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In 1949, a new French publishing house, named Cocorico, launched a brand new collection called "Un petit livre d'or". In fact, it was simply a translation of the American "Little Golden Books" series. These cheap, cheerful and colourful picturebooks for the children of postwar Europe enjoyed immediate success. But the importation into Europe of the concept of "little golden books" had roots far beyond the simple framework of children's publishing and became part of the cultural Cold War," "book diplomacy," and the policy of "containment." All this was orchestrated by a multi-faceted dual national Franco-American, Georges Duplaix, who worked for the CIA. [ABSTRACT FROM AUTHOR]

The article sheds light on Valérie Lévy-Soussan's pivotal role in the evolution of audiobook development, focusing on her journey in the publishing industry. It mentions that as the head of Audiolib, a leading audiobook publisher in France, Lévy-Soussan played a crucial role in the industry's growth, navigating the shift from physical formats to digital consumption.

Jean-François Salles, a historian and archaeologist, passed away on October 16, 2023, at the age of 79. He was the director of research at the Centre National de la Recherche Scientifique in France and was attached to the Maison de l'Orient et de la Méditerranée in Lyon. Salles was known for his work on the Phoenician world, the Hellenic East, Arabia, classical South Asia, and exchanges in the Indian Ocean world. He was involved in numerous excavations in the eastern Mediterranean, Cyprus, and the Persian Gulf region. Salles also established the Franco-Bangladesh mission at Mahasthan and contributed to the History of Bangladesh. His collection of over 1,500 volumes was left to the Maison de l'Orient et de la Méditerranée. [Extracted from the article]

Since the early twentieth century, when Daniel Mornet conducted his pathbreaking survey of private library catalogues in an attempt to determine what people read during the enlightenment, historians have debated how to identify the best-selling texts in the distant past. Besides library catalogues, scholars of eighteenth-century France have ransacked will inventories, publishers' archives, print licence registers, book auction records, the titles available in cabinets de lecture, and even the extraordinarily rich records of books stamped in an amnesty for pirated editions in 1777-1781. This article suggests that none of these sources taken in isolation can give us sufficient insight to provide a reliable overview of the book trade and the market for books. Taken together and analysed digitally, however, they give important representative insights into the best-selling texts, genres and authors of the eighteenth century. The article compares and contrasts the findings of several large-scale digital projects to identify and explore the best-selling - or most frequentlyen-countered-texts across a number of genres including school-books, self-help manuals, popular medical texts, creative literature and religious works. In the process, it will help us to think more critically about what constituted a best-seller in the early modern period. By revealing some broad contours of eighteenth-century print culture, it will also challenge existing narratives of the enlightenment, secularisation, popular literacy and the book trade. [ABSTRACT FROM AUTHOR]

In the following interview, celebrated Francophone Mauritian writer Ananda Devi considers the implications of her movements between literary worlds, publishers, series and languages as well as her insurgences as a writer and as a woman. Walking on fire, Devi avers, is an apt metaphor for describing her personal and creative approach to navigating the incendiary lines striating her path. Engaging with her most recent works, including Ceux du Large, Danser sur tes Braises suivi de Six Décennies and Fardo, Devi comments on her role as a writer, the manifold potentials of literature and the differing labels and expectations routinely heaped upon her in the Francophone and Anglophone worlds. Over the course of this exchange, she also discusses the reception of her work in France and elsewhere; her experimentations with self-translation and ekphrasis; and the process of creating art during the Covid-19 pandemic. Throughout, Devi expresses her fierce commitment to transgressing limits and taking literature into new terrains. [ABSTRACT FROM AUTHOR]

The article focuses on the history of French opera librettos and vaudeville, specifically those published by French publisher Nicholas-Bonaventure Duchesne and his wife Marie-Antoinette Duchesne between 1753 and 1779. The author explores the musical notation included by Nicholas-Bonaventure, examines why Marie-Antoinette placed the music after the text, and discusses "Dictionnaire de musique" by Jean-Jacques Rousseau.

