French Collections Research Articles

Minette's Worlds: Theater and Revolution in Saint-Domingue

Minette's Worlds:Theater and Revolution in Saint-Domingue Laurent Dubois (bio) What is the relationship between theater and revolution? The history of Saint-Domingue, and of the Haitian Revolution, offer a particularly riveting space through which to explore this question. This essay offers a tentative answer, or at least a few paths for exploration, through three figures: Alzire, Zaïre, and Minette. The first exists just as a character in a play. The second as both a character in a play and a woman who lived in Saint-Domingue. And the third was an actress whose increasingly well-known story stretched into the early nineteenth century. Each of their stories is intertwined with those of the Haitian Revolution. Collectively, they allow us to think through the relationship between gender and sexuality and the political and cultural transformations of the era. This essay is very much part of a constellation of work that has been deeply shaped by collaboration with two co-authors: Bernard Camier, the leading scholar of music and theater in Saint-Domingue, and Kaiama L. Glover, an eminent scholar of Haitian literature and translator of Marie Vieux-Chauvet's Dance on the Volcano, a twentieth-century novel about Minette. My findings are shot through with my ongoing conversations with both of them and refer to longer co-authored essays that explore some of the themes taken up here.1 [End Page 101] This essay is also meant as an invitation for scholars to engage more deeply with the foundational work on theater in Saint-Domingue written by Haitian historian Jean Fouchard in the 1950s. Fouchard's most famous work, and the only one translated into English, presents an argument about the centrality of marronage in the creation of the Haitian Revolution. But most of the work published during his lifetime actually focused, interestingly, on the cultural history of colonial Saint-Domingue, particularly music, dance, and theater. Working in both Haitian and French collections, Fouchard was able to gather together a tremendous archive of material on theater during the period, producing a study of the topic and a repertoire of plays and actors. The latter helped lay the foundation for a current and more complete digital project by Julia Prest, itself part of a larger current flourishing of work on theater in Saint-Domingue.2 I came to study theater in Saint-Domingue as part of a project of trying to understand, interpret, and narrate the history of political thought and action on the part of people of African descent, particularly the enslaved, during the Enlightenment and Age of Revolution. As I sought to absorb prodigious and wide-ranging work on theater in eighteenth-century and revolutionary France, I came to understand the particular importance and richness of studying theater in the context of the plantation society of Saint-Domingue. In a place where a particularly small minority of the population had access to the reading and writing of texts, I came to believe, theater took on a notable role. The wide circulation of theater in the French Atlantic made it probably the most important vector of Enlightenment ideas about virtue, justice, freedom, and other themes that were at once literary and political. The adaptability of theater, and particularly the fact that it always had to be performed by particular individuals, in particular spaces, with audiences that crystallized a broader community formation, meant that it could take on specific roles within a racialized plantation society. And the fact that theater opens itself up onto so many different interpretations and can be quoted and referred to, as well as re-performed informally, meant that phrases and plots could move into other realms of daily life, enabling a link between various sites of performance and self-presentation on and off stage. Several recent scholars, particularly Camier, Lauren Clay, and David M. Powers, have documented the richness of theatrical life in the French Caribbean.3 By the end of the eighteenth century, theatrical venues existed throughout Saint-Domingue, not just in the major port towns of Le Cap and Port-au-Prince but also in smaller ports such as Les Cayes, Léogane, and St. Marc. The well-known chronicler of...

