La Ville Research Articles

Poetic Self-Assertion in Jean Lemaire de Belges's 1506 "Les Regretz de la dame infortunée"

IN an oft-overlooked poem, Les de la Dame Infortunee sur le trespas de son treschier frere unicque, Jean Lemaire de Belges, Burgundian indiciaire (1) at the court of Margaret of Austria (1480-1530) at Pont d'Ain, laments the death of Philip the Handsome, King of Castile and brother of Margaret, on September 25, 1506. In this poem of demonstrative rhetoric and fourteen decasyllabic douzains (aabaabbbabba), Lemaire not only provides the necessary poetic comfort required of him, but also asserts his own role and position as a writer. The poet's veiled references in the Regretz to his own volatile economic situation--a difficulty exacerbated by the passing of his king and patron, Philip--also demonstrate a certain poetic self-assertion, drawing attention to Lemaire's plight as one whose very livelihood depended on the health and goodwill of his patron or protector. In an era where literary production was fueled by a patronage system requiring an encomiastic rhetoric that left little room for authorial self-assertion, the fact that Lemaire successfully points the reader to his own personal concerns seems particularly noteworthy. While any death may carry some justifiable degree of sorrow, Philip's death at the early age of twenty-eight seems particularly tragic as he leaves behind five children, as well as his mentally unstable wife, Juana (Joanna), who was seven months pregnant with their sixth child and finally driven to insanity by her husband's passing. Her mental infirmity meant that there was now no one who could reign in Philip's stead, creating a sense of instability throughout the kingdom that only invited scheming enemies to take advantage of the volatile situation. Indeed, strong links exist in the sixteenth-century mind between the health of rulers and the stability of the ruled; in Burgundy and Castile, in particular (Philip was ruler over both regions) such a link was prevalent. As Bethany Aram points out in her book about Philip's widow, Juana the Mad: Comparisons between ruler, court, and kingdom emphasized their interdependence to the point that sickness in the royal person or conflict in the royal household threatened the associated territories (75). Death of a sovereign, then, was seen as the ultimate threat to the realm; the seemingly exaggerated sorrow, to which we shall soon turn our attention, expressed by Lemaire in the Regretz, seems tempered by a recognition that Philip's death had grave implications for his subjects, to whose suffering Lemaire gives voice in this poem. An anonymous contemporary source informs us that after the king's death, many of his subjects felt the fear and vulnerability to which Bethany Aram alludes: [E]t m'a-l'on dit que entre le grand dueil qui en fut fait esdicts pais, que en la ville d'Anvers fut le greigneur, a l'occasion que c'estoit en la franche feste et que illecq avoit gens de toutes villes et pais, lesquelz regrettoient chascun l'ung a l'aultre les maulx et grans qui estoient apparans de advenir a cause de la mort d'ung tel noble ... Et leur sembloit bien que les Francois ne seroient pour longtemps sans leur faire guerre; aussi ne seroient pas longuement sans que aultres leurs voisins, comme Gheldres et Liegeois et aultres, ne leur fissent quelque dommaige; mesmes doubtoient que discencion ne se sourdist entre les villes et pais, comme Durant la mynorite du bon roy estoit advenu, dont les playes n'estoient encoires sanees ny gueries. (Collection des Voyages, p. 455) In addition, the taking of Philip's son, Ferdinand, by ceulx de la ville de Wailledolif resulted in further invasions of his dominions: Avecq ce commencoient pluseurs des princes a faire quelques envayes contre leurs voisins, et aultrement y avoit de l'apparance de beaucop de maulx et de pluseurs inconvenians (Collection des Voyages, p. 454). Political instability and the threat of invasion brought related economic difficulties; we read that at Philip's passing [i]l n'y avoit homme qui eust ung denier: mesmes, a l'heure du trespas du Roy, tous ses deniers estoient epilliez, et ne savoit-l'on quelque expedient pour en fyner, et sy estoient toutes nos gens loings de leur pais, ne aussi n'estoient point bien asseurez de leurs personnes, et avoient tousjours grand crainte que l'on ne leur fist aucun desplaisir (Collection des Voyages, p. …

