Sa Vie Research Articles

Translation motivation and foreword by Charles Baudelaire "Edgar Poe, sa vie et ses œuvres" to the edition of E. A. Poe's texts

Charles Baudelaire is primarily known as a French poet, the author of the internationally acclaimed poetry collection "Flowers of Evil" ("Les Fleurs du Mal"). However, he is also known as a translator: it was he who created the translations that changed the literary fate of the genius not recognized at the time – Edgar Allan Poe. He wrote a 24-page preface to the collection of his translations "Histoires extraordinaires", on the basis of which the author analyzes the poet's approach to translation, records his argumentation and motivation. Within the framework of this article, the author provides an analysis of the preface by Sh. Baudelaire studies why the connection between these figures has been repeatedly called absolutely exceptional by researchers. The subject of the study is the motivation of Sh. Baudelaire's translation of E. A. Poe's texts, which he explains both in the preface to the publication of the texts of the American writer and in personal correspondence. The object of the study is the preface under the heading "Sa vie et ses œuvres", written by Sh. Baudelaire's edition of E. A. Poe's texts in his own translation, published by the publishing house "Michel Lévy" in 1869. The main research method was a detailed analysis of the text of the preface by Sh. Baudelaire's "Edgar Poe, sa vie et ses œuvres" to the edition of E. A. Poe's texts in his own translation of 1869. A special contribution of the author to the study of the topic is a detailed study of the preface by Sh. Baudelaire as an artifact containing the formulation of translation motivation directly by the translator himself. The artifact is presented to the author all the more valuable because the translator is a famous poet with a special, recognizable style, which obviously leaves its mark on his translations. The main conclusions of this study are: the need to study the phenomenon of the Baudelaire translator not only from the prefaces to the translations, but also from his statements in correspondence, as well as in the study of the cultural era accompanying the creation of these translations and containing events such as the confrontation of the Romantics and the Parnassian school. The scientific novelty lies in the creation of a detailed analysis, based on which more specific episodes of the life and work of S. Baudelaire as a translator can be studied.

Mykhailo Hrushevsky and His Francophonic «Anthologie de la littérature ukrainienne» (1921) in Belgian and French Publications of the 20th and 21stcenturies (in Ukrainian) 7-15

Mykhailo Hrushevsky’s presence in French culture dates back to the beginning of the 20th century (a course of lectures in Paris, a review of É. Verhaeren’s drama, a 1912 Paris edition, etc.). Scholar’s most outstanding work in the context of Ukrainian-Francophone literary relations is his «Anthologie de la literature ukrainienne» (1921), which helped Francophone researchers learn about the literary heritage of Ukraine from ancient times to the 19th century. The main thesis of the article is the importance of this anthology in further acquaintance of the French speaking world with Ukrainian literature. The preface to this book written by the French linguist professor Antoine Meillet of College de France was important as it emphasized such an significant fact about the publication as «literature in Ukrainian not well known in other countries». M. Hrushevsky explained that it was only the first step of Ukrainian sociological institute which started its work on creation of the anthology of Ukrainian literature of later period. Materials from the edition of Ukrainian Sociological Institute were partly used in 1928 by the editorship of the Belgian-French magazine «La Nervie», being completed by some other samples of Ukrainian literature of the second half of the 19th century and the first two decades of the 20thcentury. Another fact that testifies about the importance ofHrushevsky’s anthology is that the outstanding French scholar and literary critic Roger Tisserand, the author of numerous encyclopedia articles about Ukrainian writers and the work «Life of a nation. Ukraine», referred to it more than once using some samples of Ukrainian poetry. Two excerpts from Mykhailo Hrushevsky’s edition («Galician–Volhynian Chronicle» (fragment) and «Praise to St. Volodymyr») were reprinted in Vol. 4a (1993) by the compilers of Belgian encyclopaedia «Patrimoine littéraireeuropéen» (12 vols.). A separate chapter about Mykhailo Hrushevsky and an excerpt from his foreword to the «Anthologie…» were included into Sarcelles anthology of Ukrainian literature (2004) by literary scholar Arkady Zhukovsky. The scholar described extensively Mykhailo Hrushevsky with special focus on his scholarly-research work, teaching and organization of academic life.The literary critic illustrated life and creative activity of the scholar by extracts from the preface to «Anthologie de la littérature ukrainienne…» and gave a short explanation of the issues, raised by Mykhailo Hrushevsky in his subsequent works. The material in the article about the resonance of M. Hrushevsky’s French anthology in the French speaking milieu testifies to the presence of the outstanding scholar, historian and literary critic in European culture. Such works as André Mazon’s memorable article in the Slavic journal «Le Monde Slave» (V. 12, № 1–2, 1935) and A. Joukovsky’s French language research «Mykhailo Hrouchevskyi. Sa vie et son œuvre. Paris, 1997» are of great interest.

