French Tradition Research Articles

The Hand that Touched Troy: Using Maniculae in Latin and French Manuscripts (Benoît de Sainte-Maure’s Roman de Troie, Guido delle Colonne’s Historia and their Respective Prose Versions)

Abstract In Auch, BM, 10, more than 120 maniculae, or manicules, touch the text of the Historia destructionis Troiae by Guido delle Colonne with their short or disproportionately long fingers. These maniculae are accompanied by brackets, notae, various remarks. They testify to an active reading of the work, which brushes against the writing as closely as possible, signalling and selecting passages, sometimes simply pointing out, sometimes recopying, summarizing, or commenting. This practice, which was by no means specific to the Trojan material, is far more apparent in manuscripts of the Latin work compared to those of its French source (Benoît de Sainte-Maure) and in the French prose versions that stem directly from it. By examining manuscripts of both the Latin and French traditions, and while also taking into account the methodological biases that this approach implies, this article interprets the presence of reading marks (maniculae, underlining, notes) in Trojan texts. I retrace various types of reading, which include character-focused, historical, moral or rhetorical modes of reading. I demonstrate that specific readerly profiles emerge, and more specifically, that such marks of reading turn out to be topical teaching tools or otherwise present a more subjective interaction with the textual matter. In short, I examine how these hands touching the words might inform our understanding of the reception of Troy during the Middle Ages and the early modern period.

Alexandre Koyré and the Collège de France

ABSTRACT This article discusses an important moment in the career of Alexandre Koyré, and the history of philosophy in France. It looks at the 1951 election of a successor to Étienne Gilson at the Collège de France, for which Koyré was one of the possible candidates, alongside Henri Gouhier and Martial Gueroult. Koyré came close, but Gueroult was elected to the chair. In time, Gueroult was succeeded first by Jean Hyppolite and then, in 1970, by Michel Foucault. Using archival documents to discuss the process in detail, this article shows the weakness of Koyré’s proposers, and the strength of Gouhier’s application. Finally, drawing on Koyré’s outline of his proposed teaching programme, it discusses how success might have shaped his future career, using this as an indication of his position within and beyond a French tradition in the philosophy and history of the sciences.

Enhancing English Writing Skills Among University of Rwanda Students Through Morning Pages: Case of Gikondo College of Business and Economics, Rwanda

In recent decades, English has become a global lingua franca and has been adopted as the language of education in a number of countries all over the world. Rwanda, a country in Eastern Africa, followed this trend and declared English as the medium of instruction from primary school onwards in 2008. Despite this language-in-education policy, most university graduates in Rwanda have for years displayed limited proficiency in English, specifically low writing skills, which may have been enhanced by the country's linguistic landscape with a long French tradition and the use of Kinyarwanda by the majority of Rwandan citizens. This lack of students’ communication skills in English, the target language, has for long been a real concern for the researchers who are lecturers of English at the University of Rwanda. Therefore, they decided to embark on the current study to investigate whether morning pages would contribute to improving their students' English writing skills. The research was carried out at the College of Business and Economics, Gikondo Campus. It involved third-year students enrolled in the academic year 2023-2024, and it made use of quantitative and qualitative research paradigms. Purposive sampling allowed the researchers to select a sample size of 87 students out of 869. The data were collected through observations, a questionnaire, interviews, and document analysis for the sake of triangulation. For data analysis, quantitative data were processed using the Statistical Package for the Social Sciences (SPSS), whereas qualitative data were grouped into typologies and analysed inductively. The findings revealed that the use of morning pages motivated the students and helped to develop their English writing skills. Hence, the researchers recommended that morning pages be given due consideration and, thus, be introduced in students’ lives at all levels of education in Rwanda.