Supporting the constructability review with 3D/4D models

This paper describes how the project team of the Fulton Street Transit Center (FSTC) project in New York City supported knowledge communication and generation with three-dimensional (3D)/four-dimensional (4D) models during the constructability review process. The paper analyses how 3D/4D models support the communication and generation of design, construction sequencing, and scheduling knowledge. It is furthermore analysed how the project management team used 3D/4D models to communicate the generated knowledge to non-engineers. Based on this analysis, an integrated process is suggested that can serve as a starting point to improve the application and research of how project teams can use 3D/4D models efficiently to support the knowledge communication and generation needed during the constructability review on construction projects. Cet article explique comment l'équipe chargée du projet Fulton Street Transit Center (FSTC) de la ville de New York a contribué à la transmission et la production du savoir avec des modèles tridimensionnels (3D) et quadridimensionnels (4D) lors du processus de revue de la constructibilité. Il examine comment les modèles 3D/4D aident à la transmission et la production du savoir dans le domaine de la conception, du déroulement de la construction et de l'établissement des calendriers. Il poursuit en expliquant comment l'équipe de direction de ce projet a utilisé des modèles 3D/4D pour transmettre la connaissance générée à des non-ingénieurs. Sur la base de cette analyse, l'auteur suggère un processus intégré pouvant servir de point de départ à l'amélioration de l'application et de la recherche afin que les équipes de projets puissent utiliser efficacement des modèles 3D/4D en soutien de la transmission et de la production du savoir qui sont nécessaires pendant la revue de constructibilité de projets. Mots-clés: communication, processus de construction, transmission de la conception, pratique de conception, processus de conception, visualisation

Territoires féminins ed. by Sylvie Mongeon (review)

1 48Women in French Studies life with a host family who has accepted her in their home. She does the housework for them in exchange for room and board. She lives comfortably in their house where, for the first time in her life, she has her own room. " My only desire now," she states, "is to be able to get my son back one day" (151). She had to leave him with her mother. In her introduction, Baya Gacemi explains that she met Nadia while doing a news story on women victimized by terrorism. She makes clear as well her sincere desire to inform people, both in Algeria and in the world beyond, by presenting specifics about destructive factional activities. She also reiterates her promise to Nadia to ensure that actual people and places are protected by the consistent use of fictitious names. In the book's foreword, an informative essay by Fanny Calonna contextualizes Nadia's account by pointing out pertinent facts and figures with regard to the violent struggle in Algeria in the decade between 1992 and 2002. She focuses particularly on the plight of women during this time whose situation worsened by the imposition of a regressive Family Code inspired by Muslim religious law, code still enforced in Algeria today. Also included in the prepages , an especially insightful essay by Edmund Burke III further contextualizes Nadia's narrative as he traces and analyzes modem Algerian political history and its continuing legacy ofviolence and repression. Côté and Mitchell's adept and carefully annotated translation of Gacemi's narrative now makes Nadia's fascinating and important story available to English readers. As such, it can serve as a valuable resource for teaching and research, as well as a compelling read. Pamela PaineAuburn University Mongeon, Sylvie, ed. Territoiresféminins. Montréal: CELAT, 2006. Pp 242. ISBN 2-920576-80-1. $15.00 (Paper). These essays represent a response to the fluidity of a contemporary society in which traditional territorial boundaries such as class, race, and gender can no longer serve to encompass an individual's identity. Specifically, they propose to examine literary depictions of women's relationships to these very mobile perimeters, and most importantly, the connections between women, the territories they inhabit, and the identity they derive from these territories. Each contributor approaches the theme of spatiality in her own manner, with the result that diversity is ever-present in this collection: in the breadth of the critical approaches it embraces, in the genres represented by the authors (and one filmmaker) considered, in the national provenance of the authors included (notwithstanding an understandable penchant toward Canadian authors). The "territories" of the title range from the concrete, physical area women inhabit to spaces that are more figurative entities. Indeed, the past, death, gender, and even Book Reviews149 language itself are presented as constructs of spaces capable of defining a woman's identity. The "space" of this collection comprises four sections that contain a total of nine essays (in addition to an introduction). Each section offers two (in one case three) pieces that suggestively and effectively juxtapose similar takes on a particular spatiality. The first section, "Mouvements dans l'espace: départ et égarement," considers space defined in a traditional, geographical sense. The opening essay, by editor Sylvie Mongeon, deftly sets a tone for the rest of the collection. She examines Christine Angot's Quitter la ville in the same terms set forth in the introduction: Angot is a writer whose work illustrates the modem condition of finding traditional territorial markers of class, race, nationality, and language to be useless anchors of identity. In Mongeon's view identity for Angot is drawn more from movement within space than it is from the space's delimiting boundaries. Chantai Ringuet's rich exploration of Marie de l'Incarnation and her La Relation de 1654 both continues and expands on the direction set by the initial essay. Ringuet reads this early text from the "pre-Canadian" territory as both the writer's physical experience of a new land and as an account of the spiritual, interior domain she created in response to this encounter. The third essay in this section, Katri Suhonen's...

