Success In France Research Articles

“I Dreamed of an Alliance between the Authority of Dogma and Political Liberty”: Mormonism and Socialism in France in the Nineteenth Century

“I Dreamed of an Alliance between the Authority of Dogma and Political Liberty”: Mormonism and Socialism in France in the Nineteenth Century

Translation and the acquisition of symbolic capital: The Blueberry Western series in the field of American comic books

ABSTRACT One of the best Western comic book series in the field of Franco-Belgian comics, the Blueberry series is widely acclaimed and has generated considerable symbolic capital. Mirroring its success in France and Belgium, this series has also been extensively (re)translated and (re)printed in several countries, such as Spain and Italy. In Anglophone countries, however, this editorial success has not been replicated. The Blueberry series has never been published in its entirety in English, nor has it acquired the symbolic capital that it enjoys in the Franco-Belgian comics field. This article focuses on the American editions of the Blueberry series. By adopting a translational framework based on Jean-Marc Gouanvic’s works on the sociology of translation, this paper shifts the traditional focus of Translation Studies from the texts to the critical and often overlooked role of translators and other agents in the international circulation of (graphic) narratives. Based primarily on the analysis of interviews with the American translators and editors of the Blueberry series, coupled with close paratextual examination of selected comics samples, this article investigates the context behind the reception of this iconic Western series in the field of American comic books.

“The fad for Polygonum will fade away!”: historic aspects of the propagation and success in France of the Reynoutria complex based on archives

ABSTRACT Japanese Knotweeds were introduced by man during the 19th century in Europe, where they hybridized and formed a species complex now considered as “invasive”. On the basis of many herbarium specimens, the literature and archive documents, we describe the history of their discovery and introduction in France. The circumstances of their hybridization are given, as well as the reasons for the spread of the complex composed of both taxa and their polyploid hybrids. We show that after its discovery by Von Siebold, Reynoutria japonica was introduced as a single male-sterile clone in Lorraine during the early 1850s, whereas R. sachalinensis was discovered by both the French and Russians and subject to successive introductions. Our study reveals that at the end of the 19th century, these Asiatic Knotweeds became very popular among horticulturists and botanical gardens. Their cultivation in sympatry has led to the production of their hybrid R. x bohemica, as well as interspecific hybridizations and introgressions with parental species, leading to considerable genetic diversity, escape and naturalisation.

Overcoming the global despondency trap: strengthening corporate accountability in supply chains

This paper re-examines why global collective action problems persist, and how to overcome them. Drawing on 140 interviews with campaigners, politicians, and businesses in 10 European countries, it suggests that many activists are stuck in a despondency trap. Never seeing radical reform, they lower their ambitions, and invest in more feasible but sub-optimal alternatives. This creates a negative feedback loop, in which the dearth of radical reform becomes self-fulfilling. But if reformists see advances at home and abroad, they may become more optimistic about collective mobilisation and break out of their despondency trap. This is shown by tracing the drivers of ground-breaking legislation. From 2018, large French firms must mitigate risks of environmental and human rights abuses in their global supply chains, or else be liable. This bill – the world’s first of its kind – was vociferously contested by businesses. But French campaigners and politicians persisted for four years, because they saw reasons for optimism. These include growing international support; public outcry; the French political culture (state intervention, and distrust of multinationals); together with a Centre-Left Government. Optimism galvanised relentless mobilisation. Legislative success in France then delivered a positive shock to activists across Europe, who were emboldened to launch similar campaigns and escape their despondency trap.

Origins and Legacies of Marcel Duhamel's Série noire by Alistair Rolls, Clara Sitbon, and Marie-Laure Vuaille-Barcan

