La Guerre Research Articles

Encoding Emotion

The paper Encoding Emotion details an experiment conducted on early 18th-century French recitative to determine how composers relate harmony to sung text, if at all. Although the existence of a relationship between harmony and vocal expression is generally agreed upon, it is rarely properly taught to baroque singers, even though harmony is fundamental to the concept of basso continuo. It is also rarely discussed in continuo or singing treatises, either historical or modern, and, if so, never explicitly. The present experiment aims to fill that gap by examining harmony and text in actual written music. To do so, a harmonic analysis was performed on excerpts of secco recitative from French operas and cantatas written by Campra, Clérambault, Jacquet de la Guerre, and Rameau; the significant chords and harmonic passages were then logged in a spreadsheet with their corresponding text. Over two hundred lines of results were then analysed to determine whether patterns could be found associating certain words to chords or harmonic progressions. In the end, the dataset was too small for any general conclusions to be made with certainty, but patterns still emerged. Most notably, the plagal cadence correlated to feelings of love and tenderness, particularly in a sacred or noble context. It was also noted that, though general patterns could not always be identified, some chords or harmonic progressions appeared to have specific meaning for a certain composer. The V of IV, for example, was strongly associated with pleasure in Clérambault's works. Although there is only limited use for these results outside of this study, the identified patterns show that a more extensive dataset would yield enlightening results and give singers access to a remarkably rich tool with which to inform their interpretation.

Uncovering Silence: France’s Move to Reconciliation and the Depiction of Algerian Migrant Workers

In the catalogue Algériens en France: 1954–1962, la guerre, l’exil, la vie (2012), Benjamin Stora and Linda Amiri represent the lives of Algerian labourers and their struggles in the shantytowns around Paris during the Algerian War for Independence. From 1954 to 1962, the Algerian population in France rose sharply; yet, the workers were silenced in the national story until 2001, on the fortieth anniversary of the 17 October 1961 massacre of peaceful Algerian protesters in Paris. This article examines works that move Algerian migrant workers into the spotlight while considering historian Benjamin Stora’s 2021 report Les Questions mémorielles portant sur la colonisation et la guerre d’Algérie . This article analyzes how formal reconciliation work functions in the memorialization of Algerian migrant workers in France from the 1990s onwards, and how new memorial efforts embrace a discourse of silence and forgetting that effectively covers over the memory work that had already been undertaken.

Matéi Visniec, Hécube cause toujours


 
 
 Starting with Théâtre décomposé ou L’Homme Poubelle (1996), a play whose “monologues and dialogues are merely the textual building-blocks for a modular theatre,” Matei Vişniec has championed this narrative diffraction which has been a hallmark of his work. It is nevertheless true that the fable has always underpinned the playwright’s creation. While this was at first an undercurrent in his early plays, it is clearly seen in his most recent productions, such as Pourquoi Hécube (2018), which draws directly from the fable of the Homeric story. It is our purpose to explain how Vişniec, in drawing from the fable, takes ownership of an ancient tradition by following in the footsteps of Euripides, and also is inspired by the mythological representation of Hecuba, making her a contemporary of Dorra, the main character of La Femme comme champ de bataille, ou du Sexe de la femme comme champ de bataille dans la guerre en Bosnie (1997). 
 
 

Endless Exile—Alain Resnais’s The War Is Over

This paper aims to analyze the movie The War Is Over (La guerre est finie—France/Sweden, 1966, directed by Alain Resnais and a screenplay by Jorge Semprún). The idea is to point out a possible sociological discussion on exile, mobilizing the notion of mental images. The methodological approach is an internal analysis of the film to allow for the elaboration of sociological considerations along with the expressive elements of the film construction. To do so, we shall focus on the “leaps” within the movie’s narrative order, in which a main character (Diego) anticipates, through imagination, a series of sequences and events that might or might not have occurred. To discuss the notion of mental images and their relationship with the imaginary, the theoretical reference will be Cornelius Castoriadis’ book The Imaginary Institution of Society. This article will benefit from the discussions in the presentations about the film both at meetings in Brazil and at the last ISA Congress 2023 (International Sociological Association—Research Committee 37—Sociology of Arts). This text is one of the results of research supported by the São Paulo Research Foundation (FAPESP).

Henri Kowalski (1841–1916) in the Antipodes and His Comic Opera Queen Venus

French virtuoso pianist and composer Henri Kowalski visited Australia in 1880 and then returned in 1885 when he settled in Sydney for twelve years. In 1881 he wrote a comic opera, Queen Venus. with a libretto by Marcus Clarke. This paper traces the transformation of Queen Venus into a French fantaisie-bouffe called La Guerre aux hommes, ten years later. It reveals a story of unusual cultural entanglement across two countries.