Analysis of joint action between trainer and teachers in an in-service training system through the prism of a comparative approach in didactics

Our study focuses on the effective implementation of constellations, an institutional scheme for the in-service training of primary school teachers of mathematics and French, established in France since 2020. Based on a bottom-up training model, this scheme aims to encourage reflexive analysis of practices among peers, based on professional needs. In this article, we adopt a comparative approach in didactics in the French tradition to studying the processes of co-development of the work object, entitled ‘problematic’, by trainer and teachers during training situations in two constellations in different disciplinary and geographical contexts. The methodology combines different levels of analysis in order to document the work of trainers in association with management by leaders, and to ascertain their practical epistemology.

Biomechanical Characterization of Preparation for Airs above the Ground: A Mixed Approach.

Equitation in the French tradition is a school of riding that emphasizes harmonious relations between humans and horses. The best-known community is the Cadre Noir of Saumur, whose specialty is the air above the ground (AAG). No study has yet looked at the horse-rider interaction in this specific context. The purpose of this study was to identify and quantify indicators of AAGs based on the empirical perception of the écuyers expressed by a method of self-confrontation interviews. Fourteen training sessions were the subject of phenomenological and biomechanical approaches. Contact, balance, and hoof-beat, decisive for performance quality, were characterized for 49 AAGs, performed by five horses trained by two expert écuyers, with rein tension meters integrated in their double bridle (curb and snaffle reins) and six inertial measurement units fixed on the limbs, sternum, and croup. Their action was characterized by a peak of 65 ± 39 N on the inside curb rein. They considered that their horse was in balance (forehand inclined 13 ± 7° and -12 ± 9° for the hind hand). After the peak, during the 3.3 ± 2 s the horse's trunk was stable and the écuyers released the contact until the AAG was perceived as satisfactory by the écuyer. The mixed approach allowed a pattern of action to be envisaged for the écuyer based on contact, balance, and hoof-beat in the execution of AAGs. The quantification of rein tension, trunk movements, and acceleration of the four limbs objectified the expert écuyers' feeling of developing aptitudes for their actions in the human-horse interactions for improved transmission to young écuyers. The mixed approach used in this study has given rise to new training methods that are transferable to other equestrian activities.

D'Aulnoy's Histoire d'Hypolite : A Manifesto for the Subversive Power of Music

Abstract: It is well known that Marie-Catherine d'Aulnoy's historical novel, Histoire d'Hypolite, comte de Duglas contains the first literary fairy tale in the French tradition and that the dynamic between novel and fairy tale in this work provided French readers with a model of production and reception for the publication of future tales. However, in creating a manifesto for the fairy tale as a new literary genre, Histoire d'Hypolite also provided a model for the ways in which the incorporation of music in fairy tales could advance the socio-political agendas of authors interested in subverting Louis XIV's absolutism while simultaneously avoiding censorship. This essay examines how the model that the novel's main character Hypolite advances for incorporating music into fairy tales was reprised in the fairy tales and frame novels that d'Aulnoy composed over the course of the decade that followed the publication of Histoire d'Hypolite . Although musical interventions in literary texts are more commonly known for distilling the particularities of fictional and dramatic works into aphorism and for transforming the diegetic universe of the text into the universal appeal of a social or emotional lesson, in Hypolite's model, the musical interventions do not refer back to the diegesis of the tale. Rather, they comment directly on the teller's reality, serving as a means of communication with the tale's intended audience and encouraging cooperation from that audience in a collective endeavor to resist patriarchal oppression and the political systems that sustain it.

Management and Microeconomics: A Historical Comparison between the British and the French Traditions

This article seeks to analyse the circumstances and the nature of the emergence of management research in economic analysis in the 1950s in Britain and France. The goal is also to look at the more recent shifts in the boundaries between these two social sciences; and to understand their analytical and methodological significance by taking into account the different historical and cultural contexts within which they were embedded.