Contemporary France is a prolific arena for post-fascist actors, parties, and movements. Self-proclaimed alternative news outlets and publishing houses serve as forums for information and mobilisation, through various strategies, to resist an alleged onslaught by the enemies of the nation and its people: multiculturalism, feminism, political correctness, political corruption, and civilisational decay. In this article, I explore uncivility as a discursive logic within the French post-fascist media-ecology, focusing on the conspicuous use of irony and discursive displacement. More specifically, I discuss how sardonic irony as an uncivil discursive strategy is employed to navigate the legal boundaries of free speech and how discursive displacement, coupled with irony, is used as an affective identificatory technique in post-fascist discourse. [ABSTRACT FROM AUTHOR]

The article offers information on some peculiarities of the Spanish cultural transition at the beginning of the 1970s from the perspective of the origins of the Tusquets publishing house. It mentions that how a publisher that important took shape that improvised and intuitive measure under inspiration of a whole amalgam of avant-garde European publishers that formed a transnational network with a great capacity for cultural mediation at that time. It also mentions that how the eagerness to blend in with some cultural fashions that flourished especially in France and Italy unleashed in Tusquets certain elective affinities with publishers such as Jean-Jacques Pauvert.

The publishing activities of the French second-wave feminist movement are well-documented. Less attention has been focused on its attempts to imagine childhood freed from sexism. In the mid-1970s, the Franco-Italian editorial partnership 'Du côté des petites filles/Dalla Parte delle Bambine' fought 'on the side of the little girls' by publishing a new kind of children's book: politically and aesthetically subversive, and engaged in the period's major feminist debates. Tracing relationships between the publishers involved, this article illustrates how feminist campaigns helped shape new ideas on children and their culture after 1968: child-rearing was both a major point névralgique of the movement as a whole, and an issue requiring action, to provide tools for the struggle. Examining publishing practices, creative artists and books, this study reveals both the intellectual impact of the MLF activists on ideas of childhood and children's literature, and the artistic visions and new poetics they helped nurture. [ABSTRACT FROM AUTHOR]

Objective: This bibliometric study investigated literature pertaining to a quickly growing population worldwide: the oldest-old, individuals age eighty-five and older. The current state of research was surveyed, based on top authors, publishers, authorship networks, themes in publication titles and abstracts, and highly cited publications. Methods: Bibliographic data was abstracted from the Web of Science database. Microsoft Excel was used for data analyses related to top author, publishers, and terms. VosViewer bibliographic visualization software was used to identify authorship networks. Results: Publications pertaining to the oldest-old have increased dramatically over the past three decades. The majority of these publications are related to medical or genetics topics. Citations for these publications remain relatively low but may be expected to grow in coming years, based on the publication behavior about and increasing prominence of this population. Claudio Franceschi and the Journal of the American Geriatrics Society were found to be the author and journal with the most publications pertaining to the oldest-old, respectively. Conclusions: The oldest-old is a population of rapidly growing significance. Researchers in library and information science, gerontology, and beyond can benefit themselves and those they serve by participating in research and specialized services to marginalized populations like the oldest-old. This bibliometric study hopefully serves as a launch-point for further inquiry and research in the years to come. [ABSTRACT FROM AUTHOR]

This essay examines the prolific use of woodcut images by Denis Janot, a wellknown and successful sixteenth-century printer-publisher. It argues that the repetition and reuse of images both within and among books on Janot's list served as a form of branding that connected the reader not to one individual work but to the larger corpus of works produced by this industrious and skilled libraire. In this period, the book was not yet a familiar object to its users; in linking the recycling of images solely to economic and practical exigencies, scholars have misconstrued this practice and its import for publishing and reading. Such recycling of woodcuts can be better understood as a way to familiarize and form readers at the very earliest moments of establishing economic and sociocultural viability for the early modern French printed book. [ABSTRACT FROM AUTHOR]

The detailed analysis of articles on Israeli literature that appeared in a wide range of French publications between 2000 and 2012 allows for exploration of the degree of politicisation in the critical reception in France of contemporary Israeli literature. The diversity of approaches to Israeli literature, and its evolution into a more intimate art form, shows a less politicised critical reception of Israeli literature than is commonly believed. [ABSTRACT FROM AUTHOR]