Henri Pourrat and “Le Trésor des Contes.” ed. by Royall Tyler

Reviewed by: Henri Pourrat and “Le Trésor des Contes.” ed. by Royall Tyler Anne E. Duggan (bio) Henri Pourrat and “Le Trésor des Contes.” Edited and translated by Royall Tyler, Blue-Tong Books, 2020, 387 pp. Although his tale collections appeal to a broad readership in France, Henri Pourrat has been a somewhat marginal figure within fairy-tale and folktale studies. In this critical edition of a selection of Pourrat’s tales, Royall Tyler seeks to resituate and validate the work of Pourrat within the field. Tyler translated an earlier collection of Pourrat’s tales into English, French Folktales (1989), organized in sections titled “Fairy Enchantments,” “The Devil,” “Bandits,” “Around the Village,” “The Mad and The Wise,” “Bestiary,” and “Love and Marriage,” following editions of Pourrat’s work in France and Pourrat’s own apparent wishes. Some thirty years later, Tyler returns to Pourrat, producing an interesting anthology that provides biographical, historical, and methodological contexts to better understand Pourrat’s work, as well as tales not included in the 1989 collection. Part 1 includes a biography of Pourrat and the social and historical contexts in which Pourrat produced his collections of tales. Part 2 brings together Pourrat’s field sources with the published form Pourrat gave them, which allows the reader to understand his method of adaptation. Part 3 follows a similar scheme as French Folktales with sections titled “Loves,” “The Devil and His Devilry,” “The Mad and the Wise,” “Animals,” “Fairies,” “Robbers,” and “Around the Village.” Together they give Anglophone [End Page 380] readers a sense of the ideological motivations, the sociohistorical context, and the methodology of Pourrat’s important collections of French, and specifically Auvergnat, folktales. Pourrat concentrated his attention in the Auvergne region of France. A bourgeois from the town of Ambert, Pourrat first began collecting tales in 1908 and continued through the 1950s, his most productive years being the 1910s and 1920s. Tyler situates the Trésor within the context of Pourrat’s other important publications, the most notable being Gaspard des Montagnes (1921–31), which Pourrat characterized as “a sort of epic novel of Auvergne a hundred years ago” (19). Like nineteenth-century folklorists, Pourrat sought to preserve the memory of the rural folk at a time when “[r]ural society was under threat” (23), and he clung to French Catholic and preindustrial values, which led him, initially, to embrace Pétainism during World War II, with its values of “travail, famille, patrie” (“work, family, country”). Tyler then goes on to place the Trésor within, on the one hand, the history of the European tale in the tradition of Noël du Fail, Giovanni Francesco Straparola, Giambattista Basile, Marie-Catherine d’Aulnoy, Charles Perrault, and Marie-Jeanne Lhéritier; and, on the other, the tradition of French regionalist folklorists such as François-Marie Luzel (Brittany), Jean-François Bladé (Gascony), Emmanuel Cosquin (Lorraine), and Paul Sébillot (Brittany). Interestingly, Tyler maintains that Pourrat “explicitly recognized the possibility, even the likelihood, of written-to-oral transmission,” which is evidenced in the second section of the anthology (38). In Part 2 of Henri Pourrat and “Le Trésor des Contes,” Tyler juxtaposes Pourrat’s source texts from the field with the versions he eventually published in the Trésor. Already touching on some of Pourrat’s adaptation techniques in the introduction, including the economical use of patois and the use of literary language from canonical writers like François Rabelais to both send the reader back in time yet make the texts accessible, Tyler gives specific examples of Pourrat’s transformation of oral tales into Trésor tales. The first tale discussed, “Finon-Finette,” was collected from Marie Claustre, a domestic servant and lacemaker. The two-page field version clearly is a folklorized version of Lhéritier’s “Finette, ou l’adroite princesse” (“Finette, or the Clever Princess”); Pourrat develops these two pages into a ten-page tale incorporating an important detail taken directly from Lhériter’s literary tale: Claustre does not specify where the father goes when he leaves his daughters on their own; Pourrat pulls the detail of the father going to the Holy Land from Lhéritier’s “Finette...

Испытание различных методов идентификации возбудителя бактериальной пятнистости листьев цветной капусты Рseudomonas siringae pv. maculicola (mcculloch) Young et al.