Reviewed by: Origins and Legacies of Marcel Duhamel's Série noire by Alistair Rolls, Clara Sitbon, and Marie-Laure Vuaille-Barcan Mark Wolff Rolls, Alistair, Clara Sitbon, and Marie-Laure Vuaille-Barcan. Origins and Legacies of Marcel Duhamel's Série noire. Brill, 2018. ISBN 978-90-04-35897-3. Pp. 198. Contrary to the idea that the Série noire, the immensely successful crime fiction collection launched by Gallimard immediately after the Second World War, was a vehicle for importing American popular culture in France, the authors offer alternative explanations of the editorial strategy for producing almost 3,000 titles from 1945 until the present. First, Marcel Duhamel's translations of the initial works in the collection, especially La môme vert-de-gris (Poison Ivy) by Peter Cheyney and Pas d'orchidées pour Miss Blandish (No Orchids for Miss Blandish) by James Hadley Chase, domesticate (or [End Page 210] "Frenchify") these texts and perform an allegorical function for a French readership who, after living through the violence of German occupation and the importation of American culture that followed Liberation, could recognize their recent past and appropriate American hardboiled fiction as distinctly French. Second, Duhamel's "unfaithful" translations stand apart from the originals and raise questions of influence and legacy: did Duhamel find inspiration in works by English authors pretending to be American, or did Anglophone writers anticipate what Duhamel would produce as translations (where "traduit de l'américain" signifies an expropriation of the translated text into French culture)? Baudelaire's translations of Poe set a precedent for Duhamel's translation practice. Just as Baudelaire recognized in Poe's work a potentiality for expressing both himself and an Other, Duhamel recognized the potential for Anglophone crime fiction to represent France's recent past and its uncertain future. The choice of the first novels in the Série noire was imporant. Cheyney's novel inaugurated the collection, and as an Englishman writing American crime fiction, he offered texts that were already caricatures of the United States and lent themselves to a revisionist history of the war for a French readership. In La môme vert-de-gris, the female protagonist plays a role similar to that of a Marianne who effects her own liberation. Chase's novel set the tone for the collection, and Duhamel's translation is more faithful than what he had done with Cheyney. But the success of Chase's novel in France may have led the English author to rewrite the text in response to its reception in France. The immediate success of the Série noire prompted Boris Vian to write under the pseudonym "Vernon Sullivan" and produce four texts, including J'irai cracher sur vos tombes (1946), which for a while outsold other crime novels in France. Vian eventually translated works for the Série noire, including Raymond Chandler's The Big Sleep (Le grand sommeil, 1948). The success in France of the contemporary American writer Douglas Kennedy demonstrates that the Série noire can launch an author's career. Once gaining recognition as part of the series, however, Kennedy had his work retranslated in order to define a more distinct voice. The authors of this monograph combine textual studies with translation studies to show that the Série noire itself is a literary phenomenon that merits further scholarly attention. Mark Wolff Hartwick College (NY) Copyright © 2019 American Association of Teachers of French

From Royal Hôtel to Street Brawls: The Location, Personnel and Public Problems of the Venetian Embassy in Seventeenth-Century Paris

Where histories of Venetian diplomatic success in France have long drawn on the ambassadors’ dispacci and relazioni , these are only just beginning to be used to explore the personalities of the ambassadors themselves. In contrast, this article will use French notarial and legal records to investigate the daily lives of the ambassador and his staff in seventeenth century Paris. In particular, it will examine documents attesting to the turbulent life of the Hotel de Venise, and its boisterous staff and servants. Apart from their official presence at Versailles, little has been done to establish where the ambassadors lived in Paris, and with whom they had contact. This article first shows the mobility of the official hotel , but also points to simultaneous lodgings being held by the ambassadors, suggesting an official and a private life. This also illustrates the ambassadors in contact with the Parisian elite, beyond the court. It then outlines how the French archival record points to which were the most visible household officers, and traces their appearance in legal and business transactions. It demonstrates a distinct corps of Italian officers, and French domestiques , all of whom represented Venice in Paris, and had contact with Parisians. While these servants eased the ambassadors’ existence in France, they also created problems for them. Indeed, some servants were more likely to make trouble than others. In situations where the ambassadors’ servants breached the peace, or were themselves menaced by the French, who was ultimately responsible for the good behaviour of the embassy?

Broken Glass, Broken World: Glass in French Culture in the Aftermath of 1870 by Hannah Scott

