Journal De Research Articles

Desiring the Dead: Necrophilia and Nineteenth-Century French Literature by Lisa Downing (review)

MLR, 100.2, 2005 505 naively takes Sade at his word when he claims to depict libertines as they truly are in order to deter the reader from imitating them. In Brix's terms, Sade is therefore an anti-libertine writer.However, the novels that do this are, forBrix, not 'anti-libertine' but 'libertine' novels: 'on reserverait l'etiquette de "romans libertins" aux recits qui font une peinture ambigue du libertinage et montrent que, sous ses attraits apparents , celui-ci recelerait en fait de nombreux dangers' (p. 18). Les 120 Journees de Sodome, La Philosophie dans le boudoir,Justine, and Juliette are thus confusingly classified as 'libertine' novels. Brix makes his case forcefully,ifnot entirely convincingly. The reading of authorial intention, even into texts that encourage such readings, is doomed to remain at the level of conjecture, and Brix handicaps himself further by sliding perilously between author and work, eliding differences between them. A final chapter examines the fortunes of libertinage after Sade, from its disappearance in the nineteenth century to its revival by the Surrealists in the twentieth, leading to the late twentieth-century vogue of 'sexually liberated' women authors from Pauline Reage to Catherine Millet. Brix is particularly judgemental here, dismissing the latter, for instance, as representing a body constantly available formen, and so undermining fe? male emancipation. For all its oversimplifications and prejudices, however, this book has many qualities: it is hugely readable, elegantly written, well informed, vigorously argued, and a refreshing departure from the hagiographical readings that the genre often attracts. Indeed, the very tendentiousness of this study is a testimony to the dynamic character of current work on the libertine novel, however defined. London Metropolitan University John Phillips Desiring the Dead: Necrophilia and Nineteenth-Century French Literature. By Lisa Downing. Oxford: Legenda. 2003. x+146 pp. ?35. ISBN 1-90075-565-3. At the hands of another, this topic might have lent itselfto an exercise in transgressive rhetoric. Lisa Downing could have turned a trick in queer studies, so to speak, trumping all other perversions with the most radical of them all. That is certainly not what she has done, but readers should not be too quickly reassured by that. She does not exploit the radical positioningof necrophilia forlurid effect,but she certainly does make a sustained attempt to describe it as a complex thematic figure.One might say that she uses necrophilia to understand a certain literary and sexual aesthetic, and indeed that she helps us to see necrophilia itself as a radical form of understanding. Downing is working outside the scope of any simple discourse of pathology, and perhaps outside the queer undoing of pathology as such. Her work turns back at every point to literary studies, understood narrowly.' It can be argued', she says, 'that necrophilia is as much an aesthetic, a mode of representation, as it is a sexual perversion' (p. 4). The mark of Downing's ambition is the range of theoretical references she uses. Her claim to methodical hybridity is lucidly made (p. 15) and her ambitions carefully measured, but there is no guarantee that the differentapproaches she uses will finally intersect, although she insists that the explanations she provides are 'not mutually exclusive' (p. 30). She seeks to combine a set of analytical tools drawn from psycho? analysis with those of a revisionist history, invoking 'the vast history and geography' associated with 'our collective psyche', while wishing to attend quite strictlyto 'local examples of these phenomena' (pp. 6, 10). It is worth recalling here that under Fou? cault's influence psychoanalysis itself has tended to become the subject of revisionist analysis precisely for its claims to vast generality, but Downing deflects that critique without confronting it. She certainly seeks to provide a historicist corrective to the ambitious claims made by psychoanalysis, focusing on what she calls 'the cultural fan? tasy of necrophilia' (p. 14). Freud's own writings are thus called to account: 'Freudian 506 Reviews psychoanalytic works will be discussed and their rhetoric analysed as texts in their own right' (p. 15), although in factvery few non-literary texts are subjected to analysis here, as Downing herself acknowledges (p. 18). One of the most telling points Downing...