Pseudomonas syringae pv. maculicola (McCulloch) Young et al. is a pathogen of cauliflower bacterial spot that affects many plants of the Cruciferae family. The need for quality diagnostics of this species arose due to the mandatory phytosanitary inspection of places of production of plant products intended for export. Our research aims at determining a set of methods for the diagnosis of the pathogen of cauliflower bacterial leaf spot and evaluating these methods’ applicability in laboratory practice. The object of the research is P. syringae pv. maculicola – the causative agent of cauliflower bacterial leaf spot.The article presents the test results of two methods for the identification of Pseudomonas syringae pv. maculicola (McCulloch) Young et al. carried out in 2020 at the All-Russian Plant Quarantine Center (VNIIKR). The first method is based on the determination of biochemical properties using the API 20E test kit produced by bioMérieux’s (France); the second one – is a conventional PCR. The type bacterial strain CFBP 1657 obtained by specialists of the All-Russian Plant Quarantine Center (VNIIKR) from French collection of plant-associated bacteria (Cirm-CFBP) was used in the studies. A comparison of the biochemical properties of 23 bacteria of the genus Pseudomonas showed that there are only two characteristics within this test that distinguish P. s. pv. maculicola from other species pathovars: acetoin products and gelatin hydrolysis. Two pairs of primers with different targets in the P. syringae genome were also tested. PCR with PsyF/PsyR primers demonstrated the highest similarity of the obtained fragments with the NCBI database (97.2 %). The analytical sensitivity of PCR with PsyF/PsyR primers in plant and seed extracts was 105 CFU/ml. Determination of analytical specificity with 33 bacterial strains of the genus Pseudomonas revealed cross-reactions with strains of the following species: P. congelans, P. savastanoi pv. phaseolicola, P. savastanoi pv. glycinea, P. syringae pv. coronafaciens, P. syringae pv. syringae. Thus, to differentiate the species by means of PCR with PsyF/PsyR primers, the nucleotide sequence of the obtained amplification products should be additionally determined by Sanger sequencing.

The Norms of Roman Law and the Concept of Jurisdiction in the French Coutumiers of the 13th Century

The article is devoted to the analysis of the earliest North French collections of customary law of the 13th century: the “Coutume de Touraine-Anjou”, the “Usage d’Orlenois”, the “Conseil à un ami” of Pierre de Fontaines and the “Livre de jostice et de plet”. These codes practically did not attract the attention of modern researchers, but they differ in one curious feature: they have an impressive number of borrowings from the Roman law, or rather from the legislation of Justinian (483—565). The main task of the article was an attempt to understand what purpose these inserts served, how the authors and the compilers of the coutumiers worked with this material and, finally, what relation the Roman legal norms had to the territory to which the customary law of a particular area of the French Kingdom applied. According to the author of the article, the references to Roman law appeared in the texts of the Northern French coutumiers precisely because these latter were compiled during the grandiose judicial transformations of Louis IX the Saint and served primarily to settle the relations of the crown with local lords in the sphere of jurisdiction. The norms of the Roman law not only filled in the gaps in the knowledge of the lawyers of the 13th century regarding local legal customs, they also turned out to be extremely useful in order to build a clear “vertical of power” in the French Kingdom, which was entering the era of genuine centralization.

Digital cultural colonialism: measuring bias in aggregated digitized content held in Google Arts and Culture

AbstractIn February 2011, Google launched its Google Art Project, now known as Google Arts and Culture (GA&C), that currently hosts approximately six million high-resolution images of artworks from around the world, with an objective to make culture more accessible. We demonstrate that GA&C has experienced dramatic growth in recent years and includes artworks for almost every country from the UN member list. However, we document a noticeable lack of balance in the aggregator, with some countries and institutions being prioritized, and a major proportion of the holdings featuring content that resides in the USA. Moreover, after examining Russian and French collections, we see the dominance of artworks from their capital cities in GA&C, while art from provinces is clearly underrepresented. Finally, we find a dominance of art from the 20th century with some emphasis on artworks demonstrating a break in canon or ‘otherness’ of non-Western countries. The discrepancies that we observe give evidence to support previously posited ideas of digital cultural colonialism. This may be due to a lack of data transparency or availability of previously digitized content in the countries with a lower representation in the portal, or an unintentional digital amplification of conventional traditions of art collection and interpretation that dominate museum displays in larger Western cities. We call for explicit statement by platforms on their collection and selection criteria and the need for researchers to understand the biases emerging from aggregated digitized content.

Yasnov, M. (2019). The nursery of French poetry. Translations. Portraits. Encounters. Moscow: Tsentr knigi Rudomino. (In Russ.)

M. Yasnov’s book attempts to bridge the cultural gap between France and Russia. Showcasing Yasnov’s talents as a poet, writer of children’s books, translator, and commentator of French poetry collections and anthologies, the book continues the cycle of his works dedicated to French poetry and its Russian translations and interpretations. The bilingual edition of 16th–20th-cc. French poetry published in 2016 started the series and included the works of La Pléiade and La Fontaine, Baroque and Rococo poets, as well as poètes maudits and the poems of La Belle Époque. In addition to the collected poems, the book contains essays on the poets and Yasnov’s comments about the challenges of translation. In the new publication, Yasnov the translator lends a voice to French poems for children, many of which appear in press for the first time. Finally children’s literature originating in France will reveal its diversity to Russian readers.

