et pouvoir: Politique, livre et langue à Toulouse de 1475 à 1617 by Pierre Escudé Wendy Pfeffer Escudé, Pierre. Imprimerie et pouvoir: Politique, livre et langue à Toulouse de 1475 à 1617. Cahiers d’Humanisme et Renaissance 145. Geneva: Droz, 2017. 272 pp. ISBN 978–2–600–05786–8. 52.00 Swiss francs (CHF) For the reader who seeks to understand the Renaissance history of Toulouse from the inside out, Imprimerie et pouvoir, with its focus on the book industry in that city, serves admirably. Looking at Toulouse through the lens of the book industry, Pierre Escudé treats his audience to a detailed and informed récit, one that explains with remarkable detail how the late fifteenth-century literary and political capital of Occitania became a somnolent ville de province by the early seventeenth century. After a short introduction, the work proceeds chronologically, dividing the political and publishing history of Toulouse into three chapters; there is no concluding chapter. Escudé divides his period of study into four large blocks: 1475–1532, the beginnings; 1532– 1562, the period Escudé describes as incandescent humanism (48); 1562–1596, the Wars of Religion; and 1596–1620, the period when power was re-balanced. Though the subtitle suggests that the early period will be covered, in many ways Escudé gives the origins of printing in Toulouse short shrift, though, according to Jean-François Courouau, we know of 135 incunables that were printed in Toulouse (Courouau §2), the vast majority in Latin, although one was in Occitan (§45). The second chapter is the longest, an analysis of each of Escudé’s four blocks of time in terms of which books went to press, who was involved in their production, thoughts behind choice of a printer, and public demand for print material. The kinds of books produced evolved over time, from an early emphasis on religion (40% of works published between 1500–1531) to an important place for political works (51% of works published between 1562– 1596). Works of literary interest maintained a stable position, representing between 21% and 30% of total production over the entire period covered, here 1500–1610 (see chart, 153). Equally interesting is the chart prepared by Escudé that shows language of publication. We see the decline of Latin, replaced by French [End Page 115] (these two languages represent, moreover, an average of 94% of total book production), with Occitan works averaging roughly 6% of total production overall (see 177). These statistics hide many of the political and religious stresses of the period, as Toulouse moved from its position as second city of the realm with an important university and semi-independent parliament to a second-class city that looked to Paris for intellectual and political leadership. As Escudé describes the book industry in the later period, “Toulouse se spécialise dans une littérature toulousaine: toutes les autres oeuvres … seraient imprimées ailleurs” (220). The third chapter attempts to shine light on the linguistic side of Renaissance Toulousain publishing and, by extension, on the question of linguistic choice. In a period where language use represented a political and religious statement as much as a practical one, “la langue occitane change de fonction et confirme enfin son statut de langue littéraire” (193). Escudé observes further that at the same time that French replaces Occitan at the Jeux floraux, Occitan expands in other domains (198). He tries to argue that Gascon authors such as Pey de Garros established an independent Gascon language (216), hoping that Gascon and, by extension, Occitan would find support from Henry of Navarre, Henry IV of France. While Henry might have encouraged linguistic diversity, his untimely death ended hopes that there would be royal support for Occitan or Gascon. I think this book is important, even as it offers, on occasion, what may be a rehash of material presented elsewhere (see Escudé’s discussion of illustrated books, heavily dependent on work by Priscilla Fournier). Among my criticisms, Imprimerie et pouvoir is not an easy read; the author is clearly writing for a learnèd audience, familiar with a good deal of Occitan literary and political history. At times, Escudé seems to ignore the entire medieval period— see the words...

Poetry, Politics & the Body in Rimbaud: Lyrical Material by Robert St. Clair, and: Arthur Rimbaud by Seth Whidden