Riveted By The Voice: The Sadean City at Silling

Sade's recit le plus impur qui ait jamais ete fait depuis que le existe (60) (1)--Les Cent Vingt Journees de Sodome (1785)--has been so oddly neglected by critics that in her influential book Sade: A sudden abyss, Annie Lebrun dedicates a whole chapter to what she calls that strange omission. (2) Critics seem unanimously attracted to Sade's two most celebrated stories of vice and virtue written after the Revolution--Justine and Juliette--but not so much to the journey to the Castle of Silling. Lebrun speculates that one of the possible reasons is the book's unbearable physical effect: (3) as Georges Bataille put it, [n]obody, unless he is totally deaf to it, can finish [it] without feeling sick (Literature and Evil 121). When critics do take up the challenge of closely reading it, there seems to be yet another strange omission in the labor of interpretation: (4) the fact that the entire narrative is framed by the scenario of listening to stories. Aurality dominates the narrative to such an extent that one could even say that this, and not the repetitive transgression with which critics have labeled Sade's work, is the text's texture par excellence. (5) Significantly, the scenario of listening is yet one more aspect of the book's physicality: for what is at stake, I will argue, is not the word or the story to which the libertines listen--in other words, not the law--but the voice. And, as we will see, much in line with what critics like Lebrun or Bataille felt was the revolting physicality of Sade's text, it is not so much the pleasure of the voice that the libertine Castle of Silling highlights, but rather its intolerably pressing command to obey, and consequently, its irresistible socially binding power. The aural nature of the Castle, I will argue, is a figuration of its political space: in a world with no laws, the voice operates as the rivet that compels the libertines to form an alliance. A brief, interpretative account of the story is due here. For all that critics insist in reading the libertine sejour at the Castle as the story of its infamous four-month long sexually (or linguistically) perverse (or transgressive) orgy, it is rather the story of the formation of a bond. The tale's starting point is a call for order, against the background of war, at the end of Louis XIV's rule, when the kingdom is subdued in guerres considerables (1--extensive wars [191]). In the midst of civil dissolution, the four friends in crime imagine a way to resserrer leurs par des alliances ou avait bien plus de part qu'aucun des autres motifs qui fondent ordinairement ces (2). (6) The duc de Blangis and his brother the bishop summon Curval, the judge, and Durcet, the financier: each of will marry the daughter of another, and at the same time will remain in possession of the women's bodies, just as when they were their fathers. They celebrate the pact with preliminary secret orgies and then decide to set out to the Castle of Silling, the property of Durcet, where they will continue their celebration in the bloodiest of orgies. The peculiar transaction out of which the libertine pact emerges borrows not from the language of the law, but from the language of war: against contractual exchange, it is an alliance that establishes a clear line between us and them with the initial accumulation of what becomes common property--the bodies--for all its members. Before the absence of law, their liens are reaffirmed by extraordinary means: la debauche at the Castle, for which they have chosen four vicious and skilled female narrators who will provide with libertine stories to emulate each day--Madame Duclos, La Martaine, Champville, and La Desgranges. Four fouteurs (fuckers), four cooks, four duennas and eight victims-to-be of each sex selected from all over the Kingdom of France also compose the party. When they arrive at the Castle, they proclaim the Castle's regulations and routine to the subjects, declaring deja mortes au monde (57--already dead to the world). …

Visualization of Endomyocardial Fibrosis by Delayed-Enhancement Magnetic Resonance Imaging

An 18-year-old Venezuelan woman, with a history of idiopathic restrictive cardiomyopathy, presented at our hospital with ongoing dyspnea, palpitations, and lightheadedness. A medical evaluation revealed heart failure, pulmonary hypertension, and heparin-induced thrombocytopenia. Cardiac catheterization revealed normal coronary arteries. The left ventriculogram demonstrated late filling of the apex, which was almost obliterated by prominent trabeculations. Moderate mitral regurgitation with significant enlargement of the left atrium was observed. The ejection fraction was 44%, without regional wall motion abnormalities (Figure 1). Figure 1. End-systolic (A) and end-diastolic (B) frames of the left ventriculography show partial obliteration of the cavity …

04/02706 Study on nickel and vanadium removal in thermal conversion of oil sludge and oil shale sludge: Sobral, L. G. et al. Journal de Physique IV: Proceedings, 2003, 107, (2),1255–1258

04/02706 Study on nickel and vanadium removal in thermal conversion of oil sludge and oil shale sludge: Sobral, L. G. et al. Journal de Physique IV: Proceedings, 2003, 107, (2),1255–1258

Applications of multifractal divergence points to some sets of d-tuples of numbers defined by their N-adic expansion

In this paper we apply the techniques and results from the theory of multifractal divergence points developed in [L. Olsen, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages, Journal de Mathématiques Pures et Appliquées 82 (2003) 1591–1649; L. Olsen, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages III, Preprint (2002); L. Olsen, S. Winter, J. London Math. Soc. 67 (2003) 103–122; L. Olsen, S. Winter, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages II, Preprint (2001)] to give a systematic and detailed account of the Hausdorff dimensions of sets of d-tuples numbers defined in terms of the asymptotic behaviour of the frequencies of the digits in their N-adic expansion. Using the method and results from [L. Olsen, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages, Journal de Mathématiques Pures et Appliquées 82 (2003) 1591–1649; L. Olsen, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages III, Preprint (2002); L. Olsen, S. Winter, J. London Math. Soc. 67 (2003) 103–122; L. Olsen, S. Winter, Multifractal analysis of divergence points of deformed measure theoretical Birkhoff averages II, Preprint (2001)] we investigate and compute the Hausdorff dimension of several new sets of d-tuples of numbers. In particular, we compute the Hausdorff dimension of a large class of sets of d-tuples numbers for which the limiting frequencies of the digits in their N-adic expansion do not exist. Such sets have only very rarely been studied. In addition, our techniques provide simple proofs of higher-dimensional and non-linear generalizations of known results, by Cajar and Volkmann and others, on the Hausdorff dimension of sets of normal and non-normal numbers.