GEORGIA IN THE PLANS OF GERMANY AND ITS ALLIES AT THE INITIAL STAGE OF THE WORLD WAR I (MILITARY OPERATIONS ON THE TRANSCAUCASUS FRONT)

Nugzar zosidze
 E-mail: n.zosidze@bsu.edu.ge
 Associate Professor, Batumi Shota Rustaveli State University 
 Batumi, Georgia
 https://orcid.org/0000-0003-2613-3365
 
 Abstract. In the early twentieth century, two large opposing hostile coalitions have formed in Europe: Triple Alliance and Triple Entente.
 The Triple Alliance initially included: Germany, Austria-Hungary, and Italy. After the start of the World War I, the latter withdrew from the bloc, but Ottoman Empire and Bulgaria joined it, thus forming the Quadruple Alliance. The countries included in it demanded a "place under the sun" and assumed to take the colonies from the Entente countries through war. 
 The core of the "Entente" consisted of the world's largest colonial empires of that time - Great Britain, France and Russia. It was between these two imperialist groups that the World War I of 1914-1918 broke out, involving thirty-eight states from different continents. 
 The war was imperialistic, unjust and conquering on both sides, resulting in the deaths and maiming of millions of people, destruction and extermination on a grand scale.
 Germany and its allies had significant plans for Transcaucasia and the expulsion of Russia from there. This unity of these interests largely led to the Ottoman Empire joining the Alliance, following the 1908 Young Turk Revolution. After the Revolution, three leaders distinctively stood out in the political life of the Ottoman Empire: Enver Pasha, Military Minister and and de facto dictator of the Ottoman Empire; Talaat Pasha, Minister of Internal Affairs; and Ahmed Djemal Pasha, Minister of Marine. Those three were obviously prone to Germanophilism. 
 Young Turks, in their attempts to find ways for quickly reorganizing their army defeated in the Balkan wars, looked at Germany with hope. That is why they happily met Germany's proposal to send a military mission to the Ottoman empire, which was received. On 8 October 1913, an agreement was signed between Germany and the Ottoman Empire, which gave the Sanders military mission extensive rights (M.Larcher, La guerre Turque dans la guerre mondiale: 609-610).
 The German military mission undertook considerable work in the Ottoman Empire prior to the war. The members of the mission had responsible positions in the local general staff, border corps and fortifications. The history of the period in question became especially relevant from the beginning of the 50s of the twentieth century. However, many details and features of these liasons have not yet been fully investigated, comprehensively studied and scientifically substantiated.

Le compagnon idéal par Isabelle Minière

Reviewed by: Le compagnon idéal par Isabelle Minière Eilene Hoft-March MiniÈre, Isabelle. Le compagnon idéal. Serge Safran, 2022. ISBN 979-10-90175-97-6. Pp. 176. "Love in the time of lockdown" could arguably serve as this novel's subtitle. Readers are hauled back to the inauspicious spring of 2020, confronted with our shared pandemic history, especially its European version: le grand confinement with its circumscribed mobility, restaurant closures, télétravail, and runs on toilet paper and pasta. "Comme si c'était la guerre" (34) observes the narrator of the world's resigned conformity to a common misfortune. While recent history undergirds almost every page, title, and cover suggest a different, less realistic story. Its vintage image straight from an early 50s romance novel illustrates the title's "ideal companion," a suited young man in the driver's seat of a convertible, arms in a proprietary embrace of a young woman. The image's outmoded romanticism constitutes a conspiratorial wink at readers. The narrator, Eva, certainly seems an unlikely proponent of such archaic claptrap. Clear-eyed and self-aware, she knows herself to be mildly unhappy, socially inept, and constitutionally timid. Eva traces her self-diagnosed behaviors to unhealthy family dynamics: a cold and critical mother, a sister who ranks as Mother 2.0, and a father who, she fantasizes, might be affectionate, though she has no proof of his disposition toward her. Eva prefers, in family or social gatherings alike, to withdraw from events undetected ("s'éclipser" 9). Equipped with just such a strategy, Eva attends her boss's birthday party, positioning herself on the periphery preparatory to her usual discreet exit. Enter the fortuitous "companion," her boss's brother, Jimmy (or perhaps Jeff, hesitates the narrator). A very brisk courtship ensues—texts, flowers, dinner, lovemaking, and a hasty decision to live together in Eva's apartment. That these events are all compressed into a few days speaks to those peculiar times when many were propelled by the decree of quarantining to choose almost irrevocably between virtual exile and overly cozy cohabitation. But Jimmy proves indeed to be the title's ideal companion. His personality conforms snugly to Eva's own, matching her every mood and supporting her every decision; there is no daylight between them. Here is where the plot begins to thicken and where the reviewer needs to hold back to avoid spoiling readerly pleasure. The narrative obliges attention to clues scattered throughout the text, further obliging a reassessment of characters and plot. Beyond reviving the history of a global pandemic most likely seared into this generation's memory, Minière projects the psychological wages of isolation that may be with us for years to come. Her novel is a quick, enjoyable read, but nowhere near as lightweight as its cover illustration projects. [End Page 243] Eilene Hoft-March Lawrence University (WI) Copyright © 2023 American Association of Teachers of French