Christine and the Queens and the art of the cover version: interpretations, audience, place

More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful international British and American performers, albeit that he is French. Using interviews, reviews, and music videos, my research looks in detail at two examples of cover versions by Christine and the Queens, one in French and one in English, exploring why these songs were selected for these particular moments. First, I examine his performance of Mylène Farmer’s “California” on Taratata Live in September 2018. In choosing this song, Chris aligns himself not only with one of the most provocative and daring French singers, but also one deeply supportive of the LGBTQ+ community. The track, with its topics of escape and reinvention in Los Angeles, has resonance for Chris’s own experience, and the original video shares themes of transactional sex and power with Christine and the Queens’s own video for “5 Dollars.” Next, I consider his performance of George Michael’s “Freedom! ’90” at the Global Citizen in September 2021. Chris sets himself alongside a very high-profile, gay artist who battled to reclaim his musical and personal identity after an early career in a worldfamous, highly commercial pop duo. In doing so, he lays out his desire to break from the shackles of the success of his first album, Chaleur humaine , and to have the freedom to evolve, as an artist and in his place as a trans man.

História e Cultura Sonora: a historicização das escutas e dos sons

The article provides an overview of recent production focused on the historicization of sounds and listening, present in the texts that compose the dossier História e Cultura Sonora. In general, it is possible to indicate that three major currents prevail in these works: the anglophone Sound Studies, the History of Sensibilities of French tradition and Latin American studies, which, although inspired by the previous two, strive not to confine themselves to classical discussions but to reflect on the specificities of sound production and modes of listening within their cultures. The text also evaluates the impact of phonography and the digitization of sound collections on historiographical production in the field of Sound Culture.

BYRONISM AND GEORGESANDISM IN THE FIRST HALF OF THE 19TH CENTURY AS SOCIOCULTURAL MYTHS OF ROMANTICISM: A TYPOLOGY OF DISTINCTIVITY

: The article analyzes the features of Byronism and Georgesandism as sociocultural myths that arose in the post-revolutionary era and embodied the totality of socio-aesthetic gender representations. On the basis of the historical-typological approach, taking into account the trends of modern comparative studies, the origins of the gender opposition of male and female — the Hero and the Heroine — are regarded in the poetics of personified myths — Byronism and Georgesandism, which acquired an all-European scale in European culture of the first half of the 19th century. At the Enlightenment stage of mastering the specifics of the intimate and the public, the development of the ideas of civil society, the destruction of the paradigms of mental and universal laws of aesthetics, in public life and literature of the 18th century there was an increase in the gender consciousness of society. In the article it is correlated with the French tradition — the sentimentalist novel by J.-J. Rousseau Julia, or the new Eloise and the romantic concepts of the hero and the heroine in the works of Germain de Stael, where the conflict, antithesis, dichotomy of the feminine and the masculine began to be artistically meaningful from the standpoint of social and psychological egalitarianism. It is proved that Byronism and Georgesandism were complementary and oppositional to each other as socio-aesthetic currents, systems, paradigms, myths, in which variously interpreted skepticism and the individualistic concept of the Hero, the poet, are opposed to optimism and utopia, the feminine myth of the Heroine — in the works and biography of George Sand. The gender originality of typologically related romantic value ideas is considered: aspiration for the absolute, spiritual maximalism with a clear priority of the male myth in the image of Byron and his work — and the female, socialistically marked in George Sand. Biographical and biographically related material, the work of each in the first half of the century formed the basis of sociocultural and romantic symbolizations that characterize and form the gender specificity of the text of romantic culture.

Representatives of the Central Authority and County Administration in Transylvania (1867–1925)

The transition from the administrative system of the Habsburg monarchy to that of the successor nation-states after World War I has traditionally been analysed in terms of discontinuity, or even rupture. In our research, which focuses on the specific case of Transylvania, we demonstrate that both the development of a centralised administrative system and the relationship between the state authority and local autonomies were characterised by continuity rather than change. In both the Hungarian and the Romanian state, the key institution involved in the process of diminishing local self-government was the representative of the central power in the territory (the lord lieutenant until 1918 and later the prefect). The gradual expansion of his prerogatives over institutions and county officials began in Hungary in the early 1870s, and continued until the interwar period in Romania; this was a process that extended beyond the changes in the political and state regime in 1918. Thus, for interwar Transylvania, administrative centralisation in the French tradition did not represent a paradigm shift, but instead the continuation and acceleration of an already quite advanced process that the Hungarian state, which had been eager to modernise its administrative structures, had already introduced 50 years earlier.