This note explains the use of the image of a crab and a butterfly by the brothers Jean and Francois Frellon, who specialized in publishing and selling books in the 16th century in Lyon, France. The crab and butterfly device depicts a crab, its claws wide open, poised to clasp the wings of a butterfly, underlined with the word "Matura". It often comes with the motto "Make haste, a long delay is harmful, all (your) hope is in wings. He who wishes to seize you is at hand, butterfly." With this motto, the Frellon brothers may have wished to obliquely refer to the danged faced by Protestants living in Catholic France during a period of religious wars

Background: As publishing is essential but competitive for researchers, difficulties in writing and submitting medical articles to biomedical journals are disabling. The DIAzePAM (Difficultés des Auteurs à la Publication d'Articles Médicaux) survey aimed to assess the difficulties experienced by researchers in the AP-HP (Assistance Publique - Hôpitaux de Paris, i.e., Paris Hospitals Board, France), the largest public health institution in Europe, when preparing articles for biomedical journals. The survey also aimed to assess researchers' satisfaction and perceived needs.Methods: A 39-item electronic questionnaire based on qualitative interviews was addressed by e-mail to all researchers registered in the AP-HP SIGAPS (Système d'Interrogation, de Gestion et d'Analyse des Publications Scientifiques) bibliometric database.Results: Between 28 May and 15 June 2015, 7766 researchers should have received and read the e-mail, and 1191 anonymously completed the questionnaire (<45 years of age: 63%; women: 55%; physician: 81%; with PhD or Habilitation à Diriger des recherches--accreditation to direct research--: 45%). 94% of respondents had published at least one article in the previous 2 years. 76% of respondents felt they were not publishing enough, mainly because of lack of time to write (79%) or submit (27%), limited skills in English (40%) or in writing (32%), and difficulty in starting writing (35%). 87% of respondents would accept technical support, especially in English reediting (79%), critical reediting (63%), formatting (52%), and/or writing (41%), to save time (92%) and increase high-impact-factor journal submission and acceptance (75%). 79% of respondents would appreciate funding support for their future publications, for English reediting (56%), medical writing (21%), or publication (38%) fees. They considered that this funding support could be covered by AP-HP (73%) and/or by the added financial value obtained by their department from previous publications (56%).Conclusions: The DIAzePAM survey highlights difficulties experienced by researchers preparing articles for biomedical journals, and details room for improvement. [ABSTRACT FROM AUTHOR]

The article focuses on the first photolithographed edition of a collection of poems by French poet and critic Stéphane Mallarmé entitled "Poésies." Particular attention is given to Mallarmé's redefinition of the book of poems and his role in the birth of the artist's book. Fragmented lyricism and page layout are also discussed.

This article focuses on the circulation of a single artefact, the Museu Escolar Brasileiro (Brazilian School Museum) and its use in education through the pedagogical method of object lessons. Concentrating on the activities of particular individuals and enterprises (Menezes Vieira, Oliveira Lopes and Maison Deyrolle), within three geographical spaces (Brazil, Portugal and France), this article seeks to explore the relationship between the national and the international in educational proposals and initiatives that emerged at the end of the nineteenth century. The approach adopted also allows connections between the history of education and the history of science during this period to be pursued. [ABSTRACT FROM PUBLISHER]

Online presentations of printed books have led to a complete transformation of publishers' work, books' status, and readers' habits. Through their webpages, publishers invite visitors to create communities, to join social networks, to communicate their likes and dislikes. Everything about the digital presentation of printed books makes manifest the online existence of both readers and books. How, then, can printed books not only compete, but also evolve and become more visible, by means of digital tools and platforms? This article seeks answers to this question by asking: Through their digital tools are publishers' webpages placing value on literature or on communication? Are digital platforms transforming the objet-livre (the physical object of the book) from a tool into a work of art? And are they transforming visitors from readers into collectors? [ABSTRACT FROM AUTHOR]

The article focuses on publisher Pierre Haultin. Topics discussed include his career, religious beliefs and Calvinism in France. Other topics which includes Haultin's family, printer Charlotte Guillard and printing house Soleil d'Or are also discussed. In addition, topics such as typography and engraving by Haultin are also mentioned.

