In the French polemics over the Islamic headscarf, the relationship betweensecularism and sexual equality has sometimes been made out to be an artificialone. The articulation between politics, religion, secularism, and women'srights is examined here over the longue durée. Since the beginning of the secularizationprocess during the French Revolution, a minority has championedan egalitarian conception of secularization. Rivalries between or convergencesof political and religious authorities have driven an ambivalent and not veryequal secularization, creating secular pacts that rely on gender pacts to thedetriment of equality. This dynamic reversed itself beginning in the 1960swith the battle for legal contraception and abortion, which shook one of thevery bases of French Catholicism to its foundation. The headscarf affairsrevealed the egalitarian effects of secularism and favored the elaboration ofthought about secularism in conjunction with sexual equality, which, whateverthe various interpretations of that thought may be, could prove to be anon-negligible benefit.
Mirko M. Hall
“We aim to please with constant unease!” 1 The post-punk genre of neofolk or apocalyptic folk—with its melancholy lyrics, acoustic melodies, and martial beats—has been an enduring feature of the dark alternative music scene of the past
Colette and the French Singularity
French women writers of the past: Il se manifeste en ce moment, parmi les femmes de lettres, une réaction contre le ‘genre Colette.’ Il y a cinq ans, sur dix femmes prosateurs, huit imitaient Colette; aujourd'hui, il n'y en a plus que quatre. La mode chez
’homme du dix-huitième siècle comme coulés dans le même moule, et cela d’après une conception abstraite, qui servait pour tout le genre humain. On connaissait l’homme, on ne connaissait pas les hommes; on n’avait pas pénétré dans l’âme; on n’avait pas vu la
Sanne van der Hout and Martin Drenthen
” ( Heller 2006 ) that surface time and again in relation to research and innovation, and tend to structure lay people’s symbolic thought ( Dupuy 2010 ). We will show how these genres reveal the ambivalence and complexity of both narratives, using two well
nostalgie et authenticité dans la chanson néo-réaliste
France's retro rock music (chanson néo-réaliste) of the 1990s and 2000s favors acoustic music and "old-fashioned" instruments such as the accordion in order to reject today's fascination with novelty and consumerism. In doing so, this music genre looks back to pre-war France and rehabilitates an all-white national culture that is problematically nostalgic, in a similar fashion to the film Amélie. This article explores the ways in which chanson néo-réaliste still manages to forge a sense of protest identity in contemporary France, while engaging in apparently reactionary tactics. The specificities of this music genre are explored through an analysis of the lyrics, music, iconography and performance of, primarily, the group Têtes Raides, while contrasting their nostalgia of "protest" with that of the more commercially successful genre of variétés.
Priscilla Parkhurst Ferguson, Jane Mayo Roos, Robin Walz, and Tamara Chaplin Matheson
Priscilla Parkhurst Ferguson Paris: Capital of the World, trans. Arthur Goldhammer by Patrice Higonnet
Jane Mayo Roos Paris in Despair: Art and Everyday Life under Siege 1870-71 by Hollis Clayson
Robin Walz Genre, Myth, and Convention in the French Cinema, 1929-1939 by Colin Crisp
Tamara Chaplin Matheson The de Gaulle Presidency and the Media: Statism and Public Communications by Jean K. Chalaby
The Seventeenth-Century Mexican Primordial Titles
Through the analysis of two exemplary sources pertaining to the genre of the Nahua primordial titles of the seventeenth and eighteenth centuries, the aim of this essay is to contribute further to our understanding of how this distinct Nahua colonial genre can be used for the study of Nahua social memory during Spanish colonial times. More precisely, what this present essay endeavors to identify the subtextual and supra-textual layers in these two sources. Second, it aims to highlight the replicated memory formulas applied in these specific texts; and third, to analyze the role of Christianity in these memory plots. By way of these three aspects, the task of this present study is to demonstrate that customs of remembrance, deeply rooted in the practice of a collective social memory were still cherished and kept vibrant during the mid colonial period.
For those of us accustomed to thinking of French cinema as a low-budget, philosophical alternative to Hollywood, the past few years might have been a bit disorienting. Established auteurs (Jean-Luc Godard, Eric Rohmer, Agnès Varda) and challenging newcomers (Gaspard Noé, Catherine Breillat, Erick Zonca) continue to impress, but their idiosyncratic views are now complemented by an increasing number of what look a lot like, well, French “blockbusters.” These are popular genre films that feature special effects and glossy production values.
Pour étudier le débat public sur la reconnaissance des unions de même sexe, la comparaison transatlantique nous confronte à un paradoxe1. D’une part, pendant les années 1990, la référence aux États-Unis est systématiquement invoquée en France, qu’il s’agisse de genre ou de sexualité, mais aussi d’ethnicité ou de race. D’autre part, durant la même période, en France comme aux États-Unis, on débat publiquement de la reconnaissance du couple homosexuel : on parle ainsi en même temps de choses comparables des deux côtés de l’Atlantique.