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In France, formal guild training was not as ubiquitous a means of socializing young people into a trade as it has been portrayed by scholars. Guilds were limited geographically, and in many French cities privileged enclaves controlled by clerical or noble seigneurs curbed the sway of corporate structures, or even created their own. Eighteenth-century Bordeaux provides an extreme example of how limited guild training was in France’s fastest-growing city. The clerical reserves of Saint-Seurin and Saint-André that housed much of the region’s industrial production had quasi-corporate structures with far more open access and fewer training requirements. In Bordeaux, journeymen contested masters’ control over labor and masters trained almost no apprentices themselves. Formal apprenticeship mattered exceptionally little when it came to training people to perform a trade in Bordeaux.

This article analyzes the different selves operating in Madame de Lafayette’s La Princesse de Montpensier. Contrary to scholarship, which tends to position the text as a mere precursor of La Princesse de Clèves, it is in La Princesse de Montpensier where one first locates the interior. Lafayette presented a princess coming to terms with her identity, debating with different selves against a backdrop of social, historical, and political ideals. The nouvelle historique was central to the development of selves; it was an important medium through which Lafayette could perceive, explore, and contest a woman’s identity in relation to society. The genre also enabled writers to examine themselves. Lafayette used it to test out her own authorial self and locate her place in the literary sphere.

En avril 2013, au paroxysme des tensions qui entourent l'adoption de la loi Taubira, Frigide Barjot, cheffe de file de la Manif’ pour tous, menace François Hollande de « sang » si la loi pour le mariage homosexuel est adoptée par l'assemblée. Christine Boutin, égérie des catholiques traditionnalistes, parle de « guerre civile » dans des tweets vengeurs. En quelques mois, des centaines de milliers de personnes descendent dans les rues pour manifester et contre-manifester. Moins de quinze ans après l'adoption du Pacs, on invoque à nouveau la République intemporelle et les principes révolutionnaires. On parle, la gorge serrée, de Marianne qu'on trahit. Derrière chaque contrat ou chaque gamète, c'est l'ordre social qui se joue, la République qu'on menace, le symbolique qui tangue… Au début des années 2010, devant les caméras éberluées du monde entier, la France montre à nouveau la place singulière qu'occupent les questions familiales dans le débat public.

Abstract

What does the French massacre of Amazigh people at El Herri in November 1914 reveal about broader patterns of colonial conquest? How do such patterns demonstrate the beliefs of French officers about the best way to conduct war at the beginning of World War I? Using extensive archival research, published primary sources, and Amazigh oral tradition, this article provides a narrative of the Battle of El Herri that analyzes the physical, sexual, and gendered violence that French troops exacted against Amazigh tribes. It argues that leading French military figures spun the “battle” to create a narrative that was racially inflected and self-serving. Led by Resident-General Lyautey, these leaders claimed that their philosophy of conquest was the only one that could result in successful war in Morocco, and by extension, Europe itself.

Abstract

This article examines a previously unstudied collection of letters from French World War I orphans and widows, published in US newspapers from 1915 to 1922, as a result of the US humanitarian effort Fatherless Children of France (FCOF). Through the analysis of the letters’ content and style, the article illuminates the lived experience of bereaved lower-income French families, notably highlighting the significance of grief and the impact of paternal loss on economic status, bringing out new evidence on how women and children experienced the war, as well as showing how humanitarian efforts connected French and American civilians during the war period.

Abstract

Body-politic metaphors served historically as figurative vehicles to transmit assorted socio-political messages. Through an examination of the metaphors la mollesse (softness) and Adam Smith's impartial spectator, this article will show that the language of eighteenth-century French and British writers was not simply heuristic or metaphorical. Contemporaries reacted to the growth of commerce and luxury, and the concomitant creation of new public spaces and forms of social interaction, by arguing that the corporeal mediated the social. I want to introduce the concept of corporeal sociability: cognitive physiology and the network of the senses, contemporaries argued, contained the information necessary to assess novel forms of commerce and revealed that sociability was congenitally embodied.

Lawrence Hamilton. Amartya Sen. Cambridge: Polity Press, 2019. ISBN-13:978-1-5095-1984-2.

Abstract

While France is largely considered a “colorblind” society, which hinders any public use of racial categories, this article explores the case of international procedure, arguing that it constitutes an exception to institutional colorblindness in the French context. Racial categories are not only explicitly used on a daily basis by adoption professionals, but their use is also officially encouraged, yet in an ambiguous way. In this regard, adoption procedures operate as a moment of color consciousness for many adoptive parents. By focusing on this particular case study, the article aims more generally to unpack the stakes of the taboo surrounding race in France.

Abstract

Studies of the visual culture of the Congo Free State (CFS) have focused overwhelmingly yet narrowly on the “atrocity” photograph used to criticize Leopold II's colonial misrule. This article presents a new picture of the visual culture of Leopold II's Congo Free State by examining a broader, more heterogeneous range of fin de siècle images of varied provenance that comprised the visual culture of the CFS. These include architecture, paintings, African artwork, and public monuments, many of which were positive, pro-Leopoldian images emphasizing a favorable view of colonialism. The visual culture of the CFS was imbued with recurring themes of violence, European heroism, and anti-Arab sentiment, and emerged from a unique, transnational, back-and-forth process whereby Leopold and his critics instrumentalized images to counter each other and achieve their goals.