Les Chemins Research Articles

Les jumelles de la rue Nicolas by Évelyne Trouillot

Reviewed by: Les jumelles de la rue Nicolas by Évelyne Trouillot Sarah Davies Cordova ÉVELYNE TROUILLOT Les jumelles de la rue Nicolas Le Palais-sur-Vienne, France. Éditions Project'îles. 2022. 275 pages. TWINS FEATURE PROMINENTLY in Haitian culture and literary history, reflecting spiritually and figuratively the socioeconomic and political complexities of Haiti. As marasa, they occupy the privileged position of divinities in the Vodou pantheon, representing unpredictability in subjecthood and history's irrationality and are figured with a third "other" of (pro) creative potential and change. In literature, they first appear in Haiti's foundational national novel, Stella (1859), written by Émeric Bergeaud, as the mulatto Remus and the black Romulus born of an African slave, and their story recounts allegorically Haiti's revolutionary fight for freedom and independence. Twinhood doubles as mimetic (pre)figurations in Edwidge Danticat's The Farming of Bones (1998), when the crib-death of Rafael, the fraternal light-skinned Dominican twin, sets in motion Trujillo's 1937 genocide of Haitians. Such historically situated twinned characters are no strangers to Évelyne Trouillot's imaginary of combative female characters facing the intersecting socioeconomic, educational, and gender inequities that constitute their quotidian habitus, as enslaved or citizen in Haiti, in exile in France or the United States. Set in Port-au-Prince during the last decade of the twentieth century, in the aftermath of the US embargo and Hurricane Georges, Les jumelles de la rue Nicolas intertextually references the marasa of Lilas Desquiron's Les chemins de Loco-Miroir (1990) and revisits Trouillot's short story "Which One?" in Danticat's 2011 Haiti Noir collection, switching points of view so that it is the eponymous twins who take turns narrating homodiegetically their life story rather than following the mothers of two half-sisters determined to ensure that their infant is the one chosen for adoption by their father's great-aunt in Brooklyn. Structurally recalling Trouillot's plurivocal narratives, the alternating use of roman type and italicized passages separated by a recurring vévé drawing denoting the marasa threesome patterns the two interior voices of this linguistically, visually, and corporeally layered two-tongued telling. It is Claudette, the high achiever and linguistically gifted illegitimate orphan, who initiates the nonlinear dialogue with her half-sister Lorette, seeking to reach a symbiotic wholeness, inaccessible without her "other." Their uncanny likeness (which identifies them as their father's daughters), the similar-sounding names he gave them, and their artful way of substituting for each other mark them as the twins of Nicolas Street, a name that brings to mind the patron saint of children, and the father of marasa, a figure who is sorely missing in the girls' lives. As they trace in their differences and preferences, they also (re)constitute the injustices of their Cinderella-storylike childhood and their mother/stepmother's Machiavellian determination to realize, after her philandering husband's untimely death in Miami, her (American) dream of socioeconomic security on her daughter's back (or Claudette's if need be). For Évelyne Trouillot, literature's trope is breaking historical silences and taboos and disrupting the dominant narrative's stereotypical images with women characters who set out the entangled determinants of (trans)generational life stories of Haiti. Just as a pharmakon antidote to the abuse and domestic violence exercised on the jumelles' bodies is the ethics of care of traditional Vodou rituals in each of their mothers' rural safe havens, which corporealize the twins' "douloureux partage et incontournable altérité," so too do the (homophonic) titular binoculars zoom in to counternarrate the monocular American national fiction; that fiction depicts Haitians as dying to be locked into an unremitting globalized consumerism, with Claudette and Lorette fighting back to break free from the sociopolitical shackles conditioning their identity as half-sisters. In the fight, they story a marasa legacy, a dosa, a potent emancipatory novel. [End Page 82] Sarah Davies Cordova University of Wisconsin–Milwaukee Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma

Narrer la Négritude de façon transmédiale : le cas du rappeur Youssoupha

French rap music provides an original contribution to literary exposition, redefinition and re-adaptation. As a postcolonial product, rap music rehabilitates the memory of an often forgotten colonial past and offers a new transdisciplinary and post-colonial perspective on contemporary French society. Through his music, French-Congolese rapper Youssoupha enters into dialogue with French Martinican poet, author and politician Aimé Césaire, one of the founders of the Négritude movement in Francophone literature. Through the analysis of the albums Sur les chemins du retour (2007), Noir D**** (2012) and NGRTD (2015), the purpose of the present study is to investigate how Youssoupha unfolds and actualizes Césaire’s works and the concept of Négritude across multiple media channels.

Sylvia Townsend Warner and the Possibilities of Freedom: The Sylvia Townsend Warner Society Lecture 2019

This article considers why Warner’s writing has been undervalued, in particular taking issue with the argument that her works are too radically disparate to be discussed as an oeuvre. It argues that one path through her writings – a ‘handle to get hold of the bundle’ in William Empson’s phrase – is the idea of ‘the possibilities of freedom’, a topic broad enough to address a good deal in Warner’s writings but specific enough to bring some focus. ‘The possibilities of freedom’ – as against ‘freedom’ alone – points both ways, both to what is possible and conversely to the limits of the possible. The essay follows this theme and some of its variations through the six decades and several genres of Warner’s writing life, discussing in particular ‘The Young Sailor’, Lolly Willowes, Opus 7, ‘To Come So Far’ and ‘Oxenhope’. It concludes that we should see her as in no way a quiet, removed stylist but instead as a figure of vigorous cultural engagements, an intellectual contemporary of writings such as Bertrand Russell’s Proposed Roads to Freedom (1918), Sartre’s Les chemins de la liberté (1945–49) and Hannah Arendt’s essay ‘What is Freedom?’ (1961).

En marche! Walking and Writing with Sylvain Tesson and François Garde

In Sur les chemins noirs (2016), Sylvain Tesson charts his solitary crossing of France on foot. In Marcher à Kerguelen (2018), François Garde recounts an equally arduous trek through a remote French island in the Indian Ocean. While the geography they encounter could not be more different, each author revels in the road not taken. Through their creative imbrication of walking and writing, Sur les chemins noirs and Marcher à Kerguelen explore how the impact we have on a place as we move through it correlates to that place's capacity to inform our experience of ourselves and the world.

Toward a Reflexive History of Modern Subjectivity

Toward a Reflexive History of Modern Subjectivity

Mouloud Feraoun, Masculinist Systems and Feminine Thanatos

Postcolonial literary criticism has long acknowledged the importance of the work of Mouloud Feraoun (1913–1962) as an expression of autochthonous lived experience in opposition to the orientalist narratives that had previously defined the Algerian literary domain. This article argues that contained within Feraoun's re-drawing of the terms of Kabyle existence from a Kabyle perspective is a critique of the symbolic reality of Kabyle life itself, particularly of its gendered divisions. Specifically, this article illuminates the potential for Feraoun's texts to be read through the prisms of Bourdieusian sociological and Lacanian psychoanalytical epistemologies where they evoke oppressive masculinist symbolic structures and women's capacity to manipulate, resist and subvert these structures. Special attention is paid to evocations of a feminine revolutionary 'death drive' or Thanatos in the novels Le Fils du pauvre (1950), La Terre et le sang (1953) and Les Chemins qui montent (1957), and to a feminine awareness of the 'phallic' nature of pernicious Kabyle masculinist epistemes that lead to the ruin of Feraoun's protagonists.

‘Qui sont ces pédants qui se permettent ainsi de trancher ?’