French collections: a precious miscellany

French collections: a precious miscellany

First Report of Xanthomonas phaseoli pv. manihotis, the Causal Agent of Cassava Bacterial Blight, in Mali

Cassava bacterial blight (CBB), which is a vascular disease caused by Xanthomonas phaseoli pv. manihotis (Xpm), previously known as Xanthomonas axonopodis pv. manihotis, poses a major threat to cassava (Manihot esculenta) production worldwide. Typical symptoms include angular leaf lesions, blight, wilting, stem exudates, and stem cankers. Stem cuttings are used to propagate cassava and play a crucial role in Xpm dissemination. In line with a growing interest of smallholder farmers for cassava in West Africa, recent surveys revealed the occurrence of CBB in Burkina Faso (Wonni et al. 2015) and Ivory Coast (Kone et al. 2015). In Mali, which shares borders with these two countries, CBB was reported in the early 1980s, but the available information is quite limited: there is no description of symptoms nor of the causal agent, and no strain of the pathogen has been isolated (CABI 2018). To fill this gap, cassava fields were surveyed in the regions of Segou (site of Bla) and Bamako (sites of Sotuba and Samanko) from December 2015 to January 2016. Approximately 80 leaves exhibiting typical angular translucent spots were collected at the three sites and processed for bacterial isolation. White Xanthomonas-like colonies were isolated from ground diseased leaf tissues 48 h after incubation at 28°C on LPGA medium (yeast, 5 g; peptone, 5 g; glucose, 5 g; Bacto agar, 15 g; distilled water, 1 liter). Fifty candidate Xpm strains were then tested using a diagnostic multiplex PCR (Bernal-Galeano et al. 2018) using the Xpm reference type strain CFBP 7661 as a positive control. The two bands expected for Xpm were obtained for 40 candidate strains, as well as for CFBP 7661. Xpm strains CIX2484, CIX2492, CIX2502, CIX2504, CIX2497, and CIX2498 were further analyzed by sequencing of the housekeeping gene gyrB, resulting into 98 to 100% identity with the gyrB sequence of 66 Xpm strains available at NCBI, including the type strain CFBP 7661. Pathogenicity tests were performed on 4-week-old cassava plants of the MCOL1522 cultivar. CIX2484, CIX2492, CIX2502, CIX2504, CIX2497, and CIX2498 strains were grown overnight in LPGA medium and resuspended in sterile water at 1 × 10⁸ CFU/ml. Bacterial suspensions were inoculated into cassava leaves and stems as previously described (Wonni et al. 2015), whereas sterile water and Xpm strain CFBP 7661 were used as negative and positive controls, respectively. After 7 days of incubation under greenhouse conditions (28°C, 70% relative humidity, and a photoperiod of 12 h), cassava leaves developed typical CBB water-soaked lesions. Wilted leaves and stem exudates were also visible 30 days after stem inoculation, with symptoms being reminiscent of those typically seen in the field. By contrast, plants inoculated with water remained symptomless. White colonies with a typical Xanthomonas-like morphology were next reisolated from diseased leaves and confirmed as Xpm using the diagnostic PCR assay, thus fulfilling Koch’s postulates. Strains CIX2484, CIX2492, and CIX2504 were deposited in the French Collection for Plant-Associated Bacteria (CIRM-CFBP). Information on Xpm strains as well as gyrB sequences is available through CIRM-CFBP: https://www6.inra.fr/cirm_eng/CFBP-Plant-Associated-Bacteria. To our knowledge, this is the first report of CBB in Mali supported by molecular diagnostic methods. Given the growing importance of cassava for human consumption, CBB could represent a major threat in Mali, as well as in neighboring countries. Further surveys at the national level will help to evaluate the prevalence of CBB in Mali and help orientate adapted control strategies.