PAUL WALD & FRANçOIS LEIMDORFER (eds.), Parler en ville, parler de la ville: Essais sur les registres urbains

Paul Wald & Francois Leimdorfer (eds.), Parler en ville, parler de la ville: Essais sur les registres urbains. Paris: Editions UNESCO and Editions de la Maison des sciences de l'homme, 2004. Pp. 276. Hb 27,00 €.As indicated in the title – which can be translated as Speaking in the city, speaking of the city: Essays on urban registers – this multi-authored French-language collection of essays deals with the interaction of speech and the urban environment. It is the third volume in a recently created French series that aims at understanding the city through the analysis of urban discourse in its historical and sociocultural context. This particular book, co-edited by Paul Wald and Francois Leimdorfer, highlights the back-and-forth process between the city and speech: on the one hand, the urban environment is constitutive of certain “ways of speaking,” and on the other hand, language plays a role in constructing an image of the city. Both facets of the process are well illustrated in the essays assembled here, which are informed by various disciplines: linguistics, history, anthropology, and sociology.

Associationalism from Above: Explaining Failure through France's Politique de la Ville

Over the past 20 years, states have attempted to develop partnerships with third-sector associations in a variety of policy areas. Advocates argued that these types of partnership would increase the state's capacities to target the needs of niche populations, strengthen associational sectors and democratise state bureaucracies. However, several studies have shown that state-initiated partnerships often fall well short of their desired objectives and often cause more harm than good for the associational sectors of cities. This paper assesses the problems of the associationalist project through France's politique de la ville. The paper suggests that the outcomes of 'associationalism from above' in France have largely been unintended. State officials operating in good faith sought to foster partnerships that would generate benefits for the state and the associational sector. However, as state officials, they were obliged to impose a bureaucratic infrastructure to co-ordinate complex partnerships and ensure a degree of uniformity across France. Associations found that they not only had to conform to new bureaucratic requirements but also they had to respond to an increasingly political funding system. Thus, bureaucratisation triggered the politicisation of the associational sector, compelling associations to professionalise, politicise, and individualise their practices.

Paris, Court City of the Nineteenth Century

DESPITE ITS REPUTATION as la ville rouge, hot-bed of revolution, for most of the nineteenth century Paris was a court city. It was the principal residence of the monarch, where a large number of the inhabitants served the monarch and his family, his administration and his household, and political, cultural and economic life depended in part on the monarchy. Due to the size of the monarch's household 3,000 in 1830 under Charles X and of those of junior members of his dynasty, perhaps 10,000 people in Paris (out of a population of around 700,000) worked for the court. Despite the revolutions of 1830 and 1848 and frequent riots and insurrections, Paris normally contained more courtiers and aspiring courtiers than revolutionaries. Indeed it contained sufficient material for three courts Bonaparte, Bourbon and Orleans. Furthermore, Paris often functioned as a court city for Europe as well as France. Architecture above all established Paris as a court city, especially the Tuileries palace in the heart of Paris, connecting the two outstretched wings of the Louvre, and the palace of Saint-Cloud outside the city, which was the court's summer residence. Between 19 February 1800, when the First Consul took up residence in the Tuileries, and 4 September 1870, when his niece by marriage, the Empress Eugenie, fled it to escape a baying mob, these palaces had as much influence, both in France and abroad, as Versailles before 1789. If they had not been destroyed in 1870-71, during the FrancoPrussian war and the Commune, the French monarchies of the nineteenth century would be less forgotten today. The numerous other royal properties scattered throughout Paris, which were known as the Domaine de la Couronne, also provided visual confirmation that it was a court city. They included the palaces of the Luxembourg, the Elysee, and the Palais Royal, residence of the Duc d'Orleans; five royal theatres and opera houses, all containing lodges reserved for the court officials who ran them; the ministries; the royal factories making luxury goods for the court, such as the Gobelins tapestry factory; and the royal museums, such as the Louvre. The Palais Bourbon, which contained the Chamber of Deputies, showed that Paris remained the capital of Europe. Niall Fergusson's assertion that (Britain created the modern world'! is incorrect. Not only was French, rather than English, the language of the world until 1939, but it is the semi-circular French Chamber of Deputies in the Palais Bourbon, rather than the rectangular House of Commons in Westminster, that was and still is the principal architectural model for other parliaments. Moreover the Charte of Louis XVIII, promulgated in the Palais Bourbon on 4 June 1814, rather than the English constitution, was the model for other

Henry Darcy in his own words

A recently published English translation of the Les Fontaines publiques de la ville de Dijon 1 provides access to Henry Darcy's own words on the importance of water for public sanitation and on questions engineers face in building water supply systems. Written near the end of Darcy's life, the book is a compendium of the water knowledge he had gained over decades and his opinions on these topics reveal his personality. In the 1840s, Darcy built a water supply system to provide water to 120 street fountains for domestic purposes, street washing and firefighting. Surrounded by poverty, Darcy insisted on free water for the poor and on sharing the spring water with towns located along the aqueduct that brought it to Dijon. In the preface to the book, Darcy introduces his experiment on water flow through sand with the modest words “to my knowledge, no one has experimentally demonstrated the laws of water flow through sand.” This article provides a sampling of the book's insights into the personality of this remarkable man.