Contemporary French fictional accounts of the Spanish Civil War are scarce and, besides the dominant case of Malraux’s L’Espoir, largely restricted to the far right and warnings against Republican ‘disorder’. Drieu la Rochelle and Robert Brasillach use the war as an epilogue to their novels, in which the uprooted French intellectual finds commitment and sacrifice. In the post-Liberation period, Sartre’s Les Chemins de la liberté explores a similar role for Spain in his protagonist’s development. Louis Guilloux’s depiction of Spanish refugees in Le Jeu de patience constitutes a rare record of the Spanish Republican diaspora in France. His particular focus on the militant Pablo underpins not merely the historical panorama in all its complexity, but also the frailty of memory and the difficulties and ambiguities of narration – all contained in the many meanings of the novel’s title.

François Furet: A melancholy revisionist?

François Furet: A melancholy revisionist? Arthur Goldhammer (bio) Review of Chirstophe Prochasson , François Furet : Les chemins de la mélancolie. Paris : Stock , 2013 . 558 p. When asked to write an intellectual biography of François Furet, Christophe Prochasson surely knew he faced a daunting task. Twenty-five years ago, as France celebrated the Bicentennial of the French Revolution and communist domination of Eastern Europe crumbled, Furet’s reputation and influence stood at a pinnacle. No one had done more than he to wrest the interpretation of the Revolution from the Marxist historians who in his view had shoehorned it into a Procrustean bed of party-sanctioned dogma, and no one had done more to explore “the past of an illusion” that had induced so many young French intellectuals, including himself, to devote years of their lives to the party. Because the demise of communism defined the epoch, the crown of epochal historian devolved on Furet. A quarter of a century later, the landscape looks rather different. The pastness of the past has reasserted itself, and many people today must find it difficult to imagine that interpreting the French Revolution “correctly” could once have seemed a vital prerequisite to situating oneself properly in the present. Academic historians—a tribe among whom Furet lived at best uncomfortably—prefer it this way. A hundred interpretive schools have bloomed, and none is in danger of achieving the ideological hegemony that academics fear more than [End Page 209] the seductions of historiographic fashion or the curse of antiquarian irrelevance. In a sense, the very magnitude of Furet’s success has become an obstacle to understanding what he achieved or why he thought it important. This, as Prochasson suggests, was one source of the “melancholy” under the sign of which he sets his essay in biography. That said, the choice of “melancholy” as a unifying thread for a book about Furet might seem strange. How could a historian who had accumulated celebrity, influence, institutional power, and professional acclaim be described as melancholy? To be sure, every life contains its share of private disappointments and frustrated ambitions, but Prochasson has almost nothing to say about either Furet’s private life or the battles in which he engaged as head of the Ecole des Hautes Etudes en Sciences Sociales (EHESS). We do learn that Furet suffered as a young man from tuberculosis, which left him confined to a sanatorium for lengthy periods. This enforced confinement proved to be a boon to the young scholar. The sanatorium contained a library of 25,000 books and provided a quiet environment in which to read them and prepare a licence en droit. His conversion to history came while still convalescing, when he forged ties with a number of young communist history students who would remain lifelong friends, including Mona and Jacques Ozouf, Alain Besançon, Maurice Agulhon, and Emmanuel Le Roy Ladurie. Furet’s initial engagement with history thus coincided with his initial engagement with communism, the story of which comprises the first fifth of the book. We learn little about Furet’s activities as a militant. Very likely what Le Roy Ladurie says of himself—that adherence to the party was the cure for his “Robinsonism,” his “love-hate relationship with solitude”— was also true of Furet. Alain Besançon recalls the keen pleasure of conversations among comrades in a left-wing student milieu freed from the oppressive conformism of Sciences-Po. It was in the Saint-Just Cell that Furet met his first wife, Jeannette Rouil. In the same milieu, Denis Richet, with whom he would later collaborate on the book that first gained him notoriety, met and married Furet’s sister. Whatever else communism may have meant to Furet, it provided him with a network of close friends with similar intellectual and political interests, and this, as much as any ideological attraction, must have complicated his exit from its orbit. Prochasson adds the interesting observation that, in the French [End Page 210] academic world in the 1950s, communism functioned as “une savonnette à vilains: the sorbonnard Furet, who had failed to join the normalienne nobility, found another way in by way of political commitment” to communism. [48...