as he had done for Protestants and Catholics, putting religious authority in the hands of the State, and relegating religion to the private sphere. In the mid-nineteenth century however, Jews became a more visible minority in France, especially in the theater. Jewish actress Rachel, for instance, became one of the brightest stars of the Comédie-Française. Her performances of Racine and Corneille’s heroines raised the question as to the compatibility of French culture and Jewishness. While some critics viewed Rachel’s success as a corruption of Frenchness, many more saw her success as proof of universalism’s success, but a universalism that allowed (once again) for particularisms.Yet, in his chapter on Algeria, Samuels notes that despite the pluralistic model of universalism that permitted Rachel’s rise to fame, erasure of difference would become the condition for the naturalization of Algerian Jews and the reason for denying Muslims citizenship (it was believed that Muslims would never assimilate into French culture). This differential treatment of Jews and Muslims reinforced the idea that Frenchness was a (universal) choice. Samuels also reveals that Zola’s apparent philosemitism hid strong assimilationist views, while the supposed stereotyping of Jews in Renoir’s La grande illusion served on the contrary to undermine the differences that did not, in the end, divide the group of French officers. In his final chapter, Samuels shows how laïcité has taken center stage in the debate over French universalism , suggesting a return to the Napoleonic effacement of the particular in order to attain the universal. This book’s most valuable contribution is its inclusion of moments of both failure and success in France’s universalist history and its focus on both“high” and “popular” culture, reminding the reader that ideologies permeate every aspect of society. Georgia Southern University Virginie Ems-Bléneau Scott, Hannah. Broken Glass, Broken World: Glass in French Culture in the Aftermath of 1870. Cambridge: Legenda, 2016. ISBN 978-1-909662-87-2. Pp. 151. Although at one time only available to the very wealthy, by the nineteenth century glass had become affordable and commonplace throughout France, and particularly Paris. The late nineteenth-century French glass industry mass-produced large-scale windows and mirrors for public buildings, and smaller glass objects for private homes. These objects included glass used for the Haussmannization of Paris and the World Fairs of 1867, 1878, and 1889, glass components for scientific and technological innovations, such as the photographic lens and the microscopic lens, and small, private glass objects, including inexpensive mirrors that made it possible for working-class men to take on the clean-shaven look of the bourgeoisie (24). Scott traces the development of the French glass industry, describing glass in nineteenth-century France as“ubiquitous,”and as crucial to the architectural and scientific innovations of the period. She then examines the increasing material presence of glass alongside its 196 FRENCH REVIEW 91.4 Reviews 197 new symbolic and metaphorical associations for the Année terrible generation. Given the fragile nature of glass, it was of course particularly vulnerable to the fighting and destruction of 1870–71. During the Prussian bombardments, the siege of Paris, and the Paris Commune, Parisians experienced for the first time the widespread shattering of glass. Scott notes that the breakage of glass had a visual, aural, and tactile effect with deep psychological impact, especially to those who experienced the fighting firsthand: “Broken glass became an inevitable symbol for a broken world” (4). Focusing on the intersection between the material and literary worlds, Scott looks at newspaper and diary accounts from this period and undertakes close readings of texts by Zola, Maupassant, and Huysmans to examine the“fundamental and deliberate”role of glass in their writing in the years after 1870. According to Scott, each writer recognized the symbolism of broken glass from 1870 through the 1880s to elicit images of the destruction of society and of personal identity. After two introductory chapters that examine the glass industry and the context and results of the Année terrible (“Why Glass?” and “Glass and Culture in the Aftermath of the Année Terrible”), Scott dedicates one chapter to each writer: “Shopping for Harmony...

Jokio skirtumo? „Jautrių“ tekstų vertimas

[full article, abstract in English; abstract in Lithuanian]
 Just like ideas of ‘equivalence’, the concept of ‘sameness’ in translation is not a neutral, univocal one: its interpretation can shift both diachronically and synchronically, with a variety of factors, be they individual or collective, influencing the outcome. This paper intends to investigate a specific example from one author’s work in translation with a view to highlighting the role played by social norms and ideological beliefs in the production and reception of translated texts. Rosamond Lehmann (1901–1990) was an English writer, close to the Bloomsbury Set and author of several popular, critically acclaimed novels. However, her ‘scandalous’ narratives – including extra-marital affairs, gay and lesbian characters and abortion – perhaps rather predictably, provoked some strong reactions in Britain. Although all her books were translated with great success in France, it is perhaps surprising that four of her novels were published in Italy during the years of the Fascist regime. This paper outlines the French and Italian versions of The Weather in the Streets, published in 1936 and 1938 respectively, within their historical context.

The Re-imagining Inherent in Crime Fiction Translation

The Re-imagining Inherent in Crime Fiction Translation

The Life and Death of Anna Gardie: American Theater, Refugee Dramas, and the Specter of Haitian Revolution