Ruling The Inner City: Television, Citizenship and King of Kensington

Cette relecture critique de la série King of Kensington, présentée au réseau anglais de Radio-Canada, examine l’utilisation d’espaces locaux dans la construction d’une image cohérente de la nation mise en marché pour séduire le public canadien. La série façonne un modèle de citoyenneté qui vise à relier les notions d’urbanisme et d’appartenance locale aux priorités nationales déterminées par le contexte politique et historique canadien des années 1970. En employant la ville comme symbole du Canada uni, la série amoindrit conflits et tensions en projetant une image d’hétérogénéité réconciliée qui offre une impression de stabilité, rassurant ainsi les Canadiens pendant une période de grande incertitude.

Le Siècle des Lumières: bibliographie chronologique by Pierre M. Conlon

850 Reviews of the funding of our research that causes this volume to present the home coun try as the centre of the world. It is not their lack of vision or want of breadth of awareness. UNIVERSITYOFKENT PHILIP ROBINSON Le Siecle des Lumieres: bibliographiechronologique. By PIERRE M. CONLON. Vol. XXIII: 1788. (Histoire des Idees et Critique Litteraire, 4I9) Geneva: Droz. 2005. xxvii+456 pp. SwF I32. ISBN 2-600-OIO3I-9. Pierre Conlon has almost completed his invaluable bibliography. But before his im mense task culminates with the final account of I789, this volume collates the publi cations at the Ancien Regime's momentous end. The febrile atmosphere of a country on the cusp of revolution prompted a great rise in publications, from a total of I944 in I786, to 2882 in I787, to 4I90 in I788; such is the explosion in the number of publications that this is the first volume in the series to be dedicated to a single year. It is no surprise that political texts dominate, given the convocation of the Etats generaux for the following year, and the intention to create the Cour pleniere. The formal range of the texts iswide, with drama, poetry, letters, and dialogue all serv ing political expression of varying hues. Figures including Mirabeau, Olympe de Gouges, Necker, and Louis XVI himself contributed to the ferment. Yet for all the pamphlets written by a 'patriote' or a 'citoyen', the titles here indicate no outright hostility to the monarchy, and the host of works on Louis XII indeed suggest some confidence in the institution. Although occasionally abrupt, the introduction sensibly avoids considering the works through the prism of imminent events. One wonders, though, how accurate a forecast might be found in the Nouvelles et curieusespropheties composees par Pythagoras, Joseph leYuste, Daniel le prophe'te etMichel Nostradamus pour les annees 1788 et I789 (88: I536). The publications are not exclusively political or serious, as illustrated by the intriguing Histoire tres plaisante arrivee a un bossu amoureux de la ville d'Angouleme (88: 27 I9). Literary works appear byMercier, Reif, Nerciat, and Louvet de Couvray, and Beaumarchais remains in the spotlight given the Kornmann affair, although whether the Lettre d'unefemme en couches aM. Pierre Augustin Caron de Beaumarchais (88: I240) was of much consolation is debatable. Nor do the publications focus solely on the situation in France; from a dissertation on the bread of the Hottentots, to a historical essay on Surinam, and a work on Indian deities, giants, and cosmology, the outside world was not forgotten. Foreign literature, particularly English novels, continued to appear in translation. It is to be hoped that this project will one day be accessible in amore user-friendly form. For as important as this bibliography most certainly is, the commitment and calibre of Conlon's scholarship would be better served in digital rather than paper form. Yet if readers are likely to find a database easier to navigate than a printed volume, perhaps only the latter makes for juxtapositions as serendipitous (and even as significant) as that between theworthy Souscription volontaire enfaveur des pauvres de la ville & des faubourgs de Caen (88: 2 I85) and the more frivolous Souvenir a l'angloise, et recueil de coiffures dediee [sic] auxfemmes de bon gout (88: 2 I86). UNIVERSITYOFEXETER THOMASWYNN ...