Reviewed by: Poetry, Politics & the Body in Rimbaud: Lyrical Material by Robert St. Clair, and: Arthur Rimbaud by Seth Whidden Thomas C. Connolly Robert St. Clair, Poetry, Politics & the Body in Rimbaud: Lyrical Material. Oxford University Press, 2018. 271pp. and Seth Whidden, Arthur Rimbaud. London: Reaktion Books, ‘Critical Lives,’ 2018. 204pp. Robert St. Clair’s brilliant new book Poetry, Politics & the Body in Rimbaud: Lyrical Material, takes as its point of departure a letter—not one of the “lettres du voyant” addressed to Georges Izambard and Paul Demeny, dated May 13 and 15, 1871 respectively, but another—sent to Izambard the previous August, during the Franco-Prussian war. Here, Rimbaud complains: “Ma ville natale est supérieurement idiote entre les petites villes de province” (1). This missive precedes, and to some degree explains, Rim-baud first flight to Paris, which ends almost before it begins with his arrest, brief imprisonment, and a ticket back home. St. Clair calls this Rimbaud’s initial attempt “to make his way in the capital” (1), but it soon becomes clear that the formulation also lends itself—catachrestically—to St. Clair’s book. In Poetry, Politics & the Body, the reader is invited to see how Rim-baud initially “make[s] his way in (. . .) capital.” As such, the book might be considered a highly erudite and persuasive response to Steve Murphy’s remark—made in his landmark Rimbaud et la Commune: microlectures et perspectives (2010)—that “on a généralement minoré la dimension idéologique de l’œuvre” (162). Instead of returning to the more overtly political poems written during and in the immediate aftermath of the Commune, such as “Chant de guerre parisien,” St. Clair seeks to show how Rimbaud’s poems were already ideologically charged—albeit in mostly hidden ways—as early as 1870. Specifically, and most strikingly, St. Clair makes the case that “the nineteenth-century thinker of emancipatory politics, history and indeed embodiment” to whom this early Rimbaud comes closest is Karl Marx, and that, together, the poet and the philosopher are part of “a common discursive, historical, and epistemological ‘ecosystem’ ” (20). As a study of Rimbaud’s verse poems, Poetry, Politics & the Body examines a domain that “remains curiously under-interrogated in English-language scholarship” (13). Each chapter provides an extensive interpretation of a single verse poem, four composed during 1870 and one in the fall of 1871. Of the five poems, only one—whose eponymous smithy challenges a timid Louis XVI to don the red bonnet, offering a transparent allegory for class conflict—might be considered political. They are for the most part “joke poems and parodies, (. . .) sonnets about drinking beer and [End Page 456] eating ham tartines in a bar, (. . .) quatrains about nothing in particular” (15). They are also all texts that trouble—rather than radically contest—rules of French versification, rules that Rimbaud will shatter in the years that follow, culminating with the creation of “Marine” and “Mouvement,” the first examples of “vers libre” ever written in French. But here, St. Clair skillfully demonstrates how even poems from 1870 contain stresses and cracks, formal imperfections that discreetly make the irruption to come little more than a matter of time. Chapter One, “Natural Bodies,” proposes to read one of three poems the fifteen-year-old Rimbaud sent to Théodore de Banville, a leading figure of Parnassian poetry, in May 1870. “Sensation” is a slight poem, consisting of just two quatrains, but in St. Clair’s hands it becomes the pretext to a series of highly intelligent and informative examinations of “the complex historical and poetic moment in which Rimbaud composed the poem” (22). St. Clair’s method consists in “following the unexpected ways in which such texts insistently link themselves to political and literary contexts and intertexts” (15). Specifically, he draws on the importance to the early Rimbaud of Parnassian poetry, arguing that Rimbaud’s brief flirtation with the movement—particularly although not exclusively through the figure of Banville—was not entirely antagonistic or parodic as is commonly presumed. Unlike the young Mallarmé or Théophile Gautier, for instance, Banville was not disconnected from political concerns. From as early as 1846, the poet espoused a “kind of...