On July 21, 1798, New York City newspapers reported a complicated murder and that had occurred early on the morning of July 20, 1798 (Melancholy Catastrophe). Anna Gardie, a well-known actress from Saint Domingue, was killed by her husband, whose subsequent suicide left behind a young orphaned son. A sensational real-life tragedy, Anna Gardie's life and death also became part of a larger history of Atlantic revolution, Haiti and its refugees, and transnational performance cultures. She debuted on Saint Domingue's colonial stages before crossing the Atlantic and finding success in France. During the French Revolution, she retraced her path to Saint Domingue before finally fleeing northward during the Haitian Revolution. Once in the United States, she had reinvented herself as a popular dancer, singer, and pantomimist, her celebrity shaped by partly suppressed, ambiguous associations with foreign revolutions. (1) Occurring against the backdrop of the XYZ affair, the 1798 Quasi-War with France, and the passage of the Alien and Sedition Acts, Gardie's appearance in the historical record highlights the ambivalent, shifting sympathies and anxieties with which Americans greeted French Atlantic culture during the 1790s. Gardie's life and death also point to the profound impact of the Haitian Revolution on American performance practices from the 1790s to the 1830s. Anna Gardie and other refugees from the Haitian Revolution helped forge what Elizabeth Maddock Dillon has characterized as a creole commons, with spaces and publics organized around emergent identities and performance practices in the age of Atlantic revolution (26). Performing refugees brought distinctive Creole theatrical practices to US stages and other public spaces--intercultural forms such as pantomime, melodrama, and racial masking. Foregrounding the processes of substitution or surrogation that Joseph Roach discusses in Cities of the Dead, Gardie and her fellow refugees in the 1790s became popular, sentimentalized, and theatrically appealing embodiments of Saint Domingue's revolutionary history, and American audiences responded to their performances of material loss and cultural prestige with their own mix of aspirations and anxieties (2). Gardie's story survived beyond the revolutionary era; it was revived in the 1830s, decades after her death and after the Haitian Revolution, when stage manager, playwright, and early American cultural historian William Dunlap recounted her tragic end in his 1832 History of the American Theatre. In Dunlap's historical account, Gardie's death and the nostalgic scene of Haitian refugee performance returned as a cryptic but symbolically rich story of Caribbean slave revolution's haunting influences on US culture. Dunlap's History revived Haiti's dramatic refugees in order to bolster a narrative of American culture's dangerously transnational origins and its subsequent maturation. Nostalgically invoking the tragedies of Saint Domingue's refugee actors, Dunlap offered Gardie and her compatriots as a lesson on the enduring dangers of America's interracial intimacies. TRAGEDY IN THE FRENCH BOARDING HOUSE The first detailed report of the Gardie murder-suicide appeared in the New York Weekly Museum for July 21, which described the dreadful circumstance that had occurred between three and four in the morning of July 20 (Saturday). Another account elaborated on the location, calling it a noted French boarding-house at Pearl and Broad Streets (Jealousy!). Gradually accumulating more details, the accounts reconstructed a lurid, dramatic, and mysterious irruption of violence. Monsieur Gardie (whose given name is no longer known), the Weekly Museum reported, got up, ordered the boy to rise, and got into her bed. The boy hearing his mother cry out, asked what was the matter? Mr[.] Gardie desired him to lie still; his mother had only fainted--Soon after, hearing a knocking against the partition, he got up and went to the bed, where he found Mr. …

Curious Savages: Cultural Transvestism, Identity, and New France in Alain-René Lesage’s Les Avantures de monsieur Robert Chevalier, dit de Beauchene

Voici un sauvage que je vous amene. Sans aller au Canada, vous allez voir un mais un Iroquois qui ne vous fera pas peur [...] et ce ne fut pas sans etonnement qu'elles virent un gros gargon d'assez bonne mine, blanc et blond comme le sont communement les Canadiens. --Alain-Rene Lesage, Les Avantures de Monsieur Robert Chevalier, dit de Beauchene The 1727 edition of Furetiere's Dictionnaire universel defines curieux as and as something possessing bien des choses singulieres [...] que peu de gens scavent (Curieux n.page). Robert Chevalier, main character described in epigraph above from Alain-Rene Lesage's 1732 novel Les Avantures de Monsieur Robert Chevalier, dit de Beauchene, capitaine de flibustiers dans la Nouvelle-France, is indeed curieux, as he is exceedingly rare white and blond Iroquois. Or is he Canadian? Clearly narrator of this passage--Monsieur Remoussin, a French colonist whom Chevalier meets in Saint-Domingue--is playing with an identitary ambiguity predicated on clash of Chevalier's physical appearance and his vestimentary choices. Dressed as an but normatively handsome in European standards, Chevalier is an object of wonder to be gazed on. As a Canadien, he is already for French eighteenth-century metropolitan reader. As an Iroquois, he is doubly so. But Chevalier is only one of several curious characters who dresses against his prescribed social and ethnic station in Lesage's work. By analyzing these instances of cultural cross-dressing in Beauchene, I argue that this understudied work sheds new light on intersection of dress, colonial imaginaires, and identity in New France. My analysis of Beauchene builds on scholarship that links sartorial choices and identity, seeing in dress an expression of agency, or self-fashioning (Greenblatt 2). Cultural cross-dressing of type Chevalier is practicing has garnered particular scholarly attention recently. Sophie White's Wild Frenchmen and Frenchified Indians, for example, directs our attention to how the process of cultural cross-dressing was foundational to initially fluid ethnic, class, and racial elaborations in New France (4). White's work complements studies by researchers of New France, working in historical modes, who have examined metissage and cultural transfers on ground in French New World. (1) However, far less attention has been paid to texts about New France, written for cosmopolitan consumption, that depict it as a place where identities could be constructed, transgressed, disputed, and negotiated. The sartorial transgressions--what I call cultural transvestism--puts into question immutability and naturalness of categories in New World. As such, Beaucbene depicts New France as a privileged space for problematizing and questioning of ancien regime's traditional hierarchies--either gender or ethnically based. French Sauvages By time Beaucbene appeared on Parisian book market in 1732, Lesage had achieved success in France with his play Turcaret (1709) and first nine tomes of his picaresque novel L'Histoire de Gil Bias de Santillane (1715-35). Contemporary scholarship has tended to overlook Beaucbene in favor of these better-known works. This is unfortunate because Beauchene's setting in French Atlantic and its depictions of interactions between settlers and Native Americans mark it as a rich and comparatively untapped resource in study of French imaginaires, or representations, of New World. Of course, Beauchene's emphasis on alterity is not radical per se, sharing a kindred spirit with other orientalist fiction of period. Like Montesquieu's Lettres persanes (1721) and Madame de Graffigny's later Lettres d'une Peruvienne (1747), Lesage's Beaucbene makes use of exotic gaze of other to observe France. Unlike these canonical texts, however, cultural transvestism of Beaucbene creates otherized--read savage--Frenchmen who become critiques of French society. …