Peripheries of Nineteenth-Century French Studies: Views from the Edge ed. by Timothy Raser (review)

994 Reviews Peripheries of Nineteenth-Century French Studies: Views from the Edge. Ed. by Timothy Raser. Newark, NJ: University of Delaware Press; London: Asso? ciated University Presses. 2002. 322 pp. $55. ISBN 0-87413-765-9. As Timothy Raser explains in his opening statement, the theme which links the articles in this varied collection is that of closure. '[I]s the study of literature or art', he wonders, 'reducible to that of its context?' (p. 16). The volume sets its response between the defining thoughts of Fredric Jameson and Francoise Gaillard, and is divided into three parts. The argument which underpins the firstsection ('Within the Peripheries') is that works of art and literature derive their meaning from historical context. In an essay that answers its title with a resounding negative ('Is Tola Dorian totally boring?'), Melanie Hawthorne outlines the career of the Russian immigrant, whose journal La Revue d'aujourd'hui stands as a more important record of 1890 than its sometimes trivial content would suggest. There follow two articles concerned with geographical boundaries. Taking as his subject the writer and socialist Pierre Leroux, Bruno Viard describes how this neglected figure sought to introduce French readers to the Orient. Less exotic but no less engaging is Grant Crichfield's discussion ofthe Journal de I'expedition des Portes de Fer, which recorded the military campaign led by the Due d'Orleans to Algeria in 1839. Approaching the same country froman entirely differentperspective, Sarah Davies Cordova compares the representation of Algerian women in the paintingsof Eugene Delacroix and the novels ofa contemporary female writer, Assia Djebar. Part 1 concludes with Martin Guiney's lucid study of French education in the 1880s. Part 11('Beyond the Peripheries') endows the volume with a sense of critical balance. A work of art or literature, it is argued, can indeed be separated from its context to uncover meanings that are both universal and enduring. Jennifer Forrest draws on the example of the circus to consider the stereotyping of the female acrobat. Rosemary Lloyd analyses Zola's Au bonheur des dames, a novel in which the theme of consumerism can be stripped away to reveal a more subtle treatment of the relationship between the sexes. The rest of this section is given to two essays which position works fromthe nineteenth century alongside twentieth-century cinema. John Anzalone examines the role ofpainting in Jean Renoir's La Chienne, and in an article that is as scholarly as it is entertaining, Illinca Zarifopol-Johnston reflects on the intertextual parallels between Hugo's Notre-Dame de Paris and Tim Burton's 1989 filmBatman. The third and finalpart of the book is devoted to Balzac, in relation to whom the question of context is shown to present unique difficulties.Marie-Pierre Le Hir builds a strong argument around the concepts of race and national identity in Les Chouans, while Mary Jane Cowles studies the same novel through the emblem of the compass. Further articles (Michael Tilby and Dorothy Kelly) deal with matters of language and interpretation before Owen Heathcote's insightful analysis of the themes of cross-dressing and castration in Sarrasine and Neil Jordan's 1992 film The Crying Game. The contributors have all relished the opportunity to extend their own academic peripheries. If I have one complaint, it is that the translation of quotations into English makes the text rather cumbersome, and can disrupt the intellectual stimulation that is to be gained from an otherwise excellent book. University of Bristol Andrew Watts Balzac, la duchesse et l'idole:poetique du corps aristocratique. By Mireille LabouretGrare . Paris: Champion. 2002. 495 pp. ISBN 2-7453-0452-6. Expanding upon Mireille Labouret-Grare's doctoral thesis, this work analyses the 'double' role of the aristocrate in the novels of Honore de Balzac; not only is she a social 'type', she also has a 'dimension poetique' (p. 8). The firstsection ofthe book MLR, 98.4, 2003 995 focuses upon the aristocrate's role as a 'passerelle entre nature et culture' (p. 9). She is compared to an actress, performing upon the various public stages of aristocratic life, and Labouret-Grare draws a particularly interesting comparison between the Parisienne's 'promenades' and a territorial...