Balzac, Literary Sociologist by Allan H. Pasco

Reviewed by: Balzac, Literary Sociologist by Allan H. Pasco Juliana Starr Pasco, Allan H. Balzac, Literary Sociologist. Palgrave Macmillan, 2016. ISBN 978-3-319-39332-2. Pp. 290. This volume presents Balzac as a trailblazing proto-sociologist who documented in his Scènes de la vie de province a radically-changed France transformed by the noxious atmosphere of the Restoration and July Monarchy. Although Balzac wrote "fiction," he believed he was writing the kind of cultural history that we would today call sociology (vii). He was interested in the web of connections forming a new society from the enduring chaos of the French Revolution, Napoleon's wars, and the Industrial Revolution. Convinced that the motivating force was money, whether coin, banknotes, bonds, debt, credit, land, or other forms of wealth, he illustrated the results of the social pressures and activity inspired by the pursuit of such assets in various relationships between church, state, and family, thus documenting France's painful shift from an agricultural to a capitalistic society. Comprised of twelve chapters including an introduction and a conclusion, each of the ten interior chapters treats a different volume of the Scènes de la vie de province following the order of the novels projected in La comédie humaine. This section is important, since it contains ten of Balzac's best (yet under-studied) novels written during the pinnacle of his literary form (the 1830s and 1840s), while introducing many of his most salient themes: the regrettable rise of journalism, the weakening of the church, the loss of fathers to war and the resulting decline of the traditional family, the decay of the nobility and the rise of the bourgeoisie, the advent of a gerontocracy that clings to power while squelching the ambitions of the youth, and the constant transferal of people, ideas, and capital between Paris and the provinces. Ursule Mirouët (1841) suggests that all nuclear families are slowly dying, due to war or social breakdown. Eugénie Grandet (1833) emphasizes the differences between genuine Christian faith as embodied in Eugénie and the monstrous perversion represented by her father. Pierrette (1840) and La vieille fille (1837) treat the dark side of society's demographics—the young are being crushed by the venal gerontocracy. Le curé de Tours (1832) is a powerful mock-heroic drama casting light on the ineffective ridiculousness of Charles X's France. La rabouilleuse (1842) underlines the lack of fathers while employing an innovative narration composed of a moving target where the wealth (in the case, the inheritance) serves as the point of focus. L'illustre Gaudissart (1833) highlights one of the most vital aspects of the period's nascent capitalism: the financial system could not be confined to urban [End Page 261] centers. The provinces had to be stimulated to take part. Both La muse du département (1837) and Illusions perdues (1843) show the degree to which journalism, however much Balzac despised it, was changing society, while Le cabinet des antiques (1838) offers a scathing critique of the waning provincial nobility and the post-Revolutionary system of justice. Eminently readable, this landmark publication shows like no other how Balzac used art as a tool of social inquiry to obtain startlingly accurate and relevant insights into his turbulent society and our own. Juliana Starr University of New Orleans Copyright © 2018 American Association of Teachers of French

Acciones privadas en la construcción de un destino turístico. Alojamientos boutique en Purmamarca, provincia de Jujuy, Argentina

La localidad de Purmamarca, emplazada en Quebrada de Humahuaca (Patrimonio de la Humanidad, UNESCO, 2003), provincia de Jujuy, Argentina, ha experimentado una transformación vertiginosa desde fines del siglo XX. Este proceso se relaciona intrínsecamente con la promoción turística generada por la Nación y la provincia y por diferentes operadores privados a escala regional y nacional, que tuvo en esta localidad de poco más de 800 habitantes, uno de los principales polos de desarrollo. Si bien sigue siendo una aglomeración con una escasa población estable, el perfil ha cambiado considerablemente, reorientándose desde la agricultura campesina con una baja productividad hacia un centro recreativo y de descanso para turistas procedente de las grandes ciudades del país. Este artículo forma parte de una serie de trabajos que vienen publicando los autores, interesados por analizar las transformaciones materiales y culturales que se están generando tanto en Purmamarca como en la Quebrada de Humahuaca, con particular interés en aquellos procesos asociados al sector turístico. En esta ocasión, el objetivo es describir el desarrollo de los nuevos alojamientos que influyeron en la transformación de Purmamarca y analizar sus vinculaciones con algunas de las nuevas tendencias internacionales en el sector hotelero. Para ello se recurrió al estudio de las características y evolución de los alojamientos turísticos de Purmamarca, utilizando diversas fuentes, como sitios web de alojamientos y de la autoridad provincial de turismo, folletería turística, información recolectada a través de relevamientos in situ y entrevistas, información estadística y bibliografía sobre la temática. De la investigación se desprende que el crecimiento en la cantidad de establecimientos turísticos desde comienzos de la década de 2000 ha sido muy elevado para este pequeño pueblo. Estos alojamientos se caracterizan por una capacidad reducida, un trato personalizado, la oferta de servicios exclusivos, y están dirigidos a un público selecto, siendo muchos de ellos identificados como hoteles boutique. Estos establecimientos marcan su impronta en Purmamarca y participan en los procesos de transformación del pueblo.