During the nineteenth century, not only did the extraordinary development of the printed press transform the cultural environment, but it also brought about major formal changes in literature. This article explores these trasnformations through a focus on the contemporary use of the concept of "modernity." The word dates back to 1688 at least, but it was mostly employed during the nineteenth century to describe post-revolutionary France and especially to criticize its consumerism and materialistic "bourgeoisie." Nineteenth-century media culture embodied the triumph of "modernity," especially in the form of the petite presse ("small press"). Born in a world where censorship still compromised the freedom of speech, the petite presse was an illustrated, satirical, ironical, and wisecracking medium. It aspired to a generalized non-seriousness which would, for a long time, be viewed as the "Parisian spirit". [ABSTRACT FROM AUTHOR]

"Spreading the News: The Illustrated Press," focuses on the new concept of the illustrated universal survey periodical that appeared early in the 1830s, first in England, then in France. It was enabled by technological advances such as the steam press, cheaper paper, wood engraving and stereotypes, as well as greater literacy among the citizenry. The earliest illustrated periodicals were published by social reformers in both countries who were attempting to raise the status of the working classes, but the medium soon attracted wealthier, more educated strata as well; within decades the illustrated press had spread throughout the world. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

This article considers the publishing project of French writer and book producer Pierre Lecuire (1922–2013), a key figure in the French world of artists’ books, with a particular focus on his collaborations with artist Nicolas de Staël that were never realized in the form initially envisaged for them. It examines, first, Lecuire’s well-established interest in the materiality of the book form through exquisitely produced collaborations with such artists as Zao Wou-Ki and Geneviève Asse, and the suggestion that he aspired to an ‘ideal’ book that would be experienced through all the senses rather than simply read. However, the article goes on to argue that this emphasis on the material is, rather, inseparable from the virtual once unfinished and absent books and associated documents also created by Lecuire are taken into account. With de Staël, for instance, he planned to stage a series of ephemeralBallets-Minute, a project that was not achieved, but they did lead to two associated books. Lecuire presents the documents as relics of unrealized projects, thereby foregrounding the process of production and controlling the narrative of his own contributions. The article concludes that the unfinished project and the provisional fragment play an essential role in Lecuire’s work, which places it within a broader Modernist context. [ABSTRACT FROM PUBLISHER]

The position of foreign literature in France is highly related to the positions of the countries and languages these texts are coming from. Clearly dominated by the Anglo-Saxon culture, the French market has been opened to the Scandinavian literature and to the South-American one. African literatures remain one of the poor parts of the foreign literature in the French publishers' lists. Human sciences don't stay away from the dominating systems' rules and the mood (or the need) of best-sellers. This paper strives to analyse the evolution of this situation. If we could consider that the mainstream logics will continue to dominate the publishing activity, we would choose to focus, from a socio-economic point of view, on some practices and conditions potentially able to modify the circulation of texts. Our hypothesis consists in thinking it is useless to wait that the economic system of publishing industry make place for minority books. As a consequence, the question is to look for new ways of the international circulation of intellectual goods. [ABSTRACT FROM AUTHOR]

The first printed dictionary from Chinese to a Western language, the Dictionnaire chinois, français et latin, published on the orders of Emperor Napoleon I, was prepared under the direction of Chrétien-Louis De Guignes (1759-1845) and came off the press of the Imprimerie impériale de Paris in 1813. It was based on what was regarded as the best manuscript dictionary compiled by the missionaries in China, the Hanzixiyi by the Italian Franciscan, Basilio Brollo (1648-1704). Chinese characters were printed using the "Buis du Régent", a unique set of mobile types engraved in wood, completed in Paris in 1740, the history of which is retraced at the beginning of the article. The sources and characteristics of the 1813 Dictionnaire are then examined, as well as the scholarly rivalries that accompanied its production and the criticism to which it was subjected after its appearance. [ABSTRACT FROM AUTHOR]