A Swiss “Columbus” in Clausewitz’s homeland: How the works of Antoine-Henri de Jomini were received by the Prussian military before 1848

ABSTRACT The impact that the works of Antoine-Henri de Jomini, especially his flagship book Précis de l’art de la guerre, had upon the development of military thought is commonly known. However, in contrast to the lively interest shown towards Jomini’s input with regards to the development of French, Russian, American or Italian military theory, there is no study devoted to the role he played in the shaping of Prussian military thinking. The main interest of the article is to present and explain the conditions of Jomini’s influence on Prussian military strategy in the first half of the nineteenth century.

Le Clézio’s La Guerre and Les Géants: Counter-Hegemonic, Situationist, User Manuals for the Post-Modern Subject?

This article proposes a Situationist reading of Le Clézio’s novels La Guerre (1970) and Les Géants (1973). Debord and Le Clézio illustrate that it is not by accident that the rise of multinational capitalism coincides with the birth of hyperreality and the post-truth era. Faced with the realistic possibility of losing their power and influence, the masters or the giants shifted their approach in order to survive. Debord and Le Clézio denounce the devastating ripple effects of this structural adaptation that would redefine society and the entirety of social relations through the skillful imposition of commercial simulacra. Even if both authors engage in hyperbolic discourse to underscore their main points, they are cognizant of what is at stake in the age of (dis-) information. Without providing any facile optimism that the road ahead will be easy, Debord and Le Clézio urge the alienated, post-modern subject to revolt. Despite the apparent limitations of the user manuals for contestation that they promote, their counter-hegemonic techniques could be a preliminary blueprint for combatting the commodification of the social, the death of the subject, and the subjugation of the populace through signs in consumer republics.

Guerre by Louis-Ferdinand Céline

Reviewed by: Guerre by Louis-Ferdinand Céline Jane E. Evans CÉline, Louis-Ferdinand. Guerre. Gallimard, 2022. ISBN 978-2-07-298322-1. Pp. 191. Literary scholars contend that the term "autofiction" better captures the nature of life-writing than the term "autobiography," with the former allowing for the enhancement and downplaying of certain events by the writer for a variety of reasons, modesty, lost memories, and creativity, among them. Louis-Ferdinand Céline's novel, Guerre, exemplifies autofiction as it interweaves fact with fantasy. Based on his 1914 experiences in the Great War, Céline's first-person account was composed twenty years later. The narrator, "Louis-Ferdinand," "Ferdinand," or "Loulou," compelled to share his war experiences, declares early in the story, "J'ai attrapé la guerre dans ma tête. Elle est enfermée dans ma tête" (26). His words convey the effects of having been bombed, both literally and figuratively: his head reverberates from the explosions and the deafness in his left ear; he also expresses the idea that sharing his experiences will be psychologically beneficial. While he leads people to believe that he was shot in the head as well as in the arm, his concussion resulted from falling against a tree during the bombardment. If he later adds, "Mais faut que je raconte tout" (34), he refrains from promising accuracy. Rather, he addresses the reader as follows, "J'ai appris à faire de la musique […] et, vous le voyez, de la belle littérature aussi, avec des petits morceaux d'horreur arrachés au bruit qui n'en finira jamais" (28). Thus, events documented by letters from the French Army to Louis-Ferdinand's father regarding his son's "héroïsme" (97) towards his fellow soldiers and grave injury to his right arm appear alongside romanticized elements, such as the eagerness of nurse L'Espinasse to gauge the wounded soldiers' potential for recovery according to how well they respond to her manual stimulation of their genitals. In real life, Loulou's nurse, Alice David, struck up a friendship with him and behaved like a big sister (14). The narrator's receipt of a military medal of valor, another verifiable occurrence, contrasts sharply with the fantasized verbal altercations between Céline's wardmate, Bébert, and his prostitute wife, Angèle, that purportedly end their marriage. Additional instances of diverting the truth include modifications of real names in Part Two of his récit: "Bébert" becomes "Cascade" while the narrator's mother, "Célestine" in Part One, is renamed "Clémence" in the subsequent section. These changes attest to creativity on the narrator's part, although he does not explain why. He does, however, caution the reader about the fallibility of memory with the passage of time: "À tant d'années passées le souvenir des choses, bien précisément, c'est un effort. Ce que les gens ont dit c'est presque tourné des mensonges. Faut se méfier. C'est putain le passé, ça fond dans la rêvasserie" (117). This avowal underscores the imaginary nature of his characters' dialogues once again. At the end of Guerre, the narrator claims to have left the French hospital in Peurdu-sur-la-Lys to continue his convalescence in London directly, although the truth is that Louis-Ferdinand spent several months in a Parisian hospital before making his way to England (169). [End Page 224] Jane E. Evans University of Texas, El Paso Copyright © 2023 American Association of Teachers of French