From Ideotypes to Genotypes: Approaches to Adapt Wheat Phenology to Climate Change

IntroductionSimulations using crop models can assist in designing ideotypes for current and future agricultural conditions. This approach has been often in recent years to identify avenues for adapting wheat to climate change. However, this approach has rarely been used to guide commercial breeding programs. We hypothesize that the lack of link between models and the available tools for breeding, i.e. available genetic variability and selection methods. Materials and methods- We use a modified ARCWHEAT2 phenology model and future climate data from the ARPEGE global circulation model to identify targets for future phenologies-We genotyped over 400 French cultivars for known phenology genes and confronted the genetic make-up of these varieties to their success in France over the past 25 years- We developed a methodology to link model parameters to underlying marker data. We tested the performance of the methodology against circa 60 varieties ResultsEarlier phenology may be an avenue for stress avoidance in the future.Current photoperiod sensitivity of early cultivars already poses problems in terms of adaptation, as exemplified by the interaction between Ppd-D1 and Vrn-A3We show that a gene-based model can be used to predict wheat phenology without a significant loss in predictive performance. DiscussionAnalyzing current phenology genes of existing cultivars and their adaptation allowed us to identify a limit to past breeding efforts in obtaining early cultivars. This requires that a more knowledge based approach be taken. Gene-based modelling of phenology is possible on a collection of elite, adapted varieties and provides the tools for constructing genotypes with specific allelic combinations leading to more appropriate constructions of earliness.

The birth and death of a diagnosis: monomania in France, Britain and in Ireland

ObjectiveThe purpose of this paper is to trace the origins and decline of the diagnostic entity monomania, which became prevalent in the early 19th century and to investigate its use in Irish psychiatry.MethodThe French psychiatric scientific writings of the early 19th century have been surveyed to identify and describe the clinical entity of monomania. The clinical description of monomania has been investigated and its cultural diffusion through literature and the arts has been reviewed. The increase in its use as a diagnosis and its ultimate decline has been documented in France, Britain and Ireland. The clinical characteristics leading to the diagnosis in Ireland have been investigated through the clinical symptoms recorded in patients accorded this diagnosis in the 19th century case books and committal documentation of the Richmond District Asylum and case books of the Central Mental Hospital.FindingsThe diagnostic entity of monomania first emerged in France in the 1820s and had disappeared from use in the hospitals of Paris by 1870. It first appeared in Ireland in the patients’ admission register of the Richmond District Asylum in 1833 and increased substantially before decreasing just as markedly with the last patient, given the diagnosis on admission being in 1878. However, the diagnosis of monomania was applied to admissions to the Central Mental Hospital as late as 1891. The Irish asylum case books have been of limited value in elucidating the clinical and symptomatological presentations leading to its use by 19th century Irish psychiatrists.ConclusionsMonomania, although enjoying a scientific and cultural success in France, both within and without psychiatric circles, was a tenuous clinical entity with an ill-defined and uncertain core and fragile boundaries, both in France and more particularly in Ireland. In pure form, rarely described, its closest modern equivalent would have been delusional disorder, but case descriptions only occasionally correspond to this concept as it is understood today. Its popularity dating from around 1830 declined and by the 1870s it was in terminal decline. The factors delineating its rise and fall are unclear.