By their very nature, multilingual dictionaries and lexicons are an emblem of cultural transfers. When printing widely different types of writing is necessary, they may also be precious witnesses of technical transfers and innovations in publishing and printing practice. Successfully publishing a major dictionary requires the conjunction of institutional or governmental will and adequate economic resources. This article provides an overview of the various versions of Basilio Brollo's Dictionarium Sinico-Latinum, which served as a blueprint for several publishing projects, most of them abortive, in the eighteenth and nineteenth centuries. It introduces the various printing techniques used in these attempts, and discusses the mixed results of the editorial programs pursued in Europe, particularly in Italy and France. The Napoleonic period is significant not just because a Dictionnaire chinois, français et latin was published in Paris in 1813, but also because of the work carried out at the Collegio dei Cinese during the "French Decade" (1806-1815) in Naples. The article introduces several protagonists--both scholars concerned with publishing and teaching Chinese and publishers pursuing commercial interests--along the way. [ABSTRACT FROM AUTHOR]

This essay discusses the spaces separating the English and French books as perceived by Rouen-based Protestant publisher Jacques Cailloué in "Les Dernières barricades," a collection or recueil of pamphlets from the Fronde known as mazarinades, which was published in 1649. It is argued that Cailloué never intended to explain his reason for publishing a study of the English revolution and the Fronde, a rebellion in Paris, France. His role in redistributing the mazarinades is cited.

In recent years, the presence and the role that historians’ own emotions play in their work has been the topic of a vivid debate amongst academics. Are the emotions felt by the historian dangerous, something to be avoided, or could they also be a historiographical resource and an explorative tool? This interview offers a great opportunity to become acquainted with the perspective of three different generations of French scholars who have made important contributions to the historiography of dying, death and grief. They have been asked to explore the emotional dimensions of their work within both the private and professional spheres: the choice of their research topics, the feelings emerging from intellectual and physical “contact” with sources and finally, the relationship between their intellectual knowledge and their intimate experiences of loss. [ABSTRACT FROM PUBLISHER]

This paper intends to reposition "publishing studies" in the long process that goes from the beginning of book history to the current research on cultural industries. It raises questions about interdisciplinarity and the possibility of considering publishing independently of other sectors of the media and cultural offerings. Publishing is now included in a large range of industries and, at the same time, analyses tend to become more and more segmented according to production sectors and scientific fields. In addition to the problems created, from the professional point of view, by this double movement, this one requires a questioning of the concept of "publishing studies". [ABSTRACT FROM AUTHOR]

A remarkable copy of the 1595Essaisof Montaigne at Maynooth offers a particularly full set of corrigenda in the hand of Marie de Gournay. Her many textual improvements are tabulated and their significance discussed. At the same time, this copy also carries an extensive manuscript emendation by Gournay to a crucial passage in Chapter II.17 of theEssais, as well as her handwritten inscription to a certain Beringhen. The dedicatee is identified as Henri de Beringhen and it is argued that Gournay’s corrections and inscriptions date from the early 1620s when she attended the salon of Beringhen’s aunt, Madame des Loges. The Maynooth copy as a whole provides a critical insight into the social and literary circles in which Gournay moved at the time as well as supplying further evidence of her continuing editorial work on theEssaisin the framework of her own career. [ABSTRACT FROM PUBLISHER]

A letter to the editor in response to a letter written by scholar Everett Wheeler concerning the French publishing house Editions Sigest, published in the July 2013 edition of the journal, is presented, in addition to a response by Wheeler.