Peripheries of Nineteenth-Century French Studies: Views from the Edge by Timothy Raser (review)

994 Reviews Peripheries of Nineteenth-Century French Studies: Views from the Edge. Ed. by Timothy Raser. Newark, NJ: University of Delaware Press; London: Asso? ciated University Presses. 2002. 322 pp. $55. ISBN 0-87413-765-9. As Timothy Raser explains in his opening statement, the theme which links the articles in this varied collection is that of closure. '[I]s the study of literature or art', he wonders, 'reducible to that of its context?' (p. 16). The volume sets its response between the defining thoughts of Fredric Jameson and Francoise Gaillard, and is divided into three parts. The argument which underpins the firstsection ('Within the Peripheries') is that works of art and literature derive their meaning from historical context. In an essay that answers its title with a resounding negative ('Is Tola Dorian totally boring?'), Melanie Hawthorne outlines the career of the Russian immigrant, whose journal La Revue d'aujourd'hui stands as a more important record of 1890 than its sometimes trivial content would suggest. There follow two articles concerned with geographical boundaries. Taking as his subject the writer and socialist Pierre Leroux, Bruno Viard describes how this neglected figure sought to introduce French readers to the Orient. Less exotic but no less engaging is Grant Crichfield's discussion ofthe Journal de I'expedition des Portes de Fer, which recorded the military campaign led by the Due d'Orleans to Algeria in 1839. Approaching the same country froman entirely differentperspective, Sarah Davies Cordova compares the representation of Algerian women in the paintingsof Eugene Delacroix and the novels ofa contemporary female writer, Assia Djebar. Part 1 concludes with Martin Guiney's lucid study of French education in the 1880s. Part 11('Beyond the Peripheries') endows the volume with a sense of critical balance. A work of art or literature, it is argued, can indeed be separated from its context to uncover meanings that are both universal and enduring. Jennifer Forrest draws on the example of the circus to consider the stereotyping of the female acrobat. Rosemary Lloyd analyses Zola's Au bonheur des dames, a novel in which the theme of consumerism can be stripped away to reveal a more subtle treatment of the relationship between the sexes. The rest of this section is given to two essays which position works fromthe nineteenth century alongside twentieth-century cinema. John Anzalone examines the role ofpainting in Jean Renoir's La Chienne, and in an article that is as scholarly as it is entertaining, Illinca Zarifopol-Johnston reflects on the intertextual parallels between Hugo's Notre-Dame de Paris and Tim Burton's 1989 filmBatman. The third and finalpart of the book is devoted to Balzac, in relation to whom the question of context is shown to present unique difficulties.Marie-Pierre Le Hir builds a strong argument around the concepts of race and national identity in Les Chouans, while Mary Jane Cowles studies the same novel through the emblem of the compass. Further articles (Michael Tilby and Dorothy Kelly) deal with matters of language and interpretation before Owen Heathcote's insightful analysis of the themes of cross-dressing and castration in Sarrasine and Neil Jordan's 1992 film The Crying Game. The contributors have all relished the opportunity to extend their own academic peripheries. If I have one complaint, it is that the translation of quotations into English makes the text rather cumbersome, and can disrupt the intellectual stimulation that is to be gained from an otherwise excellent book. University of Bristol Andrew Watts Balzac, la duchesse et l'idole:poetique du corps aristocratique. By Mireille LabouretGrare . Paris: Champion. 2002. 495 pp. ISBN 2-7453-0452-6. Expanding upon Mireille Labouret-Grare's doctoral thesis, this work analyses the 'double' role of the aristocrate in the novels of Honore de Balzac; not only is she a social 'type', she also has a 'dimension poetique' (p. 8). The firstsection ofthe book ...

Chateaubriand mosaiste, "Ulysse, Hermione, une Truie" (review)

In this concise and yet illuminating reading of "Journal de Paris à Prague" (Mémoires d'outre-tombe, iv - xxxvi), Jean Christophe Cavallin examines the dialectics of literary production at the intersection with social and political transformations. With exceptional literary erudition and focused critical engagement, he contextualizes the Journal within the larger framework of Chateaubriand's epic - Mémoires d'outre-tombe - and explores notions of death, exile, and rebirth. He deconstructs the autobiographical and intertextual layers of the work and describes the various processes of literary and political exhumation, produced in the movement across space, time, and texts.