Summoning the Spirit of Vichy and the Resistance: The Bridge on the River Kwai and the Transformation of French Public Memory

Hollywood's The Bridge on the River Kwai was the World War II film that more French people chose to see than any other in the history of French cinema up to its day. The article explores the film's origins and its impacts on French war memory. Kwai was the first of a series of films, French and Hollywood productions, that returned the war to a central place in French public discourse, closing the curtain on the previous decade's repressions. Kwai owed its phenomenal success in France to British director David Lean's significant alteration of French novelist Pierre Boulle's original story. Boulle's biting critique of collaboration through the safer abstraction of British prisoners of the Japanese was turned into a tale sympathetic to collaboration and complicating resistance. The result was a film that provided an unintended compromise between the war memories of the French Left and Right. The article draws on newspaper reviews to expose the manner in which the film was used within competing political discourses. Le pont sur la rivière Kwai de Hollywood est le film sur la Second guerre mondiale que les français ont choisi de voir avant tout autre film dans l'histoire du cinéma français à l'époque. L'article explore les origines du film et son impact sur la mémoire française de la guerre. Kwai a été le premier d'une série de films, productions français et hollywoodiennes, qui a renvoyé la guerre à une place centrale dans le débat public français, en baissant le rideau sur les répressions de la décennie précédente. Kwai doit son succès phénoménal en France à les modifications importante que le directeur britannique David Lean à fait au roman de Pierre Boulle. La critique mordante que Boulle à fait de la collaboration à travers la plus sûre abstraction des prisonniers britanniques des Japonais a été transformée par Lean en un conte avec sympathie pour la collaboration et qui a compliqué la résistance. Le résultat fut un film qui a fourni un compromis involontaire entre la mèmoire de la guerre de la gauche et du droit français. L'article s'appuie sur les journaux d'époque pour exposer la manière dont le film a été utilisé dans les discours politiques concurrents.

Daughter of the Mediterranean, docile European: Dalida in the 1950s

In the nineteenth century, as colonial expansion abroad paralleled industrialization at home, West Europeans developed the conception of the foreign Other as ‘uncivilized’, a seductive yet simplified object, fit for the gaze of the powerful. In western art, literature and photography, a romantic conception of the ‘Mediterranean’ solidified, whereby those living in the countries bordering the Mediterranean Sea were represented as ‘natural’, childlike and untamed. The same essentialist and reductive approach to a ‘Mediterranean’ identity is identifiable in the early songs and performance of Dalida (1933–1987), an Egyptian-born, Italian female singer who became France’s most commercially successful female artist of the second half of the twentieth century. This article contextualizes the early success of Dalida in France, between 1956 and 1961, demonstrating that the singer’s ‘Mediterranean’ image was carefully engineered by male professionals who selected her song lyrics, music and performance. Because Dalida’s early success in France coincided with the Algerian War, the singer’s oriental provenance was strictly ignored, and her ‘Mediterranean’ identity instead remapped onto the northern shores of the Mediterranean Sea. Analysing Dalida’s early career allows us to examine the evolution of ‘Mediterranean’ imaginings in French popular culture, and observe the politics of racial and gendered representation in the field of popular music at the tail end of the colonial era

How AMOREPACIFIC Became a Globally Successful Cosmetic Company through Unconventional but Sensational Marketing?

AMOREP ACIFIC has rapidly grown to become a successful global brand by persistently seeking and achieving success in foreign markets. In 2011, AMOREPACIFIC was ranked as one of the global top 20 cosmetics companies. What makes AMOREPACIFIC`s global success noteworthy is that AMOREPACIFIC challenged the France and the US market where competition level is the toughest. Lolita Lempicka, AMOREPACIFIC`s perfume brand, was chosen as one of the top seven most popular brands in the women`s perfume market in France. In addition Amorepacific, AMOREPACWIC`s namesake skincare brand, is cur-rently recognized as a top prestige brand in the USA. Their success played a significant role as a bridgehead for AMOREPACIFIC in becoming a global cosmetics company. The main object of this case study is to analyze how AMOREPACIFIC became a global cosmetic company through building key brands such as Lolita Lempicka and Amorepafic, among others, Therefore, this study reviewed AMOREPACIFIC`s unconventional approach in launching Lolita Lempicka in France, and Amorepacific in the US by focusing on how they foresaw the future op-portunities and employed innovative marketing strategies. Specifically, we focused on Amorepacific`s marketing strategy under the critical period when AMOREP ACIFIC achieved great success in France with Lolita Lempicka (between 1997 and 2004) and in US with the brand, Amorepacific (2003-2008), The case of AMOREPACIFIC`s success in the global markets can give valuable lessons to companies that want to extend their businesses to foreign countries and ultimately become global. One such les-son is the importance of building a successful pioneer brand in a powerful bridgehead market. While domestic competitors first entered into less competitive markets such as those in South-East Asia. AMOREPACIFIC challenged the toughest markets such as the French and US markets where the incumbent companies waged the most intensive and severe battles against Lolita Lempick and Amorepacific, Through the success in France and US market, however, AMOREPACIFIC built a powerful base for its successful global expansion. Another valuable lesson is the importance of foresight in uncovering great opportunities hidden be-hind the trends without losing focus on the brand`s core character and values. Lolita Lempicka and Amorepacific showed excellence in foresight competition, which led them to succeed against the in-tense competition from Goliath companies. If Lolita Lempicka and Amorepacific had just followed the popular market trend at the time, they would have never succeeded.