« Suivre le fil de la blessure » : Poétique des voix et corporalité de la mémoire dans Loin d’eux de Laurent Mauvignier et Thésée, sa vie nouvelle de Camille de Toledo

Following the (wounded) memory lane: poetics of voices and corporeal memory in Laurent Mauvignier’s Loin d’eux and Camille de Toledo’s Thésée, sa vie nouvelle This is a study of the novel Loin d'eux by Laurent Mauvignier (1999) and Thésée, sa vie nouvelle by Camille de Toledo (2020). Through these two works, this article examines how the modalities of a survival of memory and of the traumatic memorial image are inscribed in the body and mind and how the narrative and scriptural forms resonate with them. I will first analyze how Mauvignier's writing of the wound meets inhibited speech and silence, suggesting in solitary subjects the failure for a shared language. I will then question in de Toledo's text how the relationship to a painful bodymemory proceeds from an inscription in the present, an awareness of a memorial corporality and a desire to “survive with”. Both these texts respectively give us pause to reflect on how the memory trace is apprehended through the power of speaking and listening.

Lifestyle Redesign® (Remodeler sa vie): First Pilot Study Among Older French-Canadians

Recently translated and adapted to the French-Canadian context, the program Remodeler sa vie (Lifestyle Redesign) aims to develop meaningful and healthy lifestyle. The influence of this newly adapted program on older French-Canadians was, however, unknown. The aim of this study was to describe the influence of the Remodeler sa vie on older French-Canadians' life balance, engagement in meaningful activities, self-compassion and gratitude. A mixed-method design (preexperimental and qualitative clinical) was used in a pilot study with 16 participants distributed in two groups (with and without disabilities). Pre- and post-intervention questionnaires as well as semi-structured interviews were completed. An increase of life-balance in all participants (p = .03) and of engagement in meaningful activities in older adults without disability (p = .02) was observed. The participants also reported improvements for all outcomes. Remodeler sa vie is a culturally promising program to promote health among older French-Canadians.

El discurso godardiano en vivre sa vie (1962)

Se presenta la reflexión producto de investigación del análisis del film Vivre sa vie (Godard, 1962) el cual se basó en la propuesta de Jacques Aumont y Michell Marie (1990), en las teorías de Bordwell, Burch y Bergala así como en entrevistas a expertos de cinematografía en la ciudad de Medellín. La manera de vivir el cine implica la idea canónica del entretenimiento, para Godard, también involucra la capacidad de construir metáforas e ideas para un espectador reflexivo. Éste director propone un modelo desafiante y transgresor con un discurso collage, que se constituye en desafío mental para el público. En Vivre sa vie, presenta modelos “nuevos” de cinematografía tales como el teatro épico y la narrativa paramétrica, los cuales aportan argumentos renovadores al cine.