Review: The Print Collection of Cassiano dal Pozzo. II: Architecture, Topography and Military Maps

Review: <i>The Print Collection of Cassiano dal Pozzo. II: Architecture, Topography and Military Maps</i>

Seeing the War Coming

Staging, writing, editing – war. In the sequence of these three acts, the path of this essay unfolds. From the play La guerre de Troie n’aura pas lieu we get the idea that war is a spectral presence hovering everywhere. As difficult as it is to see, it appears inescapable. Its ambivalence questions the human gaze itself in its in-ability to see war coming, even when the signs are more than evident. The analysis of the regimes of visibility that, yesterday as today, superintend the event of a conflict constitutes the point of arrival of this interrogation.

The Mouseiad and Other Mock Epics [Myszeis

<i>The Mouseiad and Other Mock Epics</i> [Myszeis

A Trail of Crab Tracks by Patrice Nganang

Reviewed by: A Trail of Crab Tracks by Patrice Nganang Natalie Wenzell Letsa Patrice Nganang A Trail of Crab Tracks Trans. Amy B. Reid. New York. Farrar, Straus and Giroux. 2022. 419 pages. PATRICE NGANANG'S NEWLY translated novel, A Trail of Crab Tracks, follows the relationship between Tanou, a Cameroonian American professor, and his father, Nithap, an aging retiree who is reluctantly persuaded to visit his son in the US. The first half of the novel focuses on the contemporary relationship between father and son split between homeland and diaspora. The second half, in which Nithap narrates his early life to his son, takes as its main subject the legacies of the UPC Rebellion and the role of violence and loyalty in the perpetuation of intergenerational memory. The UPC Rebellion was a war for independence fought primarily in the Bamiléké region of Cameroon against the French, beginning in 1955. By the time of independence in 1960, as described in harrowing detail in the last one hundred pages of A Trail of Crab Tracks, the French had brutalized the Bamilékés, creating concentration [End Page 69] camps, burning down villages, and leaving behind the heads of executed rebels in order to terrorize the local population. The conflict continued well after independence, with violence and terrorism between guerrilla groups and the new French-backed Cameroonian regime tormenting the Bamiléké region until the early 1970s. Because of the atrocities committed by the French as well as the fact that France has continued to back successive autocratic regimes in Cameroon up until today, the UPC Rebellion—also known as la guerre cachée, or the "Hidden War"—is notoriously underdocumented. As part of a public relations campaign to rebrand France's dubious relationship to its former colonies, French president Emmanuel Macron traveled to Cameroon this past July to announce the opening of French archival materials on the UPC Rebellion. In this context, Nganang's novel could not be more timely. Frank discussion of the Hidden War in Cameroon remains taboo, and the nature of memory and the legacies of violence under these circumstances are deeply woven into the themes of the narrative. The way in which the novel jumps between time, place, and characters can be chaotic; the prose is oftentimes more obscuring than clarifying—a quality that is evocative of the nature of politics and rumor in contemporary Cameroon. Nganang writes unapologetically for a Cameroonian audience; there are some clues left in the footnotes meant to help a foreign reader make sense of local subtleties. But the end product lays bare an effort to plumb the depths of the Cameroonian soul in the most intimate ways. Nganang's character Pastor Tbongo declares to Earnest Ouandié that Cameroon lacks a soul, "But that's what we need to create for this country. That's the only task for our era. For our own survival, we have to teach Cameroonians what unites us; we have to give some substance to this country that is self-destructing. That's what I'm trying to do here." Words that are as true today as they could have been sixty years ago. Natalie Wenzell Letsa University of Oklahoma Copyright © 2022 World Literature Today and the Board of Regents of the University of Oklahoma

