The 'child of Babylon' and the problem of paternity in Medieval French Alexander romances

A study of the use of hybrid physical appearance both to signal and to explore the disputed paternity of Alexander the Great throughout its vernacular French tradition. The article compares the 'child of Babylon' portent and Alexander's son Alior in the twelfth-century French "Roman d'Alexandre" poem cycle, and a fifteenth-century prose adaptation of it.

Missionary children: The French Holy Childhood Association in European context, 1843-c.1914

In the mid-nineteenth century, thousands of children in Europe and beyond were organized into battalions of fundraisers for overseas missions. By the end of the century these juvenile missionary organizations had become a global movement, generating millions of pounds in revenue each year. While the transnational nature of the children’s missions and publications has been well-documented by historians, the focus has tended to be on the connections that were established by encounters between the young western donors, missionaries overseas and the non-western ‘other’ constructed by their work. A full exploration of the European political, social and cultural concerns that produced the juvenile missionaries movement and the trans-European networks that sustained it are currently missing from historical accounts of the phenomenon. This article looks at the largest of these organizations, the Catholic mission for children, the French Holy Childhood Association (L’Œuvre de la sainte enfance), to understand how the principles this mission sought to impose abroad were above all an expression of anxieties at home about the role of religion in the family, childhood and in civil society as western polities were modernizing and secularizing in the nineteenth century.

The Devil’s Daughters and a question of translation between Occitan and Anglo-Norman French: ‘De las .vii. filhas del diable’ (British Library Add. MS 17920).

The evidence for vernacular-to-vernacular translation is hard to demonstrate in medieval Romance languages. This article analyses a hypothesis published a century ago that there is an identifiable Anglo-Norman source for an Occitan prose text. Both texts spring from a Latin exemplum in which the seven capital vices are personified as the Devil's daughters, married off to seven social categories (the clergy, knights, peasants, etc.). Although the hypothesis is disproved, it remains that the dialogue between Anglo-Norman French and Occitan has been overlooked, and deserves further exploration.

Envisioning Indochina : the spatial and social ordering and imagining of a French colony

The emergence of Indochina in the French imagination was articulated in both representational and institutional modes. Representation involves the transmission of colonial ideals through more obtuse means; that is, through literary texts, travelogues, exhibitions, film and advertising. However, these textual sites feed from and invest in a material situation, which was the institutional arm of colonialism. Indochina was institutionally articulated in cartographic maps and surveys, in the new social spaces of cities and towns, in architectural and technological forms, through social technologies of discipline and welfare and in cultural and religious organisations. The aim of this thesis is to analyse, across a number of textual sites, the representation and institutionalisation of Otherness through the politics of space in the French colony of Indochina, Indochine in this sense becomes a spatial discourse. The French constructed a mental and physical space for Indochina by blanketing and suffocating the original cultural landscape, which in fact had to be ignored for this process to occur. What actually became manifest as a result of this projection stemmed from the French imagination. Just as the French manipulated space, language also underwent the same process of reduction. The Vietnamese script was latinised to make it more 'useable' and ‘accessible’. Through christening the union of Indochina; initiating a comprehensive writing reform; and renaming the streets in the colonial cities, the French used language us another tool for 'making transparent'. Furthermore, the colonial powers established a communication and transport network throughout the colony in an attempt to materialise their fictive (artificial) vision of a unified French Indochinese space. The accessibility and design of these different modes of transport reflected the gendered, racial and class divisions inherent in the colonial establishment. At the heart of representing and institutionalising Indochina was the desire to control and contain. This characterised French imperial ordering of space in the city and the rural areas. In rural areas land was divided into small parcels and alienated to individuals or worked into precise grids for the rubber plantation. In urban centres the native quarter was clearly demarcated from the European quarter which functioned as its modern, progressive Other. The rationale behind this segregation was premised on European, nineteenth century discourses of race, class, gender and hygiene. Influenced by Darwinian and neo-Lamarkian theories of race, this biological discourse identified the 'working class', 'women' and 'the native' as not only biologically but also culturally inferior. They were perceived as a potential, degenerative threat to the biological, cultural and industrial development of the nation. In the colonial context, space was thus ordered and domesticated to control the native population. Coextensively, the literature which springs from such a structure will be tainted by the same ideas, and thus the spaces it formulates within the readers mind feed on and reinforce this foundation. Examples of gender and indigenous narratives which contest this imaginative, transparent topography are analysed throughout this thesis. They provide instances of struggle and resistance which undermine the ideal/stereotypical level of architectural and planned space and delineate an alternative insight into colonial spatial and social relations. The fictional accounts of European women and indigenous writers both challenge and reaffirm the fixity of some of these idealised colonial boundaries. In various literary, historical, political, architectural and cinematic discourses Indochina has been und continues to be depicted as a modern city and exotic Utopia. Informed by the mood of nostalgia, exotic images of Indochina have resurfaced in contemporary French culture. France's continued desire to create, control and maintain an Indochinese space in the French public imagination reinforces the multi-layered, interconnected and persistent nature of colonial discourse.