The Portrayal of the Grotesque in Stoddard's and Quantin's Illustrated Editions of Edgar Allan Poe (1884): An Interdisciplinary Analysis of the Relations Between the Visual and the Verbal

The Portrayal of the Grotesque in Stoddard's and Quantin's Illustrated Editions of Edgar Allan Poe (1884): An Interdisciplinary Analysis of the Relations Between the Visual and the Verbal

Seattle Sightings: The Seattle International Film Festival, 2017

Reviews 273 Seattle Sightings: The Seattle International Film Festival, 2017. . SIFF’s forty-third edition festival trailer invited movie-goers to gather round for awe-inspiring tales from across the globe. The twenty-seven Francophone films, although varied in tone and genre, displayed a common tendency to intertwine social, political, and economic issues with engaging character studies, a majority of which featured central female characters played by exceptional actresses. The newly restored Criterion version of the Marseille Trilogy—Marius (Alexander Korda, 1931), Fanny (Marc Allégret, 1932), César (Marcel Pagnol, 1936)—played to rapt admiration in the Archival Program; and Sébastien Laudenbach’s painterly, minimalist La jeune fille sans mains graced the animation section. This latter, in an elegantly metaphorical manner, adapts a Brothers Grimm tale of a girl who, deprived of her hands, nonetheless learns to prendre sa vie en main. A quartet of documentaries explored intriguing topics. Michaël Prazan begins with a 2006 recording his father Bernard made for the INA of his experience as a hidden child—information previously unknown to the family. Using archival material, reenactments, and interviews—including with the smuggler who saved Bernard’s life—La passeuse des Aubrais shares this complex, novelistic family history. L’Opéra (Jean-Stéphane Bron), filmed during preparations for the autumn 2015 season,“visits” with the new director and various artists and crewmembers as they plan, rehearse, create, discuss.We meet a young Russian with a remarkably powerful voice and a string orchestra composed of under-privileged kids.A strike threatens in the wings; a live bull lumbers on-stage. The terrorist attacks bring a moment of silence. A wonderful, informative look inside a grand Paris institution! Merzak Allouache’s docu-fiction Enquête au paradis follows a young female investigative journalist through an extensive series of interviews to research what “paradise” means to her fellow Algerians. A broad spectrum of interviewees offers some expected comments, and a good number of unexpected ones. Highly informative , this project offers 135 minutes of absorbing cultural observations. Voyage à travers le cinéma français, 195 minutes, is every bit as fascinating. In a chatty tone Bertrand Tavernier shares his wide-ranging experience in the movie business, calling on his encyclopedic knowledge of films, and enlivening his observations from a rich store of personal memories. Dedicated to Jacques Becker and Claude Sautet, this is his“expression of gratitude”to all the filmmakers, screenwriters, actors, and musicians he has met along his way. Two biopics with documentary overtones: Jérôme Salle’s L’odyssée aims to reintroduce Jacques Cousteau (a credible Lambert Wilson) to younger generations. Reinforced by stunning photography, Salle focuses on the famous ecologist’s evolving relationship with nature—a timely message nowadays. La fille de Brest (Emmanuelle Bercot) traces whistleblower Irène Frachon’s crusade to reveal the cardiac dangers of a commonly prescribed weight-loss drug. Frachon, a provincial physician, defied not only a powerful pharmaceutical company, but also condescending, skeptical Parisian bureaucrats. More clearly fictional,the human heart also beats at the center of Katell Quillévéré’s Réparer les vivants: an accident, a brain-dead adolescent son, grieving parents, and the matter of a heart transplant. Vignettes from the lives of the boy, his girlfriend, his parents, hospital personnel, and a possible recipient and her family create a thoroughly engrossing consideration of the situation’s emotional, philosophical, and medical aspects. The death of another adolescent son in Moka (Frédéric Mermoud) triggers a taut cat-and-mouse thriller: a grieving mother (Emmanuelle Devos) seeks revenge on a suspected hit-and-run driver (Nathalie Baye). In the end, however, vengeance becomes self-discovery. Gentrification, globalization, employment, drugs, consumerism provided the canvas for a trio of noteworthy debut features. Les derniers Parisiens (Mohamed Bourockba, Ekoué Labitey) contrasts the lives of two brothers, small entrepreneurs, as they attempt to cope with the insurmountable forces of gentrification. Set on the directors’home turf, this film offers an untraditional view of life in Pigalle. Set in Mali against conditions leading to a 2012 coup d’État, Daouda Coulibaly’s crime-thriller Wùlu follows the ascension and inevitable fall of twenty-year-old...