Speculation and Gender Exploitation in Balzac’s Scènes de la Vie de Province

Speculation and Gender Exploitation in Balzac’s Scènes de la Vie de Province Robert Decker The political turmoil that reigned in France from the revolution of 1789 until the end of Balzac’s life played a central role in his œuvre. The era was so marked with rebellion and agitation that one can easily forget that another revolution figures into Balzac’s plotlines. The Industrial Revolution, and specifically the transfer of economic power from the aristocracy to the bourgeoisie, imposed a new set of economic imperatives that served to destabilize sentimental and family life. Balzac reinforces the connection between revolution and the dissolution of the family by adapting a particular character type that appears frequently in the provincial novels: a young girl exploited either by her family or by bourgeois society.1 By inserting this new character type into more traditional narratives of the provinces, he illustrates the human cost of the modernization and capitalism that had already begun to renew France. At the same time he demonstrates how these changes subordinate the family, and especially female children, to economic concerns. An analysis of what the activity of speculation means in the work of Balzac will establish how and in what measure it pervades the plots of the novels in Scènes de la vie de Province. Although numerous critics have recently shown how the economic changes in France during the period play a pivotal role in the short story L’Illustre Gaudissart (1833), none have made the connection between Balzac’s depiction of capitalism and its indelible relationship to the exploitation of young women.2 These speculative processes inspire Balzac’s characters to forsake their family and sentimental life in order to advance materially. Among the many examples of the commodification of human life, those of Pierrette (1840), the titular hero of her novel, and Flore Brazier, whose pejorative nickname gives La Rabouilleuse (1841–3) its name, are particularly instructive. Balzac weaves the themes of love and money so tightly that at times his characters, especially those [End Page 65] with little economic autonomy such as women and children, become both objects of desire and commodities subject to the economic turbulence of the era.3 These same themes drive the plot of Ursule Mirouët (1841), a novel that refracts the image of the exploited girl and offers an alternate vision of the future of France: a future where the youth, protected by societal and affective bonds from the economic prerogatives that governed bourgeois society, can succeed and advance in the world.4 As André Wurmser points out, Balzac’s portrayal of marriage differs significantly from earlier writers, such as Molière, for whom a sensible marriage is based on love: in Balzac’s world, conjugal relations exist solely to develop, consolidate, and transmit wealth.5 This perspective will not only elucidate the dramatic construction of these individual works, but will also indicate a narratological procedure that pervades his œuvre. Throughout the Scènes de la vie de Province, Balzac insists on the importance of speculation in post-revolutionary French society. Identified by Pierre Barbéris as that which marks the originality of modern capitalism, speculation becomes far more than a simple economic activity, and will affect every level of society in Balzac’s world.6 His novels abound with examples of speculation on traditional commodities and on land: characters such as du Bousquier (La Vieille Fille, 1836) Félix Grandet, and Descoings (La Rabouilleuse) amass wealth precisely by these means. In speaking of Felix Grandet, Maurice Bardèche explains—in terms that could apply to any of these characters—that one might take him “pour un paysan, pour un avare terrien, en réalité, il a le génie de la spéculation. Il a compris qu’en temps de révolution il faut acheter et il faut stocker.”7 Even in its infancy, speculation influenced new markets as well, particularly the products and transactions made possible by the progression of nascent capitalism. For example, at the end of La Rabouilleuse, Philippe Bridau loses the fortune he had just obtained from his uncle when he succumbs to the machinations of du Tillet and Nucingen. The two bankers...