Intention and Interpretation, Now and Then

Almost every interpretative university discipline in or adjacent to the Humanities makes routine, unproblematic appeal to intention as an interpretative move. By proscribing intentionalism as an instrument of interpretation, Literary Criticism is the outlier among adjacent and not so adjacent disciplines. The introduction to the special issue “Intention and Interpretation, Now and Then” maps the prime features of the intellectual landscape concerning intention and literary criticism in Anglo-American and French traditions since the late eighteenth century. It then highlights the losses that Literary Criticism incurs by its repudiation of intention as a heuristic tool. Apart from its loss of intellectual esteem by peers, any interpretive practice that refuses to intuit intention also loses significant cognitive and ethical purchase. The nature and magnitude of these losses can be measured in many ways. Articles in this special issue measure these losses by looking to the later medieval period in particular (with contributions also from the early medieval and early modern periods), when intention rose dramatically as a heuristic tool in many discursive fields, notably in criminal law, penitential ethics, and biblical hermeneutics. The contributions also explicate the way a premodern or early modern discourse deploys and sometimes defines intentionalism.

Contemporary French Environmental Thought in the Post-COVID-19 Era by Keith Moser

Reviewed by: Contemporary French Environmental Thought in the Post-COVID-19 Era by Keith Moser Abbey Carrico Moser, Keith. Contemporary French Environmental Thought in the Post-COVID-19 Era. Palgrave Macmillan, 2022. ISBN 978-3-030-96129-9. Pp. 249. Are viruses living? Do all living things have rights? If so, does the COVID-19 virus have rights, and consequently, should we, when receiving a COVID-19 vaccine, "take a moment to mourn the passing of a fellow, microscopic" organism capable of semiosis (86)? In other words, "is it unethical to attempt to wipe out the COVID-19 virus?" (85). This question is not the first line of inquiry in Moser's work, but underlines the deeper, more pressing issue of the complications and consequences of persistent ontological thought that draws on binary Cartesian principles and reductionist logic valuing humans as the only living beings capable of engaging in semiosis, or the process of signification in language. Moser fleshes out the arguments of several key figures whose philosophies have been "cemented" (96, 138) into French environmental thought and whose convergence could help contemporary scholars across the humanities and hard sciences find solutions to the increasing "ecocidal trajectory" (57) we find ourselves in. From Michel Serres, whose "nonanthropocentric reconceptualization of existence" (21) defines his philosophy of communication, Moser furthers the notion that "semiosis is a universal property of life itself" (25) and criticizes the "pervasive doctrine of human exceptionalism" (27). As Moser highlights, epistemologist Edgar Morin argues that human-centered Western thought has removed the human from "the web of life" (68) and that we must "'return the subject to life'" (71). Analyzing a selection of Jacques Derrida's posthumous and late works that venture into environmental ethics and animal philosophy, Moser elucidates a more reserved approach to Serres' contrat naturel, drawing from Derrida's notion of limitrophy and capital beings and suggesting that "ethical lines have to be continually redrawn somewhere" (126). Michel Onfray, "philosophe provocateur" (180), as Moser denotes, would argue that Serres' ideas and some tenants of deep ecology go too far in equating all life forms. However, Moser finds common ground: "According to Onfray, Derrida, and Serres, the notion that we have been granted the divine right to play the role of masters of the universe is linked to our myopic and ecocidal aggression against the hand that feeds" (149). Like Morin's and Derrida's analyses of the gaze of the other-than-human, Dominique Lestel, as Moser explains, "contends that we urgently need to (re)-envision a radically different way of being in the world […] by reconnecting to our cosmic roots to which all species are inextricably linked" (191). Contextualizing and gleaning the most salient and convergent arguments from Serres, Morin, Derrida, Onfray, and Lestel, Moser argues a way forward is through the "interdiscipline of biosemiotics," since it is "uniquely positioned as an indispensable theoretical framework for understanding the unprecedented challenges facing global society" (229). While at times Moser presumes a familiarity with somewhat dense theoretical terminology, [End Page 213] he impeccably places himself within the tradition of French and Francophone environmental thinkers by advocating for a biosemiotics approach to interpreting human and other-than-human interconnectedness. [End Page 214] Abbey Carrico Virginia Military Institute Copyright © 2023 American Association of Teachers of French