The facial paralyses of Jules Verne

Jules Gabriel Verne (1828–1905), the French playwright and novelist considered the father of science fiction, had four episodes of left facial paralysis aged 22–36 years. 1 Butcher W Jules Verne: the definitive biography. Thunder's Mouth Press, New York, NY2006 Google Scholar , 2 Dumas O Correspondance de Jules Verne avec sa famille. La Manufacture, Lyon1988 Google Scholar The first occurred in February, 1850, and, in accordance with therapeutic principles of that time set out by Duchenne de Boulogne, 3 Lasègue C Straus J Duchenne de Boulogne; sa vie scientifique et ses oeuvres. Arch Gén Méd. 1875; 2: 687-715 Google Scholar he was treated with electrical stimulation of the facial nerve and eventually recovered. 1 Butcher W Jules Verne: the definitive biography. Thunder's Mouth Press, New York, NY2006 Google Scholar , 2 Dumas O Correspondance de Jules Verne avec sa famille. La Manufacture, Lyon1988 Google Scholar 5 years later, a second attack on the left side of his face was accompanied by acute pain. Verne's physician, Victor Marie, recommended a consultation with Jean-Martin Charcot, the most eminent neurologist in France at that time. Verne was unhappy with the consultation because he saw no improvement. Two further attacks, both on the left of his face, occurred in 1858 and 1864. No other episodes took place until 1877–78; a photograph taken by Félix Nadar in 1878 showed Verne with a further episode of Bell's palsy, this time on the right side of his face.

Give Me a Smile

Give Me a Smile' explores Michel Chion's conception of voice in Godard's Vivre sa Vie as the creator puts Nana’s voice (from Godard’s Vivre sa vie) into Jeanne’s mouth (from Dreyer’s La Passion de Jeanne d’Arc), melding the two films into one.

Transatlantic Poe: Eliot, Williams, and Huxley, Readers of the French Poe

Transatlantic Poe: Eliot, Williams, and Huxley, Readers of the French Poe

The Annotated Poe

The Annotated Poe

The Annotated Poe

The Annotated Poe

Garder un enfant connecté à sa vie extra-hospitalière peut-il contribuer à sa prise en charge en pédiatrie?

Garder un enfant connecté à sa vie extra-hospitalière peut-il contribuer à sa prise en charge en pédiatrie?

P.2.d.035 Base excision repair and oxidative DNA damage in patients with bipolar disorder