Warrior Pursuits. Noble culture and civil conflict in Early Modern France

Brian Sandberg’s book about noble culture and civil war during the first half of the seventeenth century is a remarkable work, in a way close to Ellery Schalk’s From Valor to Pedigree (Princeton, 1986) and David Parrot’s Richelieu’s Army (Cambridge, 2001). In this work of military, political and social history, focused on the provinces of Languedoc and Guyenne, Sandberg asks how violent noble practices influenced noble culture, royal administration and the evolution of civil wars, which were frequent during this period. This book underlines how much we have to be wary of the concept, expounded by Max Weber, known as the monopoly on legitimate violence. The permanent royal army was not the proof of a complete royal monopoly. Officially, the King used to choose agents, which were part of the confusion des pouvoirs, defined by Bernard Barbiche as governors, lieutenants généraux de province, or marshals of France. These choices were not always those of the King. Brian Sandberg puts in evidence the major role of clientage from the sixteenth to the eighteenth century and insists on the interaction of godfathering, friendship and kinship (Was the reference to French contemporary sociologist Pierre Bourdieu useful in a French Modern History study, while Sandberg’s conclusions would have been the same without that?). These numerous interactions were potential threats for royal authority. Henri II de Montmorency was frequently a godfather in catholic christenings, which helped him to strengthen and enlarge an already strong clientele, inherited from his father and his grandfather, who were both constables of France. This local power explains why his execution after a rebellion in 1632 was seen as essential for royal authority to Louis XIII’s and Richelieu’s minds. This example enlightens us the fate of the second marshal of Biron (confused with his father, dead in 1592), who was also sentenced to death in 1602 after having tried to build a conspiracy against Henry IV.

Mœurs de province: Essai d'analyse bakhtinienne de Madame Bovary (review)

Holm, Helge Vidar. de province: Essai d'analyse bakhtinienne de Madame Bovary. Bern: Peter Lang, 2011. Pp. 266. ISBN: 978-3-0343-0453-5 Helge Vidar Holm's new study on de province, the subtitle of what is likely to be considered Gustave Flaubert's best-known novel, Madame Bovary, is a refreshing addition to critical debate in the field of Flaubert Studies. Referencing numerous editions of the novel, Holm demonstrates that even though Flaubert insisted on using a subtitle for his work (he added it to the publisher's copy in his own hand), later editions of the novel continued mysteriously to omit it. Further, Holm affirms this absence in an informative section at the end of the text in which he reproduces the covers of several editions of Flaubert's novel, with and without the subtitle. To this end, it turns out that Moeurs de Province is much more than a Balzacien allusion to the local color of rural life, or an attempt to highlight the juxtaposition between Emma's desire to be a grande dame and her social station as wife of a poor country doctor. For Holm, this subtitle has a direct correlation with the language of the provinces and its impact on the novel. Drawing from Claude Duchet's observations on the signification of the subtitle in two different articles (Discours social et texte italique dans Madame in Langages de Flaubert (1976) and Etranges moeurs de province in magazine litteraire (2006)), Holm adds his own interpretive twist to the importance of Flaubert's choice of subtitle by approaching it through the work of Mikhail Bakhtine. Specifically, Holm utilizes Bakhtine's notion of dialogisme as a critical lens that highlights the metatextual dialog between Madame Bovary and de Province, a unique perspective discernible from the very title of Holm's text that promotes for the first time the subtitle to a position similar to that of the title of the novel itself. For Holm, this change is paramount to his argument on the importance of the subtitle, which describes, as he states: [...] l'importance cruciale des moeurs langagieres sur lesquelles le romancier normand fonde sa critique de la societe de l'epoque (3). In this case, it is not just Emma's penchant for transposing the fictive onto the real that impedes her progress in society, but also the language she uses that is an integral part of her character, as well as of the novel itself. Dividing his study into three distinct parts: Le texte dialogique, Les dimensions axiologique et temporelle, and Le destinataire, Holm guides his readers logically into what would otherwise present a labyrinth of nebulous critical perspectives from notable scholars, past and present, such as Jean-Paul Sartre, Paul Ricceur, Ferdinand de Saussure, Tzvetan Todorov, and many others. …

The Mystery Play in Madame Bovary: Mœurs de province (review)