The Seer (Un)Seen: Michel Leiris's China

Addressing the love affair that French thinkers sustained with China in the twentieth century, (1) Jean Chesneaux remarks that China met a basic aspiration amongst French left-wing intellectuals, which I would describe as exoticism, that is, the tendency to look for a homeland and model of reference in distant, exotic countries. (2) The best-known manifestation of the orientalist phenomenon that Chesneaux invokes is the engouement for all things Maoist displayed in the 1970s by elite radical groupings such as the Tel Quel theorists, whose mythologies chinoises, enshrined in special numbers of their journal (cf. Spring 1972, Autumn 1974), are well-documented. (3) However, as Chesneaux affirms, Maoist China was also chic in French cultural life of the 1950s and 1960s, (4) and the mid-century moment--a moment for much of which France did not extend diplomatic recognition to the government of the PRC--witnessed a plethora of voyages en Chine undertaken by French luminaries in the wake of the Bandung conference of May 1955. That conference spawned the invitation famously proffered to the West by Zhou Enlai, ventriloquized by the French journalist Robert Guillain, who acted on it, in the following terms: Chine est ouverte aux visiteurs. Venez voir! (5) Amongst those whom Zhou's exhortation to scopic encounter and witness-bearing brought to China were Sartre and Simone de Beauvoir. And, like the writings of other Western intellectuals who went on political pilgrimages to the PRC and sought to remedy Western misconceptions about its regime, (6) Beauvoir's La Longue Marche (1957) amply illustrates her determination to look upon newly communist China and find it good. Traveling at the same time as Beauvoir and Sartre was Michel Leiris, who spent five weeks in China in late 1955 as part of a delegation de l'Association des amities franco-chinoises, received by the Institut des Affaires etrangeres de Pekin. Leiris's Chinese experiences generated two life-writing texts: his Journal de Chine (1994), a China-centered composite of carnets de route which was neither published in toto during Leiris's lifetime nor evolved into the livre sur la Chine populaire he had wanted and felt unable to produce on his return to Europe, and which appeared after his death in an edition prepared by Jean Jamin; and Fibrilles (1966), a more formal, more introspective, and much more densely woven exercise in autobiographical, self-centered portraiture, which constituted the third volume of Leiris's autobiographical cycle La Regle du jeu and looks back on his Chinese travels and their aftermath. (7) These Leirisian life-writings depict a mid-century China where surveillance--overseeing--was squarely the lot of the foreign visitor, whose movements were dictated and constrained by planned and policed itineraries. (8) They speak of a revolutionary nation in relation to which French intellectuals and journalists were vying to cast themselves as the most enlightened seers of--commentators on--the modern Chinese regime, and were engaging in heated polemics over how that regime should be viewed. (9) Moreover, taken in tandem, the Journal de Chine and Fibrilles articulate a drama of seeing and being (un)seen played out by and for Leiris in Chinese space during his au pays de l'avenir radieux. (10) That drama turned, I shall propose here, on ethical, ocular engagement and visual exclusion/non-recognition. It is the key object of scrutiny of the analysis elaborated in what follows: an analysis that seeks to bring insight to bear upon Leiris's adventures in the Chinese field of vision. Looking in the Journal de Chine I am a camera with its shutter open, quite passive, recording, not thinking. [...] Some day, all this will have to be developed, carefully printed, fixed (11) Christopher Isherwood. A Berlin Diary Pursued in the company of noteworthy players on the mid-century French cultural stage such as Armand Gatti, Paul Ricoeur, and Chris Marker, the programme de voyage bien etabli devised for him by his Chinese hosts took Leiris to a number of Chinese cities. …

A fascist Trojan horse: Maurice Bardegraceche, fascism and authoritarian socialism

Maurice Bardegraveche was an important neo-fascist writer whose ideas derived from those of Pierre Drieu la Rochelle and Robert Brasillach. Bardegraveche was a neo-fascist of the pen, and he used his journal Deacutefense de lposOccident to provide a link between fascism and neo-fascism in an attempt to resurrect the 'purity' of fascism in his post-1945 critique of West European history. Barnes addresses how Bardegraveche utilized a concept of 'authoritarian fascism', present in some old fascisms, to rehabilitate Europe. Bardegraveche commenced by analysing the faults of pre-war fascism and located many of his ideas in the work of José Antonio Primo de Rivera. He wanted to replace liberal democracy with an organic regime, both social and economic, but within a hierarchical framework. He opposed bourgeois society and advocated a corporate state of national solidarity. However, he believed that any new civilization must be aesthetic and move away from an insect-like industrialism in order to achieve a society based on peasant virtues. Bardèche appeared to be a utopian fascist, an anti-modernist. Barnes analyses his attack on capitalism, its feudalistic nature and the power of money, which he thought could only be opposed by fascist socialism and an ordered society. Bardèche located his variant of socialism within the context of the fascist philosophies of Drieu la Rochelle, Benito Mussolini, Jos Antonio, Corneliu Codreanu, Oswald Mosley and Jacques Doriot. He condemned political and economic liberalism and the class struggle. He wanted national capital to be protected and thought economic dependence relied on national independence. He believed economic power was held in too few hands and advocated a corporate state. Bardegraveche proves, essentially, to be a utopian, transcendental fascist.

La Théorie du langage de Pierre-Simon Ballanche: contribution à Vétude de la philosophie linguistique du romantisme. Avec des extraits des ouvrages de Ballanche by Alan J. L. Busst (review)