The City in French Writing: The Eighteenth-Century Experience/Écrire la ville au dixhuitième siècle ed. by Síofra Pierse (review)

MLR, ioi.i, 2006 245 know reality in itself,or is knowledge limited to our personal and human perspective? What is the basis of moral conduct? Are there any universal moral guidelines that should be followed by all human beings, or is ethics a matter of custom and even subjective opinion?' (p. 1). Moscovici explores the ideas of writers who posed and responded to these questions, examining in particular Kant's Critique ofPure Reason, D'Alembert's 'Discours preliminaire' to the Encyclopedie, Diderot's Supplement au Voyage de Bougainville, and Chateaubriand's Atala. Twentieth-century reappraisals of Enlightenment ideas include Lyotard's The Postmodern Condition, Fanon's The Wretched of the Earth, and Said's Orientalism. The works chosen are well-known texts by canonical authors. Moscovici responds to the material in a robust manner, exploring ideas with rigorous and dense analysis, looking at the effortsof thinkers to philosophize common sense, itself a slippery concept, depending on shared cultural values and assumptions. The philosophical basis forcommon sense is taken as Habermas 's 'lifeworld', a shared and often implicit set of assumptions that make human communication possible. The problem of the interplay of universalism and relativism was one of the most fundamental issues of the Enlightenment, and was increasingly problematized in the twentieth century. Moscovici gives attention to thinkers who pursue a double dialectic. A single dialectic, she explains, hierarchically opposes two terms, one term made positive by virtue of negating the qualities of the other. Thus, universalists create unity by negating differences, and relativists create heterogeneity by eliminating unity. By contrast, a double dialectic describes a semiotic process whereby two terms acquire meaning by excluding from their definition qualities as? sociated with an opposite term. Philosophers who pursue a double dialectic transcend opposing extremes in an attempt at overcoming the impasse posed by the conflict of relativism and universalism. Moscovici addresses questions of epistemology, subjec? tivity,ethics, and cultural difference. The scholarship and the rigour of the argument are impressive. This book marks a sound contribution to the field. University of Bristol Martin Calder The City in French Writing: The Eighteenth-Century Experience/Ecrire la ville au dixhuitiemesiecle . Ed. by Siofra Pierse. Dublin: University College Dublin Press. 2004. xii+195 pp. ?29.95. ISBN 1-904558-08-9. This volume presents eight studies of representations of the city in French writings of the eighteenth century. Rather than constituting a study of architecture, planning, or population, The City in French Writinglooks at the metropolis fromthe perspective of everyday life on the streets. Siofra Pierse explains in the introduction that the city in the eighteenth century was very differentfrom the cities the Western world knows to? day: 'surrounded by muddy streets filled with beggars and dogs, carriages and horses, poverty and pungent smells, the average city-dweller had little concept of the country beyond' (p. 2). The studies focus on particular cities: Paris, Geneva, and the utopian ideal city. The studies are divided into two sections: 'Urban Mobility' and 'Moral Fragility'. The firstof these brings together studies united by the theme ofmovement, understood as physical movement around the city and social mobility. Will McMorran examines the treatment of Paris in Marivaux's novels La Vie de Marianne and Le Paysan parvenu, showing how Marivaux's geographical omissions are as significant as the information he gives in his exploitation of Parisian topography. John P. Greene looks at carriages and coachmen in the memoir novel L Histoire de Guillaume, cocher, showing how vehicles and their drivers are not just means of transport or signs of so? cial standing, but catalysts in the plot. Josephine Grieder looks at the marginal world inhabited by Des Grieux and Manon Lescaut in Prevost's novel. Ioana Galleron 246 Reviews Marasescu studies Mouhy's Paris ou le mentor a la mode as a novel of education. All of these texts, Pierse writes, are concerned 'with unimpeded movement. Whether it be from country to city,or within the city itself,and in coaches of varying degrees of luxury, textual interest in the individual's social movement is paramount' (p. 5). The section on 'Moral Fragility' focuses on the city as a place of vice, and 'explores the image of the...

Rhythms of Vision in Stan Brakhage’s City Streaming

Le « rêve de La Ville » est un thème qui réapparaît souvent dans l’oeuvre de Brakhage. City Streaming, tourné à Toronto en 1989, se distingue de ses autres films urbains par son élan festif. Libéré du « poids de l’histoire » et de la trop grande familiarité des lieux, que l’on retrouve par exemple dans The Dead et Unconscious London Strata, Brakhage peut présenter une construction dynamique de la ville en tant qu’entité vivante, en tant que réseau d’énergie exubérante et enthousiaste semblable au flot d’électricité qui parcourt le système nerveux humain. Les tensions concep - tuelles et formelles de l’oeuvre (par exemple, entre les prises de vue intérieures et extérieures, entre les lieux privés et publics), ainsi que l’ironie et l’humour visuel, situent l’individu (le cinéaste) en dehors de la « ruche » qu’il observe. Il peut ainsi se « re-mémorer » son expérience du lieu pendant qu’il « chante la chanson » de La Ville.