Les personnes souffrant de troubles psychiques subissent fréquemment une stigmatisation sociale. Elles ont également tendance à s’auto-stigmatiser, c’est-à-dire qu’elles-mêmes intègrent des attitudes négatives à l’égard de leur propre condition. Dans le domaine de la psychose, la problématique de l’auto-stigmatisation est de plus en plus considérée. En revanche, cette problématique reste sous-évaluée chez les personnes souffrant d’un trouble bipolaire. Les conséquences en sont pourtant importantes : la culpabilité, la honte, le repli sur soi et le renoncement à mener sa vie selon ses propres valeurs et croyances péjorent la qualité de vie des personnes, y compris celles qui sont euthymiques depuis plusieurs années. De plus, l’auto-stigmatisation augmente le risque de rechutes thymiques et de ré-hospitalisations. Actuellement, peu de stratégies thérapeutiques ont été évaluées et les données disponibles s’adressent essentiellement aux personnes souffrant de schizophrénie. À travers la description d’un cas clinique, nous présentons une intervention de restructuration cognitive des croyances auto-stigmatisantes, qui pourrait s’avérer une stratégie thérapeutique bénéfique pour faire face à l’auto-stigmatisation.Self-stigmatization of people with bipolar disorder is an underestimated problem. However, it is probably equally significant for schizophrenia (Andrews et al., 2002; Sarisoy et al., 2013). For all the patients, including euthymic patients, self-stigmatization decreases thymic stability and, more globally, the quality of life (Levy et al., 2015). Indeed, it affects the evolution of bipolar disorder (more relapses, more frequent hospitalizations, more intense symptoms…) (Levy et al., 2015) and alters interpersonal relationships (Cerit et al., 2012; Hayward et al., 2002). Moreover, the frequently co-morbid social anxiety of bipolar disorder is the consequence of self-stigmatization and chronic feelings of shame and decline in self-esteem (Aydemir et al., 2011; Brohan et al., 2011). A good therapeutic alliance is insufficient to improve self-stigmatization of patients (Kondrat et al., 2010). In 1999, Holmes and River presented coping strategies for the individual management of self-stigmatization and in 2010 Larson and Corrigan empirically proposed an example of cognitive-behavioral therapy focused on self-stigmatization in a person with depression. Currently, few therapeutic strategies have been evaluated to treat self-stigma in bipolar disorder (Yanos et al., 2015). This article describes cognitive restructuring on self-stigmatization for a patient suffering from bipolar disorder. The case presented concerns a 52-year-old woman, divorced and the mother of three children. She is an Italian teacher. The patient has not taught since 2008 and has received a 100% disability pension since 2011, because of a bipolar disorder. Since the last hospitalization in 2010, the patient is euthymic. Since 2012 she has followed no treatment. However, despite this stability, this patient repeatedly referred to the “shame she feels to be bipolar”. It was postulated that self-stigmatizing thoughts are negative automatic thoughts. An intervention focused on self-stigmatization was proposed. Restructuring cognitive strategies were used. First, psychoeducation about stigmatization and self-stigmatization, and after several self-observing exercises exploring self-stigmatizing thoughts, work was carried out with the patient on cognitive distortions, which underlay her negative thoughts. Finally, for exposition, a holiday project was targeted: the patient wished to go on a trip to Egypt but refused because she felt guilty and illegitimate to take holidays. Following cognitive restructuring, she was able to go on holiday with her family, serenely. More generally, the patient evolved from the “why try?” effect (Corrigan et al., 2009) to the “And why not?”. Finally, she considered the experience of the disease as a positive social identity (Michalak et al., 2011) and she is going to do a training course to become a peer-helper. This work demonstrated the feasibility of cognitive restructuring for the management of self-stigmatization. The discussion on public stigmatization and self-stigmatization is essential: the patient can then correctly identify his self-stigmatizing thoughts and begin effective cognitive restructuring. The ability to discuss allows the establishment of a strong and deep therapeutic link. However, this is a clinical case. Only our clinical evaluation and the subjective real-life experience of improvement of the patient allow a description of the benefits of this intervention. In the future, it is important to develop clinical trials to characterize the impact of this intervention of the quality of life and the course of the disorder. Often unrecognized and little considered by therapists, the self-stigmatizing thoughts of people with bipolar disorder severely affect their quality of life and increase the risk of relapse. Identifying these beliefs and qualifying them by using cognitive restructuring seems to be a beneficial strategy to erase shame and withdrawal. Other studies will be necessary in the future to estimate more exactly the impact of this approach so that people suffering from bipolar disorder can live according to their values and faith.

Vivre sa vie

During the summer of my first year of college I did an internship at an architecture firm in Paris, where I happened to discover Vivre sa vie, a 1962 film in which the director, Jean-Luc Godard, develops essentially two themes: the relationship established with the viewer, and the editing technique.
 
 In a similar way, at our office we have approached architecture in the fashion of craftsmen, focusing in two subjects: the technique or design process, and the users. Within this design process there are three themes that we especially value: collecting (as the act of taking out of context an object and assigning a new value to it), reversibility (the recognition of interior and exterior spaces, noncontinuous but reversible) and permeable materiality (through the choice of a specific material and the exploration of it possibilities).

Dada Dance: Sophie Taeuber's Visceral Abstraction

In a recent landmark exhibition on the intersection of art and dance, Danser sa vie, the Centre Georges Pompidou displayed an enigmatic photograph identified as the artist Sophie Taeuber dancing at...