France in Flux: Space, Territory, and Contemporary Culture éds. par Blatt Ari J. et Welch Edward

Reviewed by: France in Flux: Space, Territory, and Contemporary Culture éds. par Blatt Ari J. et Welch Edward Catherine Gaughan Blatt, Ari J., and Edward Welch, eds. France in Flux: Space, Territory, and Contemporary Culture. Liverpool UP, 2019. ISBN 978-1-78694-178-7. Pp. 221. This is an exciting look into the "shape" of metropolitan France's national identity. The eight wide-ranging articles bring new and original ideas to the table as they contend with such diverse topics as topography, politics, and ecology through French literary and visual culture since the 1980s. Taking a deeper look into a variety of marginal, peripheral, and hybrid spaces and exploring landscapes and people, the book invites a renewed critical engagement with metropolitan France. From the mounting tensions of the Parisian suburbs, or the banlieues, to questions of decentralization and modernization, a variety of issues emerge including debates on postcolonial, postindustrial, and transnational identity. The first article looks back at spatial planning and the paysages photographiques of DATAR while another showcases Raymond Depardon's 2008 documentary La vie moderne exploring connections to history and geography that move well beyond the screen. Equally pertinent questions involving economic and cultural exchange between urban and rural zones are taken into account. There is also a compelling discussion of power dynamics and the formatting of female bodies within their environments in Fiona Handyside's study of two contemporary films, 17 Filles and Bande de filles. Although each work stands alone in its exploration of France's social and cultural landscape, the collection as a whole places France at a critical artistic and historical crossroads that will determine the ways in which the country may choose to construct its identity inside and beyond its borders. Overall, the notion of the global and the local as it applies to the changing face of France from its abandoned buildings and industrial sites to refugee camps contrasts starkly with typical touristic representations and remains at the core of the collection. The many photographs and illustrations throughout the book convey these topographical changes, particularly in "Picturing a Nation of Local Places," and contribute to a sense of the territory in both real and concrete forms. The well-researched and original essays span the gamut of changing identity and reflect upon current issues of modernization, globalization, and migration of the Francophone world. The book provides a wealth of research to pursue further study in the field and, more significantly, suggests ways to navigate the ever-changing shape of the French nation as well as new topographical and ecological directions France may take as the century unfolds. The editors have compiled a volume certainly worth having in any contemporary French and Francophone cultural studies collection, as the articles will serve as reference points to assertions of national identity now and in the future. [End Page 243] Catherine Gaughan University of Toronto (ON) Copyright © 2020 American Association of Teachers of French

Bookplates and Inscriptions with F. Vovk’s Name

This research identifies the scientific novelty of the study of Fedir Vovk’s book collection and libraries of institutions named after him (the object), bookplates and inscriptions with the scientist’s name on editions in Ukrainian libraries and selected museum libraries (the subject). The objective of the research is to collect information about bookplates and inscriptions on books (old printed books, antique books, books of the late 19th – early 20th century) with the scholar’s name to observe the respect of the scientific and museum communities to his contribution to the formation of the modern Ukrainian nation and Ukrainian studies. The historiography and sources of the research (121 rare books of the 19th – early 20th century), studied on “de visu” principle, are systematized and commented on. Attention is paid to Oleksandr Alesho’s book collection, which was presented to the library of the Cabinet of Anthropology and Ethnology named after Fedir Vovk. Some specification of his bookplate and the inscription associated with his name has begun. The French (sub)collection of Vovk’s library is in our focus too, namely some sources of its creation, partial description of its content, and institutions that keep it nowadays. The author publishes book statistics, defines theoretical and empirical research methods as well as challenges of the research: difficulties with investigation of the library and book collections in the funds of the National Museum of Ukrainian History (hereafter – NMUH) and the lack of the card-file catalog in the library of NMUH. The main part of the article is structured in the form of two annexes with commentaries, which include results of historiographical and source studies. Typology of every bookplate is presented, and the list of bookplates and inscriptions with the name of Fedir Vovk is set (23 units). Prospects of the research as a public and historical project are determined.

New Scholarship

New Scholarship

Chronological assessment of della Robbia sculptures by using PIXE, neutrons and luminescence techniques

Portuguese museums and private collectors gather a variety of Italian glazed terracotta sculptures attributed to the della Robbia workshop, particularly active between the 15th and 16th centuries. Compositional studies of the paste using INAA, PGAA and XRD and enamel using PIXE, and luminescence protocols, were used as a tool to ascertain the attribution of the sculptures to della Robbia workshop. Geochemical and mineralogical patterns were defined enabling to express the production recipe. The luminescence ages were found to be between 1380 and 1640 in some cases with high uncertainties. The compositions of the blue glazes were proved to be similar to other measured on della Robbia sculptures from French and Italian collections based on cobalt pigments. Arsenic behaviour, which is associated to cobalt in most cobalt-minerals, is rather peculiar, as it was already found in other della Robbia sculptures enabling a chronological framework, pointing to a production after 1520. Based on the results, most of the analysed sculptures implies a della Robbia production, and only a few point to a composition and chronology not related with that workshop.