Cancionero Mariano de Charcas

This volume presents the study and annotated edition of 230 poems in Spanish about the Virgin Mary, taken from musical polyphonic works in manuscripts at the Archivo y Biblioteca Nacionales de Bolivia (ABNB) in Sucre (formerly La Plata, capital of the Audiencia of Charcas). These poems have been selected by the editor from some 13 hundred music folders or items (dating from 1680 to 1820) that came to the ABNB from La Plata Cathedral and from the Biblioteca of the Oratorio de San Felipe Neri (Julia Elena Fortún collection). Eichmann announces a future edition of poems about other topics.This important book originated in the doctoral dissertation by Eichmann, who also has other relevant publications about poetry and music in colonial Bolivia. In the present volume he systematically studies texts sung in villancicos and similar genres and describes the process (that he calls “retroescritura”) used to reconstruct the poems from their fragmentary presentation in different particellas (single, independent sheets of music with the text underlaid for each voice of a polyphonic composition). For the reconstruction of each poem, the author has followed three stages: (1) configuration of an initial text (“base textual”), selecting the fragments of a poem from different particellas of the same piece and giving the appropriate order to the fragments, a particularly difficult task if there is not a previous musical edition of the work, as is the case with most of the poems selected by Eichmann; (2) fixing the text, which requires numerous editorial decisions regarding suppression of unnecessary repetitions of words (usually generated by the musical arrangement), reconstruction of the poem’s verses (notwithstanding irregularities and polymetries), punctuation, accentuation, errata, and inconsistencies; and (3) to reach (as far as possible) to the version of a poem previous to its use in a musical score. Musicologists who have edited Spanish texts of religious music from before 1850 have faced the same process of reconstruction described by Eichmann, but their solutions have not always been systematic. The methodology and examples presented by Eichmann provide very useful guidelines for future editors of Spanish and Latin American villancicos and related genres.In a preliminary study, Eichmann places the poems in the Latin American cultural and musical context, in particular that of the Audiencia of Charcas. Using Gaelle Bruneau’s unpublished doctoral dissertation (2006) and other works about musicians at La Plata Cathedral, he brings together the biographical information about the composers who set these texts to music. Eichmann makes an effort to establish literary concordances with Spanish and Latin American sources, although the bibliographic selection he makes concerning the musical villancico is quite limited. From the literary point of view, the poems are analyzed in great detail, focusing on the different themes within this Marian repertoire (in which the works devoted to the Virgin of Guadalupe, venerated at La Plata Cathedral, take a place of honor); the important presence of classical mythology; and the poetic forms represented in the collection. The 230 edited poems are numbered and classified according to themes (conception, nativity, presentation, ascension, etc.); an appendix presents another 23 incomplete poems. The title given to each poem is that of its first line. The edition of the texts has been done with great care and the poems are profusely annotated. There is an alphabetical index of first verses, as well as an index of main annotated terms.Eichmann’s thorough editorial work is of interest not only for philologists and musicologists, but also for practical musicians, as can be shown with an example. The villancico ¡Ah de la obscura, funesta prisión! (poem no. 58, pp. 310 – 14) by the Spanish composer Juan de Araujo (1646/48 – 1712) includes in the last two verses of the refrain (estribillo) a contrast between the darkness of “Averno” (Hell) and the planets of “Empíreo” (Heaven). However, in the wonderful recording of this work by the Ensemble Elyma and La Maîtrise Boréale, conducted by Gabriel Garrido (collection Les Chemins du Baroque, K617124, 2001), the word “Empíreo” is wrongly sung as “Imperio” (Empire). To sing “Imperio” instead of “Empíreo” (in every repetition of the refrain) is a small, almost unnoticed mistake, but it changes substantially the literary and theological meaning of the text. Good editions of poetic repertoires, such as the one published by Eichmann, can be very helpful in order to contextualize the symbolic meaning of texts to be sung.In all, Eichmann’s volume is a relevant contribution to our knowledge of the poetry in the musical repertoire of La Plata (Bolivia) during the seventeenth and eighteenth centuries, and a stimulating call for interdisciplinary dialogue between philologists, musicologists, and performers.