Annie Ernaux: de la perte au corps glorieux by Michèle Bacholle-Bošković

Literary History and Criticism edited by Marion Geiger Bacholle-Bošković, Michèle. Annie Ernaux: de la perte au corps glorieux. Rennes: PU de Rennes, 2011. ISBN 978-2-7535-1707-3. Pp. 175. 15 a. The brusque opening of this book—“Toutes les images demeureront” (9), followed by a list of cryptic phrases and fragments—represents an appropriate test for potential readers: anyone who does not recognize the play on the incipit of Les années or catch the allusions to different works by Ernaux is probably not going to be able to appreciate this rapidly moving treatment of her oeuvre. The uncontroversial foundation of Bacholle-Bošković’s argument is that a pervasive sense of loss, whether real or symbolic, has always driven Ernaux to write, as the latter has acknowledged on a number of occasions. Among the more important instances that Bacholle-Bošković examines are Ernaux’s discovery, at age ten, that she was in effect an “enfant de remplacement” (38) for an older sister who had died; her decision to terminate an unwanted pregnancy at a time when abortion was still illegal in France; and the wrenching experience of losing, to Alzheimer’s, the mother with whom she had such a complex relationship. Hence the understandable desire, on Ernaux’s part, to preserve traces of the past, notably by incorporating descriptions of personal photographs into her writing, and the fascination with‘taches’ of various sorts that is apparent in many of her works. More problematic, however, is Bacholle-Bošković’s eventual conclusion, previewed early on: “C’est en écrivant contre [...] ces pertes [...] qu’Ernaux a produit une œuvre double, ancrée dans le passé mais porteuse du futur, une œuvre de ce qui a été et de ce qui sera, progressant de la perte au corps glorieux”(12).What exactly we are to understand by the notion of “corps glorieux”remains unclear, particularly since the final part of this study, in support of that contention, is relatively short, visibly hurried, and difficult to follow, as Bacholle-Bošković returns at times to material touched on earlier and slips rapidly from point to point, moving quickly to broad assertions. After citing a remark by Ernaux that she has felt at times something of a ‘mission’in writing, Bacholle-Bošković concludes in abrupt fashion:“Messianique est ainsi l’œuvre ernalienne. Alors prenons et lisons-la tous, car ceci est son corps, sa vie, offerts pour nous” (169). To her credit, Bacholle-Bošković is intimately familiar with Ernaux’s extensive oeuvre, as well as the numerous interviews the author has given, and at times her readings are certainly thought-provoking. There are interesting musings, for example, on the significance of Ernaux’s full given name,“Annie Thérèse Blanche Ernaux, née Duchesne”(19), on the impact of the characteristic blancs that punctuate her writing (55–56), on her drive to“laisser sa trace”(119), or on the resonances of the title of her masterwork, Les années (166). Anyone who has followed Ernaux’s body of work will naturally be interested in this book (which includes a certain measure of 252 FRENCH REVIEW 87.3 Reviews 253 previously published material), even if the presentation remains on the whole more impressionistic than entirely convincing. University of Kansas John T. Booker Baetens, Jan, et Alexander Streitberger. De l’autoportrait à l’autobiographie. Caen: Minard, 2011. ISBN 978-2-256-91166-8. Pp. 263. 28 a. This attractive publication’s back cover states:“les études réunies dans ce volume collectif traitent de la façon dont la photographie peut s’allier aux mots pour retracer un vécu personnel.” This description is an indispensable complement to the work’s title because it underscores the importance of photographs throughout the collective volume. Indeed, the “self-portrait” of the title is meant to point toward one of the oldest genres of photography, according to the well-written introduction by the coeditors . This is not the only recent publication to focus on the interplay of photographs and words in works containing autobiographical elements, but it is one of the best, thanks to its balance; while the chapters deal with...