Reviewed by: The Mystery Play in Madame Bovary: Mœurs de province Éric Le Calvez Rogers, Peter . The Mystery Play in Madame Bovary: Mœurs de province. New York: Rodopi, Chiasma, 26, 2009. Pp. 193. ISBN 978-90-420-2706-0 In his study, Peter Rogers intends to show that there is a mystère, a liturgical drama (or mystery play) in Madame Bovary through Flaubert's use of religious tales, topoi, objects, discourses and imagery. The religious traditions, restaged in the novel, would display "a bond between theatre and religion in Flaubert's provinces" (back cover) beyond the obvious importance of religion in the narrative, which, because of the way it was represented, sent Flaubert to trial (among other problems from the prosecution's standpoint). Mystery plays are indeed mentioned by Homais in the novel, in a dialogue with the pastor Bournisien: "on représentait au milieu du choeur des espèces de farces, appelées mystères, dans lesquelles les lois de la décence souvent se trouvaient offensées" and Flaubert had already written, but not published, a "vieux mystère" in one of his earlier works (Smar). After recalling that the writer knew the Bible extremely well (in a letter to Louise Colet, Flaubert declares that it was the only book he read, before falling asleep, for more than three years), Rogers intends to demonstrate that the Bible "is inscribed in the story of Madame Bovary as a mystery play" which "threads its way through the fabric of its narrative and punctuates it with spicy and piercing details that have also been salient points of salvation history according to the Catholic tradition" (27). In order to do so, he has divided his study into three parts of different length: the first (29-90) deals with the close links between Emma and the Virgin Mary, the second (91-145) continues to "trace how Flaubert uses significant aspects of the devotion to Notre-Dame" (28) and the last and shortest (147-184) examines images of the sacred and of evil; these three parts are followed by a selected bibliography (185-193). And indeed, throughout this study can be found numerous signs, sometimes hidden, sometimes more obvious, along with interesting comments on scenes, episodes or details, such as Emma's education at the convent (44-45) where religious comparisons associate her with the Virgin Mary, or the scene where she goes to see Bournisien for religious help (55-60). Also illuminating are the explanations on naming Berthe (68) [End Page 359] who was almost named Madeleine, on the agricultural fair (73-76), where Lheureux is called a "rempant," "the cajoling serpent of Eden" (74; we find Lheureux several times in the study because of his role as a tempter, see also 114-115) and where Rodolphe, in order to seduce Emma, "has recourse to messianic discourse from the New Testament" (76; see also, later, in the woods for the baisade, the language he uses when he talks to her: she is a "madone sur un piédestal" and appears "immaculée," 84). The name that Homais gives to his pharmacy, "capharnaüm," is the name of the place of Jesus' first miracles (96); in the scene of the apricots which is interpreted here as a temptation, Charles plays the role of Eve (106-107); the figure of the snake is an important one in the novel (116); three motifs are related to the Immaculate Conception and reappear in the narrative (120-127): the blue shawl, the moon and the diabolical snake, and after Emma's death (133-139) the snake reappears in the form of a musical instrument ("le serpent souffl ait à pleine poitrine") "as a metaphor for the evil spirit" (138). The comments on the clubfoot's operation and on the blind beggar are also inspiring (155-163), as well as those on Homais's final figure when winning the Legion of Honor: "Homais is not playing the role of Satan but rather that of Jesus: he has both cross and an infernal band" (168). Nevertheless, at other times the demonstration is no longer convincing, which is often the case with this type of interpretative reading that subjectively...

Hymenoptera of Nide province: Studies on Sphecidae fauna

The present study is based on 1240 specimens obtained from the field studies in the vicinity of Ankara province in Turkey between the years of 2006 - 2008. In fauna studies carried out in Ni
de province between May 2006 - October 2008, the specimens of Sphecinae Latreille, 1802, Pempheredoninae Dahlbom, 1835, Astatianae Lepeletier, 1845, Crabroninae Latreille, 1802, Bembicinae Latreille, 1802, Philanthinae Latreille, 1802 sub-families belonging to Sphecidae family were collected. 52 of the collected specimens are new records for Ni
de province. Astata pontica Pulawski, 1958 species is a new record for Turkey.