202 Reviews which corresponds to what we would call 'critique musicale' today. This ambitious project, originating in a doctoral dissertation, leads to much useful material on the periodicals studied, though the choice of titles may surprise some readers. Certainly most of the major periodicals of the period are covered, though the decision to ig? nore the Journal de musique seems unjustified. In a brief three-page introduction to the Journal and its principal editor, Framery, the author states that the journal 'va s'eteindre de lui-meme' (p. 38) a few years afterits establishment. This is true enough, but the Journal de musique, as the firstspecialized periodical on music in the period of study to include critical reviews, deserves attention, as many aspects ofthe editor's critical practice differin essential respects from those studied here. In spite of this caveat, the corpus is very broad and covers a genuinely useful sample of the major periodicals of the period. The organization of the book is as follows. Part 1gives an introduction to the differentsources studied and the writers in question. Part 11defines criticism itself, and considers the knowledge and education of the writers in question, and their style, and Part 111studies two aspects of criti? cism: aesthetics and 'un apport historique', which refers not to the historical slant of the texts themselves, but their role as precious historical documents which can tell us about musical life and the performers ofthe time, the role ofthe public (and especially the increasing power of the bourgeoisie), and the Gluckian reform of opera. The definition of 'critique musicale' is delayed until Part 11(p. 83), which is a pity because the integration of periodical criticism and books and pamphlets is awkward: placed earlier in the book, it would have been much more helpful. And a perhaps inevitable result of the subject of study is that the author's attention is spread wide, so that much ofthe comment on individual sources, and particularly the long and rather basic contextualizationof sources and topics, feels superficial. Nevertheless, the sheer amount of information gleaned from the press itself,and particularly the comparison of entries on the same performance in differentjournals (which leads to compelling evidence of the specificities of differenteditors' sympathies and practices), makes this a useful book on a hitherto neglected topic. University of Nottingham Mark Darlow La Theorie du langage de Pierre-Simon Ballanche: contributiona I'etude de la philosophie linguistique du romantisme. Avec des extraits des ouvrages de Ballanche. By Alan J. L. Busst. (Studies in the History of Philosophy, 59) Lewiston, Queenston , and Lampeter: Mellen. 2000. x + 246pp. $109.95. ISBN 0-7734-7456-0. The academic function of Alan J.L. Busst's modestly titled 'contribution' stems from his observation that 'Ballanche laisse [. . .] au lecteur la tache de completer sa pensee' (p. 100). Although Ballanche enjoys 'la vision du systeme total', the 'obscurite' of his fragmentary output has become 'proverbiale' (p. 2). In Sainte-Beuve's words, 'II avance par cercles et circuits' (pp. 2-3). This book fails into two virtually equal parts; firstBusst's admirable reading of the circular and the circuitous, and second a reprinting of judiciously selected excerpts of Ballanche's work which deal with the philosophy and history of language (particularly useful as the four-volume (Euvres cited in the bibliography was published by Barbezat in 1830). These excerpts are drawn from four works which are presented in chronological order: Essai sur les institutionssociales (1818), Essais de palingenesie sociale (1827-30), Orphee (1829), an(l Vision d'Hebal (1831). Busst's preceding interpretationstresses the way in which Ballanche 's compromises in the argument over the origins of language emblematize his negotiation of the politics of Romanticism: 'ce traditionaliste est en meme temps un liberal et un progressiste; ce defenseur du trone et de l'autel deviendra partisan d'un MLRy 98.1, 2003 203 plebeianisme radical, se scandalisant toujours davantage de l'entetement reactionnaire des Bourbons et du Vatican' (p. 6). The opening three chapters of Busst's analysis focus on debates over the 'origine de la parole'. Ballanche postulates a divine reve? lation of language to humanity, at odds with the sensualist and empiricist notion of language evolution...

European Municipalism in the First Half of the Twentieth Century: the Socialist Network

This article analyses the contribution of European socialism to the building of a variegated network of reformers in municipal politics from the end of the nineteenth century to the 1950s. Unsuccessful as a network inside the Second International, a broader international federation of cities, the Union Internationale des Villes/International Union of Local Authorities (UIV/IULA), was proposed in 1913. Belgian, French, Dutch and English socialist leaders remained strongly influential in this federation between the two world wars, working in connection with co-operative movements and the International Labour Office based in Geneva. The fifty years of debates and projects animated by the international journal Les Annales de la Régie Directe founded by the French socialist Edgard Milhaud allows us to follow the development of a generation of local reformers from the beginnings of municipalist thought and praxis up to the idea of building a decentralised European Community of cities and regional authorities.

Brunhes' research revisited: Magnetization of volcanic flows and baked clays

On 21 April 1906, at a meeting of the Société Francaise de Physique, Bernard Brunhes (Figure 1) addressed his colleagues on an important discovery concerning the magnetization of several formations in the volcanic Massif Central. The talk was published in the Journal de Physique in November of the same year under the title “Recherches sur la direction de l'aimantation des roches volcaniques” [Brunhes, 1906].This title only partially reflects the contents of his paper, which focused mostly on the magnetization of baked clays underlying lava flows, rather than on the flows themselves. This subject had stimulated Brunhes' interest since his appointment as professor at the Université de Clermont‐Ferrand and director of the Observatoire du Puy de Dôme on 1 November 1900. His first investigations on the subject, with Pierre David, date back to 1901–1902, almost exactly 100 years ago.