Travellers’ Accounts as Source-Material for Irish Historians

Walking, touring and journeying over les chemins d’Irlande, the Saxon and other travellers have offered up gleanings, impressions, sketches or letters about Paddy and his country over several centuries. C. J. Woods’s Travellers’ Accounts is a select repertory of 209 travel accounts of Ireland (accessible in published or manuscript form) spanning the period 1635 to 1950. This innovative guide compels attention to travel writing as a source for Irish history, and thus sets a research agenda. Pr...

Franco-Arab Dialogues in/between French, Maghrebi-French, and Maghrebi Cinema(s)

Click to increase image sizeClick to decrease image size Notes Notes 1. I am using the term “Maghrebi-French” as opposed to either “beur,” which has become problematic, or “Franco-Maghrebi,” which is fundamentally ambiguous. Although I am drawing on Maghrebi cinemas as examples of Arab cinemas, I recognize that the term Maghrebi includes other populations—Kabyl, Berber, Jewish, pied noir, etc. 2. Other films of the 2000s differ in tone and in outcome: in La Faute à Voltaire, the Arab migrant is eventually deported, while in Chouchou, a Utopian multicultural France is shown ready to welcome a cross-dressing, gay male Arab. But both engage audiences in a dialogue regarding the need for tolerance and acceptance of others, emphasising the conviviality that can arise from intercultural relationships (but ignoring the possibility of the main protagonist being a practising Muslim). 3. They include: L’Autre monde, La Fille de Keltoum, Un aller simple, Les Chemins de l’oued, Exils, Tenja, and Il était une fois dans l’oued. 4. In L’Autre monde and Les Chemins de l’oued, the Maghrebi-French traveler is eventually killed by Islamic fundamentalists; in La Fille de Keltoum, she cannot accept the way women are treated in the Arab/Berber sex/gender system. In Exils, however, the pied noir traveler and his Maghrebi-French girlfriend are literally entranced by Sufi mysticism, and appear to find some sort of reconciliation with their past. 5. Various 1990s films denounce the wearing of the veil (Douce France) and Islamic fundamentalism (100% Arabica); Abdelkrim Bahloul's La Nuit du destin provides a sympathetic portrayal of Islamic faith in France. 6. Bensalah's other feature films are Le Ciel, les oiseaux … et ta mère, Le Raïd, and Big City. 7. Other such films include Le Soleil assassiné, an account of the encounter between Algerian youths and the poet Jean Sénac, set in the 1960s; and Bab El Web, which centers on the relationship between a French woman traveler and her young Algerian hosts (see Higbee); in André Téchiné's Loin, set in Tangiers, the Moroccan character has a secondary role.

Les Chemins de la nouveauté: Innover, inventer au regard de l'histoire (review)