Hélène Brion’s journal, La Lutte féministe, ‘organe unique et rigoureusement indépendant du féminisme intégral’ is generally thought to have first appeared in February 1919. However, the discovery of four elegantly handwritten manuscript issues of the same journal in the Sylvia Beach archive at Princeton University Library reveals that Brion had launched an earlier version of La Lutte féministe for limited distribution among an inner-circle of pacifist feminist schoolteachers and fellow political travellers barely a week before the Armistice in November 1918. These manuscript issues which are, to the best of my knowledge, single one-off copies, show Brion and her fellow activists urgently mobilizing around issues of suffrage and peace as the war ended. The manuscripts reveal what motivated Brion’s initial Lutte féministe project and the progressive shifts in theme, content and presentation of the journals provide a fascinating insight into the popularizing strategies Brion rehearsed ahead of a print version aimed at a wider readership. Previously unpublished transcripts of correspondence and personal testimonies offer illuminating insights into the acrimonious relationship between Brion and the mainstream reformist feminist movement and enable a unique and intimate personal and political profiling of Brion and her entourage. This article not only brings to light these fascinating documents but also gives valuable insight into the evolving modalities of feminist publishing at the end of the First World War. It explains just how unemployed schoolteacher Brion managed to produce, circulate and popularize the journal with virtually no financial support. In addition, the article’s examination of editorial choices she made ahead of the print version are revelatory of the proselytizing strategies used by feminists to reach women of the popular classes at a time of great optimism for lasting political and social change. [ABSTRACT FROM PUBLISHER]

Subscription lists in six scores published in France in the 1820s open a window onto publishing and distribution practices of that era. The publishers are J. Frey of Paris, with examples of subscription lists from full scores in his complete sets of operas by Mozart and Grétry; Maurice Schlesinger, also of Paris, with a vocal score of Mozart's Requiem; and Bohem of Lille, with a vocal score of Zémire et Azor by Louis Spohr. The subscription lists contain information about the types of subscribers: male/female, musicians/nonmusicians, and Parisians/provincials/ foreigners. These examples from nineteenth-century France suggest that funding the publishing of scores through subscription had become a less viable business model than had been the case in the eighteenth century. [ABSTRACT FROM AUTHOR]

The article reviews the books "Royal Censorship of Books in Eighteenth-Century France," by Raymond Birn and the database "The French Book Trade in Enlightenment Europe, 1769-1794," by Simon Burrows, Mark Curran, Vincent Hiribarren, Sarah Kattau, and Henry Merivale, located at chop.leeds.ac.ulc/stn/.

The article notes international serials and electronic resource management news for July 1, 2012. The Association for Library Collections & Technical Services' Continuing Resources Section presented the Ulrich’s Serials Librarianship Award to Valerie Bross. The North American Serials Interest Group's newly elected officers include Joyce Tenney, Shana McDonald, and Chris Brady. The Library of Congress' Bibliographic Framework Initiative General Plan is on its website at http://www.loc.gov/marc/transition/pdf/bibframework-10312011.pdf.

The author Jan van der Noot was heavily involved in the editorial process of his work. He was familiar with printing and was aware of the technical features. He adapted individual copies of his work to meet the wishes of the addressee of the book. At the same time, he paid attention to the possibilities of reusing illustrations and typographical elements he had ordered for one specific project. [ABSTRACT FROM AUTHOR]

Between c.1845 and 1900 the firm of Alfred Marne in Tours produced enormous amounts of books for youngsters in paper case bindings covered with embossed coloured paper, which often had a lithograph pasted on the upper board. Extant copies of the same edition show different combinations of paper and lithographs. They prove that Mame had his books bound in batches, meant for various kinds of clients. Moreover, a few publisher's advertisements relate to different dates of binding. [ABSTRACT FROM AUTHOR]

The first edition of Fénelon's Les aventures de Télémaque has a few problems attached to it, concerning both the identification of this first edition and the circumstances under which it was published. The present contribution aims to provide greater clarity on these points. [ABSTRACT FROM AUTHOR]

The article discusses the ways in which authors' self-publishing in Paris, France during the Enlightenment helped to spur the modernization and professionalization of authorship. The author begins by explaining authors' attempts to gain legal separation from booksellers to assert more control over their works. She goes on to examine authors' increased involvement in the literary market through control of publishing and their efforts to actually promote and sell their own work.

The article introduces this issue on the editing and publishing of compilations, collections, and anthologies of various literary works in French.