Résurgence de l’Histoire dans la fiction: les massacres du by Michel Laronde

Reviewed by: Résurgence de l’Histoire dans la fiction: les massacres du by Michel Laronde Jennifer Howell Laronde, Michel. Résurgence de l’Histoire dans la fiction: les massacres du 17 octobre 1961 à Paris. L’Harmattan, 2021. ISBN 978-2-343-23538-7. Pp. 226. On 17 Oct. 1961, the French Federation of Algeria’s Front de libération nationale (FLN) led a peaceful demonstration against a curfew that unfairly targeted Algerian Muslims living in the French capital. Thousands of people, including women and children, participated in the march. Under orders from Prefect Maurice Papon, the French police and the Compagnies républicaines de sécurité attempted to block access to the city by securing subway and train stations and raiding public buses. Many protestors were brutally attacked, their bodies thrown into the Seine. The next day, official sources reported three deaths and sixty-four wounded. Yet, according to the FLN, journalists, and eyewitnesses, the death toll was considerably higher. Despite government attempts to efface the event from national history, it would later resurface in fiction beginning in 1982 with Georges Mattei’s La guerre des gusses. These works are the focus of Laronde’s study that comparatively analyzes twenty-four novels published between 1982 and 2012, and in which the massacres appear (Laronde ends his study in 2012, the year François Hollande became the first French president to publicly acknowledge [End Page 197] the massacres). The resurgence of 17 Oct. 1961 in French national history, Laronde argues, stems from the progressive development of a corrective discourse of the event in (historical) fiction. Inspired by historical omission, these works reveal the role that literature can play in the processes of individual, collective, and institu- tional remembrance. Through a sustained reading of novels that fit within narrow spatiotemporal and thematic parameters, Laronde’s analysis is perhaps best de- scribed as a case study of the relationship between postcolonial fiction and the workings of memory and postmemory. Similar to Marianne Hirsch’s model of remembrance in second-generation Holocaust literature (explained in the introduc- tion), Laronde understands the repetition of fictional references to the day of the massacre as the product of historical trauma. However, references vary significantly in narrative form and function. These differences—each defined according to one of three ekphrastic paradigms presented in chapter one—form the basis of chapters three and four. The author’s methodology is the subject of chapter two. Interestingly, Laronde notes in the conclusion that his study did not confirm his initial hypothesis. His chronological reading of novels by year of publication failed to reveal the emergence, development, and successful realization of a new literary discourse on 17 Oct. 1961. Rather than finding evidence of a corrective discourse evolving over time, Laronde discovered that reactions to the event’s erasure from national history depend on author identity. His analysis suggests that Franco-Maghrebi writers seek to reintegrate this forgotten chapter of French history so that personal, familial, and communal memory are no longer excluded from the national memory. In contrast, the writing of a corrective discourse by Franco-French authors establishes that “mainstream” cultural production has nevertheless evolved toward a more inclusive national discourse on colonial history, one that is decidedly postcolonial. Published nearly sixty years after the event, Laronde’s work is timely and contributes to our understanding of the processes of remembrance and historicization. Jennifer Howell Illinois State University Copyright © 2022 American Association of Teachers of French ...

Nationalism in La Guerre's Poeme by Louise Ackermann

This study aims to describe the forms of nationalism in the poem La Guerre by Louise Ackermann. This study uses the theory of forms of nationalism according to Taguieff, they are nationalisme ethnique (ethnique nationalism), nationalisme civique (civique nationalism) and nationalisme culturel (cultural nationalism) which are contained in his book entitled La Revanche du Nationalisme. This research method is a qualitative descriptive analysis with flow model of analysis according to Miles and Huberman which includes three components of analysis, there are data reduction, data presentation, and drawing conclusions or verification which is carried out by flowing or interconnected and continuous with concurrent data collection process. The results of this study indicate that there are twenty-five (25) data in poetry that indicate forms of nationalism. In detail, there are twenty-four (24) quotations that have the form of nationalisme civique (civique nationalism), five (5) quotation that have the form of nationalisme culturel (cultural nationalism), and three (3) quotations that have the form of nationalisme ethnique (ethnic nationalism).