The potential of Rhizobium strains for biological control of Orobanche crenata

Orobanche crenata Forsk is a chlorophyll lacking holoparasite that subsists on the roots of plants and causes significant damage to the culture of leguminous plants and, in particular, to peas (Pisum sativum L.). Here, we investigated the potential of Rhizobium strains for biological control of Orobanche crenata using a commercial pea cultivar (Douce de province) and different Rhizobium strains. Firstly, benefit of bacterial inoculation on plant growth and efficiency in N-incorporation were demonstrated with four isolates, P.SOM, P.1001, P.Mat.95 and P.1236. After five Rhizobium strains (three efficient: P.SOM, P.1236, P.Mat.95 and two not efficient: P.OM1.92, P.MleTem.92) were investigated for their ability to control Orobanche crenata using pot and Petri dish experiments. Inoculation of peas with two (P.SOM and P.1236) of the five strains induced a significant decrease in O. crenata seed germination and in the number of tubercles on pea roots. Furthermore, other symptoms, including the non-penetration of the germinated seeds into pea roots followed by radicle browning and death of the parasites, were observed in the presence of these inoculated pea plants. The hypothesis that roots secrete toxic compounds related to Rhizobium inoculation is discussed.

Menarcheal age in medio-altitude sample. Comparison with another populations of same province. Cuenca (Spain)

Environmental contributions to variation on menarcheal age were studied in 2018 Spanish girls and women from de Province of Cuenca. (Spain). This province has a big variation in altitude and is one of the most representative as middle-altitude population in Spain. Maturation's delay in high populations is well referenced but there are less studies in European middle-altitude populations. To give news about this topic is the main objective of this paper. Retrospective Method was employed in adult sample and Status-Quo in young population (9 to 15 years old) Another social, nutritional, somatic and educational levels was recording to give a variation contest. Our study shows a significantly variation between the provincial areas. In effect, the population of “Sierra”, the mountain region has the last maturation in the adults (13.45±0.73) as well as in girls (13.26±1.07). Secular change was observed in relation with this parameter., but less intense that in total, of province. We can confirm the utility of the age of menarche as evaluator of human variation in time and ecological situations.

Le Roi dans la ville: anthologie des entrées royales dans les villes françaises de province (1615–1660) ed. by Marie-France Wagner, Daniel Vaillancourt (review)

488 Reviews implications of 'libertinage'. It also takes into consideration the scientific approach to the body, in Descartes in particular, which puts it in opposition to the mind and reduces it to a 'machine' which must be controlled, a dichotomy which will form the basis of the 'passion vs. reason' discourse. Jeanneret points out, on several occasions, the inherent misogyny of the texts he presents, and it is perhaps to counteract this that the chapter entitled 'Le sexe intelligent' deals primarily with women, either real (Lenclos) or as heroines of erotic literature, and credits them with bringing body and spirit back together, arguing that for these 'libertines' following their desires meant sharpening the intellect and challenging the gender hierarchy of patriarchal society. Jeanneret's book is interesting and covers much ground, but the author is perhaps too quick to argue that it concerns a society 'aussi differente que possible de la latitude actuelle'. Although he mentions, in his introduction, the links between sexual freedom and politics in the context of May '68, it would have been interesting to examine any possible parallels between then and now, such as the way in which the developments of the Internet may be seen to mirror those of printing in terms of extended public access and the censorship issues this raises. Similarly, it seems misguided to dismiss the current worldwide religious climate on the grounds that 'Nous baignons aujourd'hui dans une culture molle et permissive.' The impact of religious conservatism on US legislation and the factthat some reading materials are still likely to be confiscated by customs, to name but two examples, suggest that the issues raised by Jeanneret's book are still relevant to contemporary society. University of Edinburgh Veronique Desnain Le Roi dans la ville: anthologie des entrees royales dans les villes francaises de province (1615-1660). Ed. by Marie-France Wagner and Daniel Vaillancourt. Paris: Champion. 2001. 334 pp. ISBN 2-7453-0424-0. This anthology nicely complements Marie-France Wagner's earlier collection of es? says on urban festival in early modern Europe, Les Arts du spectacle dans la ville (1404-1721) (Paris: Champion, 2001) (reviewed in MLR, 99, pp. 190-91). As the editors make clear in the introduction, only provincial entries have been selected here on the grounds that they are less well known than the entries into Paris, and they also raised differentkinds of issues. While sharing general formal characteristics with their Parisian counterparts, they testified to the towns' desire to maintain their privileges and liberties in the face of the French King's intention to map out his territories in order to strengthen his authority. This helps to explain why the entries disappeared after the reign of Louis XIII and the reinforcement of monarchical power under his successor. Royal progress was no longer seen as a means to govern the country, but addressed differentobjectives, more limited in scope and often related to foreign and military developments. Somewhat more questionable is the decision, partly due to publishing constraints, to reproduce extracts rather than the unabridged text (with the exception of Louis X111's entry into Troyes in 1629, which is seen as exemplary ofthe genre in both structural and aesthetic terms). However this distillation of the texts permits a thematic pre? sentation of the material that goes some way towards facilitating their understanding, since they are often rather dense. The selection is organized around three topics: the firstincludes excerpts that belong exclusively to the written commemoration, such as forewords, dedications, and laudatory verse; the second focuses on the participation of the city in the event, detailing the preparations, their cost, the part played by the various city officials,describing the order of the procession, or stressing the peaceful presence of the populace; the third reviews the ephemeral structures devised forthe occasion, be they triumphal arches, columns, fountains, or equestrian statues. MLRy 99.2, 2004 489 The whole enterprise is characterized by the thoroughness of its scholarship. The texts are meticulously edited with close reproduction ofseventeenth-century spellings and punctuation. Unfamiliar words and obscure references are explained in footnotes, always well judged in their scope. A detailed account ofthe royal tours ofthe provinces between the years 1615...