After the Fall: War and Occupation in Irène Némirovsky's "Suite française" (review)

Reviewed by: After the Fall: War and Occupation in Irène Némirovsky's "Suite française" Mary Anne Garnett (bio) Nathan Bracher , After the Fall: War and Occupation in Irène Némirovsky's "Suite française."Washington, D.C.: The Catholic University of America Press, 2010. xxiii + 268 pp. $64.95 (cloth). The publication of Irène Némirovsky's Suite française in 2004, nearly sixty years after her deportation and death at Auschwitz, caused a media sensation in France where the novel received the prestigious Renaudot prize, the first time one had ever been granted posthumously to an author. The novel's success in France and internationally has since led to the rediscovery and republication of Némirovsky's other novels, notably David Golder (1929), and collections of her short stories and novellas. Two biographies—Jonathan Weiss's Irène Némirovsky: Her Life and Works (2006) and an English translation (2010) of Olivier Philipponat and Patrick Leinhardt's La Vie d'Irène Némirovsky (2007)—as well as an exhibition—"Woman of Letters: Irène Némirovsky & Suite française"—at the Museum of Jewish Heritage in New York (September 2008-August 2009) have increased interest among the English-speaking public in her oeuvre. With renewed fame, however, has come criticism of Némirovsky focusing on her presumed ambiguity in regard to her Jewish identity, based upon depictions of stereotypical Jewish characters in her fiction; her collaboration with right-wing journals such as Gringoire and Candide; and her late conversion to Catholicism. The tendency has also been to cast moral judgments on Suite française, both positive (Némirovsky as a "guardian of memory") and negative (the novel as an apolitical work that doesn't address the real evils of Nazism) (xii). As Nathan Bracher indicates in his introduction, critical assessment of Suite française has often been "confused and contradictory" (x) because it filters the novel through post-Holocaust concerns with identity and the duty to remember rather than approaching the work as "an eminently literary text whose richly composed, multifaceted narrative must first and foremost be analyzed in relation to the literary and ideological contexts of its time" (xi). In his own close reading of the novel, Bracher attempts to avoid, to the extent possible, "the two most common pitfalls of our time: historical anachronism and ideological instrumentalization" (xiii). Bracher devotes the first four chapters of his book to "Tempête en juin" (Tempest in June), Némirovsky's devastating portrayal of the fall of France [End Page 169] in May-June 1940 that focuses on the historically long-neglected flight of civilian refugees from the German onslaught. While noting that the factual accuracy of her depiction has been confirmed by recent scholarship, such as Hanna Diamond's Fleeing Hitler (2007), Bracher stresses that Némirovsky's intention was not to provide a "documentary" account but instead to construct a novel that mediates events through "a number of contrasting and sometimes contradictory perspectives" of characters from a wide range of socio-economic backgrounds (26). Rather than quoting from Sandra Smith's translation of Suite française (Knopf, 2006), Bracher provides his own translations of passages from the novel, leading in one case to a significant difference in interpretation. "Mon Dieu, que me fait ce pays?" the oft-quoted first line from Némirovsky's notebooks, written in 1942 and included as appendices to both the French and English editions, is translated by Smith as "My God! What is this country doing to me?" This self interrogation, Bracher observes, has been interpreted by Weiss as Némirovsky's "long overdue awakening to the reality of injustice and anti-Semitism" (7). Bracher convincingly argues that a better translation is "My God! What does this country matter to me?" (7). Considering this citation in the context of her other journal entries, Bracher asserts that Némirovsky is instead questioning what attitude to adopt in face of the historical events in which she is enmeshed, ultimately coming down on the side of "a certain authorial detachment" (9). Bracher defends Némirovsky against those who would accuse her of political and ideological indifference, arguing that, in fact...

Ronsard et le livre etude de critique génétique et d’histoire littéraireClément Marot: Recueil inédit offert au connéctable de Montmorency en mars 1538