On the Critical Solutions in Coating and Rimming Flow on a Uniformly Rotating Horizontal Cylinder

We use a combination of analytical and numerical techniques to re-examine the question posed by Moffatt [Journal de Mae#169;canique 16 (1977) 651-673] of determining the critical weights of fluid that can be maintained per unit length in a steady, smoothly varying, two-dimensional film on either the outside ('coating flow') or the inside ('rimming flow') of a rotating horizontal cylinder. We use a pseudospectral method to obtain highly accurate numerical solutions for steady Stokes flow on a cylinder and hence to calculate the critical weights. In particular, these calculations reveal that the behaviour of the critical solutions in the thin-film limit 0 (where is the aspect ratio of the film) in an inner region near the horizontal on the ascending side of the cylinder (where Moffatt's leading-order outer solution has a corner) are not captured by naive outer asymptotic solutions in integer powers of . Motivated by these numerical results we obtain the uniformly valid critical asymptotic solutions in the thin-film limit to sufficient accuracy to enable us to calculate the critical fluxes and weights to accuracies o(4/3 (log )-3) and o(4/3 (log )-2) relative to Moffatt's leading-order values, respectively. We find that our asymptotic solutions for the critical weights are in good agreement with the numerically calculated results over a wide range of values of . In particular, our numerical and asymptotic calculations show that, even in the absence of surface-tension effects, the corner predicted by Moffatt's leading-order outer solution never actually occurs. In practice the higher-order terms obtained in the present work dominate the formally lower-order term that can be obtained straightforwardly without a detailed knowledge of the solution in the inner region, and so these higher-order terms must be included in order to obtain accurate corrections to Moffatt's leading-order value of the critical weight. In particular, in practice the critical weights in both coating and rimming flow always exceed Moffatt's value.

The role of French-language contributors to the development of medical geography (1782–1933)

In the literature it is L. L. Finke's three volume work Versuch einer allgemeinen medicinisch-praktischen Geographie, 1792–1795, that is commonly cited as the first to use the term “medical geography”. However, Rofort's investigations on the 18th and 19th century development of medical topography in France (1987, 1988) has revealed that a French physician, Dehorne, used the term a decade earlier, and in 1784 Dehorne suggested that a project be undertaken by the Royal Medical Society of Paris on a “Medical Geography of France”. The proposal was debated in the Journal de Médecine Militaire in 1786. This correspondence probably is the earliest critique of the concept of medical geography. It was also the French who were the first to have entries on medical geography in dictionaries and encyclopedias. Dr. Jean-Noël Hallé wrote a lengthy piece conceptually placing medical geography as a foundation for medical hygienics in Encyclopédie Méthodique (1787, 1792). In 1817 Julien Virey wrote a 66 page entry on medical geography in the Dictionnaire des Sciences Médicales. Throughout the nineteenth century authors writing in the French language continued to make advances and in 1933 the French geographer Max Sorre suggested new directions for the field in the light of bacteriological discoveries and the re-orientation of medicine.

Nîmes à la veille de la Révolution : une ville au miroir de ses spectacles lyriques

The Journal de Nîmes from 1785 to 1789 provides echoes of the musical life of an expanding industrial and commercial town.While the attention paid to musical performances is partly explained by the fact that this journal was run by one of the shareholders of the theatre, it enables us above all to judge the place of musical amusement in the culture of the Nîmes élites. It is not only a sociable activity, as the social tensions of the period, which only filter through to the Journal in the form of charity concerts and balls, stimulate the traders to affirm their social distinction by showing their disinterestedness. Music, and particularly concerts, whose codes of perception are being elaborated here, are involved in the constitution of a new governing class based on economic, social and cultural distancing.

Entre foi et sciences. Les Mémoires de Trévoux et le mouvement scientifique dans les années 50

Contrary to thair traditional image, the Jesuit journalists were not obscurantist and backward-looking, rejecting all aspects of the Enlightenment. As we can see by studying the Journal de Trévoux' s attitude towards science, opposition to the Philosophes did not mean a refusal of, or lack of interest in, the Enlighten¬ ment as a whole. This is particularly clear in the 1750s, an important decade for scientific progress and the high point of the journal. Nevertheless, there were limits that these most eminent members of the Society of Jesus would not cross, concerning the divine. In their eyes, Enlightenment was not before us, a Promethean conquest, but behind us, in the form of revelation. The attitude of this journal therefore raises the question of the definition not only of the Counter-Enlightenment but also of the Enlightenment itself.

Everyday Governance of Land in Africa

The issue of land in Africa has a paradoxical quality. On the one hand, it is virtually omni-present in social, political and economic dynamics of competition, pursuit of interests and change. On the other hand, land is often treated as a special field in conferences, research networks and in publications (like the present one). While these are facts whose change lies outside the scope of this introduction, we are particularly pleased that the occasion of the Journees de l’APAD in Leiden in M...