Reviewed by: Les Chemins de la nouveauté: Innover, inventer au regardde l’histoire Daryl M. Hafter (bio) Les Chemins de la nouveauté: Innover, inventer au regard de l’histoire. Edited by Liliane Hilaire-Pérez and Anne-Françoise Garçon . Paris: Éditions du CTHS, 2003. Pp. 473. €38. This collection is poised to dethrone Joseph Schumpeter's old narrative of the Industrial Revolution and replace it with a more nuanced analysis. In Schumpeter's paradigm, the steam engine, the factory, and the identifiable inventor took pride of place, and the Industrial Revolution in Great Britain became the archetype. There was said to be a gulf between the handicraft of the preindustrial years and the industrial "takeoff" which came to permeate all sectors of the economy, speeding up production and the transformation of national life. On the contrary, as the essays in Les Chemins de la nouveauté make clear, the Industrial Revolution was actually the result of many small artisanal innovations. The book is divided into three sections: invention and its institutions, collective and individual methods, and the art of invention. Christine MacLeod shows how nineteenth-century English inventors were turned into heroic figures, thereby not only helping to perpetuate the "great man" theory of economic history but also reinforcing the notion that the Industrial Revolution in Britain was the standard by which to judge other countries. Of the authors seeking to discredit the great-man theory, Patrice Bret is among the most assertive. Bret discusses a nineteenth-century French inventor, Henri-Joseph Paixhans, whose development of cannon with explosive projectiles gave the French navy parity with the British. Paixhans refused to take credit for the innovation, explicitly documenting the contributions made earlier by others. By insisting that the development be judged by several learned academic groups, however, he captured the interest of the public and successfully overrode bureaucratic inertia. Other authors address the theme of joint responsibility for invention by focusing on the innovative climate that coeditor Liliane Hilaire-Pérez calls "open technique." Coeditor Anne-Françoise Garçon suggests that this competitor to the "vulgate schumpétérienne" has multiple roots, including the research of Charles Sabel and Jonathan Zeitlin into flexible and small-scale enterprise, Thomas Hughes's concept of systems, and H. Verrin's analysis of the ties between enterprise and workshop from the sixteenth century to the eighteenth. Examples come from diverse settings. Italian silk workers [End Page 850] learned new techniques from the particular specialties of various cities, and urban councils permitted glassmakers to circulate freely. In Switzerland, as Bernice Veyrassat shows, the sheer numbers of individual watchmakers gave rise to extraordinary innovation in response to the mass production of American competitors. John Snail shows that the supposed hostility of artisans to technical change is much exaggerated. Rather, they themselves were responsible for innumerable changes that cumulatively resulted in better production and distribution of goods. Arguing for a new historiographical perspective, he writes that "examining artisanal innovation . . . clearly shows how the responses to market conditions affected both the development of particular technologies AND [sic] a broad cultural emphasis on innovation which . . . was crucial to the long term growth of the economy" (p. 315). Snail points to the notebook of the eighteenth-century Yorkshire wool-frizzing miller John Brearley, with its numerous diagrams of machine improvements and new schemes to satisfy market demands. Examining technological transfer, Marco Belfanti writes that artisan migration was a key to the preindustrial diffusion of techniques. Only with the spread of literacy and the opportunity to set the "mysteries" of the crafts into print did workers' actual tours of other workshops decline in importance. Belfanti emphasizes the "vast network of competence and complimentary technical progress" that accumulated in urban centers, even lending a market-oriented cooperation to peasants. S. R. Larry Epstein concurs in the importance of artisan migration, whether temporary or permanent. Though full-scale compagnonnage tours started only in the eighteenth century, masters had long understood that journeymen could acquire new technology and perfect their skills by working under different conditions and in other markets. While industry developed through technological transfer, encountering a new invention did not inevitably lead to change. A novelty not only had to...

Les Chemins de Rome: Les Visites ad Limina a l'Epoque Moderne dans l'Europe Meridionale et le Monde Hispano-Americain (XVIe-XIXe siecle) (review)

Les Chemins de Rome: Les Visites ad Limina a l'Epoque Moderne dans l'Europe Meridionale et le Monde Hispano-Americain (XVIe-XIXe siecle) (review)

The Invention of Two Women in Les Chemins de la liberté

been said and we will not dwell on it here—women don't play a pre ponderant, influential, or even likeable role in Sartre's works. Apart from a few positive feminine figures like the heroine of Le Diable et le Bon Dieu2 the principal actors are men. But if we take the time to observe the moving, dynamic relations between the author and his characters, it seems—for Les Chemins de la liberte at any rate—that the invention of women cost Sartre more effort than that of the male