Étude du manuscrit français 862 de la BnF (complément d’enquête sur Amadis Jamyn, Jean de Cholières et Catherine de Retz)

xvith century poetic albums are the evidence of the female contribution to the cultural activities related to the «salons», coteries and aristocratic gatherings. In the perspective of literary studies that have been conducted for the past century, this article studies the circle of Catherine de Retz with the analysis of the manuscript Français 862 at the National Library of France. In this volume, many poems by Jean Passerat, Mellin de Saint-Gelais, Philippe Desportes, the Dames Des Roches, the cardinal Du Perron, without counting Amadis Jamyn whose sonnets deal with several muses, have been copied. In this article, love poetry by Jamyn and Jean de Cholières is analysed in relation to the Court (i.e. the secret love affair between king Charles IX and Anne d’Atri d’Aquaviva, also celebrated by Ronsard) and to the Retz «salon». By the close reading of some poems by Jamyn, transcribed in the manuscript Français 862, and other poems (identified or anonymous) that are published in La Guerre des masles contre les femelles (1588) by Cholières, this article suggests new attributions to Jamyn’s poetic production. It also attempts to link the name of the muse Aris, celebrated by Cholières and others, to the Maréchale de Retz.

L’espoir au coeur du désespoir dans La guerre m’a surprise à Beyrouth de Carmen Boustani

The hope in the heart of despair in Carmen Boustani’s La guerre m’a surprise à Beyrouth [The war surprised me in Beirut] The purpose of this article is to analyze the topic of hope in Carmen Boustani’s La guerre m’a surprise à Beyrouth [The war surprised me in Beirut]. The narrative structure of Greimas shows that hope exists even in a catastrophic situation and pushes the characters to act. The ending is happy not only for the country but also for the various women who lived through the war. The narrator Yasmina and her friends show that hope can arise even in a destroyed space and that life is found even in the throes of death. The act of writing itself becomes a sign of hope which proves that from black, light is born.

The Role of the Diad PEACE-WAR Value in the Linguistic Worldview of the French Society Representatives

The article is devoted to the analysis of a number of values of native French speakers living in France. The relevance of this work is explained by the fact that at the present stage the composition of the population of France is changing as a result of the migration process, which entails the transformation of the value system and their hierarchy in society compared to traditional perception. It is interesting to trace the representation of this fact on the proverbial material and on the material obtained as a result of the questionnaire. The purpose of this article is to analyze the representation and role of the peace - war value dyad in the linguistic picture of the world of representatives of modern French society from the point of view of traditions and modernity. As a material for the study of traditional values in the framework of the axiological dyads analysis under study, 49 French-language proverbs about weapons were used, taught by a continuous sample from the heading La guerre et les armes of the dictionary of French proverbs and sayings. The study of images associated with weapons allowed us to characterize the metaphorical basis for describing various life value-generating situations, and the semantic analysis of proverbs made it possible to identify adjacent values: life, health, courage and thereby trace the features of the representation of the peace - war dyad in the French value system from the point of view of accumulated experience. In order to verify the results obtained from the analysis of paremiographic material and extract an idea of the functioning of this value dyad in the language picture of the world of representatives of modern French society, a questionnaire was conducted with the participation of 97 informants - native French and Turkish migrants. The analysis of the entire array of material allowed us to identify the common contiguous value of life. This fact, as well as the second place of the concept of peace, according to the informants, is located after the family on the value-conceptual scale, allows us to consider peace as one of the main vital values of representatives of modern French society.

“Warphans” and “Quiet” Heroines: Depictions of Chinese Women and Children in the Comité mondial des femmes contre la guerre et le fascisme's Campaigns during the Second Sino-Japanese War

AbstractThe Comité mondial des femmes contre la guerre et le fascisme (CMF) was an international organization formed under the direction of the Communist International in 1934 in response to the threat of Nazi fascism. However, it did not restrict its activities to tackling issues in Germany; it expanded its remit to confront many of the crises that marked the mid- to late-1930s across the globe. This article analyses the CMF's work to aid civilians and refugees during the Second Sino-Japanese War. It discusses how the predominantly European committee perpetuated some essentialist and imperialist assumptions in its work and how they utilized violent and emotive language in the “Warphans” child sponsorship fundraising scheme. However, the committee also provided spaces for Chinese women to vocalize their experiences to women in the West, creating an effective humanitarian aid strategy.