Das Geistesleben unter die großstädte: the socio-affective order in the subway from a Simmelian perspective

The reflection on socio-affective relations and the construction of social order in public transport originated in the thought of Georg Simmel. A theme that has been deepened by the French tradition of urban studies. Which has studied the role of emotional exchanges between the user public in the construction of the social order of the New and York and Paris subways. However, when observing transport systems of this type in Latin America, there are other populations that, by using the subway for commercial purposes, influence the construction of the socio-affective order in the subway. These cases allow us to relate other Simmelian reflections on socio-affective relations, such as the notion of the poor and the extranger. Based on this, the article proposes to move towards a general and inclusive reflection on the importance of socio-affective relations in the construction of social order in the subway.

Pastoral Traditions in the Sonata for Flute and Piano "Pan's Flute" by J. Mouquet

The subject of the study is the Sonata for flute and piano "Pan's Flute" by J. Mouquet. The purpose of the study is to consider the traditional pastoral techniques that the composer uses in his composition. When writing the article, both general research methods (analytical, deductive, inductive, etc.) and musicological (holistic, intonation, harmonic, genre, structural and compositional) were used. Methodologically important in writing the article were the works of A. G. Korobova. Based on the works of the scientist in the Sonata of J. Muke analyzed the pastoral topic of the composition, and also determined its pastoral model. The culturological approach was carried out on the basis of the research of V. V. Azarova, O. A. Gagarina, V. A. Zakharova. With the help of him, certain French traditions were derived in the article, which influenced the work of J. Flour. In the scientific article, for the first time, an attempt is made to analyze one of the most famous compositions of J. Mouquet – the Sonata "Pan's Flute". In this work, two aspects are considered in detail – verbal and actually musical. In both aspects, there are connections with the French pastoral musical and theatrical tradition, as well as a commonality in the symbolic interpretation of neoanticism and neobucolics with the works of C. Debussy. During the analysis, it was found that J. Muke applied an anti-politicized pastoral model. Pastoral topics are found at different levels of composition – intonation, tonal-harmonic, textural, timbre, formative, dramatic. This article can be used in the field of art criticism for further study of the work of J. Mouquet, French music of the turn of the XIX – XX centuries and in the study of pastoral musical works. Analysis of the Sonata by J. Muke will also be useful in performing practice for a better understanding of the composer's idea and the dramaturgy of the composition.

Chinese and French traditions in Chen Qigang's Piano Concerto

The subject of the research is the concerto for piano and orchestra "Erhuang" by the contemporary Chinese-French composer Chen Qigang (1951). The work, written in the mature period of the master's work, clearly demonstrates an artistically convincing synthesis of national and European musical traditions. Chinese influences are associated primarily with the reliance on the characteristic features of the Peking Opera jingju, French influences are due to the influence of the Impressionist style of Claude Debussy and the principles of musical writing by Olivier Messiaen, whose student was Chen Qigang. The main purpose of the study is to characterize the original features of the Erhuang concerto, due to the combination of influences from the Peking Opera and French music of the 20th century. The concert "Erhuang", one of the most repertoire works in the composer's heritage and a representative example of his style, is considered for the first time in Russian musicology. The main conclusions of the study: the national traditions of the Peking Opera are presented in the concert "Erhuang" on the modal modes (pentatonic scale of zhi), metro-rhythmic (patterns of luo gu dian zi), forma (traditional variations of banqiang ti) and timbre (imitation of the instruments of the Peking Opera ensemble and their tuning system) levels; French influences manifest themselves in a colorful harmonic palette (the influence of Debussy's musical language), as well as in the reception of Messiaen's technique (the theory of additional duration, the method of irregular increase and decrease in rhythm, the principle of motivic combinatorics, the sequential change of modes of limited transposition).