The Best Picture ever made in Canada? Thunder Bay Films Limited and the Devil Bear

Cet article trace la brève mais tumultueuse histoire de la Thunder Bay Film Limited, une compagnie de production cinématographique professionnelle établie en 1927 dans la ville qui est aujourd’hui Thunder Bay, en Ontario. On pourrait interpréter la création de cette compagnie soit comme une manigance pour circonvenir au “British Cinematograph Act”, soit comme tentative vaillante mais futile de donner naissance à une industrie locale. Mais ces hypothèses ne rendent pas compte de la ferveur des gens de la région. Les productions de la Thunder Bay Film témoignent en fait d’une croyance régionale dans la modernité.

A Cadaver in Clothes: Autobiography and the Dandy in Baudelaire

Dandy doit vivre et dormir devant un miroir. Baudelaire Baudelaire's work is far from self-evidently autobiographical. Les Fleurs du mal, for instance, cannot be easily compared to a self-declared poetic autobiography like Hugo's Contemplations where poems are of decidedly personal inspiration, bear dates that attach them to experience, and lay out a plausible narrative of poetic development. In contrast, Baudelaire's undated poems appear impersonal and, in their emblematic character, untethered to experience. While poet does give collection status of an expressive work in one letter to Ancelle: Faut-il vous dire, a vous qui ne l'avez pas plus devine que les autres, que dans ce livre atroce, j'ai mis tout mon ceur, toute ma tendresse, toute ma religion (travestie), toute ma haine?--it is only to take it back right away: Il est vrai que j'ecrirai le contraire, que je jurerai mes grands Dieux que c'est un livre d'art pur, de singerie, de jonglerie. (1) Whatever principle of secret architecture of collection, it is not the growth of poet's mind. Nor are individual poems clearly self-expressive. It is true that Spleen poems seem to indicate mood, but mood in question is a dubious one, where poet's voice is cracked, incapable of striking anything but dissonant notes or sounding a death rattle. The enterprising reader who heads to a poem like Confession in search of a genuine autobiographical moment will be disappointed to discover that confession consists of a discourse overheard in false note of someone else's voice. Itis true that two of poems--Je n'ai pas oublie, voisine de la ville ... and La servante au grand ceur dont vous etiez jalouse ...--are by Baudelaire's own avowal retrospective. And yet even there Baudelaire insists that he has done his best to generalize and to strip away detAlls that might make intimate scenes identifiable. (2) The famous poem on memory, Cygne, starts out with a literary, not a personal reminiscence (Andromaque, je pense a vous! (3)) and moves on to recount an anecdote about an escaped swan wandering on a construction site that, although read by some critics as a literal event, has been thought by many too neat to ring true. A similar situation obtains elsewhere in work. Look to Artificial Paradises for soul-searching drug narrative of an experienced user, and you will be disappointed. Instead you find stories author, acting as a sort of scientist, purports to have collected from others. In Le Peintre de la vie moderne, Baudelaire has eschewed anecdotal style that his friendship with painter Constantin Guys would have allowed, and has even effaced name that would anchor portrait to a referent. Baudelaire's biographers Claude Pichois and Jean Ziegler will occasionally wonder whether most apparently unproblematical of autobiographical texts, Baudelaire's letters to his mother, are not those of a mountebank who poses even in his most intimate moments. (4) In Baudelaire's texts, personal stylenot all but dispensed with. (5) The Intimate Journals is a more promising place to look for an autobiographical subject. Indeed, main piece, Mon cceur mis a nu, was projected as an autobiography perhaps unusual in tone, but not in structure--it was to tell story of education of an angry man. (6) But in project as we have it, Baudelaire has avoided narrative mode that Lejeune makes a crucial trait of genre. (7) We don't find a story of past events of a life, and usual accouterments of journal entry--names, dates, places that might somehow affix fragmentary reflections to happenings of a life--are mostly missing. Such names as do appear might as easily have been gleaned from a newspaper column as dug out of Baudelaire's own memory, so little do they tell that is personal. When, exceptionally, poet dates a diatribe against bourgeoisie, he dates from century. …

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

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

Counter-Narratives, Class Politics and Metropolitan Dystopias: Representations of Globalization in Maelström, waydowntown and La Moitié gauche du frigo

En portant une attention particulière à Maelström, l'auteure considère trois films canadiens qui abordent la problématique de l'expérience métropolitaine de la mondialisation pour ré-imagîner la ville en termes de traditions architecturales et du libre mouvement des capitaux. Dans ces oeuvres, la ville devient une dystopie de fonctionnalisme redondant et anonyme. Ses habitants appartiennent à une ethnie uniforme, homogène, blanche, tous des col-blancs prolétarisés dans la vingtaine ou début de la trentaine. Sa texture émotive est une mélancolie généralisée explicitement issue de l'impacte du capital sur la vie de tous les jours.