Francois Rouget. Ronsard et le livre etude de critique genetique et d'histoire litteraire. Cahiers d'Humanisme et Renaissance 95. Geneva: Droz, 2010. Pp. 288. Francois Rigolot, ed. Clement Marot: Recueil inedit offert au connetable de Montmorency en mars 1538. Coll. T.L.F. Geneva: Librairie Droz, 2010. Pp. 353. Francois Rouget's study of the works that Ronsard had known and annotated while preparing his own collections and Francois Rigolot's critical edition of Clement Marot's manuscript copy of a collection of recent verse offered in March 1538 to constable Anne de Montmorency are works of passion and pleasure. From complementary angles the authors examine the creative process, what Proust would later call the moi oeuvrant, of two of the greatest poets of sixteenth-century France. The Recueil des dernieres Oeuvres/de Clement Marot, non imprimes/Et premierement/celle quil fit durant son exil,/Et depuis son retour,/[1]537[8] en mars is the only known manuscript of Marot's poetry that was composed during his lifetime. A photographic facsimile of 147 pages of the microfilm copy in the Musee Conde de Chantilly Ms 524 (748) is set in front of Rigolot's jeweled introduction, which is followed by a carefully annotated transcription and a list of variants. An ample bibliography and index round out the study. The organization and composition of the 140 poems (most of which were written during the poet's exile in Ferrara and his return to the French court by way of Venice) speak volumes about the poet and his work in the wake of the Affaire des Placards (October 17-18, 1534) and on the eve of the Wars of the Religion. Obliged to leave France for reason of his reformed belief, Marot took refuge in Bordeaux under Marguerite de Navarre before reaching Ferrara, where, unlike her Catholic husband Hercule d'Este, the duchess Renee was a partisan of Gallican ideology. In Ferrara Marot found renewed calling. Reading Petrarch and Ovid, he wrote epideictic while conceiving the blason du beau tetin that would inspire agenre that soon became the delight of the French court. Leaving Ferrara on Hercule's orders, Marot went to Venice before reaching France. Celebrated upon his arrival in Toulouse, Marot prepared his Recueil to offer a portrait of his life, travels, and reformed views to the powerful Connetable, the man whom he had befriended in 1529. The collection is built upon what Rigolot calls lines of force that can be seen in the arrangement and disposition of the poems. Of the sum of 140 only 18 had been previously published; 93 soon appeared in the Gryphius/Dolet edition in Lyon in the summer of 1538; 18 were printed at the time of Marot's death in 1544; 13 remained unedited throughout the century. Marot carefully orchestrated the collection in order not to draw upon his earlier writings. The scribe (it is not known if the manuscript is of Marot's hand) took care to use spatial markers to indicate the seven units or virtual chapters comprising the sum of the manuscript. The first three sections include poems composed during Marot's exile; the four that follow are set in France. Epistres et blasons (1) give way to dizains et huictains, (2) while the oeuvres faictes a Venise (3) are juxtaposed to oeuvres faictes depuis son retour (4). Then follow an array of autres oeuvres, (5) epigrammes de son invention, (6) and Epygrammes a l'imitation de Martial (7). A nascent autobiography emerges from the circumstantial items set in Ferrara, his sojourn in the company of Renee de France, his blason as a mode written in exile prior to its success in France, the poet's departure for Venice and his stopover, his return to France, the other pieces he published, and, finally, his invention of and experiment with a new genre. Close analysis reveals that Marot changes the tone of his poems according to the perceived attitudes of his intended receivers and readers. Some poems are ludic while others are devout. …

De la Géographique à travers un manga «viticole » : l'exemple des Gouttes de Dieu (Geographic readings of a wine manga : Les Gouttes de Dieu)

Geographers take an interest in space, whether real or imaginary. They have different methodologies. For this paper, it consists in the construction of spaces through the creative writing of a manga. This one, Les Gouttes de Dieu, is a success in France because this manga articulates major characters in the world of wine. That's why geographers may be interested in this opus. This paper suggests a spatial look towards this «comic book ». Heroes ' action makes territories of wine in the Japanese megalopolis. Les Gouttes de Dieu acts as an intermediary for geographical reading to understand what is real or not. This paper discusses major topics in geography and more broadly speaking in social sciences, such as terroir or proximity, and proposoes a look at action and actor systems.

Dr Thomas Beddoes: chemistry, medicine, and the perils of democracy

Beddoes lectured on chemistry at Oxford in the years that included the French Revolution, the Terror, and the outbreak of war with France, as well as the success in France of the chemical revolution. The very public dispute between Edmund Burke and Joseph Priestley meant that the latter's study of different kinds of air was politically tainted. Beddoes's democratic beliefs and his support for the new chemistry of Lavoisier meant that as chemist and physician he had to deal with complaints that he was potentially seditious and pro-French. His medical theories, allied to pneumatic chemistry and building on the work of Priestley, were accordingly suspect. In spite of that, he became the physician and friend to several members of the Lunar Society of Birmingham and to members of their family, and they in return became his patrons. His collaboration with James Watt was crucial for his development of pneumatic medicine. The full extent of Lunar patronage, and especially that of James Keir and Thomas Wedgwood, has hitherto not been recognized, but it was the concealed scale of that patronage that made possible the execution of Beddoes's ambitious programme of treatment and research.