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Les journaux francophones au dix-neuviéme siécle

Entre enjeux locaux et perspective globale

Guillaume Pinson


This article discusses the circulation of francophone news, information, and literary content between Western Europe and North America in the nineteenth century. During this period, big metropolitan cities (Paris, Brussels, Montreal, New Orleans) were forming a dense media network. For the western Atlantic region, New York City and the Courrier des États-Unis (1828–1938) served as the hub of this network. Francophone readers on both sides of the Atlantic shared a large common corpus, including works such as Eugène Sue’s Mystères de Paris (1842–1843), which was distributed in North America by the literary supplement of the Courrier. By providing a general overview of this French-speaking network, this article invites scholars to explore how texts, and literature in particular, operated through an interlinked dynamic system of publication rather than as independent unconnected works.

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Rudeness and Modernity

The Reception of American Tourists in Early Fifth-Republic France

Christopher Endy

Pierre Dumas had high hopes for the 1965 tourist season. At the very least, the French state secretary for tourism hoped to avoid the frustrations of the previous year, when the US and French press, and even French senators, accused the French of being rude to foreign guests. As warmer weather returned in April, Dumas traveled to the new Orly Airport outside Paris to launch his response. He greeted foreigners, mostly Americans, as they disembarked for stays in France. Young women dressed in the white gloves and modern pink dresses of official Hôtesses de France stood beside him, handing out free roses and perfume bottles. Dumas himself distributed booklets of “smile checks” (chèques-sourire), which the government had printed for its new “National Campaign for Reception and Friendliness.” When tourists felt they received particularly good service in a hotel, restaurant, or elsewhere, they were to tear out one of their ten smile checks, inscribe the name and institution of the friendly employee, and then mail it, no postage required, to the government’s tourist office. At the end of the season, the government would award the ten most-honored French workers with vacation trips of their own to Tahiti, the Antilles or New York City.

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Dennis A. Gilbert

My article focuses on Le Théâtre existentialiste (Existentialist Theater) by Simone de Beauvoir, recently translated and published in the volume of the Beauvoir Series on her literary writings. The first part introduces the original sound recording of this text and the circumstances behind its possible production in New York City in 1947 and my discovery of it at Wellesley College in 1996. The second part analyzes the divisions of Beauvoir's remarks as she presents Jean-Paul Sartre, Albert Camus, and their principal plays from the period of the Occupation: The Flies, No Exit, and Caligula. The third part then evaluates certain of Beauvoir's key concepts in terms of how they were able to define adequately the substance of existentialist theater for a postwar American audience and whether they remain valid for a more contemporary theatrical public some six decades later.

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“One Is Not Born a Dramatist”

The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir

Dennis A. Gilbert

until 1970. In the spring of 1947, while in New York City lecturing on existentialism, Beauvoir records Existentialist Theater as a practical device to present Sartre’s major ideas to an American audience. 51 For this purpose, she opts to concentrate

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Kathleen Lennon

in New York City attended by primarily Latino and some African American participants in the trans community: The balls are contests in which the contestants compete under a variety of categories. The categories include a variety of social norms, many

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Searching for What Is Already Found

Ivan Jablonka and the Life of a Nobody

Melanie Hawthorne

of the story is as follows: “Several years ago, a young woman named Kitty Genovese was stabbed to death in New York City…. [N]o fewer than thirty-eight of her neighbors came to their windows at three a.m. in response to her screams of terror

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Félix Germain

’ work when I met him for the first time in 1956 in New York City. We became friends instantaneously. I’ve always believed that Langston Hughes is the greatest Black American poet, if there is such a thing as the greatest. I feel that his poetry is

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Representations of Women in the French Imaginary

Historicizing the Gallic Singularity

Jean Elisabeth Pedersen

Deneuve: ‘Rien dans le texte ne prétend que le harcèlement a du bon.’” 17 When Nafissatou Diallo accused Dominique Strauss-Kahn of sexual assault and attempted rape in New York City in 2011, for example, Eric Fassin published an article in Libération

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Jean-Paul Sartre

The Russian Teatr Interviews of 1956 and 1962

Dennis A. Gilbert and Diana L. Burgin

, ridden with guilt and responsibility as the heinous acts of torture committed by the sequestered elder son during World War II are brought to light. In the United States, The Condemned of Altona had a favorable run at New York City's Lincoln Center in

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Rapping French Cities in the 1990s

Blurring Marseille and Brightening Paris in Contested Processes of Boundary Making

Joseph Downing

cities of Paris and Marseille. 12 The breakthrough for rap in France came in the 1990s, which was a turning point in hip-hop history. It was then that rap went global from its origins in New York City and the United States more broadly. 13 Institutions