Chalk Steps on the Museum Floor

This article argues against the well-established wisdom in sociology of art that a sudden artistic or institutional gesture can `elevate' an ordinary object to the status of `artwork'. Instead, it affirms that there is a gradual process of `becoming art'. The mechanism of artistic activity does not consist of a single transformation of one huge difference into something artistically significant; it is rather related to the deployment of various small objective differences, their extension, intensification, repetition, and stabilization. It is the tempo of transformation that matters, but not the nature of these differences. Located in the objects, they are empirically describable. That is why the article follows ethnographically the process of installation of a chalk Bruegel copy on the floor of Musée d'art moderne de la ville de Paris in 1999 and depicts different sequences and rhythms of change in the materiality of all participants in an art installation.

Black RomeAnthropologie du Carnaval: La ville, la fte et lAfrique Bahia. By Michel Agier. Marseilles: ditions Parenthses/IRD, 2000. 256 pp.

Previous articleNext article No AccessBooksBlack Rome Anthropologie du Carnaval: La ville, la fte et lAfrique Bahia. By Michel Agier. Marseilles: ditions Parenthses/IRD, 2000. 256 pp.RichardPriceRichardPriceDepartment of Anthropology, College of William and Mary, Williamsburg, Va. 231878795, U.S.A. ([email protected]). 24 vi 02 Search for more articles by this author Department of Anthropology, College of William and Mary, Williamsburg, Va. 231878795, U.S.A. ([email protected]). 24 vi 02PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Current Anthropology Volume 44, Number 3June 2003 Sponsored by the Wenner-Gren Foundation for Anthropological Research Article DOIhttps://doi.org/10.1086/374908 Views: 14Total views on this site Citations: 2Citations are reported from Crossref PDF download Crossref reports the following articles citing this article:Eric J. Guiry, Maria Hillier, Rui Boaventura, Ana Maria Silva, Luiz Oosterbeek, Tiago Tomé, António Valera, João Luís Cardoso, Joseph C. Hepburn, Michael P. Richards The transition to agriculture in south-western Europe: new isotopic insights from Portugal's Atlantic coast, Antiquity 90, no.351351 (May 2016): 604–616.https://doi.org/10.15184/aqy.2016.34Julia I. Giblin, Richard W. Yerkes Diet, dispersal and social differentiation during the Copper Age in eastern Hungary, Antiquity 90, no.349349 (Feb 2016): 81–94.https://doi.org/10.15184/aqy.2016.3

The Southeast Asian Regional Conference on Scientific and Applied Psychology: Mumbai

Mumbai was the venue for the Southeast Asian Regional Conference on Scientific and Applied Psychology, which was held from 17–20 December 2001. This major event was organized by the Bombay Psychological Association (BPA), the Department of Psychology of SNDT Women's University in Mumbai, and the University of Mumbai's Department of Applied Psychology. It was sponsored by the International Association of Applied Psychology (IAAP), the International Union of Psychological Science (IUPsyS), and the International Association for Cross Cultural Psychology (IACCP). With a view not only of strengthening the interface of the science and practice of psychology but also of stimulating the development of professional psychology, the Conference was an outstanding success as evidenced by the depth and quality of its scientific program and its wide attendance.

Les Arts du spectacle dans la ville (1404-1721) by Marie-France Wagner , Claire Le Brun-Gouanvic (review)

958 Reviews Les Arts du spectacle dans la ville (1404-1721). Ed. by Marie-France Wagner and Claire Le Brun-Gouanvic. Paris: Champion. 2001. 288 pp. 310 F. The ten studies in this collection of essays on large-scale public spectacle in early modern Europe describe the transformations of urban space from the Middle Ages to the Age of Enlightenment. They show how the emerging concepts of the public and of public space resulted in the development of new spaces occupied by new protagonists. The first four essays deal with the medieval representation of the court and the bourgeoisie in a number of discursive and spectacular works, which did not attempt to disturb the established order, but rather contributed towards its perpetuation. Claire Le Brun-Gouanvic opens with a study of two treatises by Christine de Pisan, for whom life was a spectacle, regulated by a specific behavioural and sartorial code, whose infringement by the rising merchant class was seen as a source ofsocial disorder. Religious and civic festivals conveyed the same message, whether one considers the tableaux that decorated the streets of northern European cities on the occasion of some royal or princely visit (Danielle Queruel), or the processions of Mere Folle in Dijon, which evolved from a good-humoured satire of the deviant mores of the community to a political criticism of the excesses ofthe regime (Juliette Valcke), or the ceremony of the Puy de la Conception in Rouen, which attempted to turn the sincere belief in the immaculate conception of the Virgin Mary, from which it originated, into an assertion of regional identity (Denis Hiie). The following group of essays focuses on the metamorphoses of the French royal entry in the sixteenth and seventeenth centuries, and in particular on its transforma? tion into a political spectacle. The central procession is said to structure the public space, now dominated by the royal image (Marie-France Wagner). Hence the focal position of the equestrian statue of the king in a number of entries given in honour of Henri IV and Louis XIII in southern French towns. This explains why this ritual was copied and transplanted abroad by the French in their attempts to conquer and convert the New World to Christianity . . . and to the merits of royal absolutism (Hannah Fournier)! It also explains why it was pastiched in order to ridicule the established monarchical order when reality belied its spectacular representation, as under the last Valois kings (Guy Poirier). The last part of the collection starts with studies of the development of new public spaces in seventeenth-century Paris, such as the foire and the cours (Daniel Vaillancourt ), and of the aesthetic transformations of a political myth (the killing of the Hydra/Python by Hercules/Apollo), from an automaton repeatedly used for firework displays to a static allegorical painting celebrating the transcendent power of Louis XIV (Francoise Siguret). The section is completed by an analysis of the polit? ical exploitation by the authorities of an eighteenth-century criminal news item, and its ambiguous representation on the contemporary Parisian stage (Christian Biet and Patrice Peveri). Altogether this is a stimulating, if mixed, set of essays on town festivals and ceremonies , demonstrating the need for the festive tradition to adapt and change in response to changing circumstances, and in particular to the development of the city and the growth of urban civilization. GOLDSMITHS COLLEGE, UNIVERSITY OF LONDON MARIE-CLAUDE CANOVA-GREEN ...