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century)

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century). Notices from the Brazilian Diptera from the 17th century come mainly from two foreign invasions occurred in Brazil, the first one by the French in Maranhao and the second by the Dutch in northeastern Brazil. This paper includes reports of Fathers Claude d'Abbeville and Yves d'Evreux and from Piso and Marcgrave, the last two presenting the first illustrations of Brazilian Diptera. The paper also includes reports of Friar Laureano de la Cruz, Father Joao de Sotto Mayor and Mauricio de Heriarte.

French-Brazilian school of nephrology

The recent history of French and Brazilian medicine goes back to the first decades of the xixth century. As regards nephrology, the first links were established starting in the 1950s of the xxth century. Over the past 60 years, the scientific production of the Franco-Brazilian school of nephrology totalized more than a thousand scientific papers and created a new generation of more than two hundred disciples, formed in Brazil by nephrologists who had completed their studies in France. In this article, we would like to memorize the successive exchanges between French and Brazilian physicians, mainly in the field of nephrology. (C) 2012 Association Societe de nephrologie. Published by Elsevier Masson SAS. All rights reserved.

Essays on the history of Brazilian dipterology: II. notices about Brazilian Diptera (17th century)

Essays on the history of Brazilian dipterology. II. Notices about Brazilian Diptera (17th century). Notices from the Brazilian Diptera from the 17th century come mainly from two foreign invasions occurred in Brazil, the first one by the French in Maranhão and the second by the Dutch in northeastern Brazil. This paper includes reports of Fathers Claude d'Abbeville and Yves d'Evreux and from Piso and Marcgrave, the last two presenting the first illustrations of Brazilian Diptera. The paper also includes reports of Friar Laureano de la Cruz, Father João de Sotto Mayor and Maurício de Heriarte.

The Power of Tragedy: An Eighteenth-Century Debate on Theater and its Relevance to Literature Pedagogy Today

This article brings to light a debate on tragic fiction in eighteenth-century France, and more specifically, on whether or not tragedy has the power to transform individuals intellectually and emotionally. Through analysis of abbé Dubos’s Reflexions critiques sur la poésie et sur la peinture and Jean-Jacques Rousseau’s Lettre à d’Alembert sur les spectacles, I contend that Dubos’s overwhelmingly positive conception of fiction—and especially his contention that we learn through the emotions when we engage with tragic fiction—can serve as an admirable pedagogical model for today’s fiction-focused foreign language classrooms.