Dictionnaire du Romantisme éd. par Alain Vaillant

Reviews 241 has included an extensive bibliography of primary and secondary sources in addition to a select chronology. I highly recommend this book for inclusion in any college or university library collection where there is a French and/or Comparative Literature program at the undergraduate level or above. Sweet Briar College (VA) Angelo Metzidakis Vaillant, Alain, éd. Dictionnaire du Romantisme. Paris: CNRS, 2012. ISBN 978-2271 -06813-2. Pp. cviv + 848. 39 a. This encyclopedic tome of 649 articles offers a fascinating analysis of Romanticism and an overview of its global influence on aesthetics and intellectual and cultural history.A biographical dictionary of authors and works, it also traces the evolution of key Romantic themes throughout literature, social and political history, philosophy, music, and the fine arts over ten geographical areas, including Northern and Western Europe, Russia and the Slavic nations, North America, Latin America, the East, and former colonial empires. Alain Vaillant’s invaluable essay, serving as an introduction, focuses on the European foundations of the movement. After outlining its genesis in Germany, he details how France in the 1830s becomes “le vrai centre romantique” (xxii), propelling Romanticism beyond an aesthetic and intellectual phenomenon, and creating a worldwide culture involving all aspects of life, such as fashion, leisure, public spectacles (in theaters and on the street), media, social mores, and personal expression. Vaillant provides a masterful examination of Romanticism, which he characterizes broadly as any effort to fuse the material and the ideal, or the concrete and the abstract. He locates its beginning in questions dating back to the Renaissance, and he finds its influence even in the search for the absolute that is symptomatic of twentieth-century totalitarian regimes, as well as in the globalized world culture of the twenty-first century. In exploring connections between Romanticism, nationbuilding , and democracy during the 1800s,Vaillant outlines the seismic shift that takes place when popular classes, such as“le peuple révolutionné né en 1789 et 1793”(xxvii) in France, generate culture instead of members of the upper echelons of society and government.Vaillant goes on to discuss the importance of the economic prosperity of the bourgeoisie and the middle class in the evolution of Romanticism, as well as the influence of the movement in religion (le Dieu romantique), history (the cult of les grands hommes), love (the union of the intellectual and the spiritual with the corporal), and art (the projection of an immaterial subject into a physical art object). In this vein, he identifies as“la véritable invention esthétique du romantisme”the process of “subjectivation, [...] la présence du sujet auctorial dans l’objet d’art créé”(liii).Vaillant’s extensive study serves as an advance organizer for readers, first as they make their way through his account of the influence of Romanticism on the development of the press and other media, the notion of privacy, the role of children as representatives of morality, the modernism of the later part of nineteenth century, and subsequently as they peruse the substantial entries that make up the Dictionnaire. A useful index of themes guides readers to articles according to geographical areas, facilitating the investigation of Romanticism in a specific country or region. The combination of general information and fresh insights makes this volume an essential resource for teachers and scholars of the nineteenth century. Brandeis University (MA) Hollie Markland Harder Van Deth, Jean-Pierre. Ernest Renan: simple chercheur de vérité. Paris: Fayard, 2012. ISBN 978-2-213-63738-9. Pp. 604. 32 a. Sans être complètement oublié, Renan (1823–1892) fait partie des écrivains dont la célébrité n’a pas longtemps dépassé son siècle. Les controverses autrefois acerbes entre cléricaux et laïques n’ayant plus le même niveau d’acuité, les écrits souvent austères de ce philologue et historien (qui avait failli devenir prêtre) ne sentent plus le soufre, ne suscitent plus la colère des bien-pensants ni l’enthousiasme des libres penseurs. À la relecture du texte, l’immense polémique créée par sa Vie de Jésus (1863), par exemple, semble difficile à comprendre de nos jours. Quant à “Qu’est-ce qu’une nation?”(1882...

Houdon’s Bather in a Drawing by Pierre Antoine Mongin

Houdon’s <i>Bather</i> in a Drawing by Pierre Antoine Mongin

The Selfless Author: Voltaire’s Apocrypha

Research Article| May 01 2012 The Selfless Author: Voltaire’s Apocrypha Nicholas Cronk Nicholas Cronk Voltaire Foundation, University of Oxford Search for other works by this author on: This Site Google Romanic Review (2012) 103 (3-4): 553–577. https://doi.org/10.1215/26885220-103.3-4.553 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Nicholas Cronk; The Selfless Author: Voltaire’s Apocrypha. Romanic Review 1 May 2012; 103 (3-4): 553–577. doi: https://doi.org/10.1215/26885220-103.3-4.553 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsRomanic Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2012 The Trustees of Columbia University2012 Article PDF first page preview Close Modal You do not currently have access to this content.