La colección de tapices y alfombras del marqués de Linares

El palacio de Linares de Madrid, hoy sede de la Casa de América, fue a finales del siglo XIX la espléndida residencia de D. José de Murga y Reolid, marqués de Linares, vizconde de Llanteno y senador del reino. Este influyente aristócrata reunió en su palacio madrileño una rica colección de tapices de origen francés que testimonia, por una parte, el declive de esta industria artística en España y, por otra, la pervivencia de un estilo decorativo que se resistía a morir a pesar de los síntomas renovadores que empezaban a manifestarse en la misma Francia.

Cover

Next article FreeCoverFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreCover: Faith Ringgold, Echoes of Harlem, 1980, acrylic on canvas 96 × 84 inches.I became an artist in the tumultuous 1960s. By the early 1970s I had developed both vision and voice as a black woman artist in America.I went to West Africa in the 1970s and returned home inspired to write my memoir. We Flew over the Bridge: The Memoirs of Faith Ringgold was published in 1995. It took me fifteen years to get it published. During that time I wrote and painted story quilts and began to create masked performances to tell my story. I had been working in collaboration with my mother, Mme Willi Posey, a dressmaker and fashion designer. We made our first quilt in 1980.News of the great jazz saxophonist Sonny Rollins, a childhood friend, blowing his horn on the Manhattan Bridge so that he would not disturb his neighbors, inspired the painted story quilt, Tar Beach. That story of Cassie Louise Lightfoot flying over the George Washington Bridge became my first children’s book. I have published fourteen children’s books to date. 1990 found me in France painting the French Collection and writing the story of Willia Marie Simone, a self-styled African American woman artist who went to Paris to be an artist in the 1920s during the Harlem Renaissance. The American Collection came next, and the story quilts and children’s books continued to document my artistic production.In 1992 my husband, Birdie, and I moved from Harlem to Jones Road in Englewood, New Jersey, to build a studio. However, our white neighbors (unsuccessfully) sought to deny us the freedom to live there. Freedom, you know, is not free—it took me six years to realize my dream of a beautiful studio surrounded by a beautiful garden. Inspiring images of my ancestors on the Underground Railroad now appeared in my new landscape paintings of Coming to Jones Road under a Blood Red Sky. Icons of black men and women making the music the whole world loves, the music we brought to America along with the pain of slavery, was now a new inspiration. “Mama Can Sing” and “Papa Can Blow” are the ever-reassuring realities of black life I depend on during difficult times.Recent work includes Our Ancestors: stories about the world’s children who, faced with life in a world at war, have forgotten how to play. We call upon our ancestors who would surely bring love and happiness into their lives. Where would we have been without them?In 2007 I completed a series of eight serigraphs on Martin Luther King’s “Letter from Birmingham City Jail,” in which he masterfully details our struggle for freedom for which he paid with his life. The 1960s, the majestic words of freedom, and peaceful solutions to the struggle in America are all quite unimaginable without the presence of Martin Luther King Jr. A tribute I feel honored to create.© 1980 by Faith Ringgold. Permission to reprint may be obtained only from the artist. Next article DetailsFiguresReferencesCited by Signs Volume 45, Number 1Autumn 2019 Article DOIhttps://doi.org/10.1086/703503 Views: 111 © 2019 by The University of Chicago. All rights reserved. Crossref reports no articles citing this article.

The CLiGS Textbox: Building and Using Collections of Literary Texts in Romance Languages Encoded in TEI XML

The CLiGS textbox is published by the Computational Literary Genre Stylistics (CLiGS) group. The textbox is the group’s publication channel for several collections of literary texts. We describe the rationale for the manner in which the collections of literary texts included in the textbox have been compiled, annotated, and published. Furthermore, we suggest several ways in which the text collections can be used for research in literary studies. We aim to document some of the work of the CLiGS group, to showcase the unique TEI XML-based collections of French, Spanish, Spanish-American, and Portuguese novels and French drama we make available, and to encourage reuse of these text collections by others. We argue that agreement on common formats and procedures for text preparation, encoding, and publication fosters the accessibility, analysis, and reuse potential of literary text collections.