Sexual stereotyping in Sartre's Les Chemins de la liberte´

Although sexual stereotyping is a pervasive theme in Les Chemins de la liberte´, it has attracted virtually no critical comment. This is to some extent excusable in the case of L'Age de raison, where sexual stereotyping is largely a manifestation of Sartrean 'bad faith', and thus a 'human' phenomenon subsumable under the ontological preoccupations of the pre-war Sartre, rather than a gender issue involving sexual specificity. In both Le Sursis and La Mort dans l'ame on the other hand, the theme occupies a more clearly central position and is crucial to our understanding of the novel. Not only does it offer a highly pertinent critique of prevailing social and political attitudes at the time of Munich and beyond, it also anticipates many of the concerns that were subsequently to exercise Simone de Beauvoir and later feminists.

Les chemins du savoir en Suède: De la fondation de l’université d’Upsal à Jacob Berzelius—études et portraits by Sten Lindroth

TECHNOLOGY AND CULTURE Book Reviews 173 ists argued that the machines deprived laborers of work, obviating their labor-intensive theory. They criticized manufacturing machines for the same reason: efficient machines employed fewer hands. The goal was not technological development. Machines were only useful when they did what neither man nor beast could do. The danger in the academy’s early concern for utility was triviality, a threat the members hoped to avoid by fostering experimental physics and astronomical observation. Building and equipping an observatory in Stockholm involved resources on a scale that stretched Swedish society beyond its limits. Instruments, for example, could only be acquired gradually from abroad—first a mural quadrant, then a transit instrument, then a nine-foot refractory tube with achromatic lenses. The story of the observatory is the scientific equivalent of the campaigns of Charles XII, and it is told here in wonderful detail by Ulf Sinnerstad. From the beginning the academy has taken its educational respon­ sibilities seriously. When the government awarded the academy an exclusive right to publish almanacs in 1747, the members not only supervised the astronomical information but also added popular essays on public health and rural economy. Over time the popular interests of the academy came to include meteorology, horology, weights and measures, and ecology. The experts have always been quick to take advantage of new means to improve and broadcast this information. Gunnar Eriksson’s essay, “The Academy in the Daily Life of Sweden,” shows how scientific information has moved to the center of the lives of ordinary people in little more than a century. Other essays in the volume discuss scientific expeditions, national parks, the Nobel Prizes, and research institutions. This is the only reference work in English about an institution that has played a crucial role not only in the development of science in Sweden but also in Sweden’s relations with other countries. James Larson Dr. Larson is professor of Scandinavian at the University of California, Berkeley. His research mainly concerns the life sciences in the 18th century. Les chemins du savoir en Suède: De la fondation de l’université d’Upsal à Jacob Berzelius—études et portraits. By Sten Lindroth. Translated and edited by Jean-François Battail. Dordrecht: Martinus Nijhoff, 1988. Pp. xx+ 242; illustrations, index. Dfl 150.00; $72.00; £45.75. Sten Lindroth (1914—80) was a remarkable man. Known in Sweden as a brilliant historian of science and ideas who published a series of learned works, he nevertheless remained unknown abroad. One reason was the war. He spent one year at the Sorbonne, but then it became impossible for a young student to go abroad. In 1977 he 174 Book Reviews TECHNOLOGY AND CULTURE perhaps that he belonged to the first or second generation of historians of science; he came before international contacts were worked out in the new held. If he had published in an international language, he would certainly have been recognized as an outstanding scholar. It is, therefore, praiseworthy thata collection ofhis essays has now been published, thanks to the efforts ofJean-François Battail. Lindroth studied zoology and botany before turning to the humanities. He became fascinated by the new professor in the history of science, Johan Nordstrom (appointed 1932). In 1943 he took his Ph.D. with a 500-page dissertation on Phracelsianism in Sweden, but he had already published substantial articles on different 17th-century material, mostly chemistry and medicine. He then wrote three large volumes on the copper mining industries in Sweden from the Middle Ages to 1800, three volumes on the history of the Royal Swedish Academy of Sciences (1739—1818), a four-volume history of Swedish science and learning, a history of Uppsala University (both in Swedish and English), and many other essays and articles. For thirty years he edited Lychnos, the yearbook of the Swedish History of Science Society. Lindroth was most interested in intellectual history. He followed the tradition from Johan Nordstrom in this respect; science and technol­ ogy were never seen as purely theoretical or technical activities but as integrated parts of society. This meant an intellectual milieu with all the religious, philosophical, economical, and political influences. It also meant...