Musées de province

Museum International (Edition Francaise)Volume 15, Issue 4 p. 243-246 Musées de province József Korek, József KorekSearch for more papers by this author József Korek, József KorekSearch for more papers by this author First published: January/December 1962 https://doi.org/10.1111/j.1755-5825.1962.tb01628.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume15, Issue4January/December 1962Pages 243-246 RelatedInformation

XXVII. Is Rene Boylesve a Disciple of Balzac?

That René Boylesve is descended in a direct line from Balzac has for years been a commonplace with critics. As long ago as 1906, Henri Gheon styled Boylesve a “fils direct de Balzac.” Jules Bertaut, after pointing out that Boylesve's characters, like himself, are very “sensibles,” and that the provincials among them, having been forced to suppress their individualities, experience violent emotional crises when, for one reason or another, they tear themselves loose, adds this comment: “Le grand Balzac le savait bien, lui qui a dressé ses plus belles figures de grand passionnés dans d'inertes chefs-lieux de canton!” Pierre Lasserre says of la Becquée that it has “de fortes ressemblances avec un chef-d'œuvre balzacien.” Similarly, Winifred Stephens, in her essay on Boylesve, sees in his work “the minuteness of a Balzac,” and Mme Mary Duclaux, compares Boylesve's Touraine novels to the Scènes de la vie de province of the Comédie humaine. Indeed, the work of Boylesve almost inevitably calls up the name of Balzac. It is the purpose of the present paper to determine whether this resemblance is anything more than a superficial one and, if it is not, to see wherein lies the originality of Boylesve.

Corneille and the Italian Doctrinaires

Writing thirty years after the event, Corneille asserts that he had never heard of the rules governing dramatic composition when he wrote his first play.' However, we find him citing Horace, and apparently from memory, in the preface of Clitandre published in 1632 (I, 261). Two years later in the preface of La Veuve he is evidently much concerned with the question of the unities and he promises: Quelque jour je m'expliquerai davantage sur ces mati&res (I, 378). In 1637, at the time when the Academy was at work upon its Sentiments sur le Cid, La Suivante was published. In its preface Corneille cites: le docte Scaliger. He declares: j'aime a suivre les regles, and he hopes once more: jour traiter ces matieres plus A fond (II, 119). The quarrel of the Cid directed forcibly his attention to the doctrinaires2 and marked a turningpoint in his career as a dramatist. His letter to M. de Zuylichem states the matter very clearly. Corneille is speaking of the first volume of the 1648 edition of his works which contained the plays composed before the Cid: Ce sont les p6ch6s de ma jeunesse et les coups d'essai d'une muse de province qui se laissoit conduire aux lumibres purement naturelles, et n'avoit pas encore fait reflexion qu'il y avoit un art de la tragedie (X, 449 f.). While this statement should not perhaps be taken too literally, it is evident that Corneille, himself, divided his work into two parts, of which one was composed before, the other after he had taken up the study of the art of tragic composition. Just how assiduously he studied this art which had been finally revealed to him must be largely a matter for conjecture, because his writings prior to the publication of the Trois discours' (1660) contain but few indications. In the preface to Heraclius (1647) he cites the