Genome-wide association study of a diverse grapevine panel: example of berry weight

Breeding new cultivars is an important lever to cope with the various challenges facing viticulture. As a prerequisite, it is necessary to assess how much genetic variation is available for the traits of interest, and to understand their genetic architecture. To go beyond quantitative trait locus (QTL) mapping in biparental crosses, we exploited the panel of 279 cultivars capturing most of the genetic and phenotypic diversity of Vitis vinifera L. present within the French collection of genetic resources (INRA Vassal). This panel was planted in the vineyard in five randomized complete blocks and numerous traits (berry weight, cluster weight, length and compactness, organic acids, δ13C, polyphenols, etc.) were phenotyped over several years. In parallel, the panel was genotyped with the GrapeReSeq microarray as well as with restriction-assisted DNA sequencing. This allowed us to conduct a genome-wide association study per trait, either by testing each single-nucleotide polymorphism (SNP) separately or by modeling all SNPs jointly. Focusing here on berry weight, we showed that genotyping by sequencing provided enough SNPs to explain most of the genetic variance, and that, compared with SNP-by-SNP approaches, a multi-SNP statistical model led to a gain in power. Several significant associations were detected, some being new compared with the QTLs detected in biparental crosses. Future prospects include setting up an international consortium to plant the panel on various sites to help to decipher genotype-environment interactions.

Spectroscopic characterization of selected French paper negatives (1843-1856): how to see through many processes?

Photographic negative images on paper are certainly the earliest types of photographs ever produced, giving access to multiple photographic prints using a unique matrix. As early as 1841 in France, many variants of the paper negatives processes have been developed by skilled chemists and photographers covering a wide spectrum of practical and aesthetic concerns. Nowadays, due to their inherent historical and esthetical values, those negatives are getting an increasing interest from the art and museum community. However, their materiality has been poorly studied despite a large variety of processes involving many different chemicals and organic coatings; limiting our possibilities of identification, attribution or even preservation. The aim of this work was to develop a methodology to better assess the way those images were produced based on physical and chemical characteristics. A non-invasive approach combining optical, vibrational and X-ray spectroscopies was implemented on a collection of 138 historical images between 1841 and 1856 from French collections. A survey was carried out on these negatives to provide a series of relevant physical data (dimensions, thickness, weight, etc). Non-invasive reflectance FTIR showed great potentiality in revealing the presence of organic sizing (gelatin) or impregnation (wax). Multivariate analysis was applied on XRF data to help clustering negatives that have similar elemental composition and highlight relationships between makers. Finally, the morphological, physical and chemical results were all combined to answer historical questioning on the paper negative process.