An essay is presented on how "The Bloody Chamber" was interpreted, received and placed within the literary and cultural space of France and Italy. It offers a history of the translations and the cultural exchange and examines the acceptability of texts to the target culture, the interpretation as to the culture of target readers and expectations of the publishing industry. The author relates that different strategies can be used by publishing agents of the two countries to adapt the text to their particular cultural and literary traditions.

Bookseller and publisher for more than 25 years, François Maspero is perceived by the new generation of critical publishers as a key figure in commitment through books. His atypical professional life is coherent with that period of contemporary French history characterised by the challenges of decolonialisation, the war in Algeria, and the ideological debates between the years following the uprising in May 1968 until political alternation of 1981. His actions in favour of Algerian independence and his revolutionary stand, illustrated by the publishing of such magazines as Partisans and Tricontinentale, are noteworthy. Working out of the Place Paul-Painlevé, the publisher also contributed significantly to the use of alternate approaches to the fields of social sciences and the humanities. He was closely associated with the cultural upheavals of the time and acted as a transmitter of perceptions held by the Third World at a time when they were unknown in France. His retirement coincided with a more pessimistic time, associated with globalisation in a more liberal époque. [ABSTRACT FROM AUTHOR]

Cet article examine les pages de garde contenues dans des reliures cartonnées et brochées de cinq textes du dix-huitième siècle français. Ces spécimens démontrent qu'il y des livres qui se doivent d'être conservés intacts comme artéfacts, étant donné que leurs feuillets jaunis par le temps peuvent fournir des indices sur le lieu et l'époque où ils ont été reliés, produits et diffusés, voire même donner un aperçu sur l'exercice de la censure. Il en va de même pour le travail de reliure le plus routinier pratiqué sur des ouvrages anciens, lequel peut faciliter notre compréhension des opérations commerciales jadis en vigueur. Le premier spécimen à l'étude est l'Histoire critique de la philosophie de Deslandes publiée par Jean Nourse à Londres en 1742. La typographie indique toutefois que l'ouvrage fut imprimé en Hollande. Même si ce livre fut frappé d'interdiction par le gouvernement français, les pages de garde donnent à penser qu'il fut relié en France. Le deuxième exemple est un pamphlet politique clandestin intitulé Influence du despotisme de l'Angleterre [1781] imprimé probablement à Neuchâtel et Besançon. La page de garde placée à la fin du livre est une page de titre de l'édition de 1779 ou 1780 de La Boussole imprimée par le même imprimeur de Besançon, ce qui suppose que la reliure fut fabriquée à cet endroit. Le troisième ouvrage est une traduction du Tableau de l'Angleterre et de l'Italie par Archenholtz et publiée à Strasbourg en 1788. Si l'on se fie à des événements survenus en septembre 1793 et rapportés par des journaux français de l'époque, la datation des pages de garde coïncide avec une période trouble de l'histoire politique et économique du pays, ce qui explique en partie la mauvaise qualité de la reliure. Le quatrième texte est l'Analyse des ouvrages de J.J. Rousseau publiée par la Veuve Duchesne à Paris en 1785. Comme l'ouvrage comporte un feuillet tiré d'un roman raté d'un dénommé Monvel publié par Duchesne une décennie plus tôt, on peut présumer que la reliure fut réalisée à Paris. Enfin le cinquième spécimen et non le moins intéressant est un pamphlet royaliste daté de 1789. La page de garde se trouvant à la fin du livre consiste en un feuillet tiré de la première édition in-octavo des Mémoires de Saint-Simon publiés par Buisson en octobre 1788. Si l'on compare cet exemple avec une édition in-douze de Buisson (1788), il appert que le censeur fit plus de coupures dans l'in-octavo que dans le format plus petit. La reliure fut sans doute réalisée à Paris au début de l'année 1789. Les feuillets supprimés auraient été probablement vendus à un cartonnier comme c'était l'usage à l'époque mais, dans ce cas-ci, ils furent utilisés par un relieur de manière que le texte censuré soit aisément lisible. [ABSTRACT FROM AUTHOR]