DEATH Historiography In Islam dan French historical tradition: Study on Wafiyāt al-A’yān wa Abnāu Abnāi Zamān and Western Attitude Toward death from The Middle Age to The Present

Historiography of death between Arab-Islam and French tradition has different root and models. As Arabian model wafiyat came into being as new systematic mode of writing bibliographical dictionary, it is French la histoire la morte was the French innovation in social history by Annales school. To make clear comparison, two book are selected that are Wafiyāt al-A’yān wa Abnāu Abnāi Zamān by Ibn Khalikan and Attitude tward Death by Philip Aries. To study these two books, comparative historiography is applied to make a comparison and contrast between genre, style and sources. As the result of taking study of comparison, so there are similarity and differences between two historical tradition in the from of content and method of writing history. These two types are similar in one common trait constructed the idea based on death. However, it is clearly different in as much as that Arabic wafiyat is prosopography and has relgious content and intend; meanwhile French death historiography is social history and growth in the idea of study of mentalites.

Where is the Decadent Suicide?

ABSTRACT Although privileged in both classical and modern literature, suicide’s role in the Decadent literature of the late nineteenth century remains an underexplored and fruitful topic. This article proposes a Decadent theory of self-destruction that decentres the physical act itself. Suicide, in Decadence, functions as a type of escapism, mobilising the idea of death without actually engaging with it. By exploring works of Decadent authors such in the French tradition, this article extrapolates a Decadent positionality to suicide; by casting decadence as indefinitely deferring the instantaneous into the eternal, suicide becomes an abstract horizon, rather than an existential threat.

:Medieval Women and War: Female Roles in the Old French Tradition

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Греция и Франция: к вопросу о национальной идентичности Жоржа Апергиса

This article examines the music of Greek-French composer Georges Aperghis through the prism of national identity. This kind of approach was used for engaging in conversations with the composer about various biographical facts from his life, the characteristic features of his aesthetic views, his musical and theatrical language. The historical context and the stylistic and structural features of various French composers compared with Aperghis’ musical output make it possible to characterize the specific features of the latter’s musical thinking. Greece characterizes the early phase of his work, the beginning of his art studies. After having left Athens, the composer has spent most of his life in France, engaged in close contact with the country’s culture. The concert, theatrical and cinematic life in Paris in the 1960s was seething with artistic discoveries and large-scale events, and he found himself in their epicenter. Many of the composer’s personal artistic patterns have been shaped not only by his impressions of the cultural abundance in France, but also by the French language itself. He perceives the latter as musical material, making use of phonetic and prosodic possibilities. The parameter of corporeality and gesture is also important for Aperghis, wherein the connection with the French tradition in the field of plasticity and sound are revealed. Aperghis’ artistic relationship with the works of theater director Antonin Artaud, as well as the concept of “body without organs” is examined in more detail; and the nature of the interconnection between sounds, gestures and phonemes, as well as the possibility of their combinations with each other are revealed. Fragmented, kaleidoscopic qualities, as well as a “framework” type of perception of reality in Aperghis’ music matches with the cinematographic approaches of the contemporary New Wave film directors, as well as the philosophy of post-structuralism, in particular, Gilles Deleuze and Felix Guattari and the concept of the rhizome. The perspective proposed in the article makes it possible for us to examine in greater detail the peculiar features of Aperghis’ life and work of. Based on information from various European scholarly works, as well as an interview with the composer, for the first time in Russian a set of facts from his life is presented, and parallels are drawn with various other composers, philosophers, theater and cinema directors in terms of their compositional methods.