Framing the Unutterable: Reading Trauma in Alexis Wright's Short Fiction

Framing the Unutterable:Reading Trauma in Alexis Wright's Short Fiction Demelza Hall (bio) We in fact have a saying in our family—Don't tell anybody. So I learnt to imagine the things that were never explained to me—the haunting memories of the impossible and the frightening silence of family members. —Alexis Wright, "Politics of Writing" (10) Alexis Wright's literary works are regularly discussed in relation to the ways in which they bring Indigenous perspectives, experiences, and histories to the foreground. Following Carpentaria's Miles Franklin Award win in 2007, Wright claimed that—writing from her own Indigenous "viewpoint"—she tries "to bring out the way" many Indigenous Australians "think as people," to share what she terms "something of our humanity, something of our character, something of our soul" (O'Brien 217). An awareness of the dynamics underpinning Indigenous exposition and cross-cultural exchange are integral to understanding Wright's oeuvre. Yet while close readings of Wright's literary works need be attuned to the "things" that are being expressively shared (modes of storytelling), I propose that such analyses also need to be conscious of the halts, silences, and gaps in her narratives: the unarticulated spaces that may connote trauma. Drawing on Alison Ravenscroft's approach to reading trauma in "Indigenous-signed texts"—a reading technique that focuses on elements of the unknown, or "nodes of silence"—this essay examines some of the ways in which the unspeakable is conveyed in Wright's short fiction and how the manipulation of oral forms contributes to wider processes of cultural regeneration (Ravenscroft, Postcolonial 16). Wright has, to date, published four stand-alone short fictional works: "The Chinky Apple Tree," "When Devils Call," "After the Storm," and "Be Careful about Playing with the Path of Least Resistance." When discussing Wright's short fiction, however, this essay argues that one cannot overlook the significance of her literary extracts, the fictional fragments, or passages, that have inspired or been taken or adapted from her longer works. Sylvie Kandé, who, along with Marc de Gouvenain, was responsible for translating Wright's French collection of short fiction, Le pacte du serpent arc-en-ciel, claims that "excerpts of Wright's works, like those of any literary masterpiece, can be read as stand-alone stories, and lend themselves to anthologization and close reading" because "just like in Proust's, Faulkner's or Glissant's works, characters and events circulate widely in Wright's narratives" and "what readers know of each of them within the confines of a specific short story [End Page 92] is often challenged in another one . . . through a different type of lens" (Hall 4). For instance, Wright's most widely published short story, "The Serpent's Covenant," which introduces readers to her now well-known character Normal Phantom, is featured in three different Australian anthologies and was analyzed by Xavier Pons as a stand-alone short fictional work before it was revealed to be an extract from Wright's novel Carpentaria.1 Furthermore, this story/extract went on to frame the narratives in her volume of short stories, Le pacte du serpent arc-en-ciel. Since the success of Carpentaria, Wright's novels have been translated into numerous languages and taught in universities worldwide. Prior to becoming a revered figure in world literature, however, Wright found a receptive market for her work in France, with the independent book publisher Actes Sud. With a marked interest in foreign titles, Actes Sud published a translation of Wright's first novel, Plains of Promise (Les plaines de l'espoir), in 1999. During the following years, while Wright struggled to find a publisher for Carpentaria in Australia (Perlez), Actes Sud published two more of her texts: first a narrative about the traditions and spiritual beliefs of the Waanyi people of North West Australia, entitled Croire en l'incroyable (2000; see Castro-Koshy and Guerre's article in this issue), followed by Le pacte du serpent arc-en-ciel (2002). In regard to the details surrounding the publication of Le pacte du serpent arc-en-ciel, Wright herself states, Actes Sud were keen to develop a continuing interest in my work with French readers until Carpentaria...

Recreating Tone in Two Arabic Translations of Landay Poetry

Tone is the way the author expresses an attitude toward the subject. Tone often poses a challenge for translators. The present study is comparative as it explored two Arabic translations of the same Afghan Women's Poetry (Landay). The first translation was done by Jamil Salah in 2002 from the French collection Le suicide et le chant, and the second by Abdallah Abushmaes in 2018 from the English Songs of Love and War: Afghan Women's Poetry. The study aimed at identifying the strategies employed by the two translators to convey the tone expressed in Landay poems, and determining their effectiveness in transferring it into Arabic. The study shows that the two translators adopted different strategies at the word and structure levels which in some cases overlooked the significance of tone, while in other cases they seemed to recreate a similar tone..

Investigation of organic additives in Italian Renaissance devotion stucco reliefs from French collections

Abstract A series of Italian Renaissance stucco artworks from Museum of Fine Arts of Strasbourg and Louvre Museum in Paris were investigated with the aim of revealing and characterizing possible organic additives. As the stucco and its additives are little known but, according to the literature, could be complex and contain many different matters, the methodology was first tuned on the laboratory models prepared with gypsum or gypsum/lime plaster with various quantities of organic matter: animal glue or gum Arabic. The methodology consisted of observation of the surfaces of sampled fragments by optical and electronic microscopy, preliminary investigation of the presence of organic compounds by infrared spectroscopy, then extraction of the organic matters from the samples, preparation, and analysis by gas chromatography. The adopted sample preparation scheme allows screening the substances from various classes of organic products from one sample. The optimized analytical approach was applied to the samples from historical objects, showing the presence of proteins, oils, wax and sugars in reliefs. The interpretation of obtained results is not straightforward because of the low response of these substances in the samples, their possible mixture, or unknown origin. In some cases, the protein matter response varies with the deepness of sampling in the matter of stucco, which could be connected with its layered structure or particular surface treatment.