Raves, Risks and the Ecstacy Panic: A Case Study in the Subversive Nature of Moral Regulation

Abstract: This paper interrogates the anxieties which crystallized in the summer of 2000 concerning the uses and abuses of ecstacy local raves in Toronto, Ontario. Canada. Despite the fact that concerted efforts were made on the part of a host of entrepreneurs to extinguish raves held on city-owned property, Toronto's rave communities were able to subvert the moralizing discourse designed to characterize them at risk, simultaneously manipulating the same discursive technique to amplify the risks associated with terminating legal raves in the city of Toronto. Conceptually situated in the sociology of moral regulation, the analysis explicates the fluid character of media discourses and the dynamic interplay of social agents in the social construction, and subversion, of moral panic. Resume: Ce memoire etudie I'anxiete qui s'est cristallisee a I'ete 2000 quant a la prise et a l'abus de prise d'ecstasy lors des raves qui ont lieu a Toronto en Ontario (Canada). Malgre les efforts concentres de plusieurs [much greater than]autorites morales[much less than] qui cherchaient a eliminer les raves se produisant sur les terrains appartenant a la ville, les groupes de raveurs ont pu detourner le discours moralisateur qui les presentait comme un risque pour la societe, tout en manipulant la meme technique de discours pour amplifier les risques associes a I'interdiction des raves [much greater than]legales[much less than] dans la ville de Toronto. Concue sur le plan de la sociologie des reglements moraux. cette analyse explique le caractere fluide du discours des medias et l'interaction dynamique des agents sociaux dans la construction sociale et la subversion de la panique morale. ...in every society the production of discourse is once controlled, selected, organized and redistributed by a certain number of procedures whose role is to ward off its powers and dangers, to gain mastery over its chance events, to evade its ponderous, formidable materiality ... [but] as history constantly teaches us, discourse is not simply that which translates struggles or systems of domination, but is a thing for which and by which there is struggle, discourse is the power which is to be seized (Foucault, 1981:52-53). Introduction Set within the discursive context of a series of media stories surrounding the deaths of three young adults who had ingested the designer drug ecstacy in 1999, the summer of 2000 was witness to heightened media attention concerning rave dance parties held in the city of Toronto, Ontario, Canada. Following the initial coverage in 1999, Toronto city council unanimously passed Protocol for the Operation of Safe Dance Events/Raving the urging of the Toronto Dance Safety Committee. The document offered several guidelines designed with the intention of regulating raves held in Toronto, placing particular importance on the search for venues which offered adequate facilities for the large number of people who attend raves. While The Protocol was generally accepted by organizations representing rave communities as a progressive and valuable instrument capable of facilitating a greater degree of safety for ravers, when the Ontario coroner's inquest into the death of Toronto university student Allan Ho was init iated in May, 2000, Toronto's Mayor introduced a motion which sought to ban raves from city-owned property. In the ensuing weeks, raves became an object of contestation and debate, as several city representatives intensified their efforts to terminate raves under the auspices of the Entertainment Gatherings Protocol. The discursive vehicle through which this project was carried out, however, evaded a direct focus on the leisure space of the rave, alternatively highlighting the purported dangers associated with the use and distribution of ecstacy. The city's shifting mandate provides an interesting case study for the sociologies of moral regulation and moral panic. …