was a member of a professional group with a significant impact not only on the elite in this part of Europe, but also on educational initiatives for girls: namely, governesses. The model of private education provided by governesses in aristocratic
Foreign Governesses in Wallachia in the First Half of the Nineteenth Century
Young Women in the Tsukunft Youth Movement in Interwar Poland and Their Role Models
empowering and often radicalizing experience of young Tsukunft women during the interwar period as they learned from their female role models how to live, organize, rebel, resist, and fight. I argue that despite the scarcity of high-ranking female leaders
Assessing France as a Model of Societal Success
Éloi Laurent and Michèle Lamont
In this article, we propose a definition of the elusive "French model" of societal success and explore its usefulness for understanding the forces shaping France's future. This model, we suggest, remains "statist-republicanist": its democracy revolves around the idea of republicanism, while its economy continues to rely heavily on market regulation and public intervention. We assess France's model of societal success, which requires exploring the country's long-term assets and liabilities for human development. We argue, first of all, that France relies on a combination of a high fertility rate, an excellent health care system, a low level of income inequalities, and "de-carbonized growth"; second, that it continues to have a major liability, namely, a shadow French model of cultural membership that sustains segregation and discrimination; and third, that it experiences an important decoupling between its profound socio-economic transformations, on the one hand, and its political discourse and representations of the polity, on the other.
Some intellectuals deserve scholarly attention as emblems or models. They represent something larger than themselves—a trend, an ideology, a school, an institution. Others, in contrast, stand out in their singularity of thought or method. They warrant equal consideration, but not necessarily for the broader developments they exemplify. Acclaimed as he is, Alain Corbin belongs in this second category. A scholar whose oeuvre springs from an intensely personal curiosity, Corbin is arguably the most idiosyncratic historian in France today. Over four decades, he has charted a course that is entirely his own. While awarding him the 2000 Grand prix Gobert, the Académie française aptly extolled a work that “boldly extends the limits of historical method.”
In a 1989 article published by Annales under the title “Le monde comme représentation,”1 Roger Chartier articulated a conceptual framework for bridging the gap that had traditionally separated the history of mentalities from social and political history. While the former field—pioneered by Georges Duby, Robert Mandrou, and Philippe Ariès in the 1960s—had legitimized the study of collective beliefs, anxieties, and desires as historical phenomena, the latter remained largely devoted to more concrete, easily quantifiable factors such as structures, institutions, and material culture. Drawing on the anthropological and psychoanalytical premises that had informed the work of Michel Foucault, Louis Marin, and Michel de Certeau, among others, Chartier emphasized the performative dimension of individual and collective representations in order to argue that they should be understood not only as evidence registering the exercise of social and political power, but as underlying catalysts of change in their own right. Like habitus, Pierre Bourdieu’s complex model of social causality and evolution, Chartier framed representation as a symbiotic “structuring structure” that deserved to sit at the heart of historical inquiry.
Kylie Message and Sandra H. Dudley
Whether or not museums can live up to the ideal that they provide a public forum has become something of a moot point, if not a stereotype of the past three decades. Museum studies researchers, scholars, and professionals have been proactive in their attempts to understand whether museums can or do provide a physical manifestation of what has been generally considered an aspirational concept or model of practice. Some have been directly inspired by philosophers and sociologists such as Jürgen Habermas (1991), Nancy Fraser (1990), and Craig Calhoun (1992), as well as the critical cultural studies “movements” that have circulated around interdisciplinary journals such as Theory, Culture and Society (http://tcs.sagepub.com/) and Public Culture (http://www.publicculture.org/). Others have drawn on current and emerging directions in disciplines such as anthropology, history, and geography to explore the public sphere concept from the perspective of transnational and postcolonial concerns, and have been influenced by theorists including Seyla Benhabib (1992), Arjun Appadurai (1996), Dipesh Chakrabarty (2000), and Aihwa Ong (2006). Ultimately, of course, much of the museum-focused work—within which we include both the theoretical and the applied (for example, exhibition-based)—has been interdisciplinary. Like the wider critical debates on which it draws and to which it contributes, museum scholarship has been aff ected by ongoing global change, and has reflected—and, in many national contexts, influenced—public policy shifts before and since the new millennium.
Sharon A. Kowalsky
-sponsored institutions, governesses served as role models for young women and shaped the next generation of Romanian teachers. Similarly, Magdalena Kozłowska investigates the transgenerational connections that shaped and influenced the female members of the Tsukunft, the
des médias numériques, parce qu’il bouleverse les codes et déstabilise les normes professionnelles et les modèles économiques, remet au premier plan des enjeux d’écriture, de format, et donc de poétique, qui ont joué un rôle prépondérant avant que le
limitations of considering the Harkis and other participants in the Algerian War as unified memory camps, a constituent element of the memory war model. Conceiving of memory debates in terms of a “war” also obscures the ways in which narrating the past can
moods, from being happily content to hopelessly depressed; she enjoyed company while at times withdrawing into solitude. She was a self-inclined victim yet a role model and leader; she had a magical magnetism, which drew people from all walks of life