Eugene Onegin As A Bridge Between Worlds: Aleksandr Pushkin As Translator Of The 19Th-Century Russian Experience

In my thesis, I use literary criticism, knowledge of Russian, and elements of translation theory to study the seminal poet of the Russian literary tradition ¿ Aleksandr Pushkin. In his most famous work, Eugene Onegin, Pushkin explores the cultural and linguistic divide in place at the turn of the 19th century in Russia. Pushkin stands on the peripheries of several colliding worlds; never fully committing to any of them, he acts as a translator between various realms of the 19th-century Russian experience. Through his narrator, he adeptly occupies the voices, styles, and modes of expression of various characters, displaying competency in all realms of Russian life. In examining Tatiana, his heroine, the reader witnesses her development as analogous to the author¿s. At the center of the text stands the act of translation itself: as the narrator ¿translates¿ Tatiana¿s love letter from French to Russian, the author-narrator declares his function as a mediator, not only between languages, but also between cultures, literary canons, social classes, and identities. Tatiana, as both main character and the narrator¿s muse, emerges as the most complex figure in the novel, and her language manifests itself as the most direct and capable of sincerity in the novel. The elements of Russian folklore that are incorporated into her language speak to Pushkin¿s appreciation for the rich Russian folklore tradition. In his exaltation of language considered to be ¿common¿, ¿low¿ speech is juxtaposed with its lofty counterpart; along the way, he incorporates myriad foreign borrowings. An active creator of Russia¿s new literary language, Pushkin traverses linguistic boundaries to synthesize a fragmented Russia. In the process, he creates a work so thoroughly tied to language and entrenched in complex cultural traditions that many scholars have argued for its untranslatability.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Authorising History: Gestures of Authorship in Fourteenth-Century English Historiography

This book discusses the strategies and rhetorical means by which four authors of Middle English verse historiography seek to authorise their works and themselves. Paying careful attention to the texts, it traces the ways in which authors inscribe their fictional selves and seek to give authority to their constructions of history. It further investigates how the authors position themselves in relation to their task of writing history, their sources and their audiences. This study provides new insights into the processes of the appropriation of history around 1300 by social groups whose lack of the relevant languages, before this 'anglicising' of the dominant Latin and French history constructions, prevented their access to the history of the British isles.

Transregional Interactions between Jansenists, other Catholics, and Protestants in Seventeenth Century Northern Europe

This paper discusses the theological and cultural exchanges between Catholic clergy and theologians, and specifically between the neo-Augustinian-minded, the so-called “Jansenists”, and other Catholics, in Northern Europe during the seventeenth century. It also explores the Jansenists’ encounters and theological engagement with Protestantism. In this period, interaction and transfer between French Jansenist Catholics and other Catholics in other countries took place in various ways: 1. Via traveling and migration: French theologians and clergy returned home from their travels with reports about the situation of Catholicism and Protestantism in other countries; moreover, in the second half of the 17th century, French Jansenists fled to the northern Netherlands. 2. Via networking: it is little known that for a brief period on the North Sea island of Nordstrand, adherents to Port-Royal were buying land, and clergy of the Flemish Oratory provided pastoral care for the island’s Catholics. This project was not successful, but at the end it strengthened the network between French “Jansenists” and Catholics in the Dutch Republic. 3. Via publications by leading Jansenists and their counterparts. In this paper, the focus is on the view of Protestantism held by Jansenist writers.

Two historical maps from nineteenth-century Palestine, with links to digitized maps in shapefile format

Reconstructing past landscapes from historical maps requires quantifying the accuracy and completeness of these sources. The accuracy and completeness of two historical maps of the same period covering the same area in Israel were examined: the 1:63,360 British Palestine Exploration Fund map (1871-1877) and the 1:100,000 French Levés en Galilée (LG) map (1870). These maps cover the mountainous area of the Galilee (northern Israel), a region with significant natural and topographical diversity, and a long history of human presence. Land-cover features from both maps, as well as the contours drawn on the LG map, were digitized. The overall correspondence between land-cover features shown on both maps was 59% and we found that the geo-referencing method employed (transformation type and source of control points) did not significantly affect these correspondence measures. Both maps show that in the 1870s, 35% of the Galilee was covered by Mediterranean maquis, with less than 8% of the area used for permanent agricultural cropland (e.g., plantations). This article presents how the reliability of the maps was assessed by using two spatial historical sources, and how land-cover classes that were mapped with lower certainty and completeness are identified. Some of the causes that led to observed differences between the maps, including mapping scale, time of year, and the interests of the surveyors, are also identified.