: Les Chemins de l'Alliance: L'Organisation Sociale et ses Representations en Nouvelle-Caledonie . Alban Bensa, Jean Claude Rivierre.

American AnthropologistVolume 87, Issue 3 p. 721-723 Free Access Social/Cultural Anthropology: Les Chemins de l'Alliance: L'Organisation Sociale et ses Représentations en Nouvelle-Calédonie Jean-Marc Philibert, Jean-Marc Philibert University of Western OntarioSearch for more papers by this author Jean-Marc Philibert, Jean-Marc Philibert University of Western OntarioSearch for more papers by this author First published: September 1985 https://doi.org/10.1525/aa.1985.87.3.02a00630AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article. Volume87, Issue3September 1985Pages 721-723 RelatedInformation

: Les Chemins de la "Memoria." . M.-S. Lagrange, Ch. Bonnet.

American AnthropologistVolume 82, Issue 4 p. 885-886 Free Access Archaeology: Les Chemins de la “Memoria.” Nouvel essai d'analyse du discours archéologique. M.S. Lagrange and Ch Bonnet Susan Kus, Susan Kus CeDRASEMI, ParisSearch for more papers by this author Susan Kus, Susan Kus CeDRASEMI, ParisSearch for more papers by this author First published: December 1980 https://doi.org/10.1525/aa.1980.82.4.02a00370AboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume82, Issue4December 1980Pages 885-886 RelatedInformation

Rationalization and Railway Workers in France: Raoul Dautry and Les Chemins de Fer de l'Etat, 1928-1937

Historians have paid surprisingly little attention to employers in France, despite the critical influence of their attitudes and policies on the development of the labour movement and ultimately on political life.2 The problem is partly ideological and partly methodological. Because of their own sympathies, academics often prefer to study workers rather than employers and tend to concentrate on trade union history. The problem is compounded by the lack of source materials, about which every historian of the patronat has complained, perhaps unjustly, for in the twentieth century, at least, many industrialists and managers engaged openly in debate and tried to influence public opinion.3 One of the most eloquent was Raoul Dautry (1880-1951),4 head of the State Railway from 1928 to 1937, and author of many speeches and reports, which, one trade union journal noted with annoyance, were 'immediately reported... with the same degree of attention and care and the same admiring commentaries usually devoted to the speeches of heads of states, dictators and ministers'. Dautry had a good sense of public relations.5

Le Comique dans l'œuvre romanesque de Sartre

The comic in Sartre's fiction stems primarily from exaggerated ridicule of certain characters. In La Nausée, Roquentin describes the bourgeois surrounding him as completely devoid of individuality. The comedy results from the substitution of the mechanical for the human, from the distance between the pretenses of the bourgeois and reality, and from the parody of literary giants such as Proust. Le Mur shows Sartre's comic power in portraying people's bad faith. Again, comedy results from humans losing their humanity and from the contradictions inherent in certain visions of reality. The subject of Les Chemins de la liberi éallows for less comedy, but humor is not lacking in Sartre's last novels. Sartre uses comedy mainly to denounce bad faith. He uses it also to indicate certain changes in a character's situation and, in La Nausée, to underline his hero's predicament. The importance of comedy in Sartre's fiction proves that he is not only a philosophical novelist but also a comic one. (In French)