Ballets for the Bourgeois

The ballet de cour, as its name implies, was essentially an aristocratic genre danced by kings, queens and courtiers for their own entertainment. It flourished as long as princes continued to rank dancing as the highest accomplishment, then it was transformed.1 Such a view, though generally accurate, does not give a complete account. Danced entertainments in early modern Europe extended beyond the confines of courts; they invaded the public theatres, and they involved interchange between city councils and the king (or his representative). There were frequent performances in private town and country houses, not all of them belonging to noblemen.2 Attempts to give a fuller picture have been frustrated by lack of evidence, contemporary sources offering only tantalising glimpses and brief insights; there is, however, a resource which has not been fully exploited the Registres et diliberations de la ville de Paris where one finds accounts of royal performances for the burghers of Paris and their wives. These reports amplify the evidence found in writers of memoirs who conscientiously noted their own participation in ballets de cour, but rarely gave precise indications of performances other than at court. Thus the marechal de Bassompierre, in his Journal de ma vie, included many references to ballets danced before Henri IV and Louis XIII, boasting his dancing skills (which were considerable), only occasionally naming other noble dancers and perhaps suggesting the overall subject of the work or the part he danced himself. He noted, for example, 'ballet danse a la ville' for 1608 and 1612, but offers no further enlightenment.3 Mademoiselle de Montpensier, daughter of Louis XIII's brother, the duc d'Orleans, loved dancing and her father indulged her taste to the full. She refers to ballets and mascarades frequently in her writings, showing how she especially relished those times when she could go out masked, thus avoiding rules of precedence and due ceremony, and she was never more delighted than when Monsieur Marchand, her treasurer, greeted her homecoming after a long journey with impromptu ballets.4 In their

A Bibliographical Study of Antoine Meissonnier's Periodicals for Voice and Guitar, 1817-27

A salient feature of the growing music-publishing industry of the late eighteenth and early nineteenth centuries was the vast production of brief song sheets with simple accompaniment for piano, harp, or guitar. This fashion seems to have been particularly widespread among French publishers who produced such songs in the thousands for an apparently insatiable amateur market. The repertory, which mirrored the general bourgeois taste, consisted partly of arrangements of airs from the popular operas of the time, and partly of newly-composed romances, an extremely popular genre. Many publishers offered their commodities in series, often as a subscribable periodical (Journal de musique) issued monthly, biweekly, or even weekly. Among the publishers producing song periodicals with guitar accompaniment, we find Baillon, Bouin, Bressler, Doisy, Cammand, Leduc, Lelu, Meissonnier, Momigny, Pacini, Porro, and Vidal. This study focuses on the bibliographical aspects (that is, the systematic arrangement, not the contents) of three serial music publications or music periodicals predominantly containing songs with guitar accompaniment, edited and published by Antoine Meissonnier from 1811 to 1827: Journal de lyre ou guitare, La lyre des jeunes demoiselles, and Le troubadour des salons. The object is to ascertain the arrangement and interrelation of these three periodicals, thereby providing a detailed apparatus for scholars and catalogers when dealing with Meissonnier's publications. Antoine Meissonnier was one of many music publishers who established a business in Paris in the early years of the nineteenth century. He was also a guitarist and a minor composer, and his publications include both his own works and those by other composers, of which music for guitar has a central part. Meissonnier served as Fernando Sor's main publisher in Paris from about 1815 until 1827. Several of Sor's works were issued in connection with the Journal de lyre ou guitare. Plate numbers can be of considerable help in determining the date of a printed edition of music. It is no secret, however, that the plate numbers of most French publishers of the early nineteenth century are of limited value because of their inconsistency or incomprehensible sequences. The publishers' addresses are generally more useful as dating tools since many French publishers changed addresses frequently: a new address could be the result of a physical change of domicile, but resulted as often from a post-revolutionary practice--partly ideologically-based--of extensive alterations or modifications of street names and house numberings. Antoine Meissonnier, for example, had six different addresses during the period 1811-25. The two-volume Dictionnaire of French publishers by Anik Devries and Francois Lesure provides copious information, including dated address lists, of all known French publishers from the earliest years of the trade until 1914. [1] The address lists are based on various archival documents and on advertisements or announcements in the press. There are, however, several difficulties in creating such lists. Advertisements appeared irregularly, in particular for the minor publishers. Furthermore, announcements or advertisements could be printed belatedly and therefore reflect an address already abandoned. In Devries's and Lesure's Dictionnaire, the correlation of address and date for some publishers has wide gaps. Antoine Meissonnier's address list is fairly complete, though not precise in all details, as we shall see later. [2] Each single item of an early-nineteenth-century music periodical usually had a caption title that included the name and address (imprint) of the publisher. Because of their regularity--monthly, in some cases weekly, issues--these periodicals are unique in reflecting the current address of the publisher at any given time, thereby providing a reliable source for a precise correlation of address and date. Nevertheless, there are good reasons for the hitherto